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 Library 
 
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 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924021631340 
 
ELSON'S 
 MUSIC DICTIONARY 
 
 CONTAINING THE DEFINITION AND 
 PRONUNCIATION OF SUCH- TERMS AND 
 SIGNS AS ARE USED IN MODERN MUSIC 
 
 Together with a list of Foreign Composers and Artists, 
 
 WITH pronunciation OF THEIR NAMES, A LIST OF POPULAR 
 
 Errors in Music, rules for pronouncing foreign 
 
 WORDS, AND A SHORT EnGLISH-ItALIAN VOCABU- 
 LARY OF MUSICAL WORDS AND EXPRESSIONS 
 
 LOUIS C' ELSON 
 
 Professor of Theory of Music at the New England Conservatory of Music 
 
 BOSTON 
 OLIVER DITSON COMPANY 
 New York Chicago Philadelphia 
 
 C H. DiTSON & Co. Lyon & Healy J. E. Ditson & Co. 
 
 J) 
 
I 
 
 Copyright, MCMV, by 
 Oliver Ditson CpMPANY 
 
PREFACE 
 
 Ever since Tinctor, about 1475, wrote the first music dictionary — 
 the " Terminorum Musicae Diffinitorium " — there has been an end- 
 less succession of books dealing with musical definitions. This is 
 but natural and proper, since the musical art is constantly changing, 
 and a music dictionary, unless frequently revised, easily drops behind 
 the times. The author has endeavored, in these pages, to bring 
 together and classify such material as the modern music teacher or 
 student needs to have at hand in an accessible shape, and to give, 
 as far as possible, the latest developments in the field. 
 
 As the average teacher is often timid in the matter of pronouncing 
 foreign words, an English phonetic spelling has been added in almost 
 every instance. Yet it will be best for the student to familiarize him- 
 self with the rules for pronouncing each language (which are also 
 given) since it is sometimes impossible to reproduce the exact sound 
 of a foreign word in any English spelling. An attempt has also been 
 made to give the pronunciation of the names of the chief composers, 
 singers, pianists, . conductors, etc. 
 
 These points, and the presentation of some of the chief popular 
 errors in music, the, addition of a list of works of reference for the 
 most important topics, and the inclusion of some of , the most recent 
 details of research, may be sufficient excuse for the making of yet one 
 more music dictionary. 
 
 Louis C. Elson. 
 
TABLE OF CONTENTS 
 
 Preface iii 
 
 Rules for Pronouncing Italian, German and French . . vii-ix 
 
 A List of Popular Errors and Doubtful Terms in Music . x-xi 
 
 Dictionary of Musical Terms 1-289 
 
 A List of Prominent Foreign Composers, Artists, etc., with 
 their Chief Works, the Pronunciation of their Names, 
 
 and the Date of their Birth and Death 291-301 
 
 A Short Vocabulary of English Musical Terms with their 
 
 Italian Equivalents 302-306 
 
RULES FOR THE PRONUNCIATION OF 
 GERMAN, ITALIAN, AND FRENCH 
 
 GERMAN 
 
 A has the sound of a as in far. 
 
 Au is like ou in house. 
 
 At occurs but rarely, and has the sound 
 
 of i as in pine. 
 Ae or a when long is like a in mate ; 
 
 when short it is like e in met. 
 Aeu or au is like oy in boy. 
 £ has (i) the sound of e as in help, and 
 
 (2) the sound of a in hate. 
 Ei has always the sound of 1 mpine. 
 Eu is like oi in loiter. 
 1 has the sound of 1 as in pin. 
 le takes the sound of e as in tree. 
 O has (i) a long sound as in tone, and 
 
 (2) a short sound as in loss. 
 <0e or o has a sound somewhat like e in 
 
 err, pronounced with lips held close 
 
 together. 
 U has the sound of 00 as in moon. 
 Ue or ii has the sound of the French ii. 
 Yis used only in foreign words, where it 
 
 does not differ from i. 
 
 CONSONANTS 
 
 B and d are pronounced as in English. 
 
 C is only used in foreign words. Before 
 e, i, and y it is pronounced like ts ; 
 before other vowels and consonants it 
 is like k, 
 
 Ch has nothing corresponding to it in 
 English, though the Scotch word Loch 
 gives it exactly. It is a guttural aspi- 
 rate, bearing the same relation to k as 
 th does to t. At the beginning of words 
 ch is like k, 
 
 'Chs is pronounced like ks orx. 
 
 I F, 1, m, p, ti and x are the same as in 
 { English. 
 
 i G has the hard sound as in got. In some 
 parts of Germany the unaccented, final 
 ig is softened into something like ikh. 
 
 H at the beginning of words is aspirated ; 
 between two vowels the aspiration is 
 very weak, and before a consonant or 
 at the end of woids it is mute ; but in 
 this case it makes the preceding vowel 
 long. 
 
 J is equivalent to the English y in yet, 
 and is always followed by a vowel. 
 
 K is like the English k, but is never mute 
 before n. 
 
 Ng sounds like ng in length ; but in com- 
 pound words where the first ends in n 
 and the last begins with g, they are 
 separated. 
 
 Q is always joined with u, and together 
 they are pronounced like kw. 
 
 Ph has the sound of f. 
 
 Pf unites the two letters in one sound 
 uttered with compressed lips. 
 
 R has a stronger sound than in English, 
 and is the same at the beginning, 
 middle, or end of a word. 
 
 S is like the English s. It is sounded at 
 the end of words, and between two 
 vowels it frequently takes the sound of 
 i. 
 
 Sch is like the English sh in ship. 
 
 Th takes always the sound ofjt ; h being 
 silent. It has never the sound of th in 
 thee. 
 
 Xz intensifies the sound of z, 
 
 V is pronounced like f. 
 
 W answers to the English v. 
 
 Z is pronounced like ts in nets. 
 
 In the German words defined and pro- 
 
RULES FOR PROKUNCIATION 
 
 nounced in this work, the accented sylla- 
 ble, in words of two or more will be in 
 Italics. 
 
 ITALIAN 
 
 VOWELS 
 A is always like a \n father. 
 E has (i) the sound of e in pen, and (2) 
 
 the sound of a in/aie. 
 I is pronounced like e in me. 
 J is always a vowel, and at the beginning 
 
 of a syllable is like y in you. At the 
 
 end of a word it is like e in lie. 
 has the sound (i) of 6 in ione; and (2) 
 
 that of o in noi. 
 U has always the sound of 00 in cool. 
 
 CONSONANTS 
 
 B, d, f , 1, n, p, q, v, are the same as in 
 English. 
 
 C, before a, o, and u, has the sound of k ; 
 before e, i, and y it has the sound of 
 tsh, or that of ch -in the word cheek. 
 When doubled (cc) and followed by e, i, 
 or y, the first is pronounced hke t, and 
 the second takes its usual sound. 
 
 Ch, before e or i, has the sound of k. 
 G, before a, o, or u, is hard as in go ; 
 
 before e or i, it has the sound of j or 
 
 soft g as in gem. When doubled and 
 
 followed by e or i, it has the sound of 
 
 dj ; or like dg in lodge. 
 Gh, followed by e or i, is pronounced 
 
 like g in go. 
 Gl, followed by i preceding another vowel, 
 
 is pronounced like Hi in million. 
 Gn, followed by a, e, i, o, or u, is like ni 
 
 in the English word minion. 
 Gua, gue, gui, are pronounced gwa^ gwa, 
 
 gwe. 
 Gia, gio, giu, are pronounced djia, djio, 
 
 djioo, in one syllable, giving the i a very 
 
 faint sound. 
 S has (i) the soft sound as in sis, and (2) 
 
 the hard sound as in ease ; usually the 
 
 latter when occurring between two 
 
 vowels. 
 Sc, before e or i, is like shin shall ; before 
 
 a, o, or u, it has the sound of sk. 
 Sch is always like sk, or sch in school. 
 Scia, scio, sciu, are pronounced sha, sho, 
 
 shoo. 
 R, at the beginning of words, is like the 
 
 English ; but at the end of words or 
 
 syllables, or when combined with an- 
 other consonant, it should have a roll- 
 ing sound. 
 W and z are not found in Italian, except 
 
 in foreign words. 
 Z has usually the sound of ts ; it is some- 
 times pronounced like dz. 
 Italian words are pronounced exactly 
 as written, there being no silent letter 
 except h. The vow«ls always preserve 
 their proper sounds, forming no dipthongs 
 and being uninfluenced by the consonants 
 with which they may be combined. 
 
 In words of two or more syllables there 
 is usually a slight emphasis placed on the 
 penult, or ante-penult, but rarely on the 
 last syllable. 
 
 FRENCH 
 
 A has two sounds ; a as in mass and a as 
 in bar. 
 
 Ai is like a in fate. 
 
 Au is similar to o in English. 
 
 E is (i) like e in met ; (2) like a in fate; 
 (3) similar to u in bud. It is frequently 
 silent at the end of words. 
 
 Ei is nearly like a in fate. 
 
 Ett resembles e in err. 
 
 I has the sound (i) of 1 in/z« (2) of e in 
 me. 
 
 la has nearly the sound of ia in medial. 
 
 le is like ee in bee. 
 
 is pronounced like in rob ; and like o 
 in rope. 
 
 U has no equivalent in English, but re- 
 sembles the sound of e in dew. By 
 prolonging the sound of e, taking care 
 not to introduce the sound of w, we get 
 an approximate sound of the French «, 
 or ii as it will be marked in this work. 
 
 Y, when initial, or coming between two 
 consonants, or standing as a syllable 
 by itself, is the same as the French i ; 
 but between two vowels it is equivalent 
 to double i (ii), the first forming a dip- 
 thong with the preceding one, and the 
 second with the one following. 
 
 M and n, when not nasal, have the same 
 sound as in English ; if preceded by a 
 vowel in the same syllable, they are 
 always nasal unless immediately fol- 
 lowed by a vowel in the next syllable. 
 
 Am, an, em, en, are pronounced some- 
 what like dnh. 
 
RULES FOR PRONUNCIATION 
 
 Im, in, aim, ain, eim, ein, are pro- 
 nounced like dnh. 
 
 Cm and on, are like gnh. 
 
 Um and un are pronounced like iinh. 
 
 P is generally the same as in English. It 
 is sometimes silent ; and always when 
 at the end of a word. 
 
 Q is usually followed by u, in which case 
 they are together sounded like the let- 
 ter k. 
 
 R is given more roughly than in English. 
 
 It is often silent when preceded by the 
 
 vowel e. 
 S has generally the same sound as in 
 
 English ; between two vowels it has 
 
 generally the same sound as in the 
 
 English word rose. 
 
 CONSONANTS 
 
 Final consonants are frequently silent. 
 
 B, at the beginning and in the middle of 
 
 words, is the same as in English. 
 C has (i) the sound of k before a, o, or 
 
 u; (2) when written with the cedilla, 
 
 or before e, or i, it has the sound of s. 
 
 C final is sounded, unless preceded by 
 
 n, and has the sound of k. 
 Ch is pronounced like sh in she. In 
 
 words derived from the Greek ch is 
 
 pronounced like k. 
 D is the same as in English. It is often 
 
 silent at the end of words. 
 
 F is like the English ; when final it is 
 usually sounded, 
 
 G before a, b, or u, is hard, as in go ; but 
 before e, i, or y, it has the sound of z 
 in the English word azure. In the 
 combination gue, or gui, the u is silent, 
 but the g takes its hard sound. 
 
 Gn is pronounced like ni in union. 
 
 H is mute or slightly aspirated. 
 
 J is pronounced like z in azure. 
 
 K has the same sound as in English. 
 
 L has the same sound as in English, 
 and 11 the liquid sound as in million. 
 
 Sc is the same as in English, S final is 
 generally silent, 
 
 T has its hard English sound, but in tial, 
 tiel, and tion, it has the sound of s. 
 
 Th is always the same as t alone, T final 
 is usually silent. 
 
 V is like the English, only a little softer. 
 
 W is found only in foreign words, and is 
 pronounced like v. 
 
 X, initial, is pronounced Kke gz; it oc- 
 curs but in few words. 
 
 Ex, at the beginning of words, is sounded 
 like egz. In other places, and between 
 two vowels, it is pronounced like ks. 
 
 Z is like z in zone. 
 
 Final consonants, which would other- 
 wise be silent, are frequently sounded by 
 
 carrying them over to the next word when 
 
 commencing with a vowel. 
 
 VOWEL SOUNDS AS USED IN PRONUNCIATION 
 
 a as in ah; a as in hate ; a as in at; e as in tree; e as in eh; 1 as 
 m.pine ; i as va. pin ; o as in tone ; 6 as in dove ; 6 as in not; \x as in up ; 
 ii the French sound of u. 
 
POPULAR ERRORS AND DOUBTFUL 
 TERMS FOUND IN MUSIC 
 
 Andantino. This word is generally used 
 by musicians in the opposite sense from 
 its Italian meaning. While its strict 
 meaning is slower than " Andante," of 
 which word it is the diminutive, it is 
 now commonly used to indicate a 
 tempo less slow than " Andante " ; a 
 rate of movement between " Andante " 
 and " Allegretto." 
 
 Appoggiatura. Although the English 
 use the term short appoggiatura for 
 the short grace note, it is generally 
 called " acciaccatura " in Italy. See 
 Appoggiatura and Acciaccatura, 
 
 Arsis and Thesis. These terms are not 
 used by musicians in the manner that 
 they are employed in poetic scansion. 
 See both words. 
 
 Clarinet. The spelling of this word as. 
 " Clarionet " is obsolete. It is spelled 
 " Clarinette " or, more frequently, 
 " Clarinet." 
 
 Common Time. A rather faulty terra 
 for J rhythm (or measure). There is 
 a wide-spread error regarding the sign 
 g which is not a " C " standing for 
 " Common Time." See the article on 
 lime. 
 
 Concerto. May be pronounced either as 
 an Italian word (kontschairto) or as an 
 English noun. " Soprano," " Scherzo," 
 " Concerto," and numerous other mu- 
 sical words in constant use have become 
 Anglicized in the course of time. 
 
 Concert Pitch. This is not the pitch 
 used in our chief concerts. It is a very 
 doubtful term. See Pitch. 
 
 Etude. This word is not pronounced 
 "Etood" but Ay-tiide, French «, for, 
 since the English" Study" is its equiva- 
 lent, it has not been adopted into our 
 language. 
 
 Fantasia. The word is not pronounced 
 " Fan-/aj-ia " but " Fanta-«-a." 
 
 Flats and Sharps. These are used in- 
 dependently of the strict rules by almost 
 all composers. Wherever a note is at 
 all doubtful, the composer has a right 
 to make its meaning sure by adding an 
 accidental, even in defiance of the book 
 rules. 
 
 Long Slurs. These are not amenable to 
 any rules, almost every composer being 
 a law unto himself in their employment 
 in piano music. In vocal and violin 
 music they are generally uniform, and 
 have a more intelligible meaning. See 
 Slurs. 
 
 Mordent. Used in different senses by 
 different teachers, ^ee, Mordent. 
 
 Obbligato. This word should not be 
 spelled " obligato." 
 
 Piano. Although some modem diction- 
 aries give only " pianoforte " as the 
 noun, the word " piano " (as well as 
 " pianist ") has been sanctioned by 
 usage. 
 
 Pitch. It is desirable not to write one- 
 lined C as " C 1," but as c, or c ', and 
 to be careful in every use of numerals 
 in designating pitch, for the scientific 
 usage of the numerals, found in every 
 work on Acoustics, is different from 
 the above, and endless confusion may 
 result. See Tablature. 
 
 Portamento. It is unfortunate that this 
 word means one thing to the pianist 
 and a totally different one to the vo- 
 calist and violinist. See Portamento. 
 
 Sextolet. This group is very frequently 
 found, even in the works of the great 
 masters (Beethoven, Mozart, etc.) where 
 two triplets are required. It is the most 
 vague of the artificial groups. See 
 Notes. 
 
 Symphony. It was only after the ad- 
 vent of Haydn that this word began to 
 mean a sonata for full orchestra. Be- 
 
POPULAR ERRORS AND DOUBTFUL TERMS FOUND IN MUSIC 
 
 fore that time it meant a prelude, 
 postlude, or interlude, or any short in- 
 strumental work. In an old English 
 dictionary (Grassineau, 1740) we read: 
 " Some there are who restrain Sym- 
 phony to the sole music of instruments : 
 In this sense they say that the Recita- 
 tives of such an Opera were intolerable, 
 but the Symphonies excellent." In the 
 earliest Dictionary of Musical Terms 
 in the English language (Brotherton, 
 London, 1724), we find the word de- 
 fined, — " Symphony, by which is to 
 be understood Airs in two, three, and 
 four Parts, for Instruments of any 
 kind; or the Instrumental Parts of 
 Songs, Motets, Operas, or Concertos, 
 are so-called." It was in this sense 
 that Handel used the word in his 
 "Pastoral Symphony," in "The Mes- 
 siah," and Bach gave forth his Three- 
 voiced Inventions first, under the title 
 of Symphonies, It. may also he stated 
 
 that the Italip.n word " Sinfonia " is of- 
 ten mispronounced " Sin^-nia." It 
 should be " Sinfo-«»-a." 
 
 Tie. There are many teachers who re- 
 
 gard the following 
 
 f 
 
 ^^ 
 
 (with a dot over the second note) as a 
 tie, and sound a single note only ; but 
 the consensus of opinion is that it is to 
 be regarded as a short slur, and the 
 second note is to be struck. 
 
 Time. The misuse of this word is so 
 universal that it may be accepted as 
 correct by general usage. Yet it is to 
 be desired that there should be one 
 word for the speed of the composition 
 and another for its rhythm. See 
 Time, Rhythm, and Metre. 
 
 Violoncello. This word should never be 
 spelled " Violincello," See Violon- 
 cello. 
 
ELSON'S MUSIC DICTIONARY 
 
 A. I . The alphabetical name given, in 
 the United States and England, to the 
 sixth tone of the diatonic major scale 
 of C ■, in France and Italy called La. 
 
 2. Upon string instruments, the 
 name of the string which, witli the 
 open tone, gives the sixth of the 
 natural scale. In tuning,, this string is 
 usually first brought to the requisite 
 pitch, and from it the others are then 
 regulated; it is the first (smallest) 
 string of the violoncello, the second of 
 the violin, etc. 
 
 3. The first note of the natural 
 minor scale the relative of C major, 
 which, as the older scale, begins on 
 the first letter of the alphabet. See 
 C. 
 
 4. The note from which the orches- 
 tra is tuned, usually sounded by the 
 oboe. See Oioe. 
 
 A. (It.) (ah.) By, for, to, at, in, etc. 
 
 Ab (Ger.) Off. Used in organ music to 
 
 signify the discontinuance of certain 
 
 stops. 
 A ballita (It.) (a bal-Zi-ta.) In the style 
 
 of a dance. See ballata. 
 Abandon (Fr.) (a-banh-donh.) Without 
 
 restraint; with self -abandon ; with 
 
 ease. 
 A battrita (It.) (a MsX-too-'CiL.') As 
 
 beaten ; strictly in time. 
 Abat-voix (Fr.) (a-ba-vwa.) A voice 
 
 reflector. 
 Abbacchiato (It.) (ab-ba-ke-a-to.) With 
 
 a dejected, melancholy expression. 
 Abbadare (It.) (ab-ba-d'a-re.) Take care ; 
 
 pay attention. 
 Abbandoniisi (It.) (ab-ban-do-«^-ze.) 
 
 Without restraint: with passionate ex- 
 pression. 
 Abbandonatam^nte (It.) (ab-ban-do-na- 
 
 ta-ff;if«-te.) Vehemently ; violently. 
 Abband6ne (It.) (ab-ban-^c-ne.) Mak- 
 
 ing the time subservient to the expres- 
 sion; despondingly ; with self-aban- 
 donment. 
 
 Abbandonevolm^nte (It.) (ab-ban-do-ne- 
 vol-»8««-te.) Violently ; vehemently ; 
 without restraint as to time. 
 
 Abband6no (It.) (ab-ban-</J-no.) With 
 passionate expression ; with abandon. 
 
 Abbassam^ntO di mano (It.) (ab-bas-sa- 
 men-\.o de ma-no.) The down-beat, or 
 descent of the hand in beating time. 
 
 Abbassam^nto di v6ce( 1 1 . ) ( ab-bas-sa-7»^«- 
 to de v6-tshe.) Diminishing or lower- 
 ing of the voice. 
 
 Abbelldre (It.) (ab-bel-/a-re.) To embel- 
 lish with ornaments. 
 
 Abbellim^nti (It. )(ab-bel-le-OT^«-te.) Or- 
 naments introduced to embellish a plain 
 melody. 
 
 Abbellim^nto (It.) (ab-bel-le-jwra-to.) A 
 grace note or ornament. 
 
 Abbellire (It.) (ab-bel-lee-re.) To em- 
 bellish with ornaments. 
 
 Abbellitiira (It.) (ab-bel-le-^otp-ra.) An 
 ornament, embellishment. 
 
 Abbelliture (It.) (ab-bel-le-^oore.) Orna- 
 ments ; embellishments. 
 
 Abblasen (Ger.) (ab-bla-z'n.) To sound 
 or flourish the trumpnet ; to sound the 
 retreat. 
 
 Abbreviam^nti (It.) (ab-bra-ve-a-wuK-te.) 
 Abbreviations in musical notation. 
 
 Abbrevidre (It.) (ab-bre-ve-a-re.) To ab- 
 breviate or shorten the labor of nota- 
 tion. 
 
 Abbreviation marks, i. Oblique strokes 
 which distinguish the eighth, sixteenth, 
 or thirty-second notes, when applied to 
 the stem of the quarter or' half-note, 
 signify as many repetitions of the 
 shorter note thus indicated as are equal 
 to the longer note represented. Thus : 
 -^ is equivalent to mfff ffff 
 
ABBREVIATIOr:S 
 
 2. A diagonal stroke with a dot 
 each side signifies a repetition of the 
 preceding measure. P-t- 
 
 3. When the long notes are subdi- 
 vided, the obhque strokes, distinguishing 
 eighth, sixteenth notes, etc., are some- 
 times employed to denote a repetition of 
 such short notes : Thus, ^* ^J ^J 
 indicate a repetition of ^» 
 eighths, sixteenths, thirty-seconds, re- 
 spectively. 
 
 4. A short horizontal line, a row of 
 dots, or a waving line is used to express 
 the repetition, or a continuation of the 
 influence, of the preceding character. 
 Thus : FSS . . 1-^ — ^^\ 
 
 W_ 
 
 t3^ 
 
 tr. 
 
 1^^^^^ 
 
 mi — sol — do 
 
 5. Figures when placed upon the 
 staff, or over a measure in 8 
 which rests are written, 
 serve to indicate the num- 
 ber of whole rests or measures of 
 silence. See Rests. 
 
 6. Groups of notes are sometimes 
 abbreviated as follows : 
 
 E^E^E^^^lE^^ 
 
 7 . The word " Simili," or " Segue " is 
 sometimes used to continue a group in 
 the same manner as the printed model. 
 
 8. The sign called " the direct " (2*f!) 
 means to continue in the same man- 
 ner, and at the same time Indicates 
 the first note of each succeeding 
 group, as : 
 
 P 
 
 ^^ 
 
 i^^^^^^ 
 
 9. " Come Sopra " is sometimes used 
 as an abbreviation, meaning to play the: 
 same notes as the part written above. 
 
 10. On concert programs certaini 
 abbreviations serve to identify an old 
 work, composed before the opus-num- 
 ber was regularly used. These marks, 
 are often met with in connection with 
 Mozart and Haydn compositions. Thus 
 P. means Peters edition ; B &f H^ 
 Breitkopf & Haertel ; JC, Kochel's cata- 
 log of Mozart's works. B cf II. 
 10 — No. 10 Breitkopf & Haertel's. 
 edition : K. 8, No. 8 in Kochel's 
 catalog. 
 
 11. Abbreviations for divisions of 
 musical form (generally used in son- 
 atas) are derived from the German. 
 They are Hs. (Hauptsatz) chief theme ; 
 Ss. (Seitensatz) subordinate theme ; 
 Zws. (Zwischensatz) intermediate 
 theme; Schls. (Schlusssatz) closing 
 theme; Rg. (Riickgang) returning pas- 
 sage; Ug. (Uebergang) transition;. 
 D (Durchfiihrung) or Ds. (Durchfiih- 
 rungssatz) development ; and Anh. 
 (Anhang) Coda. 
 
 12. Abbreviations of Hymn Metres, 
 are as follows : L.M., Long Metre; CM., 
 Common Metre ; S.M., Short Metre ; 
 L.P.M., Long Particular Metre; C. 
 P.M., Common Particular Metre ;. 
 S.P.M., Short Particular Metre; L. 
 M.D., Long Metre Double; C.M.D.,. 
 Common Metre Double ; S.M.D., 
 Short Metre Double; H.M., Halle- 
 lujah Metre. Numerals are also used, 
 as 7s, meaning seven syllables to a 
 line ; 8s & 7s, meaning that the lines, 
 alternate eight and seven syllables ; 
 P. M., Particular Metre. 
 
 The following are some of the ab- 
 breviations found in modern music : 
 
 a as in a^ ; a as in hate ; a as in at ; e as in tree ; e as in ^.4 y i as in fine ; i as \npin ; 
 
 2 
 
ABBREVIATIONS 
 
 LIST OF GENERALLY USED ABBREVI 
 ATIONS 
 
 accel accelerando 
 
 accomp accompaniment 
 
 Adg" or Ad" Adagio 
 
 ad lib. or ad libit. . .ad libitum 
 
 Aevia Alleluia 
 
 afiett" affettuoso 
 
 affrett" affrettando 
 
 ag" or agit agitato 
 
 All" Allegro 
 
 Allgett" Allegretto 
 
 all' Ott all' ottava 
 
 al seg al segno 
 
 And"" Andantino 
 
 And'= Andante 
 
 Anim" animato 
 
 arc arcato, or coll' arco 
 
 arp° arpeggio 
 
 a t. or a tem a tempo 
 
 B. C. or Bass Con. . .basso continuo 
 
 Bl Blaser 
 
 Br Bratschen 
 
 Brill brillante 
 
 c. a coll' arco 
 
 cad cadenza 
 
 cal calando 
 
 calm calmato 
 
 cant canto 
 
 Cantab cantabile 
 
 C.B contra basso or col 
 
 basso 
 
 C.B col Basso 
 
 Cb Contrabasse 
 
 C.d coUa destra 
 
 C.f canto fermo 
 
 cello ............. violoncello 
 
 cemb cembalo 
 
 Ch choir organ 
 
 Clar clarinet 
 
 Clar° darino 
 
 col c col canto 
 
 coll' ott coll' ottava 
 
 c. 8'* coll' ottava 
 
 con espr con espressione 
 
 cont contano 
 
 Cor como 
 
 c.p coUa parte 
 
 cresc crescendo 
 
 c.s colla sinistra 
 
 C S. or CO. SO come sopra 
 
 C" concerto 
 
 C. voc colla voce 
 
 fl destra, droite 
 
 D.C da capo 
 
 D.C.S.R da capo senza re- 
 plica, or senza 
 ripetizione 
 
 Dec decani 
 
 decresc decrescendo 
 
 dest destra 
 
 Diap diapasons 
 
 dim diminuendo 
 
 div divisi 
 
 dol dolce 
 
 dolciss dolcissimo 
 
 dopp. ped doppio pedale 
 
 D.S dal segno 
 
 asp. or espres espressivo 
 
 f forte 
 
 Fag fagotto 
 
 ff fortissimo 
 
 f ff fortississimo 
 
 Fl flauto 
 
 F.O full organ 
 
 f p forte piano 
 
 f z. or forz forzato 
 
 G gauche 
 
 G.O great organ 
 
 Graz" grazioso 
 
 Haut hautboy 
 
 Hlzbl Holzblaser 
 
 Hr. or Hrn Horner 
 
 Intro Introduction 
 
 K.F Kleine Flote 
 
 L Left 
 
 leg legato, leger 
 
 legg .leggiero 
 
 l.h lefthand,linkeHand 
 
 lusing lusingando 
 
 M manula 
 
 Magg Maggiore 
 
 mane mancando 
 
 marc marcato 
 
 m.d mano destra, or 
 
 main droite 
 
 men meno 
 
 mez mezzo 
 
 mf mezzo forte 
 
 m.g main gauche 
 
 M.M Maelzel's Metro- 
 nome 
 
 mod. or modto moderato 
 
 mor morendo 
 
 mp mezzo piano 
 
 MS manuscript 
 
 m.s mano sinistra 
 
 Mus.Bac. orMus.B. . Bachelor of Music 
 Mus.Doc. or Mus.D. . Doctor of Music 
 
 m.v mezza voce 
 
 Ob oboe 
 
 Obb obbligato 
 
 Org organ 
 
 Ott , 0™, or 8"^ ottava 
 
 p piano 
 
 p.a.p .poco a poco 
 
 6 as in lone ; 6 as in dove ; 5 as in not; fi as in up ; ii the French sound of a. 
 
 .1 
 
ABBREVIATIONS 
 
 ABSETZEN 
 
 Fed pedal 
 
 Perd Perdendosi 
 
 P. F Piu forte 
 
 Piang Piangendo 
 
 Pianiss Pianissimo 
 
 Pizz Pizzicato 
 
 PP Pianissimo 
 
 PPP Pianississimo 
 
 I"» Prima (volta) 
 
 1""° Primo 
 
 ntte i Qiartet 
 
 V ( Quintet 
 
 Rail Rallentando 
 
 Recit., or Rec Recitative 
 
 Rf ., rfz , or rinf Rinforzando 
 
 R. H Right Hand, Rechte 
 
 Hand 
 
 Ritar Ritardando 
 
 Riten., or Rit Ritenuto 
 
 S Senza 
 
 S- A Sign 
 
 Scherz Sclierzando 
 
 2,'^^ Seconda (volta) 
 
 a"*" Secondo 
 
 Seg Segue 
 
 tlmv. :;.■:::::::} ^^■"p'"^ 
 
 7" Septet 
 
 6" Sestet 
 
 Sfz Sforzando 
 
 Sinf Sinfonia 
 
 Smorz Smorzando 
 
 S.R Senza ripetizione 
 
 S'. sdrd.' .■ ." .' .' .' ; .■ .■ .' I ^^°^^ ^'^^""^ 
 
 Sos'V ■.'.■.■. ■■.'.■.■■.; [Sostenuto 
 
 Spir Spiritoso 
 
 Stacc Staccato 
 
 St. Diap Stopped Diapason 
 
 String Stringendo 
 
 Sw Swell Organ 
 
 Sym Symphony 
 
 T Tenor, tutti, tempo 
 
 T. C Tre corde 
 
 Tem Tempo 
 
 Tem. 1° Tempo primo 
 
 Ten Tenuto 
 
 Timb Timballes 
 
 Timp Timpani 
 
 Tr Trillo 
 
 Trem Tremolando 
 
 Tromb Trombi 
 
 Tromb Tromboni 
 
 T. S Tasto solo 
 
 U Una 
 
 TJ. C Una corda 
 
 XJnis Unisoni 
 
 ; in a/i 
 
 V Voce 
 
 V. . ! Vohi 
 
 Va Viola 
 
 Yaj Variation 
 
 yjUo Violoncello 
 
 yiy Vivace 
 
 Vo.. ) 
 
 Vno \ Violino 
 
 Viol" ) 
 
 y S Volti subito 
 
 yni Violini 
 
 See also, Trii/, Signs, Rests, and Re- 
 peats. 
 
 Abcidiren (Ger.) (ab:si-dir-'n.) A series 
 of exercises in which the names of the 
 notes are used instead of words. 
 
 Abellare (It.) (a-bel-la-re.) To decorate, 
 ornament, or embellish. 
 
 Abellimento (It.) (a-bel-le-men-to.) A 
 decoration, ornament, or embellish- 
 ment. 
 
 Abendglocke (Ger.) («/2-bend-^/^'/J-e.) 
 Evening bell; curfew. 
 
 Abendlied (Ger") (oyibend-leed.) Even- 
 ing song or hymn. 
 
 Abendmusik (Ger.) (a-bend-»;^^zik ) 
 Evening or night music ; serenade. 
 
 Abendstandchen (Ger.) (a-bend-j-^^«(/- 
 schen.) A serenade. 
 
 Abgehen (Ger.) (a^ga-en.) To go off ; 
 to make an exit ; to retire. 
 
 Abgestossen (Ger.) (a3-ghe-st6s-s'n.) De- 
 tached, struck off, staccato. 
 
 Ab initio (Lat.) (ab in-^-shi-o.) An obso- 
 lete term, of the same signification as 
 Da Capo. 
 
 Abkiirzen (Ger.) (ai-kiert-sen). To a- 
 bridge, to abbreviate. 
 
 Abkiirzung (Ger.) (o*-kiert-soong.) 
 Abridgement, abbreviation. 
 
 Abnehmend (Ger.) (o3-nay-mend.) Di- 
 minishing. 
 
 Abr^g6 (Fr.) (ah-brayz-hay.) Abridg- 
 ment ; also, the trackers in an organ. 
 
 Abr^ger (Fr.) (ah-brayz-hay.) To cur- 
 tail, to abridge. 
 
 Abruptio (Lat.) (ab-?-2?/-shi-6.) Break- 
 ing off ; a sudden pause. 
 
 Absatz (Ger.) (oi-satz.) A section or 
 passage of music, usually consisting of 
 four measures ; also, a pause or stop ; 
 a cadence. 
 
 Absetzen (Ger.) (o*-set-s'n.) A style of 
 performance similar to staccato. 
 
 a as in hate ; a as in at ; e as in tree / 6 as in eh ; i as in pine ; i as in pin ■ 
 
 4 
 
ABSPIELEN 
 
 ACCENTOR 
 
 Abspielen (Ger.) (a;*-speelen.) To per- 
 form on an instrument ; to play a tune ; 
 to finish playing. 
 
 Absteigende Tonarten (Ger.) (oA-sty- 
 gen-de ^o-nar-t'n.) Descending scales 
 or keys. 
 
 Abstossen (Ger.) (oij-stos-s'n.) Similar in 
 manner of periformance to staccato, 
 
 Abwechselnd (Ger.) (a^-veck-s'lnd.) Al- 
 ternating, changing. In organ playing, 
 alternately ; in choir singing, antiphon- 
 ally ; in dance music, change of move- 
 ments. 
 
 Acad^mie de Musique (Fr.) An acad- 
 emy of music, consisting of professors 
 and scholars ; a society for promoting 
 musical culture. 
 
 Acad^mie spirituelle (Fr.) (ak-a-da-me 
 spi-re-too-al.) A performance or con- 
 cert of sacred music. 
 
 A capp^Ila (It.) (a kap-/rf-la.) In the 
 church or chapel style, that is, vocal 
 music, unaccompanied. So-called 
 because the music of the Sistine chapel 
 at Rome was purely vocal. Almost all 
 of the old Masses, motetts, and madri- 
 gals were "a cappella. " 
 
 A capprlccio (It.) (a kap-/r2V-she-o.) In 
 a capricious style; -according to the 
 taste of the performer. 
 
 Acathistus (Gr.) {a.k-a.-/Ais-tus.) A 
 hymn of praise sung in the ancient 
 Greek church in honor of the Virgin. 
 
 Accad^mia (It.) (ak-ka-i/fly-me-a.) An 
 academy; the word also means a con- 
 cert. 
 
 Accarezz^TOle (It.) (ak-ka-ret-2^/4-vo-le.) 
 Blandishing ; in a persuasive and ca- 
 ressing manner. 
 
 Accarezzevolm^nte (It.) (ak-ka-ret-z//4- 
 vol-»j.?«-te.) Caressingly, coaxingly. 
 
 Accel (It.) (at-tshel.) An abbreviation 
 of Accelerando. 
 
 AcceldO. An abbreviation of Acceler- 
 ando. 
 
 Accelerando (It.) (at-tshel-erroK-do ) 
 Accelerating the time; gradually in- 
 creasing the velocity of the movement. 
 
 AccelerdtO (It.) (at-tshel-a-?-o/4-to.) Ac- 
 celerated ; increasing in rapidity. 
 
 Accent. A stress or emphasis upon a 
 certain note or passage to mark its po- 
 sition in the bar, or its relative impor- 
 tance in regard to the composition. 
 
 5 as in tone ; 6 as in. dove ; fi as in not ; 
 
 Accent is the force g^ven to certain notes 
 or chords greater than that upon the 
 surrounding notes or chords. It can be 
 either natural or artificial. The natural 
 accent is indicated only by the rhythm- 
 mark, since the succession of natural 
 accents constitutes the rhythm. Yet 
 not all of the natural accents are alike 
 in stress. The primary accent, which 
 falls upon the first beat of the measure 
 in all rhythms, is called Thesis by musi- 
 cians, although the term is not used 
 with etymological correctness (see 
 Thesis and Arsis) . If there is a second- 
 ary accent in the measure, as the 
 third beat in | rhythm, or the fourth 
 beat in f rhythm, it is called Arsis. In 
 some rhythms these are not clearly in- 
 dicated by the figures attached. Thus, 
 in many a f and f rhythm the first 
 measure presents Thesis, and the sec- 
 ond measure Arsis, thus making (es- 
 pecially in waltz rhythms) a. sextuple 
 rhythm out of what appears to be 
 triple. Artificial accents generally in- 
 terrupt the rhythm and require especial 
 signs. In piano music these represent 
 two opposite styles of touch, — the 
 pressure and the percussive stroke. In 
 general music they can be classed as 
 either explosive or resonant (without 
 explosive character). The pressing, or 
 resonant accents are chiefly represented 
 by the following signs, — J?/, Rfz (see 
 Rinforzandd), tenu to (— ) marcato{~r) 
 
 ssA Portamento ( f^^f ) although 
 
 the last is decidedly misleading in its 
 application. (See Portamento!) 
 The percussive, or explosive accents 
 have the following signs : A =- which 
 have practically the same significance, 
 unless used side by side, when the first 
 is made the stronger; sf. or sfz. (See 
 Sforzando) and fz (see Forzando). 
 The staccato mark (see staccato) is 
 sometimes used merely as an accent 
 mark (percussive) as may be seen in 
 the closing theme of Beethoven's 
 " Sonata Pathetique," first movement, 
 and in much other modern music. 
 
 Acc^nto (It.) (at-/j/5««-t6.) Accent or 
 emphasis laid upon certain notes. 
 
 Accentor (It.) (at-iJ/4if«-tor.) An old 
 term, signifying the performer who 
 took the principal part in a duet, trio, 
 etc. 
 
 ii as in up; ii the French sound of «. 
 
ACCENT, ORATORICAL 
 
 ACCOMPANIMENT 
 
 > Accents. 
 
 Accent, oratorical. The emphasis dic- 
 tated by feeling, giving the music its 
 varying expression. 
 
 Accent! (It.) (^At-tshen-iee.) 
 
 Accent (Fr.) (ak-sanh.) 
 
 Accentudre (It.) (at-tshen-too-a-re.) To 
 accentuate ; to mark with an accent. 
 
 Accentuato (It.) ■ (at-tshen-too-a-to.) 
 Distinctly and strongly accented. 
 
 Accentuiren (Ger.) (ak-tsen-too-eer"n.) 
 To accent. 
 
 Accentus (Lat.) (ak-j/«-tus.) Accent. 
 
 Accentus Ecclesiastici (Lat.) The pre- 
 centor's chant, almost entirely upon 
 one tone. These chants were formerly 
 of seven kinds, viz.: the immutabilis, 
 medius, gravis, acutus, moderatus, in- 
 terrogatus, and finalis. 
 
 Accessory notes. Those notes situated 
 one degree above, and one degree 
 below the principal note of a turn. 
 The upper note of a trill is also called 
 the accessory or auxiliary note. 
 
 Accessory tones. Harmonics. Tones 
 faintly heard when the principal tone 
 dies away. 
 
 Accessory voices. Accompanying voices. 
 
 Acciaccare. (It.) (at-tshe-ak-/Ja-re.) A 
 brusque and unexpected way of striking 
 a chord. 
 
 Acciaccdto (It.) (at-tshe-ak-j4a-to.) 
 Brusquely, forcibly. 
 
 Acciaccatiira (It.) (at-tshe-ak-ka-ioo-ra.) 
 A very short grace note ; an accessory 
 note placed before the principal note, 
 the accent being on the principal note. 
 The short grace note, or acciaccatura, 
 or short appoggiatura, as it is vari- 
 ously called, receives as little time 
 value as possible, and no accent. If 
 a note is written to be played simul- 
 taneously with its principal note, that 
 note should be struck with the grace 
 note ; the following examples may ex- 
 plain this : 
 
 i 
 
 BE 
 
 P 
 
 Played. 
 
 ^ 
 
 ^- 
 
 r r 
 
 Occasionally there may be deviations 
 from this rule, but they are rare. As 
 
 there are many misprints made in the 
 notation of grace notes, it will be well 
 to remember that the long grace note 
 (appoggiatura) is yearning and tender 
 in effect, while the short grace note is 
 bright and crisp, with the single excep- 
 tion of sometimes imitating a sob in 
 mournful or plaintive music. See 
 Appoggiatura. 
 Accidentals. Occasional sharps, flats, 
 or naturals placed before notes in the 
 course of a piece. The composer may 
 place an accidental before any note 
 whose meaning may be considered 
 doubtful. See Chromatic Signs. 
 Accid^nti (It.) (at-tshe-rf^«-te.) ) Acci- 
 Accidents (Fr.) (ak-si-danh.) ) dentals. 
 
 Accidental chords. Chords containing 
 one or more notes foreign to its proper 
 harmony. 
 
 Accidental chromatics. Chromatics in- 
 cidentally employed. 
 
 Accompaniment. (Ger. Begleitung, Fr. 
 Accompagnement; It. Accompagna- 
 mento.) The accessory parts which sup- 
 port the principal part or parts of a com- 
 position. The principal parts may be 
 either vocal or instrumental. The ac- 
 companiment is, almost always instru- 
 mental. An accompaniment may be 
 intended to assist the singer, to assure 
 correct intonation, or it may be com- 
 posed to enhance the musical beauty 
 of the work. A necessary accom- 
 paniment is called obbligdto. Some ac- 
 companiments, , marked ad libitum, 
 can be omitted at the will of the per- 
 former or conductor. 
 
 Additional Accompaniments are parts 
 added to a composition by an editor. 
 These are sometimes very necessary. 
 Some of the instruments, for which 
 Bach and Handel wrote, are now ob- 
 solete, and their place must be filled by 
 other instruments added by a modem 
 hand. Neither of these two composers 
 used the clarinette, which was very 
 primitive in their day, and all clarinette 
 parts in their works have been added 
 since their time. Some of their scores 
 were left in a mere outline state, so 
 that the filling in of additional parts 
 became a necessity. The writing of 
 additional accompaniments began as 
 early as the time of Mozart. 
 
 Accompaniment of the scale. The har. 
 
 a as in a;4 y a as in hate ; S as in a/ ; § as in tree ; hasmeh ; i as in pine ; i as in pin ; 
 
 6 
 
ACCOMP. OBLTO 
 
 ACOUSTICS 
 
 mony assigned to the series of notes 
 forming the diatonic scale, ascending 
 and descending. 
 
 Accomp. Oblto. An abbreviation of ac" 
 companiment obbligato. 
 
 Accopi&to (It.) (ak-ko-pe-o-to.) Bound, 
 tied, joined together. 
 
 AccoTCiare (It.) (ak-kor-tshe-a-re.) To 
 contract ; to abridge. 
 
 Accorciatura (It.) (ak-k5r-tshe-a-/oo-ra.) 
 Abridgment. 
 
 Accord (Fr.) (ak-kor.) A chord ; a con- 
 cord; consonance. 
 
 Accordamento (It.) {ik-kor-di-men-to.) 
 Con.sonance, unison, harmony of parts. 
 
 Accordindo (It.) (ak-k6r-</o«-d6.) Tun- 
 ing. 
 
 Accordant (Fr.) (ak-kor-danh.) In con- 
 cord; in unison. 
 
 Accordire (It.) (ak-k6r-</<i-re.) To tune; 
 to agree in sound. 
 
 Accord&tO (It.) (ak-kor-(/aJ-to.) In har- 
 mony; in tune. 
 
 Accordat6re (It.) (ak-kor-da-^o-re.) One 
 who tunes instruments. 
 
 Accordatiira (It.) (ak-kor-da-/w-ra.) Con- 
 cord, harmony. Also, the set of notes 
 to which the open strings of an instru- 
 ment are tuned. 
 
 Accordeon. An instrument held in the 
 hands, the tones of which are produced 
 by a current of air from a bellows act- 
 ing on free metallic reeds. 
 
 Accorder (Fr.) (ak-kor-da.) To tune an 
 instrument ; to sing or play in tune. 
 
 Accordeur (Fr.) {sLk-kor-diir.) One who 
 tunes an instrument. 
 
 According. An harmonious blending of 
 different parts. 
 
 Accordion (Fr.) (ak-kor-di-onh.) An ac- 
 cordeon. 
 
 Accordiien (Ger.) (ak-k6r-(/l-r'n.) To 
 accord. 
 
 Acc6rd0 (It.) (ak-,i*--do.) A chord, a 
 concord, a consonance. 
 
 Acc6rdo consono (It.) (a.k-i/fr-do klki- 
 so-no.) A concord. 
 
 Acc6rdo dissono (It.) (ak-iiJr-do dees- 
 s6-no.) A discord. 
 
 Accordoir (Fr.) (ak-kor-<^wo.) A tuning 
 key, tuning hammer, an organ tuning- 
 horn. 
 as in tone; 6 as in dove; 8 as in not; 
 
 Accresc^ndo (It.) ifik-kxi-shen-da.) In- 
 creasing ; augmenting in tone and power. 
 
 Accrescere (It.) (ak-kre-j/^aZ-re.) To in- 
 crease ; to augment; 
 
 Accrescim^nto (It.) (ak-kre-she-»j^»-to.) 
 Increase, -augmentation of sound. 
 
 Accrescldto (It.) (ak-kre-she-oc-to.) In- 
 creased, augmented. 
 A Cemb. An abbreviation of A Cembalo. 
 
 A Cembalo (It.) (a tshem-ba-lo.) For 
 the harpsichord. 
 
 Achromatic music. Simple music in 
 which modulations seldom occur and 
 few accidental flats and sharps are 
 used. 
 
 Acht (Ger.) (akht.) Eight. 
 Achtel (Ger.) [iikh-\:\.) Eighth, an eighth 
 note. 
 
 Achtelnote (Ger.) (dhk-'CX-not^) An 
 
 eighth note. 
 Achtelpause (Ger.) (dkh-VX-pow-^^^ An 
 
 eighth rest. 
 Achtstimmig (Ger.) {dkht-^'Aca.-rsa^.) 
 
 For eight voices. 
 A cinque (It.) ('a.-cAink-qae.) For five 
 
 voices or instruments. 
 
 Acoustics (Ger. Acustik ; It. Acustica ; 
 Fr. Acotistique.) The science of sound ; 
 the science treating of the laws of 
 sound. A few facts connected with 
 musical acoustics may be here stated 
 as briefly as possible: All sound is 
 vibration. Sounds produced by musi- 
 cal instruments or by voices are vibra- 
 tions of air. Irregular or abrupt vibra- 
 tions produce noise. Regular and 
 continued vibrations produce tone. 
 The piano or violin string vibrating, 
 imparts its pulsations to the air. The 
 speed of sound through the air is about 
 1,100 feet per second. It takes about 
 five seconds for sound to travel a mile 
 through the air. Sound travels quicker 
 in warm, damp air, slower in cold, dry 
 air, but tone is clearer and more beau- 
 tiful in cold, dry air because the atmos- 
 phere is more elastic, the particles lying 
 further apart, and vibrating more freely. 
 Pitch is merely rate of vibration. The 
 higher the tone the quicker the vibra- 
 tions. The proportion of rapidity in 
 different musical intervals was known 
 in ancient Greece, possibly, even in 
 Egypt. If musical intervals are tuned 
 according to the laws of nature, in two 
 
 Vi as in up ; ii the French sound of u. 
 
ACOUSTICS 
 
 adirXto 
 
 tones .an octave apart, the lower one 
 will vibrate one-half as quickly as the 
 upper one. If they are a perfect fifth 
 apart, the lower one will vibrate two- 
 thirds as quickly as the upper one, 
 in a perfect fourth, three-quarters, etc. 
 Most of our musical intervals, how- 
 ever, deviate more or less from the 
 proportions indicated by nature. (See 
 Tempered Scale.) The human brain 
 cannot perceive tone at a slower rate 
 than 16 vibrations per second. Most 
 human brains cease to hear tone be- 
 fore it reaches 38,000 vibrations per 
 second. The latter figure would rep- 
 resent a tone four octaves above the 
 highest E-flat of the pianoforte. The 
 total compass of pitch possible to an 
 acute mind would be about eleven 
 octaves and a minor third. The deep- 
 est tone audible is sub-contra C, pro- 
 duced by an open pipe 32 feet long, 
 or a stopped pipe 16 feet long, upon 
 the organ. The quality of musical 
 tones depends upon the blending of 
 faint, high tones, called overtones, or 
 harmonics, with the chief tone heard. 
 These harmonics are always present 
 when we hear a musical tone. They 
 occur in a regular order, but with vary- 
 ing degrees of intensity. They form 
 a chord (called the Chord of Nature) 
 above every tone that is sounded. Their 
 full significance was first thoroughly 
 explained by Helmholtz, although their 
 presence had been noted almost three 
 centuries ago. They are formed by the 
 regular subdivisions of the sound-wave 
 into halves, thirds, quarters, and other 
 aliquot parts, sounding the octave, 
 twelfth, fifteenth, etc., of the funda- 
 mental tone. When these over-tones 
 are in good proportion, the lower ones 
 full-toned and the upper ones faint, 
 but clear, the result is a rich and pleas- 
 ing tone. When the upper ones are 
 too strong the result is a twangy, pene- 
 trating and irritating tone, like that of 
 the harmonica, or of a worn-out piano. 
 When all the overtones are faint, the 
 result is a dull, or lifeless, or muddy 
 tone, such as is given by the stopped 
 diapason of the organ. Without the 
 overtones, all musical tones would have 
 precisely tlie same quality, no matter 
 what instrument they were sounded 
 on. We can alter the proportion of , 
 the overtones and make a tone brighter 
 
 or duller on a string instrument by 
 striking, plucking, or bowing at differ- 
 ent points. The nearer the center the 
 point of contact the hollower the tone ; 
 the nearer the end of the string, the 
 brighter. A conical pipe or tube gives 
 all the overtones clearly, and hence has 
 a brighter ton? than a. cylindrical one, 
 which gives fewer overtones. See also. 
 Pitch, Tempered Scale, Harmonics. 
 Books recommended upon this topic 
 are Blaserna's " Sound and Music," 
 Zahm's " Sound and Music," Pole's 
 " Philosophy of Music," the " Stu- 
 dent's Helmholtz," Tyndall's " On 
 Sound." 
 Action. The mechanism attached to the 
 keys of piano or organ ; also, the me- 
 chanism attached to the pedals of a 
 harp, which changes the pitch of the 
 strings by shortening them; also, the 
 mechanism attached to the pedals of 
 an organ. See Piano, Organ. 
 
 Acuta (Lat.) {2ki-koot-^^ A mixture stop 
 
 in the organ. 
 Acute. High, in reference to pitch. 
 
 Acutus (Lat.) I. Sharp, acute. 2. The 
 name of one of the parts of Catholic 
 ritual song. 
 
 AdagiettO (It.) (ah-dah;^zV«o.) i. A 
 short adagio. 2. A movement some- 
 what less slow than adagio. 
 
 Adagio (It.) (ah-</a.4-jio.) Slow. This term 
 indicates a movement quicker than 
 largo and slower than andante. 
 
 Adagio assai (It.) (assigh.) 1 ^ 
 
 Adagio di molto (It.) ) 
 
 Adagissimo (It.) (ah-dah^wj-see-moh.) 
 Extremely slow. 
 
 Addolorato (It.) (ah-doh- lo->-a//-toh.) 
 Sorrowful. 
 
 A demi jeu (Fr.) With half the power of 
 the instrument. 
 
 A demi voix (Fr.) (a-demmy vwah.) At 
 half voice ; whispered. 
 
 A deux (Fr.) (a-day.) For two instru- 
 ments or voices. This expression is 
 also used for h deux temps. 
 
 A deux mains (Fr.) (a-day mane.) For 
 
 two hands. 
 Adiratam^nte 
 
 ta-»2^«-t 
 
 Adirdto 1 
 
 slow. 
 
 m^nte (It.) (a-di-ra-T . 
 
 «-te.) LAngnly, 
 
 (It.) (ad-/-r«-to.) J ^'^-""'y- 
 
 .asm ah; Sias in hate j a. as in at j e as in tree; e as in eh; i as in pine; iasinpin; 
 
A DIRITTURA 
 
 AFFETTATAMENTE 
 
 A Dirittura (It.) (a-di-ri-<oo-ra.) Directly j 
 straight. 
 
 Adjunct notes. Unaccented auxiliary 
 notes. 
 
 Adjuvant (Ger.) (aV-yoo-vant.) The 
 deputy-master of the choristers ; as- 
 sistant to an organist. 
 
 Ad lib. An abbreviation of Ad libitum. 
 
 Ad libitum (Lat.) (ad-/»-i-tum.) At will; 
 at pleasure ; changing the time of a 
 particular passage at the discretion of 
 the performer ; also a part that may be 
 omitted if desired. 
 
 Adornam^nte (It.) (a-d6r-na-»«i?«-te.) 
 Gaily, neatly, elegantly. 
 
 Adornam^nto (It.) (a-d6r-na-m^»-'to.) 
 An ornament; an embellishment. 
 
 A diie, or A 2 (It.) (a doo-e.) For two 
 voices or instruments ; a duet. 
 
 A due c6rde (It.) (a-doo-e kHr-de.) Up- 
 on two strings ; the soft pedal pressed 
 half way down. 
 
 A due c6rl (It.) (a doo-e k5-ree.) For 
 two choirs. 
 
 A diie Soprani (It.) (a doo-/ so-/ro-nee.) 
 For two sopranos. 
 
 A diie v6ce (It.) (ii doo-e z'ff-tshe.) For 
 two voices. 
 
 Adoucir (Fr.) (a-doo-seer.) To soften ; 
 to grow more sweet. 
 
 Adulatoriamente (It.) (a-doo-la tor-e-a- 
 men-te.) In a. caressing, flattering 
 manner. 
 
 A dur (Ger.) (a door.) The key of A 
 major. 
 
 .iSolian. See Pianola. 
 
 iSolian Harp. An instrument invented 
 by Kircher about the middle of the 
 seventeenth century. The tones are 
 produced by the strings being so ar- 
 ranged that the air causes vibration 
 among them when it passes through. 
 
 JEolian Lyre. The ^olian Harp. 
 
 JGolian Pianoforte. A pianoforte with 
 an jEohan or reed instrument attached 
 in such a way that one set of keys 
 serves for both, or for either singly, as 
 the performer desires. 
 
 .Xolodicon (Gr.) (e-6 /^-di-kon.) A keyed 
 instrument, the tone of which resembles 
 that of the organ, and is produced by 
 free reeds,, which are put in vibration 
 
 as in tone ; 6 as in dove ; 5 as in not ; 
 
 by means of bellows. This was the 
 predecessor of the cabinet organ. 
 
 .Xolodion (Gr.) (e-o-/o-di-6n.) An &o- 
 lodicon. 
 
 .Solopantalon. An instrument combin- 
 ing the pianoforte dnd jElodieon. 
 
 .Solsbarfe (Ger.) (d-o\%-hdr-i^^ An 
 &o\\zx\. Harp. 
 
 .^olus modus. The jEolian or fifth au- 
 thentic mode of the Greeks, nearly 
 allied to the Phrygian mode. The 
 scale is the same as the old scale of 
 A minor without any accidentals. See 
 Greek modes. 
 
 .Squisonans (Lat.) (e-qui-jo-nans.) A 
 unison of the same or like sound. 
 
 iBquisonant. A term given to unisons, 
 and also frequently to octaves, as they 
 seem one and the same sound. 
 
 .Slquisonus. 
 cordant. 
 
 Sounding in unison ; con- 
 
 .Srophone (^-ro-fon.) A French reed 
 instrument of the melodeon class. 
 
 .Slsthetics (es-Mi?Mks.) The rules of 
 good taste ; the laws of the beautiful. 
 In musical art that which relates to 
 sentiment, expression, and the power 
 of music over the soul. 
 
 .aiusserste Stimmen (Ger. ;>/.) (ois- 
 sers-te j/iiw-men.) The extreme parts. 
 
 .Xvia (It.) (^-ve-a.) An abbreviation 
 of the word Alleluia, containing all the 
 vowels of that word. 
 
 Affdbile (It.) (af-ya-be-le.) In an affable 
 and pleasing manner. 
 
 Affabilita (It.) (af-fa-*l-le-ta.) i With 
 Afiabilm^nte °^ {a.i-ia-hel-men- > ease 
 te.) ) and 
 
 elegance ; with affability ; in a pleasing 
 and agreeable manner. 
 
 Affanndto (It.) (af-fa-wo-to.) Sad, dis- 
 tressed. 
 
 Afiann6so (It.) (af-fa-«»-z6.) With anx- 
 ious expression. 
 
 Affectirt (Ger.) {a.i-fek-tirt.) With affec- 
 tation. 
 
 Affectueux (Fr.) (af-fek-tu-ay.) Affec- 
 tionate. 
 
 AfEet. An abbreviation of Affetuoso. 
 
 Affettatamente (It.) (af-fat-ta-ta-ta-ff2««- 
 te.) Affectedly. 
 
 u as in up ; ii the French sound of u. 
 
AFFETTAZIOITE 
 
 AIR IRLAKDAIS 
 
 Afiettazione (It.) (af-fet-ta-tse-J-ne.) An 
 
 artificial style. 
 Affettivo (It.) (af-fet-te-v6.) Affecting; 
 
 pathetic. 
 Aff^ttO (It.) (af-/^^to.) Feeling; tender- 
 ness ; pathos. 
 Affettuosam^nte (It.) (af-fet-too-o-za- 
 
 men-th.) With tenderness and feeling. 
 Afiettuosissimo (It.) (af-fet-too-6-sis- 
 
 se-mo.) With utmost pathos; Vfith 
 
 most tender expression. 
 AfEettu6so (It.) (af-fet-too-o-z6.) With 
 
 tender and passionate expression. 
 
 Affiocamento (It.) (af-fe-o-ka-ff«if«-t6.) 
 
 Hoarseness. 
 Affiocato (It.) (af-fe-o-/5a-t5.) Hoarse. 
 AffllttO . , (af-_/?zM5.) ) Sorrow- 
 
 Afflizi6ne (af-fli-tse-o-ne.) ) fully; with 
 
 mournful expression. 
 
 Afireto. An abbreviation of Affrettando. 
 
 Afirettdndo .- (af-fret-^a«-d6.) ) Hurry- 
 
 Affrettdte ^ ^af-fret-ila-te.) ) ing; 
 quickening ; accelerating the time. 
 
 Affrettfiso (It.) (af-fret-/o-z5.) Quick, ac- 
 celerated, hurried. 
 
 After note. A small note occurring on 
 an unaccented part written. Performed. 
 
 taking its time from 
 
 the note preceding it. 
 After notes, double. Written. P erfor med. 
 Two after notes, g^j4^;^| 
 
 taking their time 
 
 from the preceding note. 
 Ag^vole (It.) (a;;«-4-vo-le.) i 
 
 Agevolmfinte (It.) (3L-jeh-vo\-men-\.e.) ] 
 
 Lightly ; easily ; with agility. 
 Agevolfaza (It.) (a-je-v5-/^/4-tsa.) Light- 
 ness, ease, agility. 
 Aggiustam^nte (It.) (ad-je-oos-ta-»««K- 
 
 te.) In strict time. 
 Aggiustare ._ (ad-ji-oos-^'a-re.) ) Ad- 
 Aggiustato (ad-ji-oos-&'-to.) ) justed, 
 
 arranged, adapted. 
 Aggraver la fugue (Fr.) (ag-gra-va la fiig.) 
 
 To augment the subject of a fugue. 
 Agilita (It.) (a^zV-e-ta.) Lightness, agility. 
 AgUita, con. (It.) With agility; with 
 
 lightness ; with rapidity. 
 Agilmtote (It.) (a-jel-men-te.) Lively, 
 
 gay- 
 
 Agitamento ^It.) (a-je-ta-»»^»-to.) Agi- 
 tation, restlessness, motion. 
 
 Agitdto (It.) (aj-i-/ii-t6.) Agitated, hur- 
 ried, restless. 
 
 Agitato allegro (It.) (aj-i-/<i-t6 al-lay-gro.) 
 A nervous, agitated, and rapid move- 
 ment. 
 
 Agitdto conpassi6ne (It.) (aj-i-ra-to kon 
 pas-se-o^ne.) Passionately agitated. 
 
 Agite (Fr.) (a-zhet.) Agitate. 
 
 Agli (It. pi.) (al-yee.) See AUa. 
 
 Agnus Dei (Lat.) (<?^-niis da-e.) Lamb 
 of God ; one of the movements in a 
 Mass. 
 
 Agoge rhjrthmica (Gr.) (H-^o-ghe rith- 
 me-ka.) Time ; rhythmical division. 
 
 Agraffe. A metallic support of the 
 string in a pianoforte, between the pin 
 and the bridge, serving to check vi- 
 bration at that part. 
 
 A Grand Choeur (Fr.) (kiir.) For the 
 entire chorus. 
 
 A Grand Orchestre (Fr.) (6r-kestr.) For 
 the full or complete orchestra. 
 
 Agrem^nts (Fr. pi.) (a-gray-manh.) Em- 
 bellishments, ornaments. Usually ap- 
 plied in Harpsichord or Spinet music. 
 
 Ai (It.) (a-e.) To the ; in the style of. 
 
 Aigre (Fr.) (agr.) Harsh, sharp. 
 
 Aigrement (Fr.) (agr-manh.) Sharply, 
 
 harshly. 
 Aigu (Fr.) (a-gii.) Acute, high, sharp, 
 
 shrill. 
 
 A in alt. The A placed upon the first 
 
 upper added line. 
 A in altissimo. An octave above A in 
 
 Alt. 
 Air. A short song, melody, or tune, with 
 
 or without words. The upper voice in 
 
 a harmonized composition. 
 Air a boire (Fr.) (ar-a-bwar.) A drink- 
 ing song. 
 Air a reprises (Fr.) (ar a reh-prez.) A 
 
 catch. 
 Air d^tach^ (Fr.) (ar da-ta-sha.) A single 
 
 air or melody extracted from an opera 
 
 or larger work. 
 Air Ecossais (Fr.) (e-c5s-say.) A Scotch 
 
 air. 
 
 Airlrlandais (Fr.) (ar er-lanh-day.) Irish 
 air. 
 
 S. as in aA ; a as in hate ; a as in at; e as in tree ; e as in eh ; i as vcipine ; i as in/«« ; 
 
 10 
 
AIR ITALIEN 
 
 ALLEGR^ZZA, CON 
 
 Air Italien (Fr.) (ar i-tal-i-anh.) An 
 Italian air. 
 
 Airs Franfais (Fr.) (franh-say.) French 
 airs. 
 
 Airs Russes (Fr.) (riis.) Russian airs. 
 
 Airs tendres (tanh-dr.) Amatory airs ; 
 love songs. 
 
 Air YSLiii (Fr.) (va-ti-ay.) Air with vari- 
 ations ; an air embellished and orna- 
 mented. 
 
 Ais (Ger.) (ah-iss.) The note A sharp. 
 
 Ais6 (Fr.) (a-zay.) Glad, joyful ; also, 
 easy, facile, convenient. 
 
 Ais^ment (Fr.J (ay-za-manh.) Easily, 
 freely. 
 
 Ajoute (Fr.) (asz-Aooi-aj.) Added. 
 
 Ajoutez (Fr.) {sisz-iooi-a.y.) Add. Used 
 in organ-music. 
 
 Akkord (Ger.) (ak-idrd.) See Accord. 
 
 Akromatisch (Ger.) (ak-ro-ffja-tish.) See 
 Achromatic . 
 
 Akustik (Ger.) (a-/5wj-tik.) See Acous- 
 tics. 
 
 Al (It.) (al.) To the ; in the style of. 
 
 Alberti Bass. A species of bass, the 
 chords of which, are taken in arpeggios 
 of a particular kind ; 
 
 I etc. It was 
 I so called be- 
 cause first 
 used by Doraenico Alberti, who died 
 in 1739. 
 Album leaf (Ger.) {AlbumHait.) A short 
 and simple piece, such as might be 
 written in an autograph album. 
 
 Alcuna licenza, con (It.) (al-koo-na le- 
 
 tschenAsi. kon.) With a little license. 
 Al fine (It.) (al fee-ne.) To the end. 
 
 Al fine, e p6i la c6da (al fee-ne a p6-e la 
 iJ-da.) After playing to where the Fine 
 is marked, go on to the coda. 
 
 Aliquot tones. Accessory or secondary 
 sounds ; the overtones or harmonics. 
 See Acoustics. 
 
 A I'ltali^nne (Fr.) (a ll-tal-e-anh.) In the 
 Italian style. 
 
 Al riverso (It.) (al re-z/ifr-so.) ) B y 
 Al rovescio (It.) (al ro-w^-she-o.) ) c o n- 
 trary motion, that is, answering an as- 
 cending interval by one descending a 
 
 Al (It.) (al.) 
 
 All' (It.) (al.) 
 
 Alia (It.) (al-la.) I To the ; in the style 
 
 AUe (It.) (al-le.) I or manner of. 
 
 Agli (It.) (al-yee.) 
 
 Alio (It.) (al-16.) 
 
 Alia Br^ve (It.) (al-la braye.) This was 
 originally f rhythm, so called from the 
 fact that one breve, or double-whole- 
 note filled each measure. To-day the 
 terra is more generally applied to \ 
 rhythm, marked ^. . 
 
 Alia cdccia (It.) (a/-la ^a/tshe-a.) In 
 
 the style of hunting music. 
 Alia cdmera (It.) (a7-la ^a-me-ra.) In 
 
 the style of chamber music. 
 Alia Capp£lla (It.) (a7-la kap-/<f/-1a.) In 
 
 the church or sacred style; derived 
 
 from Alia Breve style, the bar being 
 
 sub-divided, also unaccompanied vocal 
 
 music. See Alia Brive. 
 Alia diritta (It.) (a7-la de-?-/-ta.) In di- 
 rect ascending or descending style. 
 
 With the right hand. 
 Alia Franc^se (It.) (o7-lafran-tshay-ze.) 1 
 Alia Franz^se (It.) (a7-la fran-tsay-ze.) ) 
 
 In the French style. 
 Allargando (It.) (ah-lahr-^oK-doh.) 
 
 Growing broader, i.e., louder and 
 
 slower. 
 AUe (It.) (al-le.) To the ; in the style of. 
 AUe (Ger.) (ii7-le.) All : alle Instrumente, 
 
 all the instruments ; the whole orchestra. 
 AUegram^nte (It.) (al-le-gra-»2««-te.) 1 
 AUdgrement (Fr.) (al-/a-gre-manh.) ) 
 
 Gaily, joyfully, quickly. 
 AUegrante (It.) (al-le-^a«-te.) Joyous, 
 
 mirthful. 
 AUegrettino (It.) (al-le-gret-^^^-no.) A 
 
 diminutive of Allegretto and rather 
 
 slower. A short Allegretto movement. 
 Allegretto (It.) (al-le-^r«/-to.) Rather 
 
 light and cheerful but not as quick as 
 
 Allegro. 
 Allegretto Scherzdndo (It.) ( al-le -gret -to 
 
 sker-^j-o»-d6.) Moderately playful and 
 
 lively. 
 Allegr^zza (It.) (al-le-^nf^-za.) ) Joy, 
 AUegria (It.) (al-le-^«-a.) ) glad- 
 
 ness, cheerfulness, gaiety. 
 AUegr^zza, con (It.) With cheerfulness, 
 
 joy, animation. 
 
 like distance, 
 
 Oisvo-ione; dasindave; )S as in not ; fi as in «;/ ; ii the French sound of », 
 
 II 
 
ALLEGRISSIMAM]&NTE 
 
 AL' l6C0 
 
 Allegrissimam^nte (It.) (al-le-griss-i- 
 vnSih-men-te.) Very joyfully; with great 
 animation, 
 
 AUegrissimo (It.) (al-la-^m-si-mo.) Ex- 
 tremely quick and lively ; the superla- 
 tive of Allegro. 
 
 Allegro (Fr. and It.) {'H-ldy-gro.) Quick, 
 lively ; a rapid, vivacious movement, 
 the opposite to the pathetic, but it is 
 frequently modified by the addition of 
 other words that change its expression : 
 
 Allegro agitato '(It.) (al-Zay-gro aj-e-/a- 
 to.) Quick, with anxiety and agitation. 
 
 Allegro appassionato (It.) {'al-Zay-gro 
 ap-pas-si-o-«a-to.) Passionately joyful. 
 
 Allegro assdi (It.) (al-id-grd as-j<i-e.) 
 Very quick. 
 
 AlWgro brillante (It.) (bril-fiK-te.) Re- 
 quiring a brilliant style of execution. 
 
 Allegro cdmodo (It.) (,Jo-m6-do.) With 
 a convenient degree of quickness. 
 
 AlUgro con brio (It.) (kon ire-o.) Quick, 
 with brilliancy. 
 
 Allegro con fu6co. (It.) (al-/a-gr6 kon 
 foo-^-ko.) Quick, with fire and ani- 
 mation. 
 
 Allegro con moto (It.) Quick, with more 
 
 than the usual degree of movement. 
 Allegro con spirito (It.) (al-Za-grS kon 
 
 spi-re-to.) Quick, with much spirit. 
 Allegro di braviira (It.) (al-/a-gro de 
 
 hra-zioo-ra.) Quick, with brilliant and 
 
 spirited execution. 
 Allegro di molto (It.) (al-/a-gr6 di mol- 
 
 to.) Exceedingly quick and animated. 
 Allegro furioso (It.) (al-/a-gro foo-re-o- 
 
 z6.) Quick, with fury and impetuosity. 
 Allegro giiisto (It.) (al-/<f-gro joos-to.) 
 
 Quick, with exactness; in steady and 
 
 precise time. An Allegro Moderato. 
 
 Allegro ma grazioso (It.) (al-/a-gr6 ma 
 
 gra-tse-J-zo.) Quick, but gracefully. 
 AlMgro ma non presto (It.) (al-/a-gr5 
 
 ma non pres-to.) Quick, but not so 
 
 fast as Presto. 
 Allegro ma non tinto (It.) (al-/if-gro ma 
 
 non tan-to.) Quick, but not too fast. 
 
 Allegro ma non tr6ppo (It.) (al-/a-gro 
 ma non irop-po.) Quick and lively, 
 but not too fast. 
 
 Allegro moderdto (It.) (al-/a-gr6 mod-e- 
 ra-to.) Moderately quick. 
 
 a as in a^ ; a as in Aate 
 
 Allegro m61to (It.) (al-/a-gro ma/-id:) 
 Very quick and animated. 
 
 Allegro non molto (It.) (al-/(f-gro non 
 mol-to.) Not very fast. 
 
 Allegro non tcinto (It.) {al-Za-gro non 
 idn-ib.) Quick, but not too fast. 
 
 Allegro non tr6ppo (It.) (n5n-^?-i^-po.) 
 
 Not too fast. 
 Allegro rispluto (It.) (ri-zo-/oo-t6.) Quick» 
 
 with vigor and decision. 
 Allegro vel(5ce (It.) (ve-/o-tshe.) Quicks 
 
 with velocity. 
 Allegro vivace (It.) (vi-wa-tshe.) With 
 
 vivacity ; very rapidly. 
 Allegro vivo (It.) {vee-vo.) With life and 
 
 rapidity. 
 AUein (Ger.) (aX-likti,) Alone, single. 
 Alleluia (Fr.) (al-le-/oo-ya.) Praise the 
 
 Lord ; Hallelujah. 
 Allelujah (Heb.) (al-le-loo-ya.) An 
 
 ascription of praise; Hallelujah. 
 
 Allemande (Fr.) (^//-raanhd.) A live 
 German dance in | and also in | 
 rhythm ; also a slow dance or melody 
 in I rhythm. The first dance move- 
 ment in the old suite. 
 
 Allentam^nto (It.) (al-len-tii- ^ Relaxa- 
 men-to.) (tion;giv- 
 
 Allent4to(It.) (al-len-fa-to.) ) ing way;, 
 slackening of the time. 
 
 AUentdndo (It.) (al-len-;a«-do. ) De- 
 creasing the time. 
 
 Alle Saiten (Ger.) (alleh sigh-\.ftr)..y 
 Tutte Corde. Release the soft pedal. 
 
 All' Espagnu61a (It.) (al-les-pan-yoo-o- 
 la.) In the Spanish style. 
 
 Allied tones. Accessory tones. 
 
 AUi^vo (It.) (al-le-a-v5.) A scholar; a 
 pupil. 
 
 All' improviso (It.) (al-l'em- l Without 
 pr6-w-z6.) I previous. 
 
 AH' improvista (It.) (al-l'em- j s t u d y ; 
 pro-z'^j ta.) J extem- ■ 
 
 poraneously. 
 
 AH' Ingl^se (It.) (al-l'-en-^/oy-ze.) In 
 the English style. 
 
 AH' Italidna (It.) (al^l'-e-ta-le-a-ne.) In 
 the Italian style. 
 
 AHmahlich (Ger) (aZ-ma-likh.) Little 
 by Uttle. 
 
 Al' 16co (It.) (al-lo-ko.) To the pre- 
 vious place. 
 
 aasina<; e ssmtree ; easinif/5; iasin/2««; iasin//«/ 
 
 12 
 
ALL' OWGAR^SE 
 
 ALTO 
 
 All' Ongar^se (It.) (al 6n-ga-rSy-ze.) In 
 
 the Hungarian style. 
 Allonger (Fr.) (al-16nh-zhay.) To 
 
 lengthen, prolong, delay. 
 Allonger I'archet (Fr.) (al-16nh-zha I'-ar- 
 shay.) To lengthen or prolong the 
 stroke of the bow in violin music. 
 All' ottiva (It.) (al 6t-te'-va.) In the oc- 
 tave ; meaning that one part must play 
 an octave above or below another. It 
 is frequently met with in scores and 
 orchestra parts. 
 All' ott4va alta (It.) (al ot-ta-va al-ta.) 
 
 In the octave above. 
 All' ottdva bassa (It.) (al ot-ta-va bas- 
 
 sa.) In the octave below. 
 AH' unisono (It.) (al oo-ne-jo-no.) In 
 unison ; a. succession of unisons or oc- 
 taves. 
 All' 8va. An abbreviation of All' ottava. 
 Alma (Ara.) (al-ma.) The name given 
 in the East to singing and dancing 
 girls, who are hired to furnish amuse- 
 ment at public entertainments, and to 
 sing dirges at funerals, etc. 
 Almain. ^ 
 
 Alman. > An Allemande. 
 Almand. ) 
 Alma Redemptoris (Lat.) (al-ma re-dem- 
 
 to-ris.) A hymn to the Virgin. 
 Almehs (Tur.) (al-mas.) Turkish sing- 
 ing and dancing girls. 
 Alpenhorn (Ger.) (a/-p'n-hom.) The 
 
 Alpine, or cowhorn. 
 Al piac6re (It.) (al pe-a.-iscAai-Te.) At 
 
 pleasure. See A piacire. 
 Al pid (It.) (al pe-oo.) The most. 
 Alpine Horn. A great tube of firwood 
 used by the Alpine shepherds for con- 
 veying sounds a long distance. 
 
 Al rig6re di tempo (It.) (al x\-gd-xs di- 
 tlm-^'d.) In very rigorous and strict 
 time. 
 
 Al rig6re del tempo (It.) (al n-go-re del 
 iem-^.) In very rigorous and strict 
 time. 
 
 Al rivfirso (It.) (al xe-vair-so.) 
 
 Al Rovescio (al Ko^esch-eeo.) In reverse 
 motion ; in contrary motion ; answering 
 an ascending interval by a descend- 
 ing one, or a descending by an ascend- 
 ing one, 
 
 
 A la Russe (Fr.) (a la riiss.) In the Rus- 
 sian style. 
 
 Al Seg. An abbreviation of Al Segno. 
 
 Al Segno (It.) (al sen-yo.) To the sign ; 
 meaning that the performer must re- 
 turn to the sign ;g: in a previous part 
 of the piece and play from that place 
 to the word Fine, or the mark /is over 
 a double bar. 
 
 Alt (It.) (alt.) High. This term is ap- 
 plied to the notes which lie between F 
 on the fifth line of treble staff and G 
 on the fourth added line 
 above. Notes above 
 this are called " in altis- 
 simo " ; the German name 
 for alto. The name is also applied to 
 alto instruments of different families, 
 as alt -clarinet, alt-horn, etc. 
 
 Al Ted^sco (It.) (al te-des-ko.) In the 
 German style. 
 
 Altera prima donpa (It.) (al-te-ra pre- 
 ma dUn-na..) One of two principal 
 female singers. 
 Alteratio (Lat.) (al-te- 1 ^, 
 
 ra-shi-o.) Changed, aug- 
 
 Alterdto (It.) (al-te- \ c'JJromatic 
 ^"-t"-) alteration. 
 
 Alt&6 (Fr.) (al-te-r<f.) J 
 
 Alternam^nte (It.) (ai-iex-n'a.-men-te.) 
 Alternating ; by turns. 
 
 Alternindo (It.) (al-ter-«(i'«-do.) See A/- 
 ternaminte. 
 
 Alternativo (It.) (al-ter-na-^^.f-v5.) Al- 
 ternating one movement with another. 
 
 Altgeige (Ger.) (aV/-ghi-ghe.) The viola. 
 
 Alti (It.) (a/tee.) High ; the plural of 
 Alto. 
 
 Altieram^nte (It.) (al-te-er-a-zn«K-te.) 
 With grandeur ; haughtily. 
 
 Altisonante (It.) (al-te-z6-«fl«-te.) Loud 
 sounding. 
 
 Altisono (It.) (al-^«-so-no.) Sonorous. 
 
 Altissimo (It.) (al-Z/rse-mo.) 
 The highest ; extremely 
 high as to pitch. It is ap- 
 plied to notes above. 
 
 Altist. An alto singer. 
 
 Altitonans (Lat.) (al-tW^-nans.) The alto, 
 or highest part under the treble ; used 
 in choral music in the sixteenth cen- 
 tury. 
 
 Alto (It.) (sAto) High. In vocal 
 
 a 
 
 m 
 
 music the highest male voice, some 
 as in tone; 6 as in dmie ; 8 as in not; fi as in «/ ; u the French sound of u. 
 
 13 
 
AI-TO CLEF 
 
 AMBROSIAiniS CANTUS 
 
 times called the counter tenor. In 
 tiiixed chorus it is the part next below 
 the soprano sung by low female voices. 
 In French hauieonlre, in German Alt. 
 There is practically no distinction made 
 between alto and contralto, although 
 formerly the latter meant the deeper 
 alto voice. Ordinary alto compass is 
 A high head voice in 
 men. The word alto 
 means high, and the 
 part was originally sung by either high 
 tenors or boys' voices. The viola is 
 sometimes called the Alto. 
 Alto clef. The C clef on the third 
 
 f 
 
 i= 
 
 ffi 
 
 The 
 
 The 
 
 The 
 
 Other, another. 
 
 line of the stafE. 
 Alto Flauto (It.) (al-to fla-oo-to.) An alto 
 
 flute, used in bands. 
 Alt'ottdva (It.) (al-f 6t ta-va.) The same 
 
 notes an octave higher. 
 Alto primo (It.) (al-t5 /r^-mo.) 
 
 highest alto. 
 
 Alto secondo (It.) (al-to se-,JoK-do.) 
 lowest alto. 
 
 Alto tenore (It.) (al-to ten-ore.) 
 highest tenor. 
 
 Alto Trombone. See Trombone. 
 
 Alto Vi61a (It.) .(al-to ve-o-la.) The viola 
 or tenor violin;' 
 
 Alto Violino (It.) (al-to ve-o-le-no.) 
 Small tenor violin on which the alto 
 may be played. 
 
 Alt posaune. Alto Trombone. 
 
 Altra (It.) (a7-tra.) 
 
 Altro (It.) (aV-tro.) 
 
 Altri (It.) (a/-tree.) Others. 
 
 Altro modo (It.) (al-tro mo-do.) Another 
 mode or manner. 
 
 Altsanger (Ger.) (alt-seng-er.) Alto 
 singer, counter tenor singer. 
 
 Altschliissel (Ger.) (aV^shlus-s'l.) The 
 alto clef ; the C clef on the third line. 
 
 Altus (Lat.) (o/-tus.) The alto or coun- 
 ter tenor. 
 
 Altviole (Ger.) (alt-R-o-le.) The viola 
 or tenor violin. 
 
 Altzeichen (Ger.) (o7/-tsI-k'n.) See 
 Altschliissel. 
 
 Alzam^nto (It.) (al-tsa-»«««-to.) An ele- 
 vating of the voice j lifting up. 
 
 Alzam^nto di mdno (It.) (al-tsa-wz^K-to 
 de w;(i'-no.) To elevate the hand in 
 beating time. 
 
 aasina;4y a-^nvhate; aasina^y easintree; easin 
 
 14 
 
 voce (It.) (al-tsa-»«*»-to 
 Elevation of the voice. 
 
 Raising ; lift- 
 Amiable, 
 Tende'r- 
 
 Alzam^nto di 
 
 de vo-tshe.) 
 
 Alzdndo (It.) (a.l-tsdn-do.) 
 ing up. 
 
 Amdbile (It.) (a-wo-be-le.) 
 gentle, graceful. 
 
 Amabilitd (It.) (a-OTa-bi-li-ta.) 
 ness, amiability. 
 
 Amabilitd, con. With amiability. 
 
 AmabilmSnte (It.) (a-ma-bel-»«««-te.) 
 Amiably, gently. 
 
 Amar^vole (It.) (a-mar-/-v5-le.) Bitterly. 
 Sometimes mistaken for Amorevole, 
 which means lovingly. 
 
 Amar^zza (It.) (a-ma-r«^-za.) Bitter- 
 ness, sadness. 
 
 Amar^zza, con (It.) With bitterness ; 
 with sorrow. 
 
 Amarissimam^nte (It.) (a-ma- 1 Very 
 res-se-ma-«^»-te.) I bitter- 
 
 Amarissitno (It.) (a-ma-ris-se- T ly; ina 
 mo.) J very 
 
 mournful, sad, and afflicted manner. 
 
 Amdro (It.) (a-ma-ro.) Grief, bitterness, 
 affliction. 
 
 Amateur (Fr.) (am-a-<«?r.) One who has 
 taste and proficiency in an art, but does 
 not practice it as a profession. A 
 lover of any art. 
 
 Amati. A name applied to violins made 
 by the family of Amati, in Italy, in 
 the middle of the seventeenth century. 
 They are smaller than the ordinary 
 violin, and distinguished for their pecu- 
 liar sweetness of tone. 
 
 Ambroslan Chant. A series of sacred 
 melodies or chants collected and intro- 
 duced into the church by St. Ambrose, 
 Bishop of Milan, in the fourth century, 
 and supposed to have been borrowed 
 from the ancient Greek music. It was 
 founded upon four authentic modes or 
 scales, i.e. 
 I. , 2 
 
 ^^^^Pl^^^ 
 
 f^^^^E^ 
 
 ^^^ 
 
 It was entirely diatonic, without 
 accidentals of any sort. 
 
 Ambrosianus Cantus (Lat.) (am-bro-si- 
 o-nus ^dn-tus.) Ambrosian chant. 
 
 i as in pine ; \ as in/2'« / 
 
AMBROSIAN HYMN 
 
 ANALYSE 
 
 Ambrosian Hymn. The " Te Deum " is 
 so-called because it is supposed to have 
 been written by St. Ambrose. 
 
 Ambulant (Fr.) (anh-bii-lanh.) Wander- 
 ing ; an itinerant musician. 
 
 Ame (Fr.) (am.) The sound-post of a 
 violin, viola, etc. 
 
 Amen (Heb.) (a-men.) So be it. A 
 word used as a termination to psalms, 
 hymns, and other sacred music. . It is 
 sometimes set as a chorus by itself, in 
 which case it is always contrapuntal, 
 and very frequently a fugue. 
 
 American fingering. That style of fin- 
 gering in which the sign x is used to 
 indicate the thumb in piano playing, in 
 distinction from the German or foreign 
 fingering, in which the thumb is called 
 the first finger. This did not have its 
 origin in America, but in Germany and 
 England. See English Fingering, and 
 Fingering, 
 
 American organ. A variety of the har- 
 monium which differs from the Euro- 
 pean harmonium in the arrangement of 
 the bellows, and in producing varieties 
 of expression ; a reed organ. 
 
 A m^zza aria (It.) (a me/s'a. a-re-a.) An 
 air partly in the style of a recitative ; 
 between speaking and singing. 
 
 Am£zza v6ce (It.) (a mei-sa. vo- ^ in a 
 she.) I soft 
 
 A mezza di v6ce (It.) (a met- j sub- 
 sa de z/o-tshe.) J dued 
 
 tone ; with half the power of the voice. 
 The term is also applied to instrumental 
 music. 
 
 A m^zza manico (It.) (a met-si. mi-ne- 
 ko.) In violin playing, the placing the 
 hand near the middle of the neck. 
 
 Ammaestratore (It.) (am-ma-es-tra-^o- 
 re.) An instructor. 
 
 Ammaestratrice (It.) (iim-ma-es-tra-^rl- 
 tshe.) An instructress^ 
 
 Ammodulato (It.) (am-m5-doo-/a-to.) 
 Tuned. 
 
 A moll (Ger.) (a moll.) The key of A 
 minor. 
 
 A monocorde (Fr.) (a monh-6-kord.) On 
 one string only. 
 
 -Am6re (It.) (a-mJ-re ) Tenderness, affec- 
 tion, love. 
 as in (one; 6 as in dove; 8 as in not. 
 
 Am6ie, con. (It.) With tenderness and 
 affection. 
 
 Amor^vole (It.) (a-mo->-«-v6-le.) Ten- 
 derly, gently, lovingly. 
 
 Amor^voMdnte (It.) (a-m6-re-v61-OT««- 
 te.) With extreme tenderness. 
 
 A mor^sco (It.) (a mo-r«-ko.) In the 
 Moorish style ; in the style of a moresco 
 or Moorish dance. 
 
 Amorosam^nte (It.) (a-mo-r5-za-OT<f«-te.) 
 In a tender and affectionate style. 
 
 Amordso (It.) (a-m5-ro-z6.) See Amoro- 
 samlnte. 
 
 Amousikos (Gr.) (a-woo-si-kos). Un- 
 musical ; a term used by the ancient 
 Greeks implying a deficiency in the 
 organs of sound or want of cultivation. 
 
 Amphibrach (Gr.) (am-fi-brak.) A musi- 
 cal foot, comprising one short, one long 
 and one short note or syllable, accented 
 and marked thus, >-' — --'. 
 
 Amphimacer (Gr.) (aw-fi-ma-ser.) A 
 musical foot, comprising one long, one 
 short and one long note, or syllable, 
 accented and marked thus, — --' — . 
 
 Amphion (Gr.) (aOT-fi-on.) An ancient 
 Greek musician. He played upon the 
 lyre. 
 
 AmpoUosam^nte (It.) (am-pol-lo-za- ^ 
 »«««-te.) > 
 
 Ampoll6so (It.) (am-pol-/J-z6.) ) 
 
 In a bombastic and pompous manner. 
 
 AmpouU (Fr.) (arah-poo-la.) High flown; 
 bombastic. 
 
 Amusement (Fr.) (a-miiz-manh.) A 
 light and pleasing composition called 
 in Italian Divertimento. 
 
 An {Ger.) (aim.) On; To; organ music, 
 draw, or add. 
 
 Anabasis (Gr.) (a-Ka-ba-sis.) A suc- 
 cession of ascending tones. 
 
 Anacamptos (Gr,) (an-a-;*(i»i!/-t6s.) A 
 course of retrograde or reflected notes ; 
 notes proceeding downwards or from 
 acute to grave. 
 
 Anacreontic (Gr.) (an-ak-re-i?«-tik.) In 
 the Bacchanalian or drinking style. 
 
 Anakara (It.) (an-a-;Ja'-ra.) The ancient 
 
 kettle drum. 
 Anakarista (It.) (an-a-ka-res-ta.) A 
 
 tympanist, or kettle-drum player. 
 
 Andlisi(It.) (a-«ffl-l -ze.) ) , , . 
 
 ,-,-.> ,- .. ,- ( ^Ananalysis. 
 Analyse (Fr.) (an-a-lez.) ) 
 
 ii as in up ; ii the French sound of a. 
 
ANALYZATION 
 
 ANFANG 
 
 Analyzation. The resolution of a musi- 
 cal composition into the elements which 
 compose it for the sake of ascertain- 
 ing its construction. 
 
 Ananas (Gr.) (a-«a-nes.) The modes 
 or tones of the ancient Greek church. 
 
 Anapest (Gr.) (aK-a-pest.) A musical 
 foot, containing two short notes or 
 syllables, and a long one, accented and 
 marked thus, v^ •— . 
 
 Anapesto {Spa.) ('an-a-/i?j-t6.) An ana- 
 pest. 
 
 Anarmonia. Dissonance, false harmony. 
 
 Anche (Fr.) (anhsh.) The reed of the 
 oboe, bassoon, clarinet, etc. ; also the 
 various reed stops in an organ. 
 
 Anche d'orgue (Fr.) (anhsh d'org.) A 
 reed stop of an organ. 
 
 Ancher (Fr.) (ahn-sha.) To put a reed 
 to a musical instrument. 
 
 Ancia (It.) (an-tshe-a.) See Anche. 
 
 Ancient modes. The modes or scales 
 of the ancient Greeks and Romans. 
 
 Ancient signatures. Old signatures in 
 which the last sharp or flat was sup- 
 pressed and used as an accidental note 
 when required. 
 
 Ancilla (Gr.) (an-j-^/-la.) Shields, by the 
 beating of which the ancient Greeks 
 marked the measure of their music on 
 festive occasions. 
 
 Anc6ra (It.) (an-^o-ra.) Once more ; re- 
 peat again ; also, yet, still, etc. 
 
 Anc6r pin m6sso (It.) (an-,Jj?- pe-oo mos- 
 so.) Still more motion, quicker. 
 
 Andacht (Ger.) (3«-dakht.) Devotion. 
 
 Andachtlg (Ger.) (o«-dakh-tig.) Devo- 
 tional. 
 
 Andam^nto (It.) (an-da-»z^«-to.) A rath- 
 er slow movement ; also an accessory 
 idea or episode introduced into a fugue 
 to produce variety ; in the style of an 
 Andante. 
 
 Andante (It.) (an-t/aK-te.) A movement 
 in moderate time but flowing easily, 
 gracefully. Andante literally means 
 "going." In the i8th century it was 
 often used as meaning " steadily," " dis- 
 tinctly." At present it often indicates 
 a degree of expression and tenderness 
 as well as a moderately slow tempo. 
 This term is often modified both as to 
 time and style by the addition of other 
 words ; as. 
 
 Anddnte affettu6so (It.) (an-aS«-te af-fet- 
 
 too o-zo.) Moderately, and with much 
 
 pathos. 
 Anddnte amabile (It.) (an-aSK-te '2,-mS.- 
 
 bi-le.) An andante expressive of affec- 
 tion. 
 Anddnte cantdbile (It.) (an-/fe«-te can- 
 
 /a-bi-le.) Slowly, and in a singing and 
 
 melodious style. 
 Anddnte con m6to (It.) (an-(/a«-te kon 
 
 zreo-to.) Moving easily, with motion 
 
 or agitation. 
 Anddnte gfazi6so (It.) (an-aSw-te gra- 
 
 tse o-zo.) Moderately slow in time, 
 
 and in graceful, easy style. 
 Andante largo (It.) (an-oKw-te Idr-go.) 
 
 Slow, distinct, and broadly. 
 Andante maest6so (It.) (a.n-ddn-ie ma.- 
 
 es-to-zb.) Moving rather slowly and 
 
 in majestic style. 
 Anddnte ma non troppo (It.) {a.n-cidn- 
 
 te ma non trdp-^b.) Not too slow. 
 Anddnte non troppo. Moving slowly 
 
 but not too much so. 
 
 Anddnte pastorale (It.) (an-ddn-te pas- 
 to-raA-]e.) Moderately slow and in 
 simple pastoral style. 
 
 Anddnte pin tosto allegretto (It.) (an- 
 ddn-te pe-oo tos-to 3.]-]e-^rei-to.) An- 
 dante, or rather allegretto. 
 
 Anddnte quasi allegretto (It.) An an- 
 dante nearly as rapid as allegretto. 
 
 Anddnte Sostenuto (It.) (sos-ten-w-to.) 
 Very smooth and sustained. 
 
 Andantem^nte (It.l (an-dan-te-OT^«-te.) 
 See Andante. 
 
 Andantino (It.) ('an-dan-/«-n6.) A little 
 slower than Andante is the literal 
 meaning of Andantino, but it has be- 
 come a doubtful term, and is generally 
 used as meaning quicker than Andante. 
 See Poptilar Errors in introduction. 
 
 An'dare (It.) (ahn-iiSA-re.) To go; go 
 on. 
 
 Anelantem^nte (It.)(an-e-lan-te-»z««-te.) 
 Ardently. 
 
 Aneldnza(It.)(an-e-/a«-tsa.) i Shortness 
 An^Iito (It.) (an-e-le-to.) ( of breath. 
 Anemochord. A species of ^Eolian Harp. 
 Anemometer. A wind gauge, or machine 
 
 for measuring the wind in an organ. 
 Anfang (Ger.) ((z«-fang.) Beginning, 
 
 commencement . 
 
 a as in ah ; a as in hate ; a as in at; e as in tree ; e as in < 
 
 16 
 
 i ; i as mpine ; i as mpin ; 
 
ANFANGER 
 
 ANLEITUNG 
 
 Anfanger (Ger.) (a«-feng-er.) A begin- 
 ner. 
 
 Anfangsgrunde (Ger.) (o«-fangs-^-a«- 
 
 de.) Rudiments, elements, principles. 
 
 Anfangsritornell (Ger.) (a«-fangs-re-t6r- 
 
 «//.) Introductory accompaniment to 
 
 an air. 
 
 Anfibraco (Spa.) (an-fe-irai-ko.) See 
 
 Amphibrach. 
 Anfiteitro (It.) (an-fe-terO-tr5.) See 
 
 Amphitheatre. 
 Anftihrer (Ger.) ((J«-fee-rer.) A conduc- 
 tor, director, leader. 
 Angeben (Ger.) (oK-gay-b'n.) To give 
 a sound ; to utter a tone ; den Ton an- 
 geben, to give the pitch. 
 Angelica (Ger.) (an;;a-li-ka.) i An org- 
 Ang^lique (Fr.) (anh-zha-lek.) ) an stop ; 
 
 also an Angelot. 
 Angelot. An old musical instrument 
 
 somewhat similar to the lute. 
 Angelus. A prayer to the Virgin, insti- 
 tuted by Pope Urban II, beginning 
 "Angelus Domini." It is offered at 
 morning, noon, and evening, at the 
 sound of a bell which is also called 
 " The Angelus." 
 Angemessen (Ger.) (a«-ghe-»«a-s'n.) 
 Conformable, suitable, fit. 
 
 Angenehm (Ger.) (^«-ghen-am.) Agree- 
 able, pleasing, sweet. 
 
 Anglaise (Fr.) (anh-glaz.) i !„ the Eng- 
 
 Anglico (It.) (w-gli-ko.) ) lish style ; a 
 tune adapted for an English air or 
 country dance. It has been used by 
 Bach in his French Suites. It some- 
 what resembles the Hornpipe. 
 
 Ang6re (It.)(an-^^-re.) Distress, anguish, 
 passion,' grief. 
 
 Angosc^vole (It.) (an-g6s-/j-/5^,4-vo-le.) 
 Sad, sorrowful. 
 
 Angfiscia (It.) (an-^^j-tshe-a.) ' | 
 
 Angosciam^nte (It.) (an-gos-tshe-a- ' 
 men-te.) Anxiety, anguish, grief. 
 
 Angosciosam^nte (It.) (an-gos-tshe-o-za- 
 men-te.) Apprehensively, anxiously, 
 sorrowfully. 
 
 Angosci5so (It.) (an-g6s-tshe-»^zo.) Af- 
 flicted, distressed. 
 
 (engst-likh.) Uneasy, 
 
 Angstlich (Ger.) 
 timid, anxious. 
 
 de ksL-d^nis.) A pedal note or organ 
 point ; a protracted cadence. 
 
 Anhang (Ger.) (a«-hang.) A coda; a. 
 postscript ; an appendix. 
 
 Anhanglich (Ger.) (o«-hang-Iikh.) At- 
 tached. 
 
 Anima (It.) (ii«-ema.) Soul, feeling, 
 animated, lively. 
 
 Anima, con. (It.) With life and ani- 
 mation. It can also be apphed as 
 meaning " soulful " ; thus Chopin uses 
 " Lento e con anima," as "slow and 
 with soul." 
 
 Animas (Spa.) (an-e-mas.) The ringing 
 of a bell in the Roman Catholic church 
 for prayers for souls in purgatory. 
 
 Animdto (It.) (an-e-ma-to.) Animated; 
 with life and spirit. 
 
 Animazi6ne'(It.) (an-e-ma-tse-J-ne.) Ani- 
 mation. 
 
 Anim^ (Fr.) (anh-e-meh.) i Animated, 
 
 Animo (It.) (an-e-mo.) / lively, spirited. 
 
 Animo, con. (It.) With boldness. 
 
 Animo corde (Lat.) (an-h-mo kor-de.) 
 An instrument invented in 1789, by 
 Jacob Schnell, of Paris, The tone is 
 produced by wind passing over the 
 strings. 
 
 Animosam^nte (It.) (anS-mo-zii-men- 
 te.) Boldly, resolutely. 
 
 Anlmosissimam^nte (It.) (an-e-mo-zis- 
 se-ma-OT««-te.) Exceedingly bold and 
 resolute. , 
 
 Animosissimo (It.) (an-e-mo-azf-se-mo.) 
 Exceedingly bold and resolute. 
 
 Anim6so (It ) (an-e-»2^-zo.) In an ani- 
 mated manner ; lively, energetic. 
 
 Aniversario (Spa.) (an-eTver-ja-ri-o.) A 
 Mass celebrated on the anniversary of 
 , a person's death. 
 
 Anklang (Ger.) (ii«-klang.) Accord, 
 harmony, sympathy. 
 
 Anklingeln (Ger.) (a«-kling-eln.) To 
 ring a bell. 
 
 Anklingen (Ger.) (o«-klmg-en.) To ac- 
 cord in sound ; to be in time. 
 
 Anlag^ (Ger.) (ore-la-ghe.) The plan or 
 outline of a composition. 
 
 Aniaufen (Ger.) (a«-lou-f'n.) To in- 
 crease in sound ; to swell. 
 
 Anleitung (Ger.) (a«-lI-toong.) An 
 introduction ; a preface, guidance, in- 
 struction. 
 
 Anhaltende Cadenz (Ger.) (a«-hal-ten- 
 
 as in tone ; 6 as in dove ; B as in not ; fi as in ?</ ; ii the French sound of «. 
 
 17 
 
AHMUTH 
 
 AWTIPHONARITJM 
 
 Anmuth (Ger.) (o«-moot.) Sweetness, 
 grace. 
 
 Anmuthig (Ger.) (<i«-moo-tig.) Agree- 
 able, sweet,' pleasant. 
 
 Anomalies. False scales or intervals 
 which are found in keyed instruments ; 
 they are so-called because incapable of 
 being perfectly tempered. 
 
 Anomalous chord. A chord whose in- 
 tervals are sometimes greater and 
 sometimes less ; a chord containing an 
 interval which the tempering of the 
 scale has rendered very sharp or flat. 
 
 Anomalous triads. See Altered Triads. 
 
 Annoner (Fr.) (an-nonh-na.) To hesi- 
 tate, blunder, or stammer. 
 
 Anpfeifen (Ger.) (o»-pfi-f'n.) To 
 whistle at; to hiss at. 
 
 Ansatz (Ger.) (a«-sats.) The embou- 
 chure of a wind instrument ; the set- 
 ting of the lips of a wind instrument 
 player ; the attack of a vocal phrase. 
 
 Anschlag (Ger.) (are-shlag.) A stroke ; 
 the percussion of a chord; the strik- 
 ing of a chord or key ; the 
 
 # 
 
 To wel- 
 
 In- 
 
 touch in piano playing; 
 double grace note. 
 
 Ansingen (Ger.) (ii'«-sing-en.) 
 come with a song. 
 
 Ansprache (Ger.) (a«-spra-khe.) 
 tonation. 
 
 Ansprechen (Ger.) (a'K-spre-kh'n.) To 
 sound; to emit, or give forth a sound. 
 
 Anstimmen (Ger.) (a«-stim-men.) To 
 strike up; to begin to sing; to tune. 
 
 Anstlmmung (Ger.) (<iK-stIm-moong.) 
 Intonation, tuning. 
 
 Answer (Lat. Comis; Ger. Gefdhrte; 
 Fr. Response; It. Riposia.) The 
 response to the subject of a fugue, 
 given by the second voice, either above 
 or below. 
 
 Antecedent (an-te-j-^-dent.) The sub- 
 ject of a fugue or of a canon; the first 
 phrase of a musical period. 
 
 Ante-chapel. That portion of the chapel 
 leading to the choir. 
 
 Antanzen (Ger.) (a«-tan-ts'n.) To be- 
 gin to dance. 
 
 Anth. An abbreviation of anthem. 
 
 Anthem. A vocal composition, the words 
 of which are usually selected from the 
 Bible, used in church either with or 
 
 without organ accompaniment. See 
 Stainer <5r» Barrett. 
 
 Anthem,' choral. An anthem in a slow, 
 measured style, after the manner of a 
 choral. 
 
 Anthem, full. An anthem consisting 
 wholly of chorus. 
 
 Anthem, solo. An anthem consisting of 
 solos and choruses, 
 
 Anthologue (Gr.) (a«-tho-log.) A col- 
 lection of choice pieces. 
 
 Antholigium (Gr.) (dn-'Ca.o-Wg-x-vxa..) 
 See Anliphonarium. 
 
 Anthropoglossa (Gr.) (an-thro-po-^/^j- 
 sa.) The vox humana; an organ stop 
 somewhat resembling the human voice. 
 
 Antibacchius (^K-ti-M^-ki-us.) A musi- 
 cal foot of three syllables, the first two 
 long or accented and the last short or 
 unaccented, thus, ^^. 
 
 Antfca (It.) (an-^i?-ka.) Ancient. 
 
 Anticipam£nto (It.) (an-te-tshe-pa-OT«»- 
 to.) Anticipation. 
 
 Anticipation. The taking of a note or 
 chord before its natural and expected 
 place, as the starred notes below : 
 • • * 
 
 Anticipazione (It.) (an-te-tshe-pa-ze-o- 
 ne.) See Anticipation. 
 
 Antico (It.) (an-^^-ko.) Ancient. 
 
 Antico air (It.) (an-^^-k5 all'.) In the 
 ancient style. 
 
 Antienne (Fr.) (ahn-tyen.) An anthem. 
 
 Antifona (It.) (an-te-fo-na.) An an- 
 them. 
 
 Antifonario (It.) (an-te-fo-«a-re-o.) A 
 book of anthems ; an anthem singer. 
 
 Antifonero (Spa.) (an-te-f6-«a-r5.) A 
 precentor. 
 
 Antiphon. The chant or alternate sing- 
 ing between two choirs in churches and 
 cathedrals ; responsive chanting. 
 
 Antipbona (Gr.) (an-/^-f6-na.) An an- 
 them. 
 
 Antiphonaire (Fr.) (anh-te-fo-«a/>.) A 
 book of anthems, responses, etc. 
 
 Antiphonarium (Gr.) {dn-ti-io-nS-ri- 
 The collection of Antiphons 
 
 um.) 
 
 'i as in aA ; a. as in hate ; a as in a/; e asin tree ; 'iasineh ; ias in pine ; \asin.pin ; 
 
 iS 
 
AWTIPHONARY 
 
 APPASSIONATO 
 
 used in the Catholic church ; they are 
 sung responsively by the priest and con- 
 gregation. 
 
 Antiphonary. Book of anthems, re- 
 sponses, etc., in the Catholic church. 
 
 Antiphone (Gr.) (^w-te-fo-ne.) The re- 
 sponse made by one part of the choir 
 to another, or by the congregation to 
 the priest in the Roman Catholic ser- 
 vice ; also, alternate singing. 
 
 Antiphon. Alternate singing or chant- 
 ing in choirs. See Antiphone. 
 
 Antiphony. The response of one choir 
 to another when an anthem or psalm 
 is sung by two choirs ; alternate sing- 
 ing or chanting. 
 
 Antistrophe. l The second couplet of 
 
 Antistrophy. ) each period in the an- 
 cient Greek odes sung in parts; that 
 part of a song or dance which was per- 
 formed by turning from left to right, in 
 opposition to the strophe which turns 
 from right to left. 
 
 Antithesis, In fugues, this term is 
 applied to the answer; it generally 
 signifies contrast. 
 
 Antonen (Ger.) (««-ta-nen.) To begin 
 to sound ; to intone. 
 
 Antrommeln (Ger.) (a«-tr6m-meln.) To 
 begin to drum. 
 
 Antrompeten (Ger.) (o«-trom-/^-t'n.) 
 To publish by sound of trumpet. 
 
 Antwort (Ger.) (a:.4«-tvohrt.) Answ^er. 
 
 Anw^chsend (Ger.) (o«-vakh-send.) 
 Swelling, increasing. 
 
 A otto voci (It.) (a Ht-to z/J-tshe.) For 
 eight voices. 
 
 A parte (It.) (a par-te.) On the side 
 of; aside. 
 
 A parte equale (It.) (a par-te SL-qudh-\e.) 
 A term applied to a musical perform- 
 ance where the voices or instruments 
 sustain an equally prominent part ; 
 where two or more performers sustain 
 parts of equal difficulty. 
 
 A passo a passo (It.) (a pas-so a pas-so.) 
 Step by step ; regularly. 
 
 Ap^rto (It.) (a-/<z«>-to.) Open ; in pi- 
 anoforte music it signifies that the 
 damper or open pedal is to be pressed 
 down ; clear, distinct ; (organ) open 
 pipe. I 
 
 as in tone y 6 as in dove ; 8 as in not ; 
 
 Apertus (Lat.) (a-//r-tus.) Open; as, 
 open diapason, open canon, etc. 
 
 Aphonic (Fr.) {a.-ib-nee.) Aphony ; want 
 of voice. 
 
 Aphonous, Being destitute of voice. 
 
 Aphony («/-o-ny.) Dumbness ; loss of 
 voice. 
 
 A piacere (It.) (a pe-a-^j/;a2>-re.) At 
 pleasure. 
 
 A piacim^nto (It.) (pe-a-tshe-»»^«-^o.) 
 At the pleasure or taste of the per- 
 former. 
 
 Apieni (It.) (a-pe-iJy-ne.) Sounds which 
 are one or more octaves apart, but not 
 discordant. 
 
 A piena Orchestra (It.) (a pe-tfy-na 6r- 
 kes-tn'i..) For full orchestra. 
 
 Aplomb (Fr.) (a-pI6nh.) Firm, in exact 
 time, steadiness, coolness. 
 
 A p6cO (It.) (a fd-\ib.) By degrees ; 
 gradually. 
 
 A p6co a p6co (It.) (a /i5-k5 a /J-ko.) 
 By little and little. 
 
 A p6co pill WntO (It.) (a/a-ko pe-oo len- 
 to.) A little slower. 
 
 A p6co piu mdsso (It.) (a.po-'kb pe-oo 
 
 mos-s5.) A little quicker. 
 Apollo. In ancient mythology, the god 
 
 of music, and said to be the inventor 
 
 of the lyre. 
 
 Apollonicon. A large organ, invented in 
 1 817, with immense self-acting ma- 
 chinery which brought the whole power 
 of the instrument into operation at 
 once, producing the effect of a full 
 orchestra. It had five keyboards, and 
 could be played upon by five perform- 
 ers at the same time. 
 
 Apotome (Gr.) (^-o-tome.) That portion 
 of a major tone that remains after de- 
 ducting from it an interval less by a 
 comma than a major semitone. 
 
 Apotome major (Gr.) An enharmonic 
 interval. 
 
 Apotome minor (Gr.) An interval smaller 
 than the Apotome Major. 
 
 Appassionatam^nte (It.) (ap-p'as-se-o- 
 na-ta-!W«?«-te.) 
 
 Appassionatam^nto (It.) (ap-pas-se-5- 
 na-ta-»z««-to.) 
 
 Appassionito (It.) (ap-pas-se-o-Ka-to.) 
 Passionately; with intense emotion and 
 feeling. 
 
 fi as in »/ ; ii the French sound of ti. 
 
 19 
 
APPEL 
 
 apprestAre 
 
 Appel (Fr.) (ap-pal.) Military signal to 
 fall in ; assembly. 
 
 Appendto (It.) (appe-Ka-to.) Grieved, 
 distressed ; an expression of suffering 
 and melancholy. 
 
 Applaudissement (Fr.) (ap-plo-dess 
 
 monh.) 
 Applauso (It.) (ap-plo-oo-zo.) 
 
 Applause. 
 
 Applikatur (Ger.) (ap-pli-ka-^otfr.) The 
 art of fingering. 
 
 AppOggiAndo (It.) (ap-pod-je-a«-do.) ) 
 
 AppoggiAtO (It.) (ap-p6d-je-a-to.) ' 
 Leaning upon; dwelt upon; drawn 
 out. 
 
 Appoggiatura (It.) (ap-pod-je-a-i'oo-ra.) 
 Leaning note ; grace note ; note of em- 
 bellishment. See below. 
 
 Appoggiatura, compound. An appog- 
 giatura consisting of two or more grace 
 notes or notes of embellishment. 
 
 Appoggiatura, inferior. An appoggiatura 
 situated one degree below its principal 
 note. 
 
 Appoggiatura, superior. An appoggia- 
 tura situated one degree above its prin- 
 cipal note. 
 
 The word " Appoggiare," to lean against, 
 accurately describes the character of 
 this long grace-note. It is one of the 
 most charming embellishments of song 
 and of instrumental music. The cause 
 of writing so long and accented a note 
 as a grace note, lies in the fact that the 
 appoggiatura is almost always extrane- 
 ous to the melody and to the harmony. 
 As there are many misprints made in 
 this connection it will be well for the 
 musician to remember that the char- 
 acter of the appoggiatura is almost 
 always yearning, sorrowful or tender. 
 It has become customary, in recent 
 days, to write the appoggiatura out in 
 full notation. This obviates many mis- 
 takes, but it does not always present the 
 character of the progression. Before an 
 even note the appoggiatura generally 
 receives its face value, i. e. one half the 
 value of the note which follows. Before 
 a dotted note it receives more than its 
 face value, i. e. it should be given two- 
 thirds of the value of the following 
 note. 
 
 # 
 
 ^^ 
 
 -^ -^ 
 
 ^^ 
 
 m 
 
 E^ 
 
 P 
 
 :S 
 
 If the next note is of the same pitch as 
 the principal note of the appoggiatura, 
 the grace note receives the entire value 
 of its principal note, but is carried to 
 the next note with a strong portamento. 
 
 This 
 occurs 
 chiefly 
 in vocal music. 
 An old rule chiefly used in Italy gave to 
 the appoggiatura its face value even 
 when this was less than half the value 
 of the principal note. Thus : 
 
 P 
 
 =1:: 
 
 £E 
 
 -^m 
 
 =t: 
 
 * 
 
 But this rule is seldom applied nowa- 
 days. The appoggiatura effects in 
 many of the works of the old masters 
 have been changed into full notation 
 by modern editors. 
 It will be noticed that in all cases the 
 appoggiatura is to receive at least half 
 of the length of the note as well as the 
 accent. The principal note (the note 
 following the grace note) is to be made 
 light and short. It will not be wrong 
 sometimes to increase the value of the 
 appoggiatura and decrease the prin- 
 cipal note proportionately. The appog- 
 giatura is sometimes called the long 
 , grace-note. Some dictionaries (Grove 
 and others) call the short grace-note 
 "appoggiatura" also; for the use of 
 the short appoggiatura see Acciacca- 
 tura. Confusion can here be avoided 
 by using the English equivalents — 
 " Long grace-note " and " Short grace- 
 note" Authorities to be consulted on 
 this subject are Stainer and Barrett, 
 and Dannreuther's" Musical Ornamen- 
 tation." 
 
 I Apprest4re (It.) (ap pres /are.) To 
 ; a as in hate ; a as in at; e as in tree; g asin^/5 ; i as mpine ; i as in pin/ 
 
A premi:6re vue 
 
 ARETINIAN SYLLABLES 
 
 prepare, or put in a condition to be 
 played. 
 
 A premiere vue (Fr.) (a prem-i-~l ,, 
 
 '^'r^ . ' V firlt 
 
 A prima vista (It.) (a/reu-ma i sight. 
 
 vez ta.) J 
 
 Apre (,Fr.) (apr.) Harsh. 
 Aprement (Fr.) (apr-monh.) Harshly. 
 Apret^ (J'r.) (ap-re-ta.) Harshness. 
 A punta d'arco (It.) (a poon-ta d'ar-ko.) 
 
 With the point of the bow. 
 A piinto (It.) (a poon-\.o.) Punctually, 
 
 exactly, correctly. 
 A quatre mains (Fr.) (a katr- 
 
 manh.) 
 
 A qudttro mini (It.) (i 
 
 tro md-m.) 
 
 For two performers on one pianoforte. 
 A qudttro, or a 4 (It.) For four voices 
 
 or instruments ; a quartette. 
 
 A qudttro parti (It.) (a qudt-\.ro par-te.). 
 In four parts. 
 
 A quatre voix (Fr.) (a katr vwa.) J For 
 
 A quAttrovfici (It.) (a gudt-txo ( fo""" 
 zitf-tshee.) 
 
 A quattre seuls (Fr.) (a katr sul.) ) For 
 
 A quiittro s61i (It.) (a qudt-tio 
 j(J-le.) 
 voices or instruments. 
 
 Arabesque or Arabesk, an ornament, or 
 an embellished work. From the Moor- 
 ish architecture which was much orna- 
 mented. 
 
 Arbitrii (Lat.) (a-iiif-ii-e.) Certain 
 points or embellishments which a 
 singer introduces or improvises at 
 pleasure while singing an aria or tune. 
 
 Abitrio (It.) (ar-i^-tre-o.) At the will or 
 pleasure of the performer. 
 
 Arc (It.) (ark.) The bow; an abbrevia- 
 tion of Arco. 
 
 Areata (It.) (ar-,4a-ta.) Manner of bow- 
 ing. 
 
 Arcdto (It.) (ar-ia-to.) Bowed; played 
 with the bow. 
 
 Arch. A curve formerly placed over a 
 bass note to show that it was accom- 
 panied by the imperfect fifth. 
 
 Arch-chanter. The leader of the chants ; 
 the chief chanter. 
 
 Arche (Ger.) (aV-khe.) The sounding 
 board of an organ. 
 
 as in tone ; 3 as in dove ; S as in not 
 
 I i For 
 
 I > four 
 
 ; solo 
 
 Archeggiam^nto (It.) (ar-kad-jea »;««- 
 to.; The management of the bow in 
 playing the violin, etc. 
 
 Arctaeggiare (It.) (ar-kad-je-a-re.) To 
 
 use the bow ; to fiddle. 
 Archet (Fr.) (ar-shay.) j a vio- 
 
 Archettino (It.) (ar-ket-/i-no.) f lin bow. 
 
 Archmo (It.) (ar-;4a-t6.) ' ) ^ 'i'" 
 
 > tie 
 Archicfllo (It.) (^i.x-Vi-tshel-\o.) ^ j^^^ 
 
 Archiluth (Fr.) (ar-she-liit.) ) ^^^ 
 ArciliutO (It.) (ar-tshel-jj/w-to.) ( ^^^^ 
 
 Archlute. A theorbo or. lute with two 
 nuts and sets of strings, one for the 
 bass. The strings of the theorbo were 
 single, but in the bass strings were 
 doubled with an octave, and the small 
 strings with a unison. 
 
 Arco (It.) (o>-ko.) The bow. 
 Ard^nte (It.) (ar-rf^K-te.) With fire; 
 
 glowing, vehement. 
 Ardentem^nte (It.) (ar-den-te-/«^«-te.) 
 
 Ardently, vehemently. 
 
 Ardentfssimo (It.) (ar-den-fc-se-mo.) 
 Very ardently. 
 
 Arditam£nte (It.) (ar-di-ta-«««»-te.) 
 Boldly ; with ardor. 
 
 Arditezza (It.) (ar-di-fe^-sa.) Boldness. 
 
 Ardito (It.) (ar-</Mo.) Bold ; with energy. 
 
 Arditodimolto (It.) (ar-a?-t6 de »«^/-t6.) 
 Passionately ; with much force. 
 
 Ard6re (It.) (ahr-f/or-eh.) Con Ardore; 
 with ardor and warmth. 
 
 Aretinian syllables. The syllables ut, 
 re, me, fa, sol, la, introduced by Guido 
 d'Arezzo for his system of hexachords 
 or six notes : these syllables to occur 
 in consecutive notes of the scale, in an 
 ancient hymn to St. John. 
 
 -t 
 
 UT queant la-xis RE-so - na-re fi-bris, 
 
 zrdtr^ 
 
 4: 
 
 MI - ra ge-sto-rum FA-mu-li tu - or - um. 
 
 f="--=t:= 
 
 SOL- ve polJu-tl LA-bi-i re-a-tum. 
 
 -V^f=^ 
 
 Sancte Jo-han-nes. 
 ,' Q as in up ; ii the French sound of «. 
 I 
 
ARGENTIN 
 
 AMomci 
 
 Argentin (Fr.) (ar-zh'an-tanh.) Silver 
 toned. 
 
 Arghool (Tur.) (ar-gool.) A musical in- 
 strument of the Turks, of the flute 
 species. 
 
 Aria (It.) (af-re-a.) An air; a song; a 
 tune ; sung by a single voice either 
 with or without an accompaniment. 
 The aria first developed into shape in 
 the early operas. Domenico Scarlatti 
 may be regarded as the founder of the 
 Da Capo Aria in three large divi- 
 sions. Div. I was generally brilliant 
 and powerful. Div. II of Cantabile 
 character in contrast of style and key. 
 After this there came a literal repeat 
 of Div. I. " He was Despised " is an 
 example of this aria. When the repeat 
 of Div. I was varied, a better form re- 
 sulted. See " Rejoice Greatly " for this 
 varied return. Sometimes the aria was 
 in two contrasted divisions without re- 
 turn, as in " I know that my Redeemer 
 liveth." Modern composers sometimes 
 use an abbreviated return of first divi- 
 sion, as, for example, Mendelssohn in 
 " Oh God, have mercy," or in " It is 
 enough." 
 
 Aria biiffa (It.) (o-re-a ioi^-fa.) A comic 
 or humorous air. 
 
 Aria cantdbile (It.) (o-re-a-kan-^a-be-le.) 
 An air in a graceful and melodious style. 
 
 Aria concertita (It.) (o-re-a kon-tsher- 
 <a-ta.) An air with orchestral accom- 
 paniments in a Concertante style; a 
 concerted air. 
 
 Aria d'abiliti (It.) (o-re-a d'a-bel-le-^a.) 
 A difficult air requiring great skill and 
 musical ability in the singer. 
 
 Aria, di bravura (It.) (o-re-a de bra-wotf- 
 ra.) A florid air in bold, marked style 
 and permitting great freedom of exe- 
 cution. 
 
 Aria di cantdbile (It.) See Aria Can- 
 tabile. 
 
 Aria fugiita (It.) (a-re-a foo-^a-ta.) An 
 air accompanied in the fugue style. 
 
 Aria parldnte (It.) (a-re-a par-/fl«-te.) 
 An air in the declamatory style ; a reci- 
 tative a tempo. 
 
 Aria ted&ca (It.) (o-re-a te-(/aj-ka.) 
 An air in the German style. 
 
 Aria und chor (Ger.) (o-ri-a oond kor.) 
 Air and chorus. 
 
 Arie (It. pi.) (o-re-e.) i Airs or 
 Arien (Ger. pi.) (o-ri-en.) 5 songs. 
 Arie aggiiinte (It.) (a-re-e ad-je-w»-te.) 
 
 Airs added to or introduced into an 
 
 opera, or other large work. 
 
 Arista (It.) (a-re-^Z-ta.) ) A short air or 
 Ariette (Fr.) (a-re-et.) ) melody. 
 
 Arietta alia Veneziina (It.) (a-re-iK-ta 
 ai-ld ven-a-tse-o-na.) A short air in 
 the style of the Venetian Barcarolles. 
 
 Ariettina (It.) (a-re-et -i;^-na.) A very 
 short air or melody. 
 
 A rigore del tempo (It.) (a re-^fo-re del 
 tem-'pb.) In strict time. 
 
 Arigot (Fr.) ; (a-re-go.) A fife. 
 Ariosa (It.) (a-re-^-za.) In the move- 
 ment of an aria or tune. 
 
 Aridse cantite (It. pi.) (a-re-o-ze kan- 
 tdte.) Airs in a style between a song 
 and recitative, introducing frequent 
 changes in time and manner. 
 
 Ari6so (It.) (o-re-o-zo ) Melodious, 
 graceful ; a short piece in the style of 
 an aria, but less symmetrical in con- 
 struction. Sometimes containing some 
 recitative effects. " Behold and See " 
 in The Messiah is an example of the 
 latter. 
 
 Arm. A small piece of iron at the end 
 
 of the roller of an organ. 
 Armer la clef (Fr.) (ar-ma la kla.) The 
 
 signature ; or, the flats and sharps placed 
 
 immediately after the clef. 
 
 Armoneggidre (It.) (ar-mo-ned-je-o-re.) 
 To sound in harmony. 
 
 Armenia (It.) (ar-mo k^ a.) Harmony, 
 concord. 
 
 Armonilico (It.) (ar-mo-ne-a-ko.) Har- 
 monized. 
 
 Armoniile (It.) (ar-mo-ne-o-le.) Har- 
 monious, concordant. 
 
 Armonidto (It.) 
 Armonidco. 
 
 (ar-mo-ne-o-to.) See 
 
 Arm6nica (It.) (ar-wo-ne-ka.) The earli- 
 est form of the accordion ; a collection 
 of musical glasses, so arranged as to 
 produce musical effects. 
 
 Armonica, guida (It.) (ar-»zj-ne-ka gwe- 
 d'a.) A guide to harmony. 
 
 (It.) (ar-mo-K^-tshee.) Har- 
 S as in oA; a as in hate ; a as in 3^; easin^r^if; 8asini?/5/ \?isva.pine ; 1 as mpin; 
 
 Armonici 
 monies. 
 
arm6nico 
 
 ARSIS 
 
 Arin6nico (It.) (ar-OTo-ne-ko.) Hanno- 
 nious. 
 
 Armoniosam^nte (It.) (ar-zwc-ne-o-za- 
 men-te.) Hannoniously. 
 
 Armonidso (It.) (ar-mo-ne-J-zo.) Con- 
 cordant, harmonious. 
 
 Armonfsta (It.) (ar-mo-««-ta.) One 
 who is acquainted with the principles 
 of harmony. 
 
 Armonizzamento (It.) (ar-mo-net-za- 
 men-to.) Agreement, concord. 
 
 Armonizzdnte (It.) (ar-mo-net-isan-te.) 
 That is harmonious ; musical. 
 
 Aimonizzdre (It.) (ar-mo-net-^jo-re.) 
 To harmonize ; to make harmony. 
 
 Arm viol. The viola, called by the Ital- 
 ians, Viola di Braccio, because it rested 
 on the arm. 
 
 A rovescio (It.) (a-ro-i'(?-she-o.) Re- 
 versed; in an opposite direction; re- 
 sponding to rising intervals by falling 
 ones, and vice versa. 
 
 Arpa (It.) (ay-pa.) i ^^^ ^^ 
 
 Arpa (Spa.) (dr-pa..) ) ^' 
 
 Arpa d' Eolo (It.) (a>-pa d' a-o-lo.) An 
 ^olian harp, 
 
 Aipa ddppia (It.) (ar-pa tfoppe-a..) The 
 double action harp ; it meant formerly 
 a harp with two strings to each note. 
 
 Arpa eolica (It.) (ar-pa a-»-le-ka.) Mo\i- 
 an harp or lyre. 
 
 Arpan^tta (It.) (ax-pi-nSi-tsi.) ]^ 
 
 lat-ta.) j 
 
 ;/-ia.) r 
 
 Arpin^Ua (It.) (ar-pe-«e/- 
 harp or lute. 
 
 Arpeg. An abbreviation of Arpeggio. 
 
 Arpegement (Fr.) (ar-pezh-manh.) An 
 arpeggio. 
 
 Arpegger (Fr.) (ar-pe-zha.) To play 
 • arpeggios. 
 
 Arpeggi (It.) (ar-/#<^-je.) Arpeggios. 
 
 Arpeggiam^ntO (It.) (ar-pad-je-a-»«^K- 
 to.) In the style of the harp ; arpeg- 
 gio. 
 
 Arpeggidndo (It.) (ar-ped-jeO ^^^^.^ 
 fl«-do.) l . , 
 
 Arpeggiito (It.) (ar-ped-je- [ ^^^g. 
 ff-to.) J 
 
 gio, in imitation of the harp ; harping, 
 harp music. 
 
 Arpeggiire (It.) (ar-ped-je-a-re.) To 
 play upon the harp. 
 
 Arpeggiatdra (It.) (■ar-ped-je-a-/£'<7-ra.) 
 as in /one; 6 as in liovej 8 as in noi 
 
 ^ 
 
 Playing arpeggio, or in the style of the 
 harp. 
 
 Arpeggio (It.) (ar-ped-je-o.) Playing 
 the notes of a chord . ^ 
 
 quickly one after t=F£^^^^ 
 another in the harp "-tS** — US**" 
 style, thus: 
 
 In pianoforte music a waved line is 
 written beside a chord intended to be 
 played arpeg- 
 gio: The first 
 of these means 
 arpeggio both 
 hands together, 
 but the second 
 signifies to ar- 
 peggio from the 
 lowest to the highest note. An arpeg- 
 gioed chord is generally written and 
 played as follows : 
 
 The arpeggio should begin at the 
 rhythmic value of the chord, whether 
 it is indicated by the sign or by 
 small notes, as the effect of a chord 
 is weakened by being begun before its 
 time, as is the bad habit of many in- 
 experienced players. 
 
 Arpeggio accompaniment. An accom- 
 paniment which consists chiefly of 
 chords played in arpeggio style. 
 
 Arpic6rdo (It.) (ar-pe-^oy-do.) A Harp- 
 sichord. 
 
 Arp'o. An abbreviation of Arpeggio 
 and Arpeggiato. 
 
 . ' \ Abbreviations of arrangement. 
 
 Arrang. ) * . 
 
 Arrangement. The selection and adap- 
 tation of a composition or parts of a 
 composition to instruments for which 
 it was not originally designed, or for 
 some other use for which it was not at 
 first written. 
 
 Arranger (Fr.) (ar-ranh-zha.) j To ar- 
 Arrangiren (Ger.) (^i.i-xixHa.-zhe- > range 
 
 r'n.) ; music. 
 
 See Arrangement. 
 Ars canendi (Lat.) (ars ka-«^«-de.) The 
 
 art of singing with taste and expression. 
 Ars componentis (Lat.) (ars kdm-po-nen- 
 
 tis.) The art of composing. 
 
 Arsis (Gr.) (a>-sis.) The upstroke of 
 ii as in uj>; ii the French sound of u. 
 23 
 
ARS MUSICA 
 
 A TilMPO 
 
 the hand in beating time. The light 
 
 accent of the measure. Not employed 
 
 by musicians in the same sense that it 
 
 is used in poetry. See Accent. 
 Ars musica (Lat.) (ars »«a-si-ka.) The 
 
 art of music. 
 Art (Ger.) (art.) Species, kind, quality. 
 
 As " Auf Russische Art," in Russian 
 
 style. 
 Art de I'archet (Fr.) (art diih I'ar-sha.) 
 
 The art of bowing. 
 ArticoUre (It.) (ar-te-ko -la-re.) ) Topro- 
 Articuler (Fr.) (ar-te-ku-la.) \ "ounce 
 
 the •words distinctly ; to articulate each 
 
 note. 
 Articulate. To utter distinct separate 
 
 tones ; to sing with a distinct and clear 
 
 enunciation. 
 
 Articulation. A distinct and clear ut- 
 terance ; a clear and exact rendering of 
 every syllable and tone. 
 
 Articoldto (It.) (ar-te-ko-/»-t5.) Articu- 
 lated ; distinctly enunciated. 
 
 Articolazione (It.) (ar-te-ko/a-tse-iJ-ne.) 
 Exact and distinct pronunciation. 
 
 Artificial. Not natural ; a term applied 
 to notes or chords when chromatics 
 are introduced. 
 
 Artikuliren (Ger.) (ar-tik-oo-/^-r'n.) To 
 articulate. 
 
 Artista (It.) (ar-^/j-ta.) ) An artist ; one 
 Artiste (Fr.) {sx-test.') ) who excels in 
 
 the composition or performance of 
 
 music. 
 
 Arzillo (It.) (ar-^j^/-lo.) Lively, sprightly. 
 
 As (Ger.) (as.) The note A flat. 
 
 Ascoltatore (It.) (askol-ta-iTo-re.) An 
 auditor ; a hearer. 
 
 AsculEB (Gr.) (is.-kooXe..") A name given 
 by the ancients to performers on the 
 organ. 
 
 As dur (Ger.) (as door.) The key of 
 Aiy major. 
 
 Asheor (Heb.) (a-she-or.) A ten- 
 stringed instrument of the Hebrews. 
 The Azor. 
 
 As moll (Ger.) (iis-moll.) 
 PA minor. 
 
 The key of 
 
 Asperges me (Lat.) Cas-/»/?--ges ma.) The 
 opening of the Mass in the Catholic 
 service. Not a number of the musical 
 Mass itself, but sung during the purifi- 
 
 a as in a^ y a as in hate ; a as in at; e as in tree ; e as in M ; i as in pine ; i as in pin; 
 
 24 
 
 cation of the altar at the beginning of 
 
 the service. 
 Aspirdre (It.) (as-pe-ro-re.) To breathe 
 
 loudly ; to use too much breatn in 
 
 singing. 
 Aspr^zza (It.) (as-prdd-s&.) Roughness, 
 
 dryness, harshness. 
 Assdi (It.) (as-OT-e.) Very, extremely; 
 
 in a high degree, as Allegro Assai, very 
 
 quick. 
 Assai pid (It.) (as-ra-e pee-00.) Much 
 
 more. 
 
 Assemblage (Fr.) (as-sanh-blazh.) 
 Double tongueing on the flute ; exe- 
 cuting rapid passages on wind instru- 
 ments. 
 
 Assez (Fr.) (as-say.) Enough, suffl- 
 ciently. 
 
 Assez lent (Fr.) (as-say lanh.) Quite 
 slowly. 
 
 AssolutO (It.) (as-so-/oo-to.) Absolute, 
 free ; alone, one voice. Also applied 
 to artists as " prima donna assoluia," 
 the chi&i prima donna. 
 
 Assonant. Having a resemblance or 
 agreement of sounds. 
 
 Assoninte (It.) (as-s5-«3«-te.) Harmo- 
 nious, consonant. 
 
 Assonanz (Ger ) (as-so-Ka«-ts.) ) Simi- 
 
 Assonanza (It.) (as-so-«a»-tsa.) ) larity, 
 
 or consonance of tone. 
 Assourdir (Fr.) {ss.-s.oo-c-der.) To muffle > 
 
 to deafen ; to stun. 
 A srio arbitrio (It.) (a swo ar-*J-tre-o ) ^ 
 A siio b^nepUcito (It.) (a swo ba- ( 
 
 ne//o-tshee-to.) ) 
 
 A siio C(5modo (It.) (a sw5 ko-mo- \ 
 do.) \ 
 
 At pleasure; -at will; at the inclination 
 or discretion of the performer ; synony- 
 mous with ad libitum. 
 
 A siio Iu6go rit.) (a sw5 loo-o-go.) Syn- 
 onymous with Loco. 
 
 Asymphonie (Ger.) (a-sim-fo-K^^.) Dis- 
 sonance. 
 
 A table sec (Fr.) (a tabl sek ) 1 The 
 A table s^che CFr.) fa tabl .=ash ^ ( prac- 
 tice of_ vocal exercises unaccompanied 
 by an instrument. 
 
 A t^m (It.) ) Abbreviations of A 
 A temp (It.) ( Tempo. 
 A t^mpo (It.) (a tem-po.) In time; a, 
 term used to denote that after some 
 
A T^MPO DELL' ALLEGRO 
 
 ATTILLATAMENTE 
 
 deviation or relaxation of the time, the 
 perloimers must return to the original 
 movement. 
 A t^mpo dell' allegro (It.) (a tempo 
 dell' ai-la-gro.) In allegro time. 
 
 A tempo cdmodo (It.) (a tem-po ^o-mo- 
 do.^ In convenient time; an easy, 
 moderate time. 
 
 A tempo di gav6tta (It.) (a tem-p6 de 
 ga-vot-ta.) In the time of a gavot ; 
 moderately quick. 
 
 A tempo giusto (It.) (a tem-p6>aj-t6.) 
 in just, sirict, exact time. Sometimes 
 employed alter Tempo Rubato — irreg- 
 ular time. 
 
 A tempo ordindrio (It.) (a tem-po 6r-de- 
 nd-ie-o.) In ordinary, moderate time. 
 
 A tempo primo (It.) (a tam-p6 pre-mo.) 
 In the time first given. 
 
 A tempo rubdto (It.) (a tem-po roo-dd- 
 to.) Irregular time ; deviation in time 
 so as to give more expression, but so 
 that the time of each measure is not 
 altered on the whole. 
 
 Athem (Ger.) (o-tem.) Breath, breath- 
 ing, respiration. 
 
 Athemholen (Ger.) (a-tem-A5-Vn.) To 
 breathe ; to respire. 
 
 Athemlos (Ger.) (a-tem-los.) Breath- 
 lessly. 
 
 Athmen (Ger.) (dl-mtn.) To blow 
 softly. 
 
 Athemzug (Ger.) (<i'-tem-tsoog.) Act of 
 respiration ; breathing. 
 
 A ton basse (Fr.) {a tonh bass.) In a 
 low tone of voice. 
 
 A tre, or a 3 (It.) (a tray.) For three 
 voices or instruments ; a Trio or Ter- 
 zetto. 
 
 A tre cfirde (It.) fa tray-iSr-de.) For 
 three strings; with three strings; with- 
 out the soft pedal. See Pedals. 
 
 A tre mini (It.) (a tray ma-ne.) For 
 three hands. 
 
 A tre parti (It.) (a tray /afr-te.) In three 
 parts. 
 
 A tre soli (It.) (a tray so-le.) For three 
 solo voices. 
 
 A tre soprani (It.) (a tray so-/ra-ne.) 
 For three soprano voices. 
 
 A tre voci (It.) (a tray va-tshe.) For 
 three voices. 
 3 as in (one; Q as in dove; 8 as in not; 
 
 A trois mains (Fr.) (a trwah manh.) 
 For three hands. 
 
 A trois, or a 3 (,Fr.) (a trwah.) For three 
 voices or instruments. 
 
 A trois parties (P"r.) (a trwah par-te.) In 
 three parts. 
 
 A trois voix (Fr.) (a trawh vwah.) For 
 three voices. 
 
 Attable (Fr.) (at-&W.) A kind of Moor- 
 ish drum. 
 
 Attdcca (It.) (aX-idk-ka.) Go on. Be- 
 gin the next. 
 
 Attdcca subito (It.) (at-idi-ka soo-he-to.) 
 Attack or commence the next move- 
 ment immediately. 
 
 Attacca I'allegro (It.) (at-tdi-ka 1' aUd- 
 gro.) Commence the allegro immedi 
 ately. 
 
 Attaccdre (It.) (at-tak-id-re.) ) To at- 
 Attaquer (Fr.) (at-tak-a.) ) tack or 
 
 commence the performance. 
 Attack. The method or clearness of 
 
 beginning a phrase. The term is 
 
 applied to solo or concerted music, 
 
 either vocal or instrumental. 
 
 Attacco (It.) (ah-/a/4yi-co.) A short, decis- 
 sive subject, or passage, in fugal work. 
 
 4 
 
 P^^g^f ^ 
 
 m^^ 
 
 ■*-*- 
 
 ^^ 
 
 Attastkre (It.) (at-tas-ta-re.) To touch ; 
 to strike. 
 
 Attendant keys. Those scales having 
 most sounds in common with the scale 
 of any given key; the relative keys. 
 In C major the attendant keys are : its 
 relative minor A, the dominant G, and 
 its relative minor E, the sub-dominant 
 F, and its relative minor D. 
 
 Attillatamente (It.) (at-tel-la-ta-OT^w-te.) 
 
 With affectation, 
 fi as in «/ ; ii the French sound of a. 
 
 25 
 
ATTO 
 
 AUGMENTED UNISON 
 
 An act of an opera or 
 
 Atto (It.) {dt-tp.) 
 play. 
 
 Atto di cadenza (It.) (a/-to de Ya.-den- 
 tsa.J The point in a piece where a 
 cadence may be introduced. 
 
 Atto primo (It.) (oV-to pre-mo.) The 
 first act. 
 
 Attdre (It.) (at-io-re.) An actor or sing- 
 er in an opera or play. 
 
 Att6ri (It.) (at-io-re.) The principal 
 actors or singers in an opera. 
 
 Atto sec6ndo (It.) (ai-to se-ion-do.) 
 The second act. 
 
 Atto terzo (It.) (at-to ter-ts5.) The third 
 act. 
 
 Aubade (Fr.) {o-bad.) Morning music ; 
 a morning concert in the open air. The 
 opposite of a serenade. Schubert's 
 setting of Shakespeare's " Hark, Hark 
 the Lark " is an aubade. A morning 
 concert by a military band. 
 
 Au commencement (Fr.) (6 com-manhs- 
 manh.) At the beginning. 
 
 Audice (It.) (a-oo-i/a-tshe.) Bold, spir- 
 ited, audacious. 
 
 Auf (Ger.) (ouf.) On, upon, in, at, etc. 
 
 Auf-blasen (Ger.) {ouf-hVi.-z'n.) To sound 
 a wind instrument. 
 
 Auf dem oberwerk (Ger.) (ouf dem o- 
 ber-vark.) Upon the upper-work or 
 highest row of keys in organ playing. 
 
 AiifEassung (Ger.) (oa^/'-fas-soong.) The 
 interpretation or conception of a work. 
 
 Auffuhrung (Ger.) (oz</"-fear-roong.) 
 Performance. 
 
 Aufgeregt (Ger.) (oz^Z-ge-raygt.) With 
 agitation ; excitedly. 
 
 Aufgeweekt (Ger.) (<;2</'-ghe-vekt.) 
 Lively, sprightly, cheerful, wide awake. 
 
 Aufgewecktheit (Ger.) {ouf-^i-vekt 
 
 hit.) Liveliness, cheerfulness. 
 Aufhalten (Ger.) {ouf-iiiX-t'n.) To stop; 
 
 to retard ; to keep back. 
 
 Aufhaltung (Ger.) ((iK/-hal-toong.) 
 
 Keeping back; a suspension. 
 Auflage (Ger.) (o2</"-la-ghe.) Edition. 
 Auflosung (Ger.) {ouf-\(i-zoong.) The 
 
 resolution of a discord. 
 Auflosungs-zeichen. The cancel or natural. 
 Aufpfeifen (Ger.) (o«/-pfi-f'n.) To 
 
 play on a pipe, fife, or flute. 
 Aufs (Ger.) {oufs.) To the ; on the. 
 a as in ah ; a as in hate ; a as in at ; e as in tree 
 
 26 
 
 Up-beat ', 
 part of a 
 
 To 
 
 Aufschlag (Ger.) (tf«/-shlag.) 
 the arsis ; the unaccented 
 bar. 
 
 Aufschallen (Ger.) {ouf-&h:i\-\'n.) 
 sound loudly. 
 
 Aufschnitt (Ger.) (o«/-schnit.) The 
 mouth of an organ pipe. 
 
 Aufsingen (Ger.) (o«/'-sing-en.) To sing 
 to; to awaken by singing. 
 
 Aufspielen (Ger.) {ouf-syl-Vn.) To play 
 upon ; to play for the dance. 
 
 Aufsteigende-tonarten (Ger. pi.) {ouf-stX- 
 ghen-de iSn-dii-X'n.) Ascending scales 
 or keys. 
 
 Aufstrich (Ger.) (o«/-strikh.) An up- 
 bow. 
 
 Auftakt (Ger.) {ouf-i&kt.) The arsis; 
 the up-beat. 
 
 Augmentatio (Lat.) (aug-men-/3-shi-5.) 
 Augmentation. 
 
 Augmentation. In counterpoint this sig- 
 nifies that the notes of the subject are 
 repeated or imitated with notes of 
 more than their original value. 
 
 Augments (Fr.) (6g-manh-/a.) Aug- 
 mented. 
 
 Augmentazione (It.) (oug-men-ta-tse-^- 
 ne.) Increase. 
 
 Augmented. An epithet applied to such 
 intervals as are more than a major or 
 perfect. 
 
 Augmented fifth. An interval contain- 
 ing four whole tones or steps. 
 
 Augmented fourth. An interval con- 
 taining three whole tones or steps. 
 
 Augmented intervals. Thase which in- 
 clude a semitone ■*■ ?«■•&':' fif*. Augmented fifth, 
 more than major 
 
 or perfect inter- 
 vals ; as. 
 
 
 Augmented octave. An interval con- 
 taining a semitone more than an oc- 
 tave. 
 
 Augmented second. An interval con- 
 taining one whole and one semitone 
 equal to three half steps. 
 
 Augmented sixth. An interval contain- 
 ing four whole tones or steps and one 
 semitone or half step. 
 
 Augmented unison. A semitone, or half 
 step with both notes written 
 on the same degree as. 
 
 8 as in eh ; i as rapine ; i as inpin; 
 
AUGMlfeNTO 
 
 AUXILIARY KOTES 
 
 Augm^nto (It.) (oiig-««^«-to.) Augmen- 
 tation. 
 
 Auletes (Gr.) (ou-/^-tes.) A flute player ; 
 a- piper. 
 
 Au lever du lideau (Fr.) (5 le-va dii re- 
 do.) At the rising of the curtain. 
 
 Aulo (It.) (ou-lo.) ) A species of an- 
 
 Aulos (Gr.) (o«-los.) ) cient flute. 
 
 Aulodia (It.) (ou-/^-di-a.) Singing ac- 
 companied by the flute. 
 
 Augmentazi(5ne (It.) (ou-men-t'a-tse-J- 
 ne.) Augmentation. 
 
 A lina c6rda (It.) (a oo-na. iSr-da.) The 
 soft pedal, in piano playing ; one string. 
 
 Aus (Ger.) (ous.) From ; out of. 
 
 Ausarbeitung (Ger.) (i>«j-ar-bl-toong.) 
 The last finish or elaboration of a com- 
 position. 
 
 Ausblanken(Ger.) (ous-hMn-k'n.) To play 
 the closing chords of a piece on a wind 
 instrument. 
 
 Ausblasen (Ger.) (ous-hVa.-z'n.) To blow 
 out ; to publish by sound of trumpet. 
 
 Ausdehnung (Ger.) (o^j-da-noong.) Ex- 
 pansion, extension, development. 
 
 Ausdruck (Ger.) («aj-drook.) Expres- 
 sion. 
 
 Ausdrucksvoll (Ger.) (o«j--drooks-f5ll.) 
 Expressive. 
 
 AusfUnrung (Ger.) (oaj-fear-roong.) Per- 
 formance ; the working out of a subject 
 in composition ; the exposition. 
 
 Ausfiillung (Ger.) ((;«j'-ful-loong.) The 
 filling up ; the middle parts. 
 
 Ausgabe (Ger.) (ous-ga.-he.) Edition. 
 
 Ausgang (Ger.) {oiis-ga.ng.) Going out ; 
 exit ; conclusion. 
 
 Ausgehalten (Ger.^i (o«j-ghe-hal-t'n.) 
 Sostenuto. 
 
 Ausgelassen (Ger.) (ff»j-ghe-/o.r-s'n.) 
 Wild, ungovernable, with abandon. 
 
 Ausgelassenheit (Ger.) (o«j-ghe-/oj-s'n- 
 hit.) Extravagance ^ with wild aban- 
 don. 
 
 Aushalten (Ger.) {ous-ha\-t'n.) To hold 
 on ; to sustain a note. 
 
 Aushaltung (Ger.) ((7«j--hal-toong.) The 
 
 sustaining of a note. 
 Aushaltungszeichen (Ger.) {ous-h'a.\- 
 
 toongs-/«-kh'n.) A pause (/^). 
 Auslauten (Ger.) (««j-lou-t'n.) To emit 
 
 a sound. 
 
 (oKj-kling-en.) To 
 To sing 
 
 Ausklingen (Ger.) 
 cease sounding. 
 
 Aussingen (Ger.) (oKj-sing-en.) 
 out ; to sing to the end. 
 
 Ausweichen (Ger.) (ous-vl-kh'n.) To 
 make a transition from one key to 
 another ; to modulate. 
 
 Ausweichung (Ger.) (««j-vi-khoong.) A 
 transient modulation or change of key. 
 
 Aut^ntico (It.) (ou-/J«-te-ko.) Authen- 
 tic. 
 
 Allteur (Fr.) (o-tiir.) An author; a com- 
 poser. 
 
 Authentic. A name given to those church 
 modes whose melody was confined with- 
 in the limits of the tonic, or final, and 
 its octave. 
 
 Authentic cadence. The old name for a 
 perfect cadence ; the harmony of the 
 dominant followed by that of the tonic, 
 or the progression of the dominant to 
 the tonic. 
 
 Authentic keys. Among the ancient 
 Greeks, those keys whose tones ex- 
 tended from the tonic to the fifth and 
 octave above. 
 
 Authentic modes are those ecclesiastical 
 modes or tones (scales) which are com- 
 posed of a fifth and a fourth (for in- 
 
 s\.3.r\ce,defgabcd), and have their 
 final on the first degree of the scale. 
 The Plagal modes, which were con- 
 structed on the authentic modes, are 
 composed of a fourth and a fifth (for 
 
 instance, abc defgd), and have their 
 final on the fourth degree of the scale. 
 
 Authentic part of the Scale, in Counter- 
 point and Fugue, is that which lies be- 
 tween a-note and its Dominant, whilst 
 that which lies between the Dominant 
 and the tonic above it is termed Plagal. 
 The terms are used chiefly in connec- 
 tion with Subject and Answer. 
 
 Authentique (Fr.) (o-ten-tek.) Authen- 
 tic. 
 
 Aut6re (It.) (ou-to-re.) An author; a 
 composer. 
 
 Auxiliary notes. Notes standing on the 
 next degree above or below an essen- 
 tial note; the harmony remaining sta- 
 tionary and not moving from one 
 essential note to another. If occurring 
 below the essential note of the melody, 
 they are a semitone below, but if above 
 
 as in tone ; 6 as in dove ; 8 as in not ; fi as in up ; ii the French sound of ti. 
 
 27 
 
AUXILIARY NOTES 
 
 BACHELOR OF MUSIC 
 
 they may be either a tone or a semi- 
 tone distant from the principal note. 
 The following, from Rossini's overture 
 to " William Tell," shows the auxiliary 
 note above the principal : 
 
 Auxiliary scales. This name is some- 
 times given to the relative or attendant 
 keys. 
 
 Avant-dernier- (Fr.) (a-vanh der-ne-a.) 
 The penultimate ; the last but one. 
 
 Avant-scfene (Fr.) (a-vanh san.) Before 
 the opening of the opera or scene. 
 
 Ave (Lat.) (a-ve.) Hail. 
 
 Avec (Fr.) (a-vek.) With. 
 
 Avec allegresse (Fr.) (a-vek al-le-gres.) 
 Lively, sprightly. 
 
 Avec ame (Fr.) (a-vek am.) With feel- 
 ing or grace. 
 
 Avec douleur (Fr.) (a-vek doo-lur.) With 
 grief ; with sadness. 
 
 Avec feu (Fr.) (a-vek fU.) With fire. 
 
 Avec force (Fr.) (a-vek forss.) With 
 power. 
 
 Avec gout (Fr.) (a-vek goo.) With taste. 
 
 Avec grande expression (Fr.) (ii-vek 
 granh dex-pra-si-6nh.) With great ex- 
 pression. 
 
 The same as 
 
 Avec la Chant (Fr.) 
 Canto^ 
 
 Col 
 
 Avec lenteur (Fr.) (a-vek lanh-tiir.) With 
 slowness; lingering. 
 
 Avec les pieds (Fr.) (a-vek le pe-a.) 
 With the feet, in organ playing. 
 
 Avec liaison (Fr.) (a-vek li-a-s6nh.) With 
 smoothness. 
 
 Avec mouvement (Fr.) (a-vek moov- 
 monh.) With movement. 
 
 Ave Maria (Lat.) (a-ve rai-ree-a..) Hail 
 Mary. A hymn or prayer to the Vir- 
 gin Mary. See Luke I, 42, for the 
 origin of the words. 
 
 Ave Maris Stella. A hymn of the Cath- 
 olic Church, the words meaning, " Hail, 
 Star of the Sea." 
 
 Ave regina (Lat.) (o-ve re-^«-na.) Ves- 
 per hymn to the Virgin, sung from the 
 Purification till Easter. 
 
 A vic^nda (It.) (a ve-/j^^«-da.) Alter- 
 nately ; by turns. 
 
 A vide (Fr.) (a ved.) Open. 
 
 A vista (It.) (a ves-ta.) At sight. 
 
 A v6ce s61a (It.) (a w^-tshe so-Vi.) For 
 one voice alone. 
 
 A voix forte (Fr.) (a vwa fort.) With 
 a loud voice. 
 
 A volont6 (Fr.) (a vo-16nh-ta.) At will ; 
 
 at pleasure. 
 A vue (Fr.) (a vii.) At sight. 
 Azidne sacra (It.) (ii-tse-iJ-ne ja-kra.) 
 
 An Oratorio ; a sacred musical drama. 
 
 B 
 
 B. The seventh note in the scale of C. 
 It is called Si in France and Italy, and 
 jy in Germany. The Germans use 
 the letter B to designate B flat. As 
 the flat came from the letter B the Ger- 
 mans still call flats " B's." See Mat, 
 Sharp, Natural, Cancel. 
 
 Babillage (Fr.) (^a-biya»ig) 
 chatter. 
 
 Bacchanale (Ger.) (bach-ah- 
 «a^-leh.) 
 
 Bacchanalian songs. 
 
 songs pertaining to drinking and rev- 
 elry. 
 
 Bacchius (Gr.) (bitk-\\ us.) A musical 
 foot, consisting of one short, unac- 
 cented, and two long, accented notes or 
 syllables marked ._, . 
 
 Bacchuslied (Ger.) (^a^/5-oos-Ied.) A 
 Bacchanalian song. 
 
 Playful 
 
 Drink- 
 ing 
 songs ; 
 
 Bachelor of Music. The first musical 
 degree taken at the universities. 
 a as in ah; a as in hate; a as va.at; e as in fr,?? / g as in ^4 ; 
 
 28 
 
 ' i as vn.J>ine ; i as in pin; 
 
BADINAGE 
 
 BALLI UNGARESr 
 
 Badinage (Fr.) (hH-di-nazA.) Playful- 
 ness, sportiveness. 
 
 Bagatelle (Fr.) (bag-a-;^/.) A trifle ; a 
 loy ; a short, easy piece of music. 
 
 Bagpipes. -A favorite Scotch instru- 
 ment, one of whose pipes is a drone, 
 producing always the same sound, which 
 serves as a perpetual bass for every 
 tune. It is a very ancient instrument, 
 and in one form or another has been in 
 general use, not only in England and 
 Scotland, but many European coun- 
 tnes. 
 
 Baguette (Fr.) ()ai.-ghet.) A drumstick. 
 Baguettes de tambour (Fr.) (ba-ghet 
 
 dtih tam-boor.) Drumsticks. 
 Baisser (Fr.) (bas-sa.) To lower or 
 
 flatten the tone or pitch. 
 
 Baisser le rideau (Fr.) (bas-sa liih re- 
 do.; To drop the curtain. 
 
 Balalaika (Rus.) (ba-la.-/a-ka.) A rude 
 instrument of the Russians, with three 
 strings. 
 
 Balgetreter (Ger.) (*^/-ghe-tret-er.) Or- 
 gan blower or bdlows treader in old 
 German organs. 
 
 Balgzug (Ger.) (*a/^-tsoog.) In an or- 
 gan; the, bellows stop. 
 
 Balance (Fr.) (ba-lanh-j(f.) A step or 
 figure in dancing. 
 . Balancement (Fr.) (bal-aw/ij-manh.) 
 Quivering motion ; a tremolo. 
 
 Balcken (Ger.) (3a7-k'n.) The bass bar 
 placed under the fourth string of a 
 violin. 
 
 Baldam^nte (It.) (bal-da->«^K-te.) 
 Boldly. 
 
 Balddnza (It.) (bal-<fif«-tsa,) ) Audacity, 
 Baldfoza (It.) (bal-</^/-sa.) S boldness. 
 Balkan (Ger.) (i5(f/-k'n.) See Balcken. 
 
 Balldbile (It.) (bal-/a-bee-le.) In the 
 style of a dance. 
 
 Ballad. A short, simple song of natural 
 construction, usually in the narrative 
 or descriptive form. It formerly had 
 a wider signification and was applied to 
 .music set to romance or historical 
 poem, and also to a light kind of music 
 used both in singing and dancing. The 
 word " Ballad " means, now, any unva- 
 ried simple song, each verse being sung 
 to the same melody, or any song which 
 is narrative in character. Loewe's bal- 
 
 lads illustrate the latter class. See 
 Chappell's " National English Airs," 
 " Old English Ditties," etc. 
 
 Ballade (Ger.) (bal-/a- j a dance ; danc- 
 
 ing ; also a 
 Ballad. 
 
 (bal-/ai/'«. dikh- 
 (bal-ZoV^K-sang- 
 
 di.) 
 BaIIdta(It;)(bal-la-ta.) ' 
 Balladendicliter (Ger.) 
 
 ter.) A ballad writer. 
 
 Balladensanger (Ger.) 
 er.) A ballad singer. 
 
 Ballad opera. Light opera; an opera 
 in which ballads and dances pre- 
 dominate. 
 
 Balladry. The subject or style of bal- 
 lads. 
 
 Balldre (It.) (ba-la-re.) To dance. 
 Ballat^lla (It.) (bal-la-^«/-la.) ) A short 
 Ballat^tta (It.) (bal-la-^^if-ta.) ) Ballata. 
 Banat6re (It.) (bal-la-^o^re.) A dancer; 
 a male dancer. 
 
 Ballatrice (It.) (bal-la /»'^«-tshe.) A fe- 
 male dancer. 
 
 Ballamatia (It.) (bal-le »«a- j Songs or 
 'e ^ ) > melodies 
 
 Ballistia (It.) (bal-/«-te-a.) ) in the 
 dance style. 
 
 Ballerina (It.) (bal-le-r^^-na.) A danc- 
 ing mistress ; a female dancer. 
 
 Ballerino (It.) (bal-le-?-^«-n5.) A danc- 
 ing master ; a male dancer. 
 
 Ballet (Fr.) (ba-la.) i A theatrical 
 
 BalMto (It.) (bal-//^t6.) ) representa- 
 tation of some story by means of dances 
 or pantomimic action, accompanied 
 with music. In the sixteenth century 
 the term ballet, ballad, or ballette was 
 applied to a light kind of music which 
 was both sung and danced. A madri- 
 gahan part-song with a " Fa-la " chorus. 
 
 Ballet Master. The person who super- 
 intends the rehearsals of the ballet, 
 and who frequently invents the plot 
 and its details. 
 
 Ballette. A ballet. 
 Balletti (I.) (bal-Za/^-te.) Dance airs. 
 Bdlli (It. pi.) (^o/-le.) Dances. 
 BAUi Ingl^si (It. pi.) (W/-le en-gla-ze.) 
 English country dances. 
 
 Bdlli Ungar^si (It. pi.) (*o7-le oon-ga- 
 T-J-ze.) Hungarian dances in | time, 
 generally syncopated, or accented on 
 the weak part of the bar. 
 
 as in tone ; d as in dove ; 8 as in not ; ii as in up ; ii the French sound of a. 
 
 29 
 
BALLO 
 
 BARITOKE 
 
 An Ital- 
 
 To 
 
 per- 
 
 The 
 
 Billo (It.) {bdl-\6.) A dance or dance 
 tune. 
 
 Ball6nchio (It.) (bal-Zra-ke-o.) 
 ian country dance. 
 
 Ballonz&re (It.) (bal-lon-tsa-re.) 
 dance furiously. 
 
 Band. A number of 'instrumental 
 formers playing together. 
 
 Band (Ger.) (Bahnd.) A volume. 
 
 Banda (It.) (*<i'«-da.) A band, 
 brass band of an opera orchestra. 
 
 Band, brass. A band where only brass 
 instruments are played. 
 
 Band, full. Where all the instruments 
 proper to a band are employed. 
 
 Band, marine. A band located in a gar- 
 rison or employed on ships of war. 
 
 Band master. The leader or conductor 
 of a band, generally military. 
 
 Bandola (Spa.) (ban-rfo-la.) An instru- 
 ment resembling a lute. 
 
 Band6ra (It.) (ban-ar»-ra.) i ^-^ ancient 
 
 Band6re (It.) (ban-(/o-re.) j stringed in- 
 strument of the lute or zither species. 
 
 Band, reed. A band with only reed 
 instruments. 
 
 Band, regimental. A band belonging to 
 a regiment ; a military band. 
 
 Band, string. A band with only stringed 
 instruments; the stringed instruments 
 of the regular orchestra. 
 
 Bandurrla (Spa.) (\i3.n-door-ye-i..) A 
 species of Spanish guitar; a, Bandira. 
 
 Banjo. A species of primitive guitar 
 with a parchment sounding-board. 
 The banjo is generally strung with five 
 strings, so arranged that they may be 
 stopped in the ordinary way, together 
 with an octave string which is never 
 stopped. The tuning, which may be 
 in any key, is generally as follows : — 
 
 I 
 
 %- 
 
 =F= 
 
 Octave string. 
 
 The tuning varies, however, and also 
 the number of strings. 
 
 Bankelsanger (Ger.) (ban-k'l-sang-er.) 
 A ballad singer. 
 
 Bar. Lines drawn perpendicularly across 
 the staff to divide it into measures ; 
 the term is also applied to each of these 
 measures by European usage. The 
 
 aasinrt/;/ a.'ss'w'i hate ; a.2&\\\at; eas'm(ree; easinek; I2,sm pine ; iasin//» 
 
 3° 
 
 word " bar " is often applied to measure 
 
 by musicians. The bar came into use 
 
 in music after i5oo. 
 Barbiton (Gr.) (^air-bi-ton.) A name 
 
 formerly applied to the lyre. 
 Barbitos (Lat.) (Mr-bi-tos.) An ancient 
 
 instrument of the lyre species. 
 
 Barcardla (It.) (bar-ka-ro-la.) ) A song 
 
 Barcarolle (Fr.) (bar-ka-ro/.) i orair sung 
 by the Venetian gondolilrs, or boatmen, 
 while following their avocations ; it is 
 generally in | time. 
 
 Barcaruola (It.) (iar-ka-roo-o-la.) The 
 song of the gondolier. 
 
 Bard. A poet and singer among the 
 ancient Celts. The bard was a person 
 of great importance and received great 
 attention from high and low. 
 
 Bardo (It.) (bar-io.') A bard among the 
 ancient Celts. 
 
 Bard6ne (It.) (bar-o'J-ne.) See Bourdon. 
 
 Bar, dotted double. A double bar with 
 dots preceding it, shows that the music 
 before it is to be repeated ; the dots 
 after the double bar show that the fol- 
 lowing music is to be repeated. Dots 
 each side of the double bar show that 
 both the preceding and following music 
 are to be repeated. 
 
 Bar, double. Heavy lines drawn across 
 the staff to divide off different parts of 
 the movement or show the end of the 
 piece. 
 
 Bardus (Cel.) (iSoV-dus.) A singer. 
 
 Bari. An abbreviation of Baritone. 
 
 Bari-basso. A deep baritone voice. 
 
 Barlolage (Fr.) (bar-i-o-lazh.) A passage 
 for the violin, etc., in which the open 
 strings are more especially used ; a Ca- 
 denza ; a Medley. 
 
 Baripicni (Gr.) (ba-ri-/^i-ne.) A term 
 applied by the ancient Greeks to low 
 tones in general. 
 
 Baripicni suoni (It.) (ba-re-/^.^-ne jzs/J-ne.) 
 Fixed sounds. 
 
 The deeper sort of tenor 
 
 Bari-tenor. 
 voice. 
 
 Bariton-clef. The F clef, placed upon 
 the third line ; now obsolete. 
 
 Bariton (Fr.) (\ii.-xi-tSnh.) ~\ ^ m^le 
 Baritone (It.) (bar-re-/o-no.) > voice in- 
 Baritone. ) termediate 
 
BARITONO 
 
 BASSET HORN 
 
 in respect to pitch between the bass 
 and tenor, the com- if: 
 
 pass usually extending 
 from: 
 
 ;^s^ 
 
 'Bari- 
 
 the Euphonium is also called 
 
 tone." 
 Baritono (It.) (ba-ie-/»-no.) Baritone. 
 Bar6cco (It.) (ba-ro^-ko.) i a term ap- 
 Baroque (Fr.) (ba-roi.) J plied to music 
 
 in which the harmony is confused and 
 
 abounding in unnatural modulations; 
 
 eccentric ; bizarre. 
 Barpfeife (Ger.) {iSr-pR-ie.) Bear pipe ; 
 
 an obsolete reed stop of soft intonation. 
 Barquarde (Fr.) (bar-ztaW.) An obsolete 
 
 term for barcarolle. 
 Barrage (Fr.) (bar-ra>/5.) See BarrS. 
 Barre (Fr.) (bar.) A bar, in music. 
 Barr£ (Fr.) (bar-ra.) In guitar playing, 
 
 a temporary nut formed by placing the 
 
 forefinger of the left hand across some 
 
 of the strings. 
 Barre de luth (Fr.) (bar duh lut.) The 
 
 bridge of the lute. 
 Barre de mesure (Fr.) (bar duh me-ziir.) 
 
 A bar-line. 
 Barre de r^p^tition (Fr.) (bar diih ra-pa- 
 
 te-si-6nh.) A dotted double bar ; also 
 
 a thick line used as an abbreviation to 
 
 mark the repetition of a group of notes. 
 Barrel. The body of a bell. 
 
 Barrel chime. The cyhndrical portion 
 of the mechanism sometimes used for 
 the purpose of ringing a chime of bells. 
 
 Barrel organ. An organ, the tones of 
 which are produced by the revolution 
 of a cylinder. The tunes are produced 
 by an arrangement of pins and staples 
 with which the cylinder is studded. 
 See Orchestrion. 
 
 Barrer. The act of employing the fore- 
 finger of the left hand as a nut in 
 guitar playing. 
 
 Barrer, great. The act of pressing all 
 the strings of the guitar at the same 
 time, with the forefinger of the left 
 hand. 
 
 Barrer, small. The act of pressing two 
 or three strings of a guitar with the 
 forefinger of the left hand. 
 
 Barrure (Fr.) (bar-^-aV.) The bar of a 
 lute, etc. 
 
 6 as in tone ; 6 as in 
 
 Baryton (Fr.) Oaa-ri-tlink.) A kind of 
 
 bass viol, now obsolete. A euphonium. 
 Barytone. See Baritone. 
 Bas (Fr.) (bah.) Low. 
 Bas dessu? (Fr.) (bah das-sii.) A mezzo 
 
 soprano. 
 Base. I The lowest or deepest male 
 Bass. ) voice ; the lowest part in a musi- 
 cal composition. See Voice. 
 Basilica (It.) (ba-x*/-e-ka.) A cathedral. 
 Bdssa (It.) (Wj-sa.) Low, deep ; 8va 
 
 bassa ; play the notes an octave lower. 
 Bass Alherti. A bass formed by taking 
 
 the notes of chords in arpeggios. 
 Biissa, ottdva (It.) {bds-sa. ot-^di-va.) 
 
 Play the passage an octave lower than 
 
 written. 
 Bass beam. The small beam inside the 
 
 viol, nearly under the bass string. 
 Bass clef. The base or F clef, placed 
 
 upon the fourth line. See Clefs. 
 Bass, continued. Bass continued through 
 
 the whole piece; the figured bass. 
 
 Basso continuo. 
 
 cornet. An ancient instrument 
 consisting of a tube four or five feet 
 long, of conical shape. 
 
 double. The double bass viol; 
 the contra bass. 
 
 Bass drone. The monotonous bass pro- 
 duced by the large tube of the bagpipe. 
 
 Basse (Fr.) (bass.) The bass part. 
 
 Basse chantante (Fr ) (bass shanh-tanht.) 
 Vocal bass ; a baritone voice of bass 
 quality. 
 
 Basse chifEree (Fr.) (bass shef-fra.) A 
 figured bass. 
 
 Basse continue (Fr.) (bass konh-ten-ii.) 
 Thorough bass. 
 
 Basse centre (Fr.) (bass kontr.) Bass 
 counter; double ba.ss; also, the deep 
 bass voice called by the Italians bdsso 
 profSndo. 
 
 Basse flguree (Fr.) (bass fe-gu-ra.) The 
 figured bass. 
 
 Basse fondamentale (Fr.) (bass fonh-da- 
 manh-tal.) The fundamental bass. 
 
 Basse taille (Fr.) (bass ta-yuh.) Bari- 
 tone voice of bass quality. 
 
 Basset horn. (It. Corno di Bassetto.) 
 A transposing instrument of the clarinet 
 order, of a beautiful, soft,, and rich 
 
 8 as in not; S as in up : ii the French sound of u. 
 
 3' 
 
BASSlfeTTO 
 
 BASSOON 
 
 quality. In form like a long clarinet, 
 with a curved and bell-shaped metal 
 end. The compass is as follows ; 
 
 M^ 
 
 i 
 
 It sounds a fifth deeper than written. 
 Mozart used it prominently. 
 
 Bass6tto (It.) (has-sei-t5.) The little 
 bass ; also, an obsolete instrument with 
 four strings ; also, a. 4-foot reed organ 
 stop of bright tone. 
 
 Bass, figured. A bass figured, or ac- 
 companied by numerals, denoting the 
 harmony to be played by the other 
 parts of the composition. 
 
 Bass, first. High bass. 
 
 Bass-fliite (Ger.) (bass fl&-te.) 1 An old 
 
 Bass-flute. J instru- 
 
 ment of the bassoon species ; also, the 
 name of an organ stop of 8-foot tone. 
 
 Bass, fundamental. The bass which 
 contains the roots of the chords only. 
 
 Bass-geige (Ger.) {6ass ghi-ghe.) Bass- 
 viol ; the contra-basso. 
 
 Bass, given. A bass to which harmony 
 is to be placed. 
 
 Bass, ground. A bass consisting of a 
 few notes or bars containing a subject 
 of its own, repeated throughout the 
 movement, and each time accompanied 
 by a new or varied melody. 
 
 Bass, high. A baritone ; a voice midway 
 between bass and tenor. 
 
 Bass horn. An instrument resembling 
 the serpent, formerly much used in 
 bands; it was of wood, with a brass 
 bell 
 
 Bassist (Ger.) (bas-«>.) 1 ., 
 
 T> ■ i /T / ,-, ■■ ...,!• A bass smger. 
 
 Bassista (It.) (bas-sis-ta.) ) ^ 
 
 Bass low. Second bass. 
 
 Basso (It.) (ias-so.) The bass part ; the 
 
 contra-bass ; an 8-foot organ stop. 
 Bisso, buffo (It.) (ids-so iaaf-io.) A 
 
 humorous bass ; a musical comedian 
 
 of bass register. 
 
 Bisso cantinte (It.) (ias-so 'ka.n-ian-te ) 
 
 A baritone of bass quality ; a vocal 
 
 bass. 
 Bdsso COmico (It.) {ias-so ko-me-ko.) A 
 
 comic bass singer in an opera. 
 Bisso concert4nte (It.) (iSs so kon-tsher 
 
 ^a«-te.) The principal bass ; also, the 
 
 lighter and more delicate parts per- 
 formed by the violoncello or bassoon. 
 
 BSsso continue (It.) {ias-so kon-ie- 
 noo-o.) The continued bass ; a bass 
 that is figured to indicate the harmony. 
 
 Bdsso contra (It.) {ids-so kdn-tr'i.) A 
 double bass viol; the lowest part of 
 a musical composition. 
 
 Bdsso d'accompagnamento (It.) {ias- 
 so d'ak-kom-pan-ya-»z^»-to.) An ac- 
 companying bass. 
 
 Bdsso flgurato (It.) {ids-so fe-goo-rd- 
 t5.) The figured bass. 
 
 BAssO fondamentdle (It.) {ids-so fon-da- 
 men-/a-le.) The fundamental bass. 
 
 Bilsso numerito (It.) {ids-so noo-me-rd- 
 to.) Figured bass. 
 
 Bdsso ostindto (It.) {ids-so os-te-nd-to.) 
 A ground bass ; a single bass figure 
 constantly repeated. 
 
 Basso primo (It.) {ids-so f re-mo.) The 
 first bass. 
 
 Basso recitante (It.) {ids-so ra-tshe-idn- 
 te.) Bass of the small chorus. 
 
 Bdsso ripifeo (It.) (ids-so re-pe-d-no.) 
 A bass part only intended to be played 
 in the full or tutti passages. 
 
 Bdsso secondo (It.) (ids-so se-ion-do.) 
 
 The second bass. 
 Bdsso tenuto (It.) (ids-so te-noe-to.) 
 
 Continued bass. 
 
 Bdsso violino (It.) (ids-so ve-b-lee-no.) 
 A small bass viol. 
 
 Bass F Schiissel (Ger.) (bass, or F 
 skUls-s'l.) The bass, or F clef. 
 
 Basson (Fr.) (has-sSnh.) Bassoon. 
 
 Bassoon (Ger. Fagott, It. Faggotto^ A 
 double reed wind-instrument of deep 
 pitch, with a compass of about 
 three octaves from low B flat. It is of 
 
 ;^= 
 
 f 
 
 u- 
 
 the oboe family, but has not the pas- 
 toral character of the oboe. The 
 bassoon ordinarily forms the bass or 
 deepest tone among wood wind-instru- 
 ments, and is capable of excellent 
 independent effects. It is often used 
 for comical or grotesque effects as, 
 for example, in Beethoven's " Pastoral 
 Symphony," and in the overture to 
 " Midsummer Night's Dream," by 
 
 a as in a.? y a as in hate / a as in a/ / e as in tree ; ^2&va.eh ; T as in pine ; 1 as in pin ; 
 
 32 
 
BASSOOmST 
 
 BAXTRE LA MESURE 
 
 Mendelssohn. It is customary to write 
 for the Bassoon in the fiass clef, and 
 as the instrument is usually employed 
 in pairs, one stave serves for the two 
 parts. The tenor clef is often employed 
 for the higher notes of the register of 
 the Bassoon. 
 
 Bassoonist. A performer on the bas- 
 soon. 
 
 Basson quinte (Fr.) (iaj-sonh kanht.) 
 A small bassoon, of the same written 
 compass as the ordinary bassoon, but 
 the tones are a fifth higher. 
 
 Bassoon stop. A reed stop in the organ 
 which imitates the tones of the bas- 
 soon. 
 
 Bass-pfeife (Ger.) {idss pfi-fe.) Bass- 
 pipe. 
 
 Bass prsaune (Ger.) (bass po-zou-ne.) 
 Bass trombone. 
 
 Bass, radical. The fundamental bass. 
 
 Bass-saite (Ger.) (bass si-te.) Bass 
 string. 
 
 Bass-schlussel (Ger.) (bass shliis-s'l.) 
 The bass clef. 
 
 Bass staff. The staff marked with the 
 bass clef. 
 
 Bass-stimme (Ger.) (bass stim-me.) 
 Bass voice ; bass part. 
 
 Bass string. The string of any instru- 
 ment upon which the lowest note is 
 sounded. 
 
 Bass, sub. The lowest notes of an 
 organ ; the ground bass. 
 
 Bass, thorough. The art of writing out 
 harmony for different parts or voices 
 through the bass alone, it being the 
 only part given. It is a species of 
 musical short-hand which was much 
 employed in the i8th century when it 
 was often customary to write only the 
 bass notes of the accompaniment of a 
 song or recitative ; it is thus found in 
 some editions of Bach's "Passion 
 Music." To-day it is chiefly used for 
 the study of chord progressions in 
 musical theory. 
 
 Bass trombone. A trombone having a 
 compass from the great C to the one 
 lined e, and noted in the bass clef. 
 See Trombone, 
 
 Bass tuba (Lat.) (bass tu-ba.) A brass 
 instrument ; a deep Saxhorn. It has 
 the following compass : 
 
 w 
 
 ^ 
 
 Bass viol. An old name for the viol da 
 gamba, now often given to the violon- 
 cello. 
 
 Bass viol, double. The contra-bass. 
 
 Bass voice. The lowest or deepest of 
 male voices. See Voice. 
 
 Bass-zeichen (Ger.) (bas tsi-k'n.) The 
 bass clef. 
 
 BAsta (It.) {bds-\:&.) 
 
 Enough, 
 
 Bastdnte (It.) (bas-/aK-te.) j sufficient ; 
 
 proceed no further unless directed by 
 
 the conductor. 
 Bat6cchio (It.) (bat-/o/E-ke-6.) -i The 
 BattdgliO (It.) (bat-^a7-ye-6.) \ tongue 
 Battant (Fr.) (bat-<aK/4.) J of a bell. 
 
 Baton (Fr.) (Bahtong.) A conductor's 
 
 stick. 
 
 Battement (Fr.) QaiX-mUnh.') 
 Battim^ntO (It.) (bat-te-OT^«-to.) ) orna- 
 
 ment in singing, 
 cadence ; 
 
 ) 1 An 
 
 ■i-to.) ) orna- 
 the opposite of a 
 
 j=^^ 
 
 f 
 
 it=t 
 
 m 
 
 is called a cadence, whereas the follow- 
 ing is a battement. 
 
 Bittere (It.) (bat-/a-re.) The down 
 stroke in beating time. 
 
 Bdttere a ricolta (It.) (bat-ZJ'-re a re- 
 ^o/-ta.) To beat a retreat. 
 
 Batterie (Fr.) (bat-tre.) The roll of the 
 drum ; also, a particular way of play- 
 ing the guitar by striking the strings 
 instead of pulling them ; broken-chord 
 figures; the drums, cymbals, etc., of 
 an orchestra. 
 
 Battitiira (It.) (bat-te-/c(;-ra.) The act 
 of beating time. 
 
 Battre (Fr.) (battr.) To beat. 
 Battre la Caisse (Fr.) (batrla kass.) \ 
 Battre le tambour (Fr.) (batr luh \ 
 
 tamboor. ) l 
 
 To beat the drums. 
 
 Battre la mesure (Fr.) (batr la ma- 
 siir.) To beat time ; to mark the time 
 
 5 as in tone ; 6 as in dove ; 8 as in not ; fi as in up ; ii the French sound of u. 
 
 33 
 
BATTfSTA 
 
 BEL CANTO 
 
 by beating with the hand or with a 
 stick. 
 
 Battista (It.) (bat-tes-ta.) Time or 
 measure ; the accented part of a bar. 
 
 Battuta (It.) {Ba.-ioa-tah.) A beat; 
 a measure or bar ; A Battuta, in strict 
 time. 
 
 Bau (Ger.) (bou.) The structure, the 
 fabric, the construction of musical in- 
 struments. 
 
 Bauerisch (Ger.) (i^y-er-ish.) Rustic; 
 coarse. 
 
 Banernfliite (Ger.) (^(;«-ern-flat-e.) Rus- 
 tic flute ; a stopped register in an or- 
 gan. 
 
 Bauernlied (Ger.) (io«-ern-led.) A 
 peasant's baJlad. 
 
 Baxoncillo (Spa.) An organ stop like an 
 open diapason. 
 
 B. C. Basso continuo. 
 
 B cancellatum (Lat.) The cancelled 
 B. The note Bb as altered by means 
 of a 11 or I in old music. Up to 
 the middle of the eighteenth century 
 the t, when following a flat, frequently 
 had the same meaning as the it as now 
 used. 
 
 B an- (Ger.) (Ba door.) The key of 
 B flat major. 
 
 B durum (Lat.) (B (/a-riim.) B hard or 
 B major. See Flat. 
 
 Bearbeitet (Ger.) (be-aV-bl-tet.) Ar- 
 ranged; adapted. 
 
 Bearbeitung (Ger.) (be-aV-bi-toong.) 
 Adaptation. 
 
 Bearing notes. In tuning instruments 
 those erroneous or falsely-tempered 
 fifths on which " the wolf " is said to 
 bs thrown. 
 
 Beat. The rise or fall of the hand or 
 b&ton in marking the divisions of time 
 in music ; an important musical em- 
 bellishment, consisting of the principal 
 note and the note below it, resembling 
 a short trill ; a throbbing which is heard 
 when two tones are slightly out of 
 unison. 
 
 Beat, down. The falling of the hand in 
 beating time. 
 
 Beating time. Marking the division of 
 the bar by means of the hand, foot, or 
 biton. 
 
 Beat, up. The elevation of the hand in 
 beating time. 
 
 Beben (Ger.) (i<iy-b'n.) To tremble; 
 to shake ; to vibrate. 
 
 Bebende stimme (Ger.) (*(f-ben-de 
 j/iiw-me.) A trembling voice. 
 
 Bebung (Ger.) (bay -\ioovi%.) A shak- 
 ing ; a vibration ; a German organ 
 stop ; a tremulous tone produced upon 
 the clavichord by varying the pressure 
 of the finger upon the key. 
 
 Bee (Fr.) (bek.) The mouth-piece of a 
 clarinet. 
 
 B^carre (Fr.) (ba-kar.) The mark called 
 a natural (fl). 
 
 B^CCO (It.) (be-ko.) The mouth-piece 
 of a clarinet, flageolet, etc. 
 
 Becken (Ger.) (bek'n.) Cymbals. 
 
 Beckenchlager (Ger.) (^/i'»-shlag-er.) 
 A cymbal player. 
 
 Bedon (Fr.) (be-rf#»,4.) An old name 
 for a tabret, or drum. 
 
 Be (Ger.) (ba.) Flat, b flat. 
 
 Beffroi (Fr.) (oU-frwa.) The frame 
 
 that supports the bell in a belfry; a 
 
 belfry. 
 
 Begeisterung (Ger.) (be-^/^ij-te-roong.) 
 
 Inspiration, animation, enthusiasm. 
 Begl. An abbreviation of begleitung. 
 
 Begleiten (Ger.) (be-^/f-t'n.) To ac- 
 company. 
 
 Begleitende stimmen (Ger. pi.) (be-^/f- 
 ten-de stim-raen.') The accompanying 
 parts. 
 
 Begleiter (Ger.) (be-^/f-ter.) An accom- 
 panist. 
 
 Begleitung (Ger.) (be-^/f-toong.) An 
 accompaniment. 
 
 Beharrlich (Ger.) (be/iaV-lIkh.) Per- 
 se veringly. 
 
 Beherzt (Ger.) (b'^-hartst.) Courage- 
 ous. 
 
 Beinahe (Ger.) (bl-Ka-e.) Almost. 
 
 Beisp. An abbreviation of beispiel. 
 
 Beispiel (Ger.) (&--spel.) Example. 
 
 Beitone (Ger.) (i5f-ta-ne.) Accessory 
 tones. 
 
 Beizeichen (Ger.) (^f-tsi-kh'n.) An ac- 
 cidental. 
 
 Bel Canto (It.) (bell-,5a,5«-to.) Liter- 
 ally, "beautiful song." In one sense 
 / a as in hate; a as ina/y ^^s'-mtree ; h asm eh; i as in pine; ias in pin; 
 34 
 
BELFRY 
 
 BENEDICTUS 
 
 it can be applied to all good singing, 
 but, practically, it means a tender, 
 pure, and sympathetic legato, the op- 
 posite of bravura singing. 
 
 Belfry. A tower in which a bell or bells 
 are hung. 
 
 Belieben (Ger.) (be-ie-h'n.) Pleasure; 
 at pleasure. 
 
 Beliebig (Ger.) (be-/i?if-big.) At one's 
 liking, or pleasure. 
 
 Bfliere (Fr.) {ha.-\i-dr.) The tongue of 
 a bell. 
 
 Bell. I. A vessel or hollow body of cast 
 metal, used for making sounds. It 
 consists of a barrel or hollow body en- 
 larged or expanded at one end, an ear 
 or cannon by which it is hung to a 
 beam, and a clapper inside. 2. A hol- 
 low body of metal perforated, and con- 
 taining a solid ball to give sounds when 
 shaken. 3. The wide circular opening 
 at the end of a trumpet, horn, and 
 similar instruments. 
 
 BeI16zza (It.) (bel-/a/-sa.) Beauty of 
 tone and expression. 
 
 BelMzza della v6ce (It.) (bel-to-sa del- 
 la w-tshe.) Beauty or sweetness of 
 voice. 
 
 Bell gamba. A gamba stop in an organ ; 
 the top of each pipe spreading out like 
 a bell. 
 
 Bell Harp. i. An old instrument, prob- 
 ably the lyra or cithera of the Ancients. 
 2. A stringed instrument, so named 
 from its being swung like a bell when 
 played. 
 
 Bellicosamente (It.) (bel-le-k5- j In a 
 za men-i.€.) > mar- 
 
 Bellic6so (It.) (bel-le-/5«-zo.) ) 'ial 
 
 and warlike style. 
 
 Bellicum (Lat.) (bel-W-knm.) The sound 
 of a trumpet calling to battle. 
 
 Bell, Mass. A small bell used in the 
 Roman Catholic service to call atten- 
 tion to the more solemn parts of the 
 Mass. 
 
 Bell metronome. A metronome vpith a 
 small bell that strikes at the beginning 
 of each bar. See Metronome. 
 
 Bellows. A pneumatic appendage for 
 supplying organ pipes with air. 
 
 Bellows, exhaust. A kind of bellows 
 used on organs and other reed instru- 
 ments ; the air, when the chamber is 
 
 exhausted, being drawn in through the 
 reeds. 
 
 Bellows, panting. A style of bellows 
 designed to prevent all jerkings, and 
 to produce a regular flow of wind in 
 the pipes of an organ. 
 
 Bell-ringers. Performers who, with bells 
 of different sizes, ranging from smallest 
 to largest, are able to produce pleasing 
 music. 
 
 Bells. Bells both small and large are 
 frequently used in orchestral works. 
 The small chime of bells is called 
 Glockenspiel (which see). Large 
 bells have been used by Meyerbeer, 
 " H uguenots " ; W agner, " Parsifal " ; 
 Tschaikowsky, "1812 Overture," etc. 
 See Prout's •' The Orchestra," and A. 
 Elson's " Orchestral Instruments and 
 Their Use." 
 
 Bell sacring. A small bell used in the 
 Roman Catholic Church. See Bell, 
 Mass. 
 
 Bell scale. A diapason with which bell 
 founders measure the size, thickness, 
 weight, and tone of their bells. 
 
 Bell, vesper. The sounding of a bell 
 about sunset, in Roman Catholic coun- 
 tries, calling the people to vespers, the 
 evening service of the church. 
 
 Belly. The sound-board of an instru- 
 ment; that part over which the strings 
 are distended. 
 
 Bemerkbar (Ger.) (\x-mairk-\>a.x^ Ob- 
 servable, marked ; to be played in a 
 prominent manner. 
 
 B^mol (Fr.) (be-mol.) ) The mark 
 
 Bem611e (It.) (be-mJZ-le.) ) called a 
 flat (b). 
 
 Bemol, double. B double flat. 
 
 Bemolis^e (Fr.) (be-mo-li-za.) A note 
 preceded by a flat. 
 
 Bemoliser (Fr.) (be-mo-li-2^.) ) To flat- 
 
 BemoUizzare (It.) (ba-mo7-let- ) ten 
 jo-re.) notes; to lower the pitch by 
 putting a flat before them. 
 
 B^n (It.) (ban.) ) ^ 
 B^ne (It.) W-ne.) ) 
 
 Benedicite (Lat.) (ben-e-(S-si-te.) A 
 canticle used at morning prayer, in the 
 church, after the first lesson. 
 
 Benedictus (Lat.) (ben-e-o'tt tus.) One 
 of the movements in a Mass. 
 
 5 as in tone ; d as in dove ; S as in not; ii as in up; ii the French sound of ». 
 
 35 
 
b6ne placito 
 
 BINARY 
 
 B6ae placito (It.)(*^-ne//a-tshe-t6.) At 
 will ; at pleasure ; at liberty to retard 
 the time and ornament the passage. 
 
 Ben marcito (It.) (ben mar-id-to.) 
 
 J 
 
 Ben^ marcito (It.) (ba-ne laax-M-to 
 
 Well marked in a distinct and strongly 
 
 accented manner. 
 Ben marcato 11 cdnto (It.) (ben mar-ia- 
 
 to el kdn-to.) Accent the melody 
 
 strongly. 
 Ben moderito (It.) (ban mod-e-ra-to.) 
 
 Very moderate time. 
 Ben pronunciato (It.) (ban pro-noon- 
 
 tshe a-to. 
 Ben pronunziato (It.) (ban pro-noon- 
 
 tse ii -to.) Pronounted clearly and 1 
 
 distinctly. J 
 
 Ben tenuto (It.) (ban te-noo-t5.) Held 
 
 on ; fully sustained. 
 Be quadro (It.) (bay ^«a-dro.) l The mark 
 B6quarr6 (Fr.) (bay-ioy-ra.) ) called a 
 
 natural (S). 
 Bequem (Ger.) (he-guavi.) Convenient. 
 Berceuse (Fr.) (hai-sdj/s.) A cradle song ; 
 
 a lullaby. 
 
 Bergamdsca (It.) (ber-ga-mas-ka.) A 
 kind of rustic dance. 
 
 Bergeret (ber-je-?-!?.) An old term sig- 
 nifying a rustic song or dance. 
 
 Bergomask. A rustic dance. See Ber- 
 gamdsca. Used in Shakespeare's 
 " Midsummer Night's Dream." 
 
 Bergreigen (Ger.) (^/r^-ri-ghen.) Alpine 
 melody. 
 
 Berlingozza (It.) (ber-len-^ijir-sa.) A 
 country dance. 
 
 Berloque (Fr.) (ber-/Ji.) In military ser- 
 vice the drum calling to meals. 
 
 Bes (Ger.) (bes.) The note B double 
 fiat, Bbb, also called Doppel B, or bb. 
 
 Besaiten (Ger.) (be-«-t'n.) To string 
 an instrument. 
 
 Bsschleunigend (Ger.) (be-skloi-ne- 
 gend.) Hastening. 
 
 Beschreibung (Ger.) (be-j-/4rf-boong.) 
 A description. 
 
 Befiedern (Ger.) (be-/l-dern.) To quill 
 a harpsichord. 
 
 Besingen (Ger.) (be-«"«^-en.) To sing ; 
 to celebrate in song. 
 
 Bestimmt (Ger.) (bes-ttmt.) Distinct. 
 
 Bestimmtheit (Ger.) Qoes-iimt-'tiit.) 
 With decision ; certainty. 
 
 Betglocke (Ger.) {bait-%\6\i.-e.) Prayer 
 bell. 
 
 Betdnend (Ger.) (be-ifo-nend.) ) Accen- 
 
 Betont (Ger.) {hi-tont.) ) ted. 
 
 Bet6nung (Ger.) (be-^o-noong.) Accen- 
 tuation. 
 
 Betriibniss (Ger.) (he-trUb-ms&.) Grief, 
 sadness. 
 
 Betriibt (Ger.) {ht-irUbt.) Afflicted, 
 grieved. 
 
 Bewegung (Ger.) (be-w^-goong.) Mo- 
 tion, movement. 
 
 Beweglich (Ger.) (be-wJ-glikh.) Mov- 
 able. 
 
 Bewegt (Ger.) (be-vdgi.) Moved ; rather 
 fast. 
 
 Beyspiel (Ger.) (^«-spel.) An example. 
 See Beispiel. 
 
 Bezeichnung fGer.) (be-/jf/J.4-noong.) 
 Mark, accentuation. 
 
 Bezifferte bass (Ger.) (ber-^jz^^'-fer-te 
 bass.) The figured bass. 
 
 B flat. The flat seventh of the key of 
 C. 
 
 Bhdt. (bat.) The Hindoo name for a 
 bard. 
 
 Bianca (It.) (be-a«-ka.) A minim F^^3 
 or half note, from the word Fp— "i 
 " white." 
 
 Bichord (Lat.) (i^-kord.) A term ap- 
 plied to instruments that have two 
 strings to each note. 
 
 Bichordon (Lat.) (bi-yJi^r-don.) An in- 
 strument with only two strings. 
 
 Bicinium (Lat.) (bi-ri'«-i-um.) A com- 
 position in two parts ; a duet, or two 
 part song. 
 
 Bifara (Lat;^ Cbi/or-a.) An organ stop 
 each pipe having two mouths, causing 
 gentle waves or undulations. 
 
 Bimdlle (It.) fbem-z«o/-le.) The mark 
 
 called a flat (|j). 
 B in alt (It.) (be in alt.) The ^_^_;^ 
 
 third 
 tave. 
 
 note in the alt oc- 
 
 B in altissimo (It.) (be in al-;^.f-se mo.) 
 The octave above B in alt. 
 
 Binary. Two-fold. Binary form, — a 
 form of two divisions, periods, or sec- 
 tions. 
 
 a as in ah; a as in hate; a asino^/ easin tree ; e asinM; las inpine; las'mpin; 
 
 36 
 
BINARY MEASURE 
 
 BOARD, KEY 
 
 Binary measute. Two beats to a meas- 
 ure. 
 
 Bind. A tie uniting two notes on the 
 same degree of tlie staff. See Tie. 
 
 Binde (Ger.) (i«»-de.) A tie or bind. 
 
 Binding notes. Notes held together by 
 the tie or bind. 
 
 Bindung (Ger.) (fo"«-doong.) Connection. 
 Bindungszeichen (Ger.) (Ww-doongs-tsi- 
 Ich'n.) A tie or bind. 
 
 Binotonus (Lat.) (bi-no-^o-niis.) Consis- 
 ting of two notes. 
 
 Biquadro (It.) (be-^aai-dro.) A natural 
 
 (ID- 
 Bird organ. A small organ used in 
 
 teaching birds to sing. 
 Birn (Ger.) (blm.) That part of the clar- 
 inet, basset horn, etc., into which the 
 mouth-piece is inserted ; a socket. 
 Bis (Lat.) (bis.) Twice ; indicating that 
 the passage marked is to be repeated. 
 It is seldom written for a long repeti- 
 tion. It is placed under or over a slur, 
 e-g- ■■ 
 
 ■»-^-»- 
 
 Bis. 
 
 ^^^ 
 
 It is often used to indicate the repeat 
 of words in a song; it is used by the 
 French in the sense of encore in ap- 
 plauding a performance ; it may mean a 
 subdivision of some section or number 
 of a musical work, as i bis, 2 bis, etc. 
 
 Bischero (It.) (iij-kair-oh.) The peg, or 
 pin, with which the strings of an instru- 
 ment are secured. 
 
 Biscroma (It.) (bis-krom-a.) ) A i6th 
 
 Biscrome (Fr.) (bis-krom.) ) "ote, ^ . 
 
 Bisdiapason. The interval of a double 
 octave, or fifteenth. 
 
 Bissez. A kind of guitar with twelve 
 strings (Ger. Zwolfsaiter), invented by 
 Vanhecke in 1770. Of the twelve 
 strings, six w'ere over the finger-board, 
 six below (to resound in sympathy with 
 the others), hence the name twice-six. 
 Its compass was three and a half oc- 
 taves. 
 
 Bitterkeit (Ger.) (^z?-ter-kit.) Bitterness. 
 
 Bizzarram^nte (It.) (bit-sar-ra-»2if«-te.)' 
 
 Oddly ; in a whimsical style. 
 Bizzarrfa (It.) (bit-sar-r«-a.) Written 
 6 as in tone ; 9 as in dove; 8 as in not , 
 
 in a capricious, fantastic style ; sudden, 
 
 unexpected modulations. 
 Bizziro (It.) (bit-joy-ro.) Whimsical, 
 
 odd, fantastical. 
 Blanche (Fr.) (blansh.) A half -note. 
 Blanche points (Fr.) (blansh \ „. - 
 
 pwanh-^if.) A dotted half -note. Ff— — 
 
 Bl$sebalg (Ger.) ((>/a-ze-balg.) The bel- 
 lows of an organ. 
 
 Blasegerath (Ger.) (blii-z^-^e.-rdt.) A 
 wind instrument. 
 
 Blasehorn (Ger.) (i/a-ze-horn.) Bugle 
 horn ; hunter's horn. 
 
 Blase-instrument (Ger.) (bld-ze in-stroo- 
 
 ment.) A wind instrument. 
 Blase-musik (Ger.) ibld-iJi moo-«?/J.) 
 
 Music for wind instruments. 
 Blasen (Ger.) {bld-z'a.) To blow ; to 
 
 sound. 
 
 Blaser (Ger.) {blS-z't.) A blower; an 
 instrument for blowing. 
 
 Blast. The sudden blowing of a trumpet 
 or other instrument of a similar char- 
 acter. 
 
 Blatt (Ger.) (blaht.) A reed of a wind 
 instrument; Doppel-blait, a double reed, 
 
 Blech-instrumente (Ger.)(blekh-in-stroo- 
 
 men-te.) The brass instruments, as 
 
 trumpets, trombones, etc. 
 Blockflote (Ger.) {bidi-&d-te.) An organ 
 
 stop, composed of large scale-pipes, 
 
 the tone of which is full and broad. 
 Blower, organ. One who works the bel 
 
 lows of an organ. 
 Bluette (Fr.) (blu ,?if.) A short, brilliant 
 
 piece. The word means a spark, or a 
 
 flash. 
 
 B-mol (Fr.) (bay-mol.) The character 
 called a iiat Qj). See BJ mol. 
 
 B moU (Ger.) (be mol.) The key of B- 
 flat minor. 
 
 Boans (Lat.) (i5o-ans.) Echoing, re- 
 sounding. 
 
 Board, finger. The key-board of a pi- 
 anoforte, organ, or similar instrument ; 
 that part of a stringed instrument 
 which the fingers press in playing. 
 
 Board, fret. That part of a guitar or 
 similar instrument on which the frets 
 are placed. 
 
 Board, key. The rows of keys of a pi- 
 anoforte, organ, or similar instrument. 
 See Finger board. 
 
 u as in up; ii the French sound of u. 
 
 37 
 
BOARD, SOUND 
 
 BOOK, CHORAL 
 
 Board, sound. In the organ a broad, 
 shallow box, extending almost the 
 whole width of the instrument and di- 
 vided into as many grooves as there 
 are keys, and upon which are placed 
 the rows of pipes forming the stops ; 
 a thin board designed to intensify 
 the vibration of tone in musical in- 
 struments. 
 
 Board, sounding. See Sound board. 
 
 Boat Songs. Gondolier songs. Barca- 
 rolles. 
 
 Bobiation (bo-bi-^-shiin.) \ Solfeg- 
 
 Bocedisation (bo-se-di-j-a-shun.) j gi adap- 
 ted to the syllables of the Flemish or 
 Belgian language. 
 
 Bocal (Fr.) (bo-kal.) ) jhe mouth-piece 
 
 B6ccd (It.) . (bok-Vi..) ) of ahorn, trumpet, 
 trombone, and similar instruments. 
 
 Bocca Chiusa (It.) (Bok-ka ke-w-za.) 
 With closed mouth. Humming. 
 
 B6cca ridente (It.) {bok-Vi. n-den-te.) 
 Smiling mouth. A term in singing, 
 applied to a peculiar opening of the 
 mouth approaching to a smile, believed 
 to be conducive to the producing of a 
 pure tone. 
 
 Bocchino (It.) (bok-,4^-no.) Mouth-piece 
 of a horn or other wind instrument. 
 
 Bociaccia (It.) (bot-tshe-at-tshe-a.) A 
 loud, strong voice. 
 
 Bocciuola (It.) (bot-tshe-co-iJ-a.) A small 
 mouth-piece. 
 
 Bocinilla. A small speaking trumpet. 
 
 Bockpfeife (Ger.) (*^,4-pfi-fe.) A bag- 
 pipe. 
 
 Bockstriller (Ger.) (^^'^j-tril-ler.) A bad 
 trill ; with false intonation. 
 
 Boden (Ger.) (*o-d'n.) The back of a 
 violin, viola, etc. 
 
 Body. The resonance box of a string 
 instrument. That part of a wind in- 
 strument which remains after the re- 
 moval of mouth-piece, crooks, and 
 bell. The tube of an organ-pipe above 
 its mouth. 
 
 Boehm Flute (bohm.) An instrument 
 with the holes arranged in their natural 
 order, and with keys, by means of 
 which the fingers are enabled to act 
 with greater facility. Invented by 
 Boehm. See Flute. 
 
 Bogen (Ger.) (#J-g'n.) The bow of a 
 violin, etc. ; a slur or tie. 
 
 Bogenfiihrung (Ger.) (*^-g'n-fii-roong.) 
 The management of the bow ; the act 
 of bowing, 
 
 Bogen-Instrument (Ger.) (i^J-g'n in-stroo- 
 ment. ) A bow instrument ; an instru- 
 ment played with a bow. 
 
 Bogenstrich (Ger.) (*ff-g'n-stiikh.) A 
 stroke of the bow. 
 
 Bol&o (Spa.) (bo-/if-ro.) A lively Span- 
 ish dance, in \ time, with castanets. 
 It is much like the Andalusian ca- 
 chucha. It is accompanied by casta- 
 nets with a rhythm as follows : 
 
 ^EEB. 
 
 ^==3: 
 
 '^im-m-'i — "^ 
 
 alternat- ___ 
 ing with ESz 
 the mel- - — 
 ody-rhythra ; and the performer as- 
 sumes, in the course of the dance, all 
 the various feelings supposed to be ex- 
 cited by love, from the greatest shy- 
 ness to the highest ecstasy, singing as 
 he dances. 
 
 Bomb&rde ](Fr.) (\ioxCa.-bdrd.) \ A pow- 
 
 Bombdrdo (It.) b6m-^a>--d6.) ) erful 
 reed stop in an organ of 1 6-foot scale; 
 also an old wind instrument of the 
 oboe species. 
 
 Bombardon (Ger.) (^i^wz-bar-don.) A 
 large bass wind instrument of brass, 
 with valves something like the ophi- 
 cleide. The bass of the Saxhorn 
 family. 
 
 ^mbllatus (Lat.) (bom-bi-/a-tiis.) To 
 make a humming noise. 
 
 Bombiz (Gr.) (bgm-hix.) An ancient 
 Greek instrument, formed of a long 
 reed and tube. 
 
 Bon (Fr.) (bong.) Good. 
 
 Bonang (Jav.) (bo ndng.) A Javenese 
 instrument, consisting of a series of 
 gongs placed in two lines on a frame. 
 
 Bones. A name sometimes given to 
 castanets ; castanets made of bone ; 
 also four slips of bone or wood, held 
 between the fingers and rattled to- 
 gether in negro minstrel songs and 
 dances. 
 
 Bon Temps de la mesure TFr.) rbonh 
 tonh d la me-siir.) The accented parts 
 of a measure. 
 
 Book, choral. A collection of choral 
 melodies. 
 
 a as in a^ / a as in /late ; a as in a^ ; e as in tree ; S as in eh ; i as in pine ; i as in pin; 
 
 38 
 
BOOK, MASS 
 
 BOX, MUSIC 
 
 Book, Mass. The Missal, the Roman 
 Uatholic service book. 
 
 Boot. The foot of a reed pipe. 
 
 Boquilla (Spa.) (bo-JiiT-ya.) Mouth- 
 piece of a wind instrument. 
 
 BordOne \lt.) (^bor-do-ne.) ) An or- 
 
 Bourdon (Fr.) (,boor-donh.) ) gan stop, 
 tlie pipes of which are stopped or cov- 
 ered, and produce the lO-foot, and 
 sometimes the 32-foot tone; also a 
 drone bass. 
 
 Bordun. See Bourdon. 
 
 Bordone, falso (It.) (bor-do-ne fa-z6.) 
 A term formerly used for harmony hav- 
 ing a drone bass, or one of the other 
 parts continuing in the same pitch. 
 
 Bordun flote (Ger.) (to--doon flSte.) 
 An organ stop. See Bordone. 
 
 Bouche (Fr.) (Boosh.) The mouth. 
 
 Bouche Ferm^e (Boosh Fairmay.) With 
 closed mouth; humming; " Bocca 
 Chiusa." 
 
 Bouchfe (Fr.) (Bdoshay.) Applied to 
 wind-instruments this means muted ; 
 applied to organ pipes it means 
 stopped. 
 
 Bourdon de cornemuse (Fr.) (boor-donh 
 diih kom-miiz.) The drone of a bag- 
 pipe. 
 
 Bourdon de musette (Fr.) (boor-donli 
 
 diih mu-zet.) The drone of a small 
 
 bagpipe. 
 Boree (Fr.) (bo-ra.) A dance introduced 
 
 from Biscay. 
 Botto (It.) (bot-to.) The tolling of a 
 
 bell. 
 
 Boudoir piano (boo-dwar.) An upright 
 piano. 
 
 Bouffe 'Fr 1 (boof .) A buffoon. Opera 
 Bouffe, a burlesque comic opera. 
 
 Bo'irflon de I'orstue '^Fr.'i fboor-donh 
 diih I'org.) The drone of an organ. 
 
 Bourdonnement ''Fr.) (boor-donh-monh.) 
 Humming, singing. ^ 
 
 Bourree ''Fr 1 (^aor,T-rd ) An old French 
 dance said to have come from Au- 
 ve'-ene. but others claim it to be a 
 Spanish dance coming f'-om Bisrav, 
 where it is still in use The Bourree is 
 to be found in the Suites of Bach and 
 of other old masters It is very rapid 
 and hearty, generally in | or in f 
 5 as in tone ; 8 as in dove ; 8 as in not; 
 
 time. It generally begins on the fourth 
 quarter ot the measure. 
 
 Boutade (Fr.) {\aoo-tdd.) An impromptu 
 ballet in a fanciful, capricious style. 
 
 Bow. An instrument of wood and horse- 
 hair, employed to set the strings of the 
 violin, etc., in vibration. The bow, 
 originaUy curved, as its name implies, 
 has been subject to many changes of 
 shape from time to time, from a large 
 curve to an almost flat form. The bow 
 is not found in connection with the 
 ancient stringed instruments of Rome, 
 Egypt or Greece. It is probable that 
 it was first used in ancient India and 
 China. The bow remained a very 
 primitive affair until, in the 17th cen- 
 tury, violin playing began to be culti- 
 vated. Towards the end of the i8th 
 century Fran9ois Tourte brought the 
 bow to perfection. He was the in- 
 ventor of- the present shape. The pres- 
 ent length of the bow is from 27 to 
 30 inches. The stick is of lance- wood 
 or of snake- wood. The 120 to 150 
 horsehairs in the bow are drawn to 
 proper tension by the nut, which is 
 attached to a screw and can be readily 
 tightened or loosened. The nut is 
 made of ivory, ebony, or tortoise shell. 
 
 Bow, contrary. A reversed stroke of 
 the bow. 
 
 Bow hair. Hair used in making the 
 bows of violins, violoncellos, etc. ; it is 
 usually horsehair, which is best suited 
 to cause friction by its dentiform pro- 
 tuberances. It wears smooth by usage, 
 and requires renewal at intervals. 
 
 Bow hand. The right hand; the hand 
 which holds the bow. 
 
 Bow harpsichord. \An instrument in- 
 vented at Konigsberg by Garbrecht. 
 
 Bowing. The art of using the bow 
 playing with the bow. " The bowing " 
 also refers to the marks used to guide 
 the player, as I f a downstroke, /\ an 
 upstroke, etc. All notes under a slur 
 are to be played in one stroke of the 
 bow. 
 
 Bow instruments. All instruments 
 whose tones are produced by the bow. 
 
 Box, music. A small box .producing 
 tunes bv the revolution of a cylinder, 
 moved bv a spring, in which steel pins 
 are fixed that touch steel points at such 
 
 ti as in up; ii the French sound of u 
 
 39 
 
BOYAUDIER 
 
 BRELOQUE 
 
 J 
 
 Exceed- 
 ingly 
 . good; 
 exceed- 
 ingly well 
 done. 
 
 intervals as to produce the variations 
 of a tune. 
 
 Boyaudier (Fr.) (bo-yo-di-a.) A maker 
 of violin strings from Boyau, gut, i.e., 
 a gut-string. 
 
 Boy-choir. A choir of boys, from eight 
 to fourteen years of age. Such organ- 
 izations are confined mostly to Epis- 
 copal and Catholic churches. 
 
 B quadratum (Lat.) (b quad-ra- j An 
 turn.) C old 
 
 Bquadrum(Lat.) (b^«ai^-riim.) ) name 
 for the natural, J; formerly, this was 
 applied to the note B. 
 
 B-quarre (Fr.) (ba-kar.) See Biquarre. 
 
 Brabanponne. The Belgium national 
 hymn. 
 
 Brace. A character curved or straight 
 
 used to connect together the different 
 
 staves ; the leather slide which tightens 
 
 or loosens the cords of a drum. 
 Branle (Fr.) (branhl.) A lively old 
 
 dance in | time ; a species of " follow 
 
 my leader," in which all the motions of 
 
 the leading couple were imitated. 
 Bransle (Fr.) (branhsl.) The Branle. 
 Bransle double (branhsl doo-bl.) A 
 
 dance in a quicker time than the 
 
 Bransle. 
 
 Bransle simple (Fr.) See Branle. 
 
 Brass band. A number of performers 
 whose instruments are exclusively brass. 
 The Brass band differs from the full 
 military band in having no reed instru- 
 ments. 
 
 Brass Wind. The term applied to the 
 horns, trumpets, trombones, and tuba 
 of an orchestra. 
 
 Bratsche (Gar.) (*ra-tshe.) The viola or 
 
 tenor violin. From Braccio (It.) the 
 
 arm, since the instrument was held on 
 
 the arm. See Viola. 
 Bratschen (Ger.) (^ra-tshen.) Violas. 
 Bratschenspieler (Ger.) [brd-t€a.^'!\-spie- 
 
 ler.) Violist: one who plays on the 
 
 viola. 
 
 Bratschenstimme (Ger.) (i5ra-tchen- 
 j/fe-me.) The viol part of any com- 
 position. 2. An imperfectly-formed tone on horn, 
 
 Braul. See Brawl, trumpet or clarinet. 
 
 Braut-lied (Ger.) {brout-\^&.) A bridal Breit (Ger.) (brit.) Broad. 
 
 hymn; a wedding song. Breloque (Fr.) (bre-/»/5.) In military 
 
 Braut-messe (Ger.) (brout-xtyks-si^ Mu- service the call of a drum for meals. 
 
 a as in fl/^y a as in hate ; a as ina^y e as in tree ; e s.%'va.eh ; i as in pine ; i as vapin; 
 
 40 
 
 sic before the wedding ceremony ; the 
 ceremony itself. 
 
 Brdva (It. fm.) (brd-vi..) "| An exclam- 
 
 Brdvi (It. pi.) (brdv-e..) J-ation of ap- 
 
 Bravo (It. mas.) (bra.-\o.) J proval often 
 used in theatres ; excellent, .'very good, 
 etc. It is held by some philologists 
 that as " Bravo I " is an exclamation 
 its form should not change, but remain 
 bravo under aU circumstances. Never- 
 theless " bravo " is usually applied to a 
 male, " brava " to a female artist, and 
 " bravi " to two or more. 
 
 Bravissima (It. fem.) (bra- 
 2/^j-se-ma.) 
 
 Brayissimi (It. pi.) (bra-z/^j- 
 se-me. 
 
 Bravissimo (It. mas.) (bra- 
 z/^j-se-mo.) 
 The application as above. 
 
 Bravour-arie (Ger.) (bra-i-wr-a-re-e.) 
 An aria di bravtira. A vocal solo full 
 of technical display. 
 
 Braviira (It.) (hri-i/oo-ra..) Spirit ; skill ; 
 requiring great dexterity and skill in 
 execution. 
 
 Braviira, con. (It.) (hia-voo-ra. kon.) 
 With spirit and boldness of execution. 
 
 Brawl. ' j I. A shaking, or swinging mo- 
 Brawle. j tion. 2. An old round dance 
 in which the performers joined hands in 
 a circle ; the old English balls were 
 usually opened with it. The Branle. 
 Break, i. The point of change in the 
 quality of tenor, soprano, and alto 
 voices. A genuine bass voice has no 
 break. The lower range is called voce 
 di petto, or chest voice ; the upper, voce 
 di testa, or head voice ; and the place 
 of junction is called the break. A 
 properly-cultivated voice should have 
 the break so under control, that the 
 unison of the two qualities should be 
 imperceptible. 2. In the clarinet the 
 break in the tone of the instrument 
 occurs between B flat and B natural. 
 
 t 
 
 ^ 
 
 =g^ 
 
BRETT-GEIGE 
 
 BUGLE 
 
 Brett-geige (Ger.) (bret-ghi-ghe.) A 
 small pocket fiddle ; a kit. 
 
 Br^ve (It.) (irif-ve.) i. Short; formerly 
 the Breve was the shortest note. The 
 notes then used were the Large, -the 
 Long, and the Breve. The Breve is 
 now the longest note ; it is equal to 
 two semibreves or whole notes. 2. A 
 Double whole note (IHt) or ( [=( )■ See 
 Notes and Notation. 
 
 Br^ve alia (It.) (bra-ve al-la.) A term 
 to indicate a | time ; formerly it 
 meant | (a breve) to each measure. 
 
 Breve rest. A rest equal in dura- 
 tion to a Breve or Double whole 
 note. 
 
 Breviario (It.) (brev-e-a-re-o.) A bre- 
 viary. 
 
 Breviary. A book containing the ma- 
 tins, lauds, and vespers of the Cath- 
 olic church. 
 
 Brevis (Lat.) {brd--n%.) A breve. 
 
 Bridge. That part of a stringed instru- 
 ment that supports the strings. 
 
 Bridge, bass. The bass beam; the 
 small beam inside a viol nearly under 
 the bass. 
 
 BriU. An abbreviation of Brillante. 
 Brilldnte (It.) (bxiUdn-te.) 
 Brillante (Fr.) (bxi-ydnht.) 
 brilliant. 
 
 Brindisi (It.) {brin-dizzy.) 
 song. 
 
 Brio (It.) {bree-o.) Vigor, animation, 
 spirit. 
 
 Bri6so (It.) (bree-^-zo.) Lively; vigorous; 
 with spirit. 
 
 Bris^ (Fr.) (bre-zdy.) Split ; broken in- 
 to an arpeggio. 
 
 Broderies (Fr.) (bro-de-re.) Ornaments, 
 embellishments. 
 
 Broken cadence. See Interrupted Ca- 
 dence. 
 
 Broken chords. Chords whose notes are 
 not taken simultaneously, but in a 
 broken and interrupted manner. 
 
 Broken Octaves. Octaves in which the 
 notes are played separately, as 
 
 n= 
 >i 
 
 B rotundum (Lat.) (B ro-ti^in-dum..) The 
 as in tone; 6 as in dove; 5 as in not 
 
 I Bright, 
 ) sparkling, 
 
 A drinking 
 
 character called a flat, b ; formerly this 
 was applied only to the note B. 
 
 Bruit (Fr.) (bru-^.) Noise, rattle, clat- 
 ter. 
 
 Bnimmen (Gr.) {broom ^men.) To hum ; 
 to growl. 
 
 Brummton (Ger.) (broom-ton.) A hum- 
 ming sound ; a drone bass. 
 
 Brunette (Fr.) (brii-net.) A love song; 
 usually of a pastoral, rustic character. 
 
 Bruscam^nte (It.) (hroos-ka-men-te.) 
 Abruptly, coarsely.' 
 
 Brusquement (Fr.) (briisk-monh.) 
 Brusque, rough, rude. 
 
 B sharp. The sharp seventh of the 
 diatonic scale of C ; in keyedinstruments 
 the same as C natural. 
 
 Biiccina (It.) {boot -tshe-na..) An ancient 
 instrument of the trumpet species. 
 
 Buccinal (Lat.) {bUk-si-nsLl.) Sounding 
 like a horn or trumpet. 
 
 Buccinateur (Fr.) (biik-sj-na-ft?r.) A 
 trumpeter. 
 
 Buccinum (Lat.) {bui-si-nnm.) A trum- 
 pet. 
 
 Buccdlica (It.) (book-^o-le-ka.) \ pastoral 
 Bucolic (Lat.) (ba-igi-lk.) S songs or 
 Buc61ique (Fr.) (bu-kol-^/S.) ) verses. 
 Bucolica (Lat.) (bu-,J#/-i-ka.) In the 
 pastoral style. 
 
 Biifta (It.) {6oo/-ia.) ) Comic; humor- 
 Bufio (It.) (boof-io.) ) ous ; in the comic 
 
 style; also a singer who takes comic 
 
 parts in the opera. 
 Buffa caricita (It.) {boof-iii kar- -\ a 
 
 e--Ja-ta.) I comic 
 
 Bliffo cariciito (It.) {boof-ioVz.^- j char- 
 
 h-kd-Xo.) J acter 
 
 in opera. 
 
 Buffet d'orgue (Fr.) (buf-fe d' org.) 
 An organ case. 
 
 Bliffo burlesco (It.) {boof-io hoor-les- 
 k6.) A buffo singer and caricaturist. 
 
 Buff6ne(It.) (boof-/ff-ne.) Comic singer 
 in an opera. 
 
 Buffonescam^nte (It.) (boof-foneska- 
 men-t^) In a burlesque and comical 
 manner. 
 
 Buffo, opera (It.) {boof-io o-pe-rii.) A 
 comic opera ; a burletta. 
 
 Bugle. I . A hunting horn. 2. An instru- 
 ment of copper or brass, similar to the 
 
 fi as in up ; ii the French sound of u. 
 
BUGLE HORN 
 
 cornet, but higher and more piercing. 
 There are different kinds ; one furnished 
 with keys; another kind with pistons 
 or cylinders ; and some natural tubes 
 without keys. The last, much used for 
 cavalry and infantry calls, generally 
 gives the following harmonics : 
 
 m 
 
 =t 
 
 ^ 
 
 and excellent players can produce the 
 fundamental (small c) and one or two 
 higher tones, than above given. 
 
 Bugle horn. A hunting horn. 
 
 Biih'nenweihfestspiel (Ger.) (5^^-nen- 
 vy^iKr/-speel.) " Stage-consecrating fes- 
 tival play " ; the title bestowed by 
 Wagner on Parsifal. 
 
 Buon (It.) (bwon.) Good. 
 
 Buonaccdrdo (It.) (bwdn-nak-zfiyj-do.) 
 An instrument resembling a pianoforte, 
 but smaller, to accommodate children. 
 
 Bu6na nota (It.) (bwo-na no-ta.) Ac- 
 cented note. 
 
 Bu6n gusto (It.) (bwon goos-to.) Good 
 taste ; refinement of style. 
 
 Burden. A regular return of a theme 
 or phrase in a song, at the close of 
 each verse ; the drone of a bagpipe. 
 
 Burla (It.) {boor-\&.>) 
 
 Burldndo (It.) (boor-/3»-do.) 
 
 Burl£sc6 (It.) (boor-//j-k6.) 
 
 Burlescam^nte (It.) (boor-les-ka-»2/«-te.) 
 Facetious, droll, comical ; in a playful 
 
 manner. 
 
 Burl^tta (It.) (boor-//^t'a.) A comic op- 
 eretta ; a light musical and dramatic 
 piece, somewhat in the nature of the 
 English farce. 
 
 Burrasca (It.) (boor-raj-ka.) A compo- 
 sition descriptive of a tempest. 
 
 Burthen. See Burden. 
 
 Busaun (Ger.) (boo-joa«.) A reed-stop 
 in an organ, generally of i6-foot tone 
 and on the pedal. 
 
 Busna (It.) (boos-na.) A species of 
 trumpet. 
 
 Buxum (Lat.) (bUx-^aaC) A pipe. 
 
 Buxus (Lat.) (i5»j:-us.) A pipe with two 
 rows of holes. 
 
 Buzain (Ger.) (boo-tsin.) See Busaun. 
 
 Button. A small round piece of leather 
 
 ^ss in aA J Si as in AaU ; a as in at ; e as in 
 
 42 
 
 in an organ, which, when screwed on 
 the tapped wire of a tracker, prevents 
 it from jumping out of place. The 
 keys of the first-made accordions. The 
 knob at the base of the violin. 
 
 C. The first note of the natural scale. 
 The note Ut of the Guidonian System. 
 (See Aretinian Syllables.) The note 
 from which pianos and organs are 
 tuned. It would be impossible to tune 
 the orchestra from this note since the 
 violin has no C string. There are 
 therefore two different tuning-forks 
 used, an A fork for orchestra and a 
 'C fork for piano and organ. Some- 
 times students are puzzled why the 
 natural scale should begin on C instead 
 of with A, the first letter of the alpha- 
 bet. Although the origin of the letter 
 system is involved in some obscurity, 
 and letters have been applied to musi- 
 cal tones even in ancient Greek times, 
 yet the answer to the above may be 
 found in the fact that the minor scale 
 was more used in ancient times than 
 the major — and the natural minor 
 scale begins with A. 
 
 C is called Ut in France and Do in 
 Italy. It is an error to suppose that 
 the sign g is C as an abbreviation for 
 " Common Time." The sign came 
 from a broken circle, used in the middle 
 ages and called the Imperfectum. See 
 Time. 
 
 The lowest note on the 
 manuals of an organ, and 
 called an 8-foot note, that 
 being the length of the 
 open pipe required to pro- 
 duce it. 
 
 C C. This note is an octave below 
 C, and requires a 16-foot pipe. 
 
 C C C. A note an octave below C C ; 
 it requires a 32-foot pipe. 
 
 C with one stroke ; one-lined C ; 
 
 m- 
 
 =1= 
 
 c . The 
 
 German method of indicating middle C. 
 
 The six notes above it are marked in 
 
 the same manner. 
 C with two strokes ; two-lined C ; 7^. an 
 
 octave above C with one stroke. _ 
 C with three strokes ; three-lined C ; ^; 
 
 an octave above C with two strokes. 
 N.B. It is an error to write the above 
 tree ; e as in eh ; i as in pine ; i as in pin; 
 
C.A. 
 
 CADENCE, SUSPENDED 
 
 A half cadence. 
 
 A deceptive or inter- 
 
 as C, C, or C* ; these mean notes of 
 a deeper pitch. See Tablature. 
 
 C.A. The initials of Col Arco ; some- 
 times used in abbreviation. 
 
 CabalStta (It.) (ka-ba-/a/-ta.) A simple 
 melody of a pleasing and attractive 
 character; an operatic air like the 
 rondo in form ; a cavaletta. The word 
 means " a little horse," and the caba- 
 letta was probably so-called from its 
 trotting accompaniment, generally in 
 triplets. 
 
 Cabinet d'orgue (Fr.) (kab-i-na d'org.) 
 The case or cabinet in which the keys 
 of an organ are sometimes placed. 
 
 Cabinet pianoforte. An upright piano- 
 forte. 
 
 Cabiscola. The ancient name of the 
 leader of the choristers in a church. 
 
 Cdccia (It.) (^aV-tshe-a.) 
 
 Ciccia, alia (It.) (^a^tshe-a o7-la.) In 
 the hunting style. 
 
 Cachttcha (Spa.) (ka-fc^oo-tcha.) A 
 popular Spanish dance in triple time, 
 very similar to the Bolero. 
 
 Cacofonio (It.) (ka-ko-fo-w-a.) ) Want 
 
 Cacophonie (Fr.) (kak-o-f6-«^.) ) of 
 harmony, cacophony. 
 
 Cacof6nico (It.) (ka-ko-/ff-ne-ko.) Caco- 
 phonous, discordant. 
 
 Cacophony (ka-i^-o-ny.) A combina- 
 tion of discordant sounds, false intona- 
 tion, bad tones. 
 
 Cad. An abbreviation of Cadenza. 
 
 Cadence (Fr.) (ka-danhs.) A shake or 
 trill ; also a close in harmony. 
 
 Cadence, i. A close in melody or har- 
 mony, dividing it into numbers or 
 periods, or bringing it to a final termina- 
 tion. 2. An ornamental passage. See 
 below and also Cadenza. 
 
 Cadence, authentic. A perfect or final 
 cadence ; the harmony of the dominant 
 followed by that of the tonic or the 
 progression of the dominant to the 
 tonic. 
 
 Cadence, church. The plagal cadence. 
 
 Cadence, complete. A full cadence; 
 when the final sound of a verse in a 
 chant is on the key-note. 
 
 Cadence, deceptive. When the domi- 
 nant chord resolves into another har- 
 mony instead of the tonic. 
 
 as in tone ; 6 as in dove ; 6 as in not; fi as in up; U the French sound of w. 
 
 43 
 
 Cadence, demi. 
 Cadence, false. 
 
 rupted cadence. 
 
 Cadence, Greek. Plagal cadence. 
 Cadence, half. A cadence that is im- 
 perfect ; a half-close on the dominant. 
 
 Cadence, imperfaite (Fr.) (anh-per-fa.) 
 An imperfect cadence. 
 
 Cadence, imperfect. When the domi- 
 nant harmony is preceded by the com- 
 mon chord of the tonic ; a half cadence. 
 
 Cadence, interrompue (Fr.) (anh-ter- 
 ronh-pii.) An interrupted cadence. 
 
 Cadence, interrupted. Similar to the 
 perfect cadence, except that in place 
 of the final tonic haimony some other 
 chord is introduced ; a false, or decep- 
 tive cadence. 
 
 Cadence, irregular. See Imperfect Ca- 
 dence. 
 
 Cadence marks. Short lines placed per- 
 pendicularly to indicate the cadence 
 notes in chanting. 
 
 Cadence, parfaite (Fr.) (par-fat.) A 
 perfect cadence. 
 
 Cadence, perfect. Where the dominant 
 passes into the harmony of the tonic. 
 
 Cadence, plagal. When tonic harmony 
 is preceded by subdominant. 
 
 Cadence, radical. The cadence result- 
 ing when the basses of both chords are 
 the roots of their respective triads. 
 
 Cadence rompue (Fr.) (ronh-pU.) A 
 broken or interrupted cadence. 
 
 Cadence, suspended. Where the ca- 
 dence passes through several modula- 
 tions from the dominant to the tonic 
 chord. 
 
 Perfect Cadences. „ Half 
 
CADENCIA 
 
 calmXto 
 
 I 
 
 rupted. False or Deceptive Cadences. 
 
 --Sr- 
 
 ^ 
 
 ^ 
 
 VI 
 
 P 
 
 =te= 
 
 f 
 
 43 V 
 
 Plagal Cadences. 
 
 ^^ 
 
 g: 
 
 IV I ivb» I 
 
 Cadencia (Spa.) (ka-fl/«-the-a.) ) Ca- 
 Cadens (Lat.) (^a-dens.) ) dence. 
 
 Cadenz (Ger.) (ka-(//»te) ) A ca- 
 Cad^nza (It.) (ka-(/ra-tsa.) i dence ; an 
 ornamental passage introduced near the 
 close of a song or solo, either by 
 the composer or extemporaneously by 
 the performer. In the concerto, how- 
 ever, the cadenza reaches its largest 
 form, being sometimes a dozen pages 
 in length. It is generally not printed 
 in the composition, but published sep- 
 arately, even when written by the com- 
 poser of the work itself. It is often 
 composed by the artist who performs 
 the concerto. It is a brilliant techni- 
 cal display, developing themes of the 
 composition. It is introduced in the 
 coda of the iirst and last movement of 
 a concerto, its place being signified by 
 a hold /T^ placed over a dominant 
 chord, or a I chord of the tonic. 
 Beethoven, in his last piano concerto, 
 declined to allow a solo cadenza, and 
 Brahms and other modern composers 
 have sometimes receded from it. 
 
 Cadenza d'inginno (It.) (k'i-den-tsa den- 
 gan-no.) An interrupted or deceptive 
 cadence. 
 
 Cadenza fiorita (It.) (k'i-dm-isa. fe-o- 
 re-ta.) An ornate, florid cadence with 
 graces and embellishments. 
 
 Cadenza sfugglta (It.) (ka-(/ra-tsa 
 sfoog-ghe-ta.) An avoided or broken 
 cadence. 
 
 Calmness, 
 
 tranquility, 
 
 repose. 
 
 a as in o^/ a as in hate ; a as inai; e as in free; e as in eh ; ias in pine ; ias in pin; 
 
 44 
 
 Cadenza sosp6sa (It.) (ka-afe«-tsa sos- 
 
 pay-za,.) A suspended cadence. 
 Cahier de chant (Fr.) (ka-i-a diih shanh.) 
 
 A singing book. 
 Cahiei de musique (Fr.) (ka-i-a diih mii- 
 
 zek.) A music book. 
 Caisse (Fr.) (kass.) A drum. 
 Caisse Grosse (Fr.) (kasse gross.) The 
 
 bass drum. 
 Caisse roulante (Fr.) (kass roo-lanht.) 
 
 The side drum. 
 Caisses claires (Fr.) (kass klair.) The 
 
 drums. 
 Cal. '• An abbreviation of Calando. 
 Calamo (Spa.) (ka-/a-mo.) A kind of 
 
 flute. 
 Calamus pastoralis (Lat.) (ka-/o-mus 
 
 pas-to-ro-lis.) A reed or pipe used by 
 
 shepherds. 
 Caland (It.) (^i.-land.) ) Gradually. 
 Caldndo (It.) (ka-/<i»-do.) ) diminishing 
 
 the tone and retarding the time; be- 
 coming softer and slower by degrees. 
 Cal&ndo nella forza {Ha-ldn-db nel-la 
 
 /or-tsa.) A decrease in the power or 
 
 strength of a tone. 
 
 Calascione (It.) (ka-la-she-o-ne.) A 
 species of guitar. 
 
 Calathumpian music. A discordant 
 combination of sounds. A vulgar and 
 grotesque performance upon instru- 
 ments unmusical and out of tune. 
 
 Calita (It.) (ka-/ff-ta.) An Italian dance 
 in J time. 
 
 Calcando (It.) (kal-/;ff«-d6.) Pressing 
 forward and hurrying the time. 
 
 Calcant (Ger.) (kal-kant.) The bellows 
 treader, in old German organs. 
 
 Call. The beat of a drum. 
 
 Call, adjutant's. A drum-beat directing 
 the band and field music to take the 
 right of the line. 
 
 Calliope (kal-&-o-pe.) i. In pagan 
 mythology the muse that presided over 
 eloquence and heroic poetry. 2. An 
 instrument formed of metal pipes, with 
 keys Uke an organ • they are placed on 
 steam engines sometimes, and the 
 tones are produced by currents of 
 steam instead of air. 
 
 Calma (It.) {hal-ma..) 
 
 Calmate (It.) (kal-md-te.) \ 
 
 Calmato (It ) (ka\-ma-td.) 
 
CALO 
 
 CANON 
 
 CalO. An abbreviation of Caldndo. 
 Cal6re (It.) (ka-/o-re.) Warmth, ani- 
 
 mation. 
 
 Animation 
 
 To 
 
 The muse. 
 
 Calor6so (It.) (kal-6-ro-zo.) 
 and warmth. 
 
 Cambidre (It.) (kam-be-a-re.) 
 
 change ; to alter. 
 Camena (Lat.) (ka-mi7-na.) 
 Camoena (Lat.) (ka-/»i$-na.) 
 Cdmera (It.) (/ia-me-ra.) Chamber; a. 
 
 term applied to music composed for 
 
 private performance or small concerts. 
 Camera musica (It.) (ka-me ra moo-zt- 
 
 ka.) Chamber music. 
 
 Camindndo (It.) (ka-mi-Ko«-d6.) Flow- 
 ing ; with easy and gentle progression. 
 
 Campana (It.) (kam-/o-na.) A bell. 
 
 Campan^Ila (It.) (kam-pa-K?/-la.) i ^ 
 
 Campan^Uo (It.) (kam-pa-«i?/-lo.) j little 
 bell. 
 
 Campanellfno (It.) (kam-pa-nel-/^«-no.) 
 
 A very little bell. 
 Campaneta (Spa.) (kam-pa-«^-ta.) A 
 
 small bell. 
 Campan£tta (It.) (kam-pa-««/-ta.) A 
 
 set of bells tuned diatonically, and 
 
 played with keys like a pianoforte. 
 Campanile (It.) (kam-pa-«^«-le.) A 
 
 belfry. 
 
 Campan^sta (It.) (kam-pa-«M-ta.) A 
 
 player upon the campanetta. 
 Campanologist (kam-pa-w^Z-o-jist.) 
 
 artistic bell ringer. 
 Campanology (kam-p'a-«i!i/-o-gy:) 
 
 art of ringing bells. 
 Campan6ne (It.) (kam-pan-«tf-ne.) 
 
 great bell. 
 
 Cauarder (Fr.) (ka-nar-(/a.) 
 the tones of a duck. 
 
 Canarie (Fr.) (ka-na-r^.) 
 Canaries (Eng.) (ka-«a-res.) 
 Candrio (It.) (ka-wi-re-o.) 
 
 An 
 
 The 
 
 X 
 
 To imitate 
 
 An old 
 dance, in 
 lively f 
 
 strains. It derives its name . from 
 the Canary Islands, whence it is sup- 
 posed to have come. 
 
 Cancelling sign. A natural (©, employed 
 to remove the effect of a previous flat 
 or sharp. 
 
 Cancion (Spa.) (kan-the-»«.) A song; 
 words set to music. 
 
 Cancrizans (It.) 
 Cancrizante (It.) 
 
 Retrograde movement 
 
 ward ; crab-like. 
 
 (kan-^?-«-tsans.) 
 (kan-kre-/ja«-te.) 
 
 gomg 
 
 back- 
 
 Canon. The strictest form of contra- 
 puntal composition, in which each voice 
 imitates exactly the melody sung or 
 played by the first voice. The word is 
 derived from " Canone," a rule or law. 
 Canon was the earliest form of skilful 
 composition. The oldest existing con- 
 trapuntal work of merit is a canon 
 entitled, " Sumer is ictimen in," which is 
 for four voices, and is supposed to have 
 been composed about A.D. 1200. Ca- 
 non may be defined as the strict imita- 
 tion of a melody throughout. The 
 imitating voice, or voices, may enter 
 above or below the subject, or some- 
 times upon the same degree. In the 
 last case, the canon is called a Round. 
 The imitation may enter at any inter- 
 val, from a second, above or below, to 
 a double octave, or fifteenth. Thus, 
 " A canon at the fifth," would be imi- 
 tated at the fifth, above or below. 
 The imitation may enter at any time- 
 distance after the first voice has begun, 
 yet it ought not to come many meas- 
 ures after, since in such a case it would 
 be diiKcult to follow the imitation. A 
 single measure, or two measures, is 
 best, since if such an even distance is 
 taken the imitation preserves the same 
 rhythmic construction ■ of measures as 
 the subject. Most canons are two- 
 voiced (consisting of subject and imi- 
 tation) at the octave (above or below), 
 and are at one or two measures time- 
 distance. The subject of the canon is 
 sometimes called Antecedent, and the 
 imitation Consequent. The canon was 
 called " Fugue," by the oldest contra- 
 puntists. When more than one voice 
 is used in imitation, it is sometimes best 
 to use different intervals for the imita- 
 tions ; one voice imitating at the octave, 
 another at the fifth, etc. A double 
 canon is two canons going on .simul- 
 taneously, and consequently has at 
 least four voices. See the Requiem 
 at the close of Schumann's " Manfred," 
 for a short example of double canon ; 
 also Bach's organ prelude on " In 
 dulci jubilo." See also Richter, Chad- 
 wick, Jadassohn, Goetschius, works on 
 
 Counterpoint. 
 
 as in tone ; 6 as in dove ; S as in not ; ii as in a/; ii the French sound of ^ 
 
 45 
 
cjCwone 
 
 CANTATE 
 
 A canon. 
 
 Cinone (It.) (^a-no-ne.) 
 
 Can6nico (It.) (ksL-ncln-e-ko.) 
 
 Cinone al sospfro (It.) (kd-no-ne al sos- 
 pe-xb.) A canon whose different parts 
 commence at the distance of one beat 
 from each other. 
 
 Cdnone ap^rto (It.) {^a-no-ne 'a.-pair-to.) 
 An open canon ; a canon of which the 
 solution or development is given. 
 
 Canon, augmented. A canon in which 
 the imitation reproduces the subject, 
 or melody, in notes of a larger denomi- 
 nation. For an example of a canon 
 that is both augmented and diminished. 
 See Bach's organ prelude on " Ach 
 Gott und Herr." 
 
 Cdnone Cancrizans. A crab canon. A 
 canon in which the imitating voice re- 
 produces the subject played through 
 backwards. Also Canone per Recte et 
 Retro, a canon making the same melody 
 whether played through forwards or 
 backwards, the last half reversing the 
 first half. See the Fugue in Beethov- 
 en's " Sonata in Bb, Op. io6." 
 
 C&none chiuso (It.) (.4a-n6-ne ke-w-zo.) 
 A close or hidden canon, the solution or 
 development of which must be discov- 
 ered ; an enigmatical canon. 
 
 Cdnone sci61to (It.) (/Ja-no-ne she-J/-to.) 
 A free canon, not in the strict style. 
 
 Canon, free. A canon not in strict con- 
 formity to the rules, the melody of the 
 first part not being followed through- 
 out. 
 
 Canon, hidden. A close canon. See 
 Cdnone Chiuso. 
 
 Canon, infinite. A canon, the end of 
 which leads to the beginning; a per- 
 petual canon. 
 
 Canon, inverted. A canon in which the 
 imitating voice repeats the subject up- 
 side down, — in motu conirario, — as- 
 scending intervals being imitated by 
 descending ones, etc. 
 
 Canon, mixed. A canon of several voices, 
 beginning at different intervals. 
 
 Canon perpetuus (Lat.) {kdn-6r\ per-pet- 
 ii-us.) See Canon, infinite. 
 
 Canon, strict. A canon in which the 
 rules of this form of composition are 
 strictly followed. 
 
 Canonical hours. The 7 canonical hours 
 of the Catholic Church are the estab- 
 
 lished times for daily prayer; called 
 matins, prime, terce, sext, nones, vespers, 
 and complin. Those from prime to 
 to nones are named after the hours of 
 the day, prime (the first hour) being at 
 or about 6 A.M., terce (thf third; at 9, 
 sext (the sixth) at noon, and nones 
 (the ninth) at 3 p.m. 
 
 Canonical Mass. A Mass in which the 
 musical numbers are in strict ritualistic 
 or canonical order. 
 
 Cantab. An abbreviation of cantabile. 
 
 Cantdbile (It.) (kan-te-bi-le.) That can 
 be sung ; in a melodious, singing, and 
 graceful style, full of expression. 
 
 Cantdbile ad libitum (It.) (kan-/a-be-le 
 ad le-be-tiim.) In singing style; at 
 pleasure. 
 
 Cantando (It.) (kan-te«-doh.) In a sing- 
 ing style ; cantabile. 
 
 Cantire (It.) (kan-Za-re.) To sing; to 
 celebrate ; to praise. 
 
 Cantire a Aria (It.) (kan-/a-re a a-?-^-a.) 
 To sing without confining one's self 
 strictly to the music as written. 
 
 Cantiire a libro (It.) (kan-ta-re a le-bro.) 
 To sing from notes. 
 
 Cant&re a or^cchio (It.) (kan-ta-re a b-re- 
 ke-o.) To sing by ear, without a knowl- 
 edge of musical notation; singing by 
 rote. 
 
 Cantiire di mani^ra (It.) (kan-ta-re de 
 ma-ne-az'-ra.) To sing in a correct style, 
 with grace and expression. 
 
 CantAre manierdta (It.) (kan-ta-re ma- 
 nee-e-ra-ta.) To sing with too many 
 •embellishments, without taste or judg- 
 ment. 
 
 Cantdta (It.) (kan-?a-ta.) -x ^ p^^^ ^^^ 
 
 Cantate (Fr.) (kanh-^o^.) \ to music ; a 
 
 Cantate (Ger.) (kan-tt-te.) ) vocal com- 
 position of several movements, com- 
 prising airs and recitatives ; a short 
 oratorio or operetta without action. 
 A cantata consisted originally of a mix- 
 ture of recitative and melody, and was 
 given to a single voice, but the intro- 
 duction of choruses altered the first 
 character of the cantata, and gave rise 
 to some confusion in the manner of 
 describing it. Therefore it has been 
 variously defined. A cantata is now 
 generally understood to be a short work 
 somewhat like the oratorio, but without 
 characters. But the word is still used 
 
 S as in a^ j" a as in hate ; S as in at ; e as in tree ; 6 as in eh ; i as in pine ; i as in pin ; 
 
 46^ 
 
cantAta amorose 
 
 CASTO FERMO 
 
 in many different senses by different 
 composers. Examples : Bennett's 
 "Woman of Samaria"; Haydn's 
 "Seasons," etc. 
 
 Cantita amorose (It.) (kan-^o-ta a-mo-ro- 
 ze.) A cantata having love for its 
 subject. 
 
 Cantatilla (It.) (kan-ta-^zV-la.) \ \ short 
 
 Cantatille (Fr.) (kanh-ta-^zV.) > cantata; 
 
 Cantatina (It.) (kan-fa-te-na.) ) an air 
 preceded by a recitative. 
 
 Cantatoiium (Lat.) (kan-ta-^o-ri-um.) 
 The book from which the priests in 
 the Roman Catholic service chant, or 
 recite the responses. 
 
 Cantatrice (It.) (kan-ta-/r^-tshe.) A fe- 
 male singer. 
 
 Cantatrice buffa (It.) (kan-ta-^#Mshe 
 ioof-fa.) A female burlesque singer ; a 
 woman who sings in comic opera. 
 
 Cantellerindo (It.) (kan-tal-le-ran-do.) 
 Singing with a subdued voice ; mur- 
 muring, trilling. 
 
 Canterell^re (It.) (kan-ta-rel-la-re.) To 
 chant or sing. 
 
 Canterino (It.) (kan-te-re-no.) A singer ; 
 a chanter. 
 
 Cintica (It.) (kan-te-ka.) T Canticles; 
 Cantica (Lat.) (/l3«-ti-se.) I the an- 
 Cintici (It. pi.) (kan-tetshe.) | cient lau- 
 Cantico (Spa.) (kan.«-ko.) J '^'< °^ sa- 
 
 cied songs of the Roman Catholic 
 
 Church. 
 
 (^ii'«-te car- 
 
 Cinti carnascial^schi (It.) 
 nas-tshe-a-leske.) 
 
 Cdnti charnevdli dt.) {Mn-te k'ir-ne-vd- 
 le.) Songs of the carnival week. 
 
 Canticchidre (It.) (kan-ti-ke-dJ-re.) To 
 sing; to hum. 
 
 Canticle, i. A sacred hymn or song. 
 One of the non-metrical hymns of praise 
 and jubilation in the Bible. 2. The 
 Evangelical canticles [Cantica majord) 
 of both the Catholic and Anglican 
 Church are taken from the Gospels. 
 The word is applied to certain detached 
 psalms and hymns used in the service 
 of the Anglican Church, such as the 
 Venite exultemus, Te Deum latidamus, 
 Benedicite omnia opera, Benedictus, 
 Jubilate Deo, Magnificat, Cantate 
 Domino, Nunc dimittis, Deus miserea- 
 5 as in tone; 6 as in dove; 8 as in not; S as in up; 
 
 47 
 
 iur, and the verses used instead of the 
 Venite on Easter-day. 
 
 Cantico (It.) (kan-te-ko.) 1 A canti- 
 
 Canticum (Lat.) (^a«-ti-kum.) ) cle. 
 
 Cantillate (ia«-til-late.) To chant; to 
 recite with musical tones. 
 
 Cantillation. A chanting; a recitation 
 with musical modulations ; a combina- 
 tion of speaking with music. 
 
 Cantillatio (Lat.) (kan-tB-Za-shi-o.) A 
 singing style of declamation. 
 
 Cantilena (It.) (kan-tl-/ay-na.) The 
 melody, air, or principal part in any 
 composition ; generally the highest 
 vocal part ; it is also applied to any 
 light and simple song, or in instrumen- 
 tal music a piece of song-like character. 
 It sometimes indicates a smooth, can- 
 tabile style of playing. 
 
 Cantilene (It.) (kan-te-/(^-ne.) A canti- 
 lena. 
 
 Cantinela (Spa.) (kan-te-«a-la.) A ballad. 
 
 Cantino (It.) (kan-^^-no.) The small- 
 est string of the violin, guitar, etc. ; 
 also, called chanterelle. 
 
 Cantio (Lat.) (kan-'A-o.') A song. 
 
 Cantion. A song or number of verses. 
 
 Cantiones sacrs (Lat.) (kan-shi-o-nes 
 ja-kra.) Sacred songs. 
 
 Cantique (Fr.) (kahn-^^«^.) A canticle 
 
 or hymn of praise. 
 Cantique des Cantiques (Fr.) Solomon's 
 
 song. 
 Cantiuncula (Lat.) (kan-ti-fe-kii-la.) A 
 
 ballad ; a catch. 
 Canto (It.) (idn-to.) i . Song, air, melody ; 
 
 the highest vocal part in choral music. 
 
 2. A part or division of a poem. 
 
 Cdnto arm6nico (It.) (kdn-\.o a.r-mo-m- 
 ko.) A part-song for two, three, or 
 more voices. 
 
 Cdnto clef. The C clef when placed on 
 the first line. The Soprano clef. 
 
 Cdnto concertante (It.) {Mn-to kon- 
 tshar-/a«-te.) " The treble of the prin- 
 cipal concerting parts. 
 
 CAntO f^rmo (It.) (,4aK-to/&>-mo.) i. A 
 chant or melody. 2. Choral singing in 
 unison on a plain melody. 3. Any sub- 
 ject consisting of a few long, plain 
 notes, given as a theme for counter- 
 point; also, Cantus firmus. 
 
 ii the French sound of «. 
 
CANTO FIGURAtO 
 
 CANZdWE 
 
 Chxto figurito (It.) (kan-to fi-goo-ra- 
 
 to.) A figured melody. 
 Cinto fioritto (It.) (kdn-tb ie-b-ret-to.) 
 
 A song in which many ornaments are 
 
 introduced. 
 Cdnto fun^bre (It.) {kdn-tb ioo-ndy. 
 
 bre.) A funeral song. 
 Cdnto Gregoriino (It.) (kdn-tb gre-go- 
 
 re-ai-no.) The Gregorian chant. 
 
 Cinto Ildno (Spa.) {kdn-tb lyd-nb.) The 
 plain chant or song. 
 
 Cdnto necessdrio (It.) {kdn-tb ne-tshes- 
 j'a-re-o.) A term indicating those parts 
 that are to sing through the whole 
 piece. 
 
 Cinto pUno (It.) {kdn-tb pla-no.) The 
 plain chant or song. 
 
 Cinto primo (It.) {kdn-tb pre-mo.) The 
 first treble or soprano. 
 
 Cantdr (It.) (ycin-iSr.) A singer; a 
 chanter. 
 
 Cantor (Lat.) {kdn-tor.) ^ 
 
 Cantor choralis (Lat.) {kan-tox ko-ra- [ 
 lis.) ) 
 
 A. precentor; a leader of the choir. 
 
 Cantorate (It.) (kan-to-ra-te.) A lead- 
 ing singer of a choir. 
 
 Cant<5re (It.) (kan-to-re.) A singer ; a 
 chanter ; a poet. 
 
 Cdnto recitativo (It.) (kan-to ra-tshe- 
 ta-^^-vo.) Recitative; declamatory 
 singing. 
 
 Cantoren (Ger.) (kan-^a-r'n.) Chanters ; 
 a choir of singers. 
 
 Cantoria (It.) (kan-^a-re-a.) ) A sing- 
 
 Cantoria (Spa.) (kan-ij-re-a.) j ing 
 gallery ; a musical canto ; singing. 
 
 Cantor figuralis (Lat.) {kan-tor fig-u- 
 ra-lis.) Oratorio singer; conductor of 
 the choir. 
 
 Cantor in choro (Lat.) (.*a«-tor in ko- 
 ro.) A chorister. 
 
 Canto ripieno (It.) {kdn-tb re-pe-ay- 
 n5.) The treble of the grand chorus ; 
 the part that sings or plays only in the 
 grand chorus. 
 
 Cantoris (Lat.) (kan-/J-ris.) A term 
 used in cathedral music to indicate the 
 passages intended to be sung by those 
 singers who are placed on that side of 
 the choir where the cantor or precen- 
 tor sits. This is usually on the left- 
 hand side on entering the choir from 
 the nave. See Decants. 
 
 Cdnto rivoltato (It.) (kdn-tb xe-vo\-td- 
 
 to.) The treble changed. 
 Cdnto secondo (It.) (^3«-to se-kon-Ab.) 
 
 The second treble. 
 
 Cantrice (It.) (kan-/?-^-tshe.) ) A female 
 
 Cantrix (Lat.) (kdn-txlx.) ) singer ; a 
 songstress. 
 
 Cantus (Lat.) (kdn-tus.) A song; a 
 melody ; also, the treble or soprano 
 part. Canto. 
 
 Cantus ambrosianus (Lat.) (kdn-tus am- 
 bro-si-a-nus.) The four chants or 
 melodies, introduced into the church by 
 St. Ambrose, Bishop of Milan, in the 
 fourth century, and which are supposed 
 to be derived from the ancient Greek 
 modes. See Ambrosian chant. 
 
 Cantus durus (Lat.) (kdn-txis </a.rus.) 
 A song written in major key; also, 
 old music which modulated into a key 
 having one or more sharps in its scale. 
 Such keys were at one period strictly 
 proscribed by church musicians. 
 
 Cantus ecclesiasticus (Lat.) (kdn-tviS 
 ek-kla-si-aj-ti-kiis.) Sacred song; 
 
 ecclesiastical or church music ; plain 
 song. 
 
 Cantus figuratus (Lat.) {kdn-t\is, fig-u- 
 ?-ffl-tus.) Embellished or figurative 
 chants or melodies. 
 
 Cantus firmus (Lat.) {kdn-t\!& jir-rxms,.) 
 The plain song or chant. See canto 
 firvio. 
 
 Cantus Gregorianus (Lat.) {k&n-tv& 
 Gre-go-ri-a-nus.) Those four modes 
 introduced into the church by St. Greg- 
 ory, and which, with the Ambrosian 
 chants, formed a series of eight modes 
 or tones, as they were called. See 
 Gregorian chant. 
 
 Cantus mensurabilis (Lat.) {kdn-t\x?> 
 men-sur-a-bi-lis.) A regular or meas- 
 ured melody. 
 
 Cantus mollis (Lat.) (/5a«-tus mtfl-\is.) 
 A song written in the minor key. 
 
 Canzdna (It.) (kan-^j-^-na.) ) i. Song; 
 
 Canz6ne (It.) (kan-/j»-ne.) ) ballad; 
 canzonet. 2. A graceful and somewhat 
 elaborate air in two or three strains or 
 divisions. 3. An air in two or three 
 parts with passages of fugue and imi- 
 tation, somewhat similar to the madri- 
 
 gal. 
 
 a as in a^y a as in hate ; a as inatj easiotree; ensiaeh ; i as in pine; ias in pin / 
 
 48 
 
canzonAccea 
 
 CARILLON A CLAVIER 
 
 Canzondccea (It.) (kan-ts5-«a^-tshe-a.) 
 A low, trivial song; a poor canzone. 
 
 Canzoncina (It.) (kan-ts6n-^j^^«-na.) A 
 short canzdne. 
 
 Canz6ne sdcra (It.) (kan-/j-^ne ja-kra.) 
 A sacred song. 
 
 Canzonet. A short song in one, two, or 
 "three parts. 
 
 Canzon^tta (It.) (kan-/jo-«^Ata.) A 
 short canzdne. A little song. 
 
 Canzoni^re (It.) (kan-tso-ne-<?-re.) A 
 song book. 
 
 Canzonina (It.) (k'an-ts5-K«-n'a.) ) 
 
 Canzonuccia(It.) (kan-tso-«oo^-tshe-a.) i 
 A canzonet ; a little song. 
 
 Capelle (Ger.) (ka-^//-le.) A chapel ; a 
 musical band. See Kapelle. 
 
 Capell-meister (Ger.) (/Sai-pel-OTfj-ter.) 
 The director, composer, or master of 
 the music in a choir or orchestra. See 
 Kapell-meister . 
 
 Capllla (Spa.) (ka-/^/-ya.) A band of 
 chapel musicians. 
 
 Capiscol (Spa.) (ka-pes-io/.) ) The 
 
 Capiscolus (Lat.) (ka-pis-,Jtf-liis.) ) chan- 
 ter ox precentor of a choir. 
 
 Capo (It.) (/Jo-p5.) The head or begin- 
 ning; the top. 
 
 Capodastro (It.) (ka-p6-fl?iiJ--tr5.) See 
 Capotdsto. 
 
 Cipo d' inestnimenti (It.) {kd-^o d' en- 
 es-stroo-»«^«-te.) The leader or di- 
 rector of the instrumental performers. 
 
 Capolavoro (It.) (,Ja,4-poh-la-j'J/4-r6h.) 
 A masterpiece. 
 
 C4po d' opera (It.) (ylo-po d' o-pe-ra.) 
 The masterpiece of a composer. 
 
 Cdpo d' orchestra (It.) (^o-p5 d' m-kes- 
 tra.) The leader of the orchestra. 
 
 Capona (Spa.) (ka-;*i?-na.) A Spanish 
 dance. 
 
 Capotisto (It.) (ka-p5-/aJj--to.) i. The nut 
 or upper part of the finger board of a 
 violin, violoncello, etc. 2. A piece of 
 wood or ivory used by guitar players 
 to form a temporary nut upon the 
 finger board, to raise the pitch of all 
 the strings simultaneously. 
 
 Capo violino (It.) (i»-po ve-6-/ee-no.) 
 The first violin. 
 
 Cappflla (It ) (kap-/rf-la.) I. A chapel or 
 church, -2. A band of musicians that 
 
 sing or play in a church, or in private 
 employ. 3. An orchestra. 
 
 Capp^Ua alia (It.) {kap-pet-Va. al-la.) In 
 the church style ; vocal chorus work 
 without any accompaniment. Also, 
 A Cappella. 
 
 Capp^lla musica (It.) (kap-/^/-la moo- 
 ze-ka.) Chapel or church music. 
 
 Capricci^tto (It.) (ka-pret-she-i?/-t6.) A 
 short capriccio. 
 
 Capriccio (It.) (k'a-^/-^^she-o.) A fanci- 
 ful and irregular species of composi- 
 tion ; a species of fantasia ; in a capri- 
 cious and free style. 
 
 Capricciosam^nte (It.) (ka-pret-she-6-za- 
 men-le.) Capriciously. 
 
 Capricci6so (It.) (ka-pret-she-»-zo.) In 
 a fanciful and capricious style. 
 
 Caprice (Fr.) (V-a-pres.) A caprice. See 
 Capriccio. 
 
 Capricieusement (Fr.) (ka-pre-j«.t- 
 monh.) Capriciously. 
 
 Capricieux (Fr.) (ka-pre-sii.) In a fanci- 
 ful and capricious style. 
 
 Car (It.) An abbreviation of Carta. 
 
 Caracteres de musique (Fr.) (karak-^Jr 
 duh mu-zeek.) A term applied to musi- 
 cal signs ; all the marks or symbols be- 
 longing to musical notation. 
 
 Caramillo (Spa.) (kar-a-z»^/-y6.) A flageo- 
 let ; a small flute. 
 
 Carittere (It.) (ka-?-oV-tai-re.) Charac- 
 ter, quality, degree, 
 
 Cardttere, mezzo (It.) (ka-raV-tai-re, met- 
 s6.) A term applied to music of moder- 
 ate difficulty. A song with few em- 
 bellishments. 
 
 Caressant (Fr.) (ka-res-ja«^.) Caress- 
 ing, tenderly. 
 
 :o.) )In 
 -le.) ) ca- 
 ressing and tender manner. 
 
 Caricdto (It.) (ka-re-io-to.) Exagger- 
 ated, caricature. 
 
 Caricatura (It.) (ka-re-ka-^ci^-ra.) A 
 caricature ; an exaggerated representa- 
 tion. 
 
 Carillon (Fr.) (ka-re-yonh.) Chime. 
 See Carillons. 
 
 Carezzdndo (It.) (ka-ret-^/a«-do.) 
 Carezzovole (It.) (ka-rat-so-z'J-le.) 
 
 Carillon a clavier (Fr.) (ka-re-yonh a 
 klav-i-a.) A set of keys and pedals 
 acting upon the bells. 
 
 5 as in tone; 6 as in dove; 8 as in not; ti as in up; ii the French sound of a. 
 
 49 
 
CARILLONMENT 
 
 CATCH 
 
 Carillonment (Fr.) (ka-re-yonh-manh.) 
 
 Chiming. 
 Carillonner (Fr.) (ka-re-yo-K<f.) To 
 
 chime or ring bells. 
 
 Carillonneur (Fr.) (ka-re-yo-mir.) A 
 player or ringer of bells or carillons. 
 
 Carillons (Fr. pi.) (ka-re-j/^K.4.) i. 
 Chimes ; a peal or set of bells, upon 
 which tunes are played by the machinery 
 of a clock, or by means of keys, like 
 those of a pianoforte. 2. Short simple 
 airs adapted to such bells. 3 . A mixture 
 stop in an organ, to imitate a peal of 
 bells. 
 
 Carita (It.) (ka-r^-ta.) Tenderness, feel- 
 ing. 
 
 Carita con (It.) (ka-?-^-ta kon.) With 
 tenderness. 
 
 Carmagnole (Fr.) (ka-man-j/J/.) A dance 
 accompanied by singing, named from 
 Carmagnola in Piedmont. Many of 
 the -wildest excesses of the French 
 Reign of Terror were associated with 
 this dance. The song commenced with 
 " Madame Veto avail promis," and each 
 verse ended with the burden " Dansons 
 la Carmagnole, vive le son du canon." 
 " Madame Veto " was the approbrious 
 nickname given by the mob to the un- 
 fortunate Marie Antoinette. See F.l- 
 son's "Our National Music. " 
 
 Carmen (Ger.) (^a>-men.) 1 A tune ; a 
 
 Carmen (Lat.) (,^dr-men.) ) song; a 
 poem. 
 
 Carmen natalitium (Lat.) (kdr-mm na- 
 ta-/f-shi-um.) A carol on the Nativity. 
 
 Carol. I. A song. 2. A song of joy and 
 exultation ; a song of devotion. 3. 
 Old ballads sung at Christmas and 
 Easter. 
 
 Car61a (It.) (ka-?-o-la.) A ballad ; a dance 
 with singing. The carol was origin- 
 ally a song combined with dancing. 
 
 CarolAre (It.) (ka-ro/o-re.) To sing in 
 a warbling manner ; to carol. 
 
 (ka-r6-/f7-ta.) A little 
 
 Carolina (It.) 
 dance. 
 
 Carolle (Fr.) (ka-rJ/.) 
 
 Carrie (Fr.) (kar-xa.^^ 
 note i W I . 
 
 Carrure des phrases (Fr.) (kar-riir de 
 fraz.) The quadrature or balancing of 
 the phrases. 
 
 A carol. 
 A double whole 
 
 Clappers ; 
 
 castanets, 
 used in 
 dancing. 
 See Cas- 
 tanets. 
 
 Cart. (It.) An abbreviation of Carta. 
 Carta (It.) (kar-ta.) A page ; a folio. 
 Case, organ. The frame or outside of 
 
 an organ. 
 CAssa (It.) [kas-&iL,) A large drum. 
 Cdssa grande (It.) {kds-is. gran-Ae.) 
 
 The bass drum in military music. 
 Castagnet. Castanet. 
 
 Castagn^tta (It.) (kas-tan- 
 
 yet-ija..) 
 Castagnettes (Fr.) (kas-tanh- 
 
 yet.) 
 Castagnole (Spa.) (kas-tan- 
 
 yd-\e.) 
 Castan^tas (Spa.) (kas-tan- 
 
 ya.-tds.) 
 
 Castanets. Clappers used to accom- 
 pany dancing ; an instrument of music 
 formed of small concave shells of ivory, 
 or hard wood, shaped like spoons. 
 Castanets are used by dancers in 
 Spain and other southern countries to 
 mark the rhythm of the boliro, cachucha, 
 etc. The name comes from " Cas- 
 tagna," a chestnut, from their resem- 
 blance to the large chestnuts of France 
 and Italy. 
 
 Castanheta (Por.) (kas-tan-a-ta.) 
 Castanu^las (Spa.) (kas-tan-yoo- 
 
 a-las.) 
 Castrdto (It.) (kas-Zra-to.) A 
 
 singer with a soprano voice ; a eunuch. 
 Catacoustics (kat-a-;4ooj-tiks.) ) That part 
 Cataphonics (kat-a-/iy«-iks.) ) olE a- 
 
 coustics that treats of reflected sounds. 
 Catalectic. Pertaining to metrical com- 
 position or to measure. Lacking part 
 of a final foot. Thus, the last line of 
 the following is catalectic — 
 " In the cross of Christ I glory 
 Tow' ring o'er the rocks of time." 
 
 Cas- 
 ta- 
 nets. 
 
 male 
 
 Catalectic verses. Verses that want 
 either feet or syllables. 
 
 Catch. A humorous composition for 
 three or four voices, supposed to be of 
 English invention and dating back to 
 the Tudors. The parts are so con- 
 trived that the singers catch up each 
 other's words, thus giving them a differ- 
 ent sense from that of the original 
 reading. The oldest catches were 
 
 a as in aA J- a as in hate ; a as in at; § as in tree ; S as \xveh; i as vcipine ; i as inpin; 
 
 5° 
 
CATENA DI TRiLLI 
 
 CESURA 
 
 rounds. The catch is finely alluded 
 to by Shakespeare in " Twelfth Night," 
 and was extremely popular in the reign 
 of Charles 11. 
 
 Catena di trilli (It.) (ka-^^-na de irri-le ) 
 A chain,- or succession of trills. 
 
 Catgut. A small string for violins and 
 other instniments of a similar kind, 
 made of the intestines of sheep, lambs, 
 or goats. 
 
 Cathedrals (Fr.) (kat-a-drdl.) [ A cathe- 
 Cattedrdle (It.) (kat-te-</>-a-le.) 
 
 dral. 
 
 Catling. A lute string. 
 
 Cattivo (It.) (kat-/«-v6.) Bad, unfit. 
 
 Cattivo tempo (It.) (kat-<*^-v6 tem-p6.) 
 A part of a measure where it is not 
 proper to end a cadence, place a long 
 syllable, etc. The arsis. 
 
 Cauda (Lat.) (kau-da.) Coda. 
 
 Cavalletta (It.) (ka-val-//^ta.) ) A caba- 
 
 CavallettO (It.) (ka-val-//if-t6.) j l^tta. 
 
 Cavalquet (Fr.) (kav-al-/J<f.) Trumpet 
 
 signal for the cavalry. 
 Cavata (It.) (ka-wa-ta.) A small song, 
 
 sometimes preceded by a recitative ; a 
 
 cavatina. 
 Cavatina (It.) (ka-va-/#*-na.) i An air of 
 Cavatine (Fr.) (kav-a-/^^«.) ) one strain 
 
 only. Shorter than an aria, which it 
 
 sometimes precedes, and generally of 
 
 simple and expressive character. 
 C. B. The initials of co/ basso and contra 
 
 basso. 
 C barr6 (Fr.) (bar-ra.) ) The character 
 C barred. ) % used to indi- 
 
 cp'e alia brhie or dlla cappSlla or \ 
 
 time. 
 C clef. It is called the C clef, because, 
 
 on whatever line it is placed, it gives to 
 
 the notes on that line the name and 
 
 pitch of middle C. Is used for Tenor, 
 
 Sop., and Alt. See Clef. 
 
 C dur (Ger.) (tsa door.) The key of C 
 major. 
 
 Cebell. The name of an old air in com- 
 mon time, characterized by a quick and 
 sudden alternation of high and low 
 notes. 
 
 Celebrer (Fr.) (sa-le-3rdr.) To celebrate; 
 to extol ; to praise. 
 
 Ceiere (It.) (tshS-\e-xe.) Quick ; rapid ; 
 with velocity. 
 
 as in tone y 5 as in dove y 8 as in not 
 
 Celerity (It.) (tsha-la-r^-ta.) i Celerity, 
 
 Cil&xiti (Fr.) (sa-la-re-ta.) ( velocity, 
 rapidity 
 
 Cfleste (Fr.) {ss.-lgst.) Celestial, heav- 
 enly ; voix celeste, a sweet-toned organ 
 stop. 
 
 Celestial music. Among the ancients 
 the harmony of sounds supposed to 
 result from the movements of the 
 planets. 
 
 Celestina (It.) (tsha-les-j'^-na.) An organ 
 stop of small 4-foot scale, producing a 
 very delicate and subdued tone. 
 
 'Cflli (It.) {tshel-\e.) An abbreviation of 
 violoncelli. 
 
 'Cellist (It.) (/j/5//-lest.) An abbrevia- 
 tion of violoncellist. 
 
 'C6II0 (It.) {tshelAb:) An abbreviation 
 of violoncello. 
 
 Cemb. An abbreviation of Chnbalo. 
 
 Cembalfsta (It.) (tshem-ba-&-ta.) A 
 player on the harpsichord ; also, a player 
 on the cymbals. 
 
 Cembalo (It.) {tshem-\!i.-\o.) 1 A harpsi- 
 
 C^mbolo (It.) {tshem-yx>-\o.) \ chord; 
 also the name for a cymbal. 
 
 Cenobites. Monks of a religious order 
 who live in a convent and perform the 
 services of the choir. 
 
 Cento (Lat.) (sen-t5.) The title of a 
 poem made up of various verses of 
 another poem. A composition formed 
 by verses and passages from other 
 authors and disposed in a new order. 
 
 Centone (Lat.) (sen-^J-ne.) A cento, or 
 medley of different tunes or melodies. 
 
 Cercdr la n6ta (It.) {ts\ihx-kar la K»-ta.) 
 To seek or feel for the note ; a gliding 
 from one note to another, in singing, 
 by anticipating the proper time of the 
 second note. 
 
 Cerdana (Spa.) (thar-i/<i-na.) A dance 
 in Catalonia. 
 
 Cervalet. An ancient wind instrument 
 resembling in tone the bassoon. 
 
 Ces (Ger.) (tses.) The note C flat. 
 
 Ces dur (tses door.) The key of C flat 
 major. 
 
 C. Espr. An abbreviation of Con Es- 
 pressione. 
 
 Cesure (Fr.) (sesiir.) ^ j. a pause 
 
 Cesura (It.) (tshe-soo-ra.) \ in verse, so 
 
 Cesura (Lat.) (se-j»-ra.) ) introduced 
 
 ; fi as in up; ii the French sound of u. 
 51 
 
CESURA 
 
 CHANGEABLE 
 
 as to aid the recital and make the 
 versification more melodious. i. A 
 break or section in rhythm. 3. The 
 rhythmic termination of any passage 
 consisting of more than one musical 
 foot. 4. The last accented note of a 
 phrase, section, or period. 
 
 Cesura. ) A pause in verse introduced to 
 Cesure. ) aid the recital and render the 
 
 versification more melodious. 
 Cetera (It.) (^j/4iJ-te-ra.) A cittern; a 
 
 guitar. 
 Cet^rante (It.) (tsha-te-raK-te.) A player 
 
 upon the cittern or guitar. 
 Ceterare (It.) (tsha-te-ra-re.) To play 
 
 upon the cittern or guitar. 
 Ceteratojo (It.) (tsha-te-ra-^s-yo.) A song 
 
 accompanied upon the cittern. 
 Ceterat6re (It.) (tsha-te-ra-/o-re.) 1 A 
 Ceterista (It.) (tsha-te-r^j-ta.) ) player 
 
 upon the cittern or guitar. 
 Ceterizzare (It.) (tsha-te-ret-sa-re.) To 
 
 sing with or play upon the cittern. 
 Cetra (It.) {tshS,-\.\s.) A small harp; a 
 
 zither. 
 
 Cetrarci^ro (It.) (tshet-rar-tshe-a-ro.) A 
 
 harp with the bow and lyre. 
 Cetrdre (It.) (tshet-?-a-re.) See Ceterare. 
 Ch. An abbreviation of choir and 
 
 chorus. 
 
 Chac6na (Spa.) (tsha-,Jo-na.) ) A graceful, 
 
 Chaconne (Fr.) {s^±-kSnh.) \ slow Span- 
 ish movement in | time, and com- 
 posed upon a ground bass. It is 
 generally in the major key, and the 
 first and third beats of each bar are 
 strongly accented. Bach's Chaconne 
 with variations, for violin alone, is one 
 of the most famous specimens of this 
 old dance. 
 
 Chacoon. A dance like a saraband. See 
 Chacdna. 
 
 Chair organ. Found in old organ music. 
 See choir organ. 
 
 Chal. An abbreviation of Chalumeau. 
 
 Cham (Heb.) (ka-/?/.) An old Hebrew 
 instrument similar to a pipe or flute. 
 
 Chalmey. See Chalumeau. 
 
 Chalotte. A tube of brass made to re- 
 ceive the reed of an organ pipe. 
 
 Chalmeau (Fr.) (shal-mJ.) ) The lowest 
 Chalumeau (Fr.)(shal-ii-«»o.) S register of 
 
 a as in «^; a as in hate ; a as in 3^; easin tree ; S as in eh ; ias in//«^; i as in Jiin; 
 
 52 
 
 the clarinet and the basset-horn is 
 called the chalumeau, from the obso- 
 lete instrument shawm, schalmey, pre- 
 cursor of the oboe and clarinet. In 
 clarinet music " chalumeau " is used 
 to indicate an octave lower than 
 written. 
 
 Chamade (Fr.) (sha-?wa(/.) Beat of drum 
 declaring a surrender or parley. 
 
 Chamber band. A company of musi- 
 cians whose performances are confined 
 to chamber music. 
 
 Chamber music. Music composed for 
 private performance or for small con- 
 certs ; such as instrumental duets, trios, 
 quartets, etc. The term is less fre- 
 quently applied to vocal music. In a 
 broad sense " chamber music " is any 
 music suited to a room, or small hall, 
 as distinct from music for a large 
 auditorium, as church, operatic, or 
 symphonic music. Practically, the term 
 is most frequently applied to concerted 
 pieces of instrumental music in the 
 sonata form, as string quartets, quin- 
 tets, etc. 
 
 Chamber voice. A voice especially suited 
 to the execution of parlor music. 
 
 Chamber Organ. A cabinet organ. 
 
 Changeable. A term applied to chants 
 which may be sung either in the major 
 or minor mode of the key or tonic in 
 which they are written. 
 
 W. Turner. 
 
 P 
 
 m 
 
 ^r- 
 
 r — r 
 
 1^ 
 
CHANGE, ENHARMONIC 
 
 CHANTRY 
 
 Change, enharmonic. A passage where 
 
 the notation is changed, but the same 
 
 keys of the instrument are employed. 
 Changer de jeu (Fr.) (shanh-zha duh 
 
 zhii.) To change the stops or registers 
 
 in an organ. 
 Changes. The various alternations and 
 
 different passages produced by a peal 
 
 of bells. 
 Changing notes. A term applied by 
 
 some theorists to passing notes or dis- 
 cords, which occur on the accented parts 
 
 of a bar. 
 Chans. An abbreviation of Chanson. 
 Chanson (Fr.) (shanh-sonh.) A song. 
 Chanson bachique (Fr.) (shanh-sonh bak- 
 
 ik^ A drinking song. 
 Chanson des rues (Fr.) (shanh-sonh de 
 
 rii.) A street song ; a vaudeville. 
 Chansonner (Fr.) (shah-s6nh-«^.) To 
 
 make songs. 
 Chansonnette (Fr.) (shanh-sonh-«/if.) A 
 
 little or short song, or canzonet. 
 Chansonnier (Fr.) (shanh-sonh-ni-J.) A 
 
 maker of songs or ballads. 
 
 Chansons de geste (Fr.) (shanh-sonh duh 
 zhest.) The romances formerly sung 
 by the wandering minstrels of the 
 middle ages. 
 
 Chant. I. A simple melody, generally 
 harmonized in four parts, to which lyrical 
 portions of the Scriptures are set, part 
 of the words being recited ad libitum, 
 and part sung in strict, time. A Gre- 
 gorian chant consists of five parts : the 
 intonation; the first reciting note or 
 dominant ; the mediation ; the second 
 reciting note or dominant ; the cadence. 
 The Gregorian chant is the one chiefly 
 used in the Catholic and Anglican 
 service. See Helmore's " Plain Song." 
 2. To recite musically ; to sing. 
 
 Chant. (Fr.) (shanh.) The voice part ; 
 a song or melody ; singing. 
 
 Chant, Ambrosian. The chant intro- 
 duced by St. Ambrose into the church 
 
 as in tone : 6 as in dove ; 8 as in not ; S as in »/ ; ii the French sound of u. 
 
 S3 
 
 at Milan, in the fourth century. See 
 
 Ambrosian chant. 
 Chant amoureux (Fr.) (shanh amoo- 
 
 riih.) A love song ; an amorous ditty. 
 Chantant (Fr.) (shanh-tanh.) Adapted 
 
 to singing ; in a melodious and singing 
 
 style. 
 Chantante (Fr.) (shanh-tanht.) Singing. 
 Chantante, basse (Fr.) (shanh tanht 
 
 bass.) Vocal bass. 
 Chant d' eglise (Fr.) (shanh d' e-gleez.) 
 
 Church singing. 
 Chant denoel (Fr.) (shanh duhno-al.) A 
 
 Christmas carol. 
 Chant des oiseauz (Fr.) (shanh de swa- 
 
 zo.) Singing of the birds. 
 Chant de triomphe (Fr.) (shanh duh 
 
 tre-onhf.) A triumphal song ; a song 
 
 of victory. 
 Chant, double. A chant extending 
 
 through two verses of a psalm. It 
 
 would have four reciting-notes and 
 
 four cadences. 
 Chant du soir (Fr.) (shanh du swar.) 
 
 Evening chant. 
 Chantte (Fr.) (shan-tay.) Sung. 
 Chanter, i. One who chants. 2. The 
 
 pipe that sounds the treble or tenor In 
 
 a bagpipe. 
 Chanter (Fr.) (shanh-/^.) To sing ; to 
 
 celebrate ; to praise. 
 Chanter a livre ouvert (Fr.) (shanh-ZJ a 
 
 levr oo-vdr.) To sing at sight. 
 Chanter a pleine voix (Fr.) (shanh-Za a 
 
 plan vwa.) To sing in full voice. 
 Chanter, arch. The chief chanter; the 
 
 leader of the chants. 
 Chanterelle (Fr.) (shanh-te-ral.) Treble 
 
 string ; the £ string of the violin. The 
 
 highest string of any instrument of the 
 
 violin or lute family. 
 
 Chanter en choeur (Fr.) (shanh-ta anh 
 
 kiir.) To sing in chorus. 
 Chanteur (Fr.) (shanh-tur.) A singer. 
 
 Chanteur des rues (Fr.) (shanh-tiir de 
 rii.) A street singer. 
 
 Chanterie (Fr.) (shanh-tre.) ) Institu- 
 Chantry. ) t'ons es- 
 
 tablished and endowed for the purpose 
 of singing the souls of the founders 
 out of purgatory. A church or chapel 
 endowed with revenue for the purpose 
 
CHANTEUSE 
 
 CHIARENTANA 
 
 or most 
 of an author. 
 
 o£ saying Mass daily for the souls of 
 
 the donors. 
 Chanteuse (Fr.) {shanh-iiis.) A female 
 
 vocalist. 
 Chant funebre (Fr.) (sh'anh iu-nabr.) 
 
 Dirge ; a funeral song. 
 Chant, Gregorian. See Gregorian 
 
 Chant. 
 Chant, lugubre (Fr.) (shanh Va.-gubr.') 
 
 A dismal, doleful song. 
 
 Chant Lydian. A melody in a tender 
 
 style, sung in a languid and melancholy 
 
 manner. 
 Chant, plain. A single chant, seldom 
 
 extending beyond the limits of an 
 
 octave, or through more than one verse 
 
 of a psalm. 
 Chant, Roman. The Gregorian chant. 
 Chantry priests. Priests selected to 
 
 sing in the chantry. 
 Chant, sacre (Fr.) (shanh sakr.) Sacred 
 
 music. 
 Chant, single. A simple harmonized 
 
 melody, extending only through one 
 
 verse of a psalm. 
 Chantonner (Fr.) (shanh-tonh-Kj.) To 
 
 hum a tune. 
 Chapeau chinois (Fr.) (sha-/^ she-«wa.) 
 
 A crescent or set of small bells used in 
 
 military music. 
 Chapel, ante. That portion of the chapel 
 
 leading to the choir. 
 
 Chapelle (Fr.) (shap-//.) A chapel. 
 See Cappella. 
 
 Chapier (Fr.) (sha-pi-5.) A cope bearer; 
 a singer in his cope. 
 
 Characteristic chord. The leading or 
 principal chord. 
 
 Characteristic note. A leading note. 
 
 Characters. A general name for musical 
 signs. 
 
 Charfreitag (Ger.) (kar-/rr-tag.) Good 
 Friday. Thus Wagner's Charfreilag's 
 Zauber means the magic or enchant- 
 ment of Good Friday. 
 
 Charivari (Fr.) (sha-ri-va-re.) Noisy 
 music made with tin dishes, horns, bells, 
 etc. ; clatter ; a mock serenade. See 
 Calathumpian music. 
 
 Chasse (Fr.) (shass.) Hunting; in the 
 hunting style. 
 
 a as in a.i y a as in hate ; S as in at ; e as in tree ; S as in eh ; i as in pine ; \ as in pin; 
 
 54 
 
 Chatsoteroth (Heb.) (kat-j-«-te-r6th.) ) 
 
 Catzozerath (Heb.) (kat-zo «^-ralh.) ) 
 The silver trumpet of the ancient 
 Hebrews. 
 
 Chaunt. See Chant. 
 
 Che (It.) (ka.) Then, that, which. 
 
 Chef (Fr.) (sha.) Leader, chief. 
 
 Chef-d'attaque (Fr.) (sha d'at-tak.) The 
 leader, or principal first violin perform- 
 er ; also, the leader of the chorus. The 
 head of the first violins of an orchestra 
 (chef d'attaque) is the most important 
 person in the orchestra. He is the 
 conductor's lieutenant, a subconductor, 
 who should be able to fill the conductor's 
 place when required. 
 
 Chefd'oeuvre (Fr.) (sha d'oovr.) A 
 masterpiece ; the principal 
 important composition 
 See Capolavoro. 
 
 Chef-d'orchestre (Fr.) (sha d'or-kastr.) 
 The conductor of an orchestra. 
 
 Cherubical hymn. A hymn of great 
 importance in the early Christian 
 Church ; the Trisagion. 
 
 Chest of viols. An old expression ap- 
 plied to a set of viols, two of which 
 were basses, two tenors and two trebles, 
 each with six strings. 
 
 Chest tones. ) The lowest register of 
 
 Chest voice. ) the voice. 
 
 Chest, wind. A reservoir in an organ 
 
 for holding the air, which is conveyed 
 
 from thence into the pipes by means of 
 
 the bellows. 
 Chevalst (Fr.) (shev-a-Zay.) The bridge 
 
 of a violin, viola, etc. 
 Cheville (Fr.) (she-TO7.) The peg of a 
 
 violin, viola, etc. 
 Chevrotement (Fr.) (she-vrot-monh.) 
 
 A tremor or shake in singing. 
 Chevroter (Fr.> (she-vr6-/ay.) To sing 
 
 with a trembling voice ; to make a bad 
 
 or false shake. 
 Chiamare (It.) (ke-a-wz<i-re.) To 
 
 chime. 
 
 Chidra (It.) (ke-a-ra.) i Clear; bril- 
 Chiaro (It.) (ke-a-r5.) ( liant ; pure as 
 to tone. 
 
 Chiaram^nte (It.) (ke-a-ra-z«d«-te.) 
 Clearly, brightly, purely. 
 
 Chiarentana (It.) (ke-a-ren-jro,4-na.) 
 An Italian country dance. 
 
CmAKiZZA 
 
 CHOIR ORGAN 
 
 Chiar^zza (It.) (ke-a->-e/-sa.) Clear- 
 ness, neatness, purity. 
 
 Chiarina (It.) (ke-'a-ree-na..) A clarion. 
 
 Chiaroscuro (It.) (ke-a-rfc-koo-rS.) 
 Light and shade ; the modifications of 
 piano and forte. 
 
 Chiavette (It.) (kee-a-i/^Z-teh.) Trans- 
 posing clefs. See Cie/s. 
 
 Chiive (It.) (ke-a-ve). A clef, or key. 
 
 Chidve maestro (It.) (ke-a-ve ma- 
 ds-tro.) The fundamental key or note. 
 
 Cti^sa (It.) (ke-a-za.) A church. Ap- 
 plied to various musical works, as 
 Sonata da Chiesa, a sacred sonata; 
 Concerto da Chiesa, a sacred concerto, 
 etc. Da Chiesa signifies in church 
 style. 
 
 Chifires (Fr.) (shefr.) Figures used in 
 Harmony and Thorough Bass. 
 
 Chifla (Spa.) (A,4^-fla.) j 
 
 Chifladera (Spa.) (tshe-^a-de- ? thistle 
 ra.) ' ) 
 
 Chifladura (Spa.)(she-fla-afco-ra.) Whist- 
 ling. 
 
 Chiflar (Spa.) (tshe-yKy.) To whistle. 
 
 Chime. A set of bells tuned to a musi- 
 cal scale; the sound of bells in har- 
 mony ; a correspondence of sound. 
 
 Chime barrel. The cylindrical portion 
 of the mechanism sometimes used for 
 ringing a chime of bells. 
 
 Chimney. In an organ, a small tube 
 passing through the cap of a stopped 
 pipe. 
 
 Chinese flute. An instrument used by 
 the Chinese, made of bamboo. 
 
 Chinese musical scale. A scale consisting 
 of five notes without semitones, the mu- 
 sic being written on five lines in perpen- 
 dicular columns, and the elevation and 
 depression of tones indicated by dis- 
 tinctive names. Our diatonic scale, 
 with the fourth and seventh notes omit- 
 ted, would represent the chief Chinese 
 scale or mode. The hymn, " There is 
 a Happy Land," and the Scottish tunes, 
 "Auld Lang Syne," and "Bonnie 
 Doon " are in this scale. See Scale. 
 
 Chinnor (Heb.) (ken-nor.) ) An instru- 
 
 Chinor (Heb.) (ke-n5r.) ) ment of the 
 
 harp or psaltery species, supposed to 
 
 have been used by the ancient Hebrews. 
 
 as in tone y 6 as in dove ; 8 as in not ; fi as in »^ 
 
 55 
 
 Chirogymnast (Gr.) {ke-xo-ghim-v&A.) \ 
 Chirogymnaste (It.) (yJ^-r6-gim-»aj-te.) ) 
 A cross-bar or board on which are 
 placed various mechanical contrivances 
 for exercising the fingers of a pianist. 
 Chiropla^t (Gr.) (>S^-r6-plast.) A small 
 machine invented by Logier, to keep 
 the hands and fingers of young piano- 
 forte players in the right position. 
 
 Chitarone (It.) (ke-ta-ro-ne.) A large 
 or double guitar. 
 
 Chitdrra (It.) (ke-Ai>-ra.) A guitar ; a 
 cithara. 
 
 Chittdrra coll' arco (It.) {ke-tarrsi 
 koU' ar-ko.) A species of guitar played 
 with a bow like a violin. 
 
 Chitarriglia (It.) (ke-tar-/-^/-ya.) A small 
 guitar. 
 
 Chittarrina(It.) (ket-tar-?-^-na.) I The 
 
 Chittarrino (It.) (ket-tar-?-^-n5.) ) small 
 Neapolitan guitar. 
 
 Chitarrista(It.) (ket-ar-r«-ta.) One who 
 plays on the guitar. 
 
 Chiucchiurldja (It.) (ke-oot-ka-oor-Za- 
 ya.) A buzzing or humming sound. 
 
 Chiud6ndo (It.) (ke-oo-dSn-do.) Clos- 
 ing ; ending with. 
 
 Chiud6ndo col aria (It.) (keoo-ddn-do 
 kol a-re-a.) Ending with the air. 
 
 Chittd^ndo col ritornello (It.) (ke-oo- 
 dSn-do kol re-t6r-«fl/-16 ) Ending 
 with the postlude. 
 
 Chiuso (It.) (ki-oo-zo.) Close ; hidden ; 
 Bocca chiuso, with closed mouth ; hum- 
 ming. 
 
 Cho. Abbreviation of Chorus. 
 
 Choeur (Fr.) (kur.) The choir or 
 chorus. 
 
 Choice notes. Notes placed on different 
 degrees in same measure in a solo, 
 either of which may be sung. 
 
 Choir. I. That part of a cathedral or 
 church set apart for the singers. 2. 
 The singers themselves taken collec- 
 tively. 
 
 Choir, boy. A choir formed of boys 
 from eight to fourteen years of age. 
 These choirs are confined mostly to 
 the Episcopal and Catholic Church. 
 
 .Choir, grand. In organ playing; the 
 union of all the reed stops. 
 
 Choir organ. In a large organ, th<i 
 lowest row of keys is generally the 
 
 ii the French sound of u. 
 
CHOIR, TROMBOira 
 
 CHORD, COMMON" 
 
 choir organ, which contains some of 
 the softer and more delicate stops, and 
 is used for accompanying solos, duets, 
 etc. It derived its name from its use 
 in accompanying the vocal choir in the 
 chief parts of the choral service. A 
 good choir organ should have a suffi- 
 cient number of reed and string-toned 
 stops to give variety both in accom- 
 paniment and in solo work. The choir- 
 organ is often enclosed in a swell-box 
 to admit of shading. See Hopkins and 
 Rimbault — " The Organ." 
 
 Choir, trombone. Among the Moravians 
 a number of trombone-players, whose 
 duty it is to announce from the steeple 
 of the church the death of one of the 
 members, and assist at the funeral 
 solemnities. 
 
 Chor (Ger.) (kor.) Choir; chorus; 
 choir of a church.. 
 
 Choragus (Lat.) (ko-ra-gus.) The leader 
 of the ancient dramatic chorus. 
 
 Choral. Belonging to the choir ; full, or 
 for many voices. 
 
 Choral (Ger.) (ko-?-a7.) Psalm or hymn 
 tune ; choral song or tune. 
 
 Choral anthem. An anthem in a simple, 
 measured style in the manner of a 
 choral. 
 
 Choral book. A collection of choral 
 melodies either with or without a 
 prescribed harmonic accompaniment. 
 
 Choral-Buch (Ger.) (ko-?-<i7-bookh.) Cho- 
 ral book; a book of hymn' tunes. 
 
 Chorale (Ger.//.) (ko-ra-le.) Hymn tunes 
 of the early German Protestant church. 
 
 Choraleon (Pol.) (ko-ra-le-6n.) An in- 
 strument invented at Warsaw, of sim- 
 ilar construction to an organ. 
 
 Choral hymn. A hymn to be sung by a 
 chorus. 
 
 Choralist. Chorister, choir singer. 
 
 Choraliter (Ger.) (ko-rai-i-ter.) j In the 
 
 Choralmassig (Ger.) (ko-ra/- ? style 
 mas-sig.) ; or 
 
 measure of a psalm tune or choral. 
 
 Chor-amt (Ger.) (kSr-axnt.) Cathedral 
 service, choral service. 
 
 Chord. The union of two or more sounds 
 heard at the same time. Chords are 
 often indicated by figures attached to 
 their bass notes, and are classified as 
 follows: 
 
 Triads in Major. 
 
 i^ 
 
 w=m 
 
 —^ — ^^ — r- 
 
 C: I II III IV V VI vii" 
 Triads in Minor. 
 
 sfl sfl 
 
 c: I n» III' IV V VI vii" 
 Chords of the Seventh in Major. 
 
 C: I7 117 1117 IV7 V7 VI7 
 
 Chords of the Seventh in Minor, 
 7 
 
 |3|= 
 
 h- 
 
 ^1 
 
 c: I7 ii» III' 1V7 V7 v: 
 
 Chords of the Ninth. 
 
 In major. In minor. 
 
 5fc 
 
 T 
 
 3|E 
 
 T 
 
 Consult Stainer's " Harmony," or 
 
 York's " Harmony Simplified." 
 Chorda (Lat.) {kSr-da,.) A string of a 
 
 musical instrument. 
 Chorda characterlstica (Lat.) {klSr-&i. 
 
 ^ff?--ak-ter-z'j-ti-ka..) The leading, or 
 
 characteristic note or tone. 
 Chord, accidental. A chord produced 
 
 either by anticipation or suspension. 
 Chordae vocales (Lat.) {kSr-dis vo-zJa-les.) 
 
 Vocal chords. 
 Chord, anomalous. A chord in which 
 
 one or more of the intervals are greater 
 
 or less than of those of the funda- 
 mental chord. 
 Chord a vido (It.) (kord a ve-do.) A name 
 
 formerly given to a sound drawn from 
 
 the open string of a violin, violincello, 
 
 or similar instrument. 
 Chord, characteristic. The principal 
 
 chord ; the leading chord. 
 Chord, chromatic. A chord that contains 
 
 one or more chromatic signs. 
 Chord, common. A chord consisting of 
 
 a fundamental note together with its 
 
 third and fifth. 
 
 a as in ay5 y a as in hate ; a as in at ; e as in tree ; 5 as in eh ; i as in pine / 1 as in pin; 
 
 56 
 
CHORD, DOMINANT 
 
 CHORISTER 
 
 Chord, dominant, i. A chord that is 
 found on the dominant of the key in 
 which the music is written. 2. The 
 
 . leading or characteristic chord. 
 
 Chorda, dominant septima. The domi- 
 nant chord of the seventh, 
 
 Chordaulodian. 1 The name given to a 
 
 Chordomelodion. ) musical instrument re- 
 sembUng a large barrel organ, self- 
 acting. It was invented by Kaufman 
 of Dresden. 
 
 Chor-dienst (Ger.) (/So>--denst.) Choir or 
 choral service. 
 
 Chordometer. An instrument for measur- 
 ing strings. 
 
 Chord fundamental. A chord consisting 
 of the fundamental tone with its third 
 and fifth and its inversions. 
 
 Chord, imperfect, common. A chord 
 founded on the leading tone. It has a 
 minor third and diminished JiftA, 
 
 Chord, inverted. A chord whose lowest 
 tone is not the fundamental but the 
 third, fifth, or seventh from the lowest 
 or bass note. 
 
 Chord Inversions 
 Chord, leading. The dominant chord. 
 Chord, nona. Chord of the Ninth. 
 Chord of Nature. See Acoustics and 
 
 Harmonics. 
 Chord of the eleventh. A chord founded 
 
 on the chord of the ninth by adding 
 
 the interval of the eleventh. 
 
 Chord of the fifth and sixth. (6-5.) 
 The first inversion of the chord of the 
 seventh, formed by taking the third of 
 the original chord for the bass, and 
 consisting of that together with its 
 third, fifth, and sixth. 
 
 m 
 
 Chord of the fourth and sixth. (6-4.) 
 The second inversion of the common 
 
 as in tone ; 6 as in dove ; 8 as in not 
 
 Also called chord of the six- 
 
 chord, 
 four. 
 
 Chord of the ninth. (9.) A chord con- 
 sisting of a third, fifth, seventh, and 
 ninth with its root. 
 
 Chord of the second and fourth. (4 - 2.) 
 The third inversion of the seventh. 
 
 Chord of the seventh. (7.) A chord con- 
 sisting of the root together with the 
 third, fifth, and seventh. 
 
 Chord of the sixth. (6.) The first in- 
 version of the common chord. 
 
 Chord of the third, fourth, and sixth. 
 (6—4 — 3.) '^^^ second inversion of the 
 chord of the seventh. 
 
 Chord of the thirteenth. Founded on 
 
 the chord of the ninth 4jy adding the 
 
 eleventh and the thirteenth. 
 Chords, derivative. Chords derived 
 
 from the fundamental chords. 
 Chords, diminished. Chords with less 
 
 than perfect intervals. 
 Chords, imperfect. Those which do not 
 
 contain all the intervals belonging to 
 
 them. 
 
 m 
 
 Chords, relative. Chords which by rea- 
 son of affinity admit of an easy and 
 natural transition from one to the 
 other. Chords which possess many 
 notes in common. 
 
 Chord, transient. A chord in which, in 
 order to smooth the transition from 
 one chord to another, notes are intro- 
 duced which do not form any compo- 
 nent part of the fundamental harmony. 
 
 Chore (Ger. pi.) {kai-x&a.^ Choirs, cho- 
 ruses. 
 
 Chorea (Lat.) (/5o-re-a.) A dance in a 
 ring. 
 
 Choriambus. A musical foot, accented 
 thus, — — ■-' — , two short syllables be- 
 tween two long ones. 
 
 Chorist (Ger.) (ko-y«.) ) a chorister; a 
 Choriste (Fr.) (k6-«j/.) ) choral singer. 
 Chorister. A leader of a choir ; a singer. 
 ; fi as in up; vi the French sound of «. 
 
 57 
 
CHORKNABE 
 
 CHROMATIC SIGNS 
 
 Chorknabe (Ger.) (iar-kna-he.) Singing 
 
 boy. 
 Chor-regent (Ger.) {kdr-vs.-ghent.) Leader 
 
 or director of tiie choristers. 
 
 Chor-schiiler (Ger.) (k5r-j-,4a-ler.) S c li o- 
 rister ; a choral singer ; a member of 
 the choir. 
 
 Chor-ton (Ger.) (««>--t5n.) Choral-tone ; 
 the usual pitch or intonation of the 
 organ, and therefore of the choir. A 
 choral tune. 
 
 Chorus. I . A company of singers ; a com- 
 position intended to be sung by a num- 
 ber of voices. 2. Among the ancient 
 Greeks the chorus was a band of sing- 
 ers and dancers who assisted at the 
 performance of their dramas. 3. A 
 refran. 
 
 Chorus, cyclic (rf-klik.) The chorus 
 among the ancient Athenians which 
 performed at some of their dramatic 
 representations, dancing in a circle 
 around the altar of Bacchus. 
 
 Chorus-tone. See Chor-ton. 
 
 Christe eleison (Gr.) (kris-te a-lJ-son.) 
 O Christ, have mercy; a part of the 
 Kyrie or first movement in a Mass. 
 
 Christmas carols. Light songs, or bal- 
 lads, commemorating the birth of 
 Christ, sung during the Christmas holi- 
 days. 
 
 Christmesse (Ger.) (,5rzj<-mes-se.) ) 
 Christmette (Ger.) (/Jr^j^met-te.) ) 
 
 Christmas matins. 
 Chroma (Gr.) {kro-raa..') The chromatic 
 
 signs; z. sharp t, or jf!at 'o . In ancient 
 
 music the eighth note was called 
 
 Chroma. 
 Chroma diesis (Gr.) {kro-ma. di-a-sis.) A 
 
 semitone, or half tone. 
 Chroma duplex. The double-sharp, 
 
 marked by the sign *, tS. In ancient 
 
 music a sixteenth note. 
 
 Chromameter (kro-ma-me-ter.) A tuning 
 fork. 
 
 Chromatic. Proceeding by semitones. 
 Any music or chord containing notes 
 not belonging to the diatonic scale. 
 
 Chromatic depression. The lowering a 
 note by a semitone. 
 
 Chromatic elevation. The elevation of 
 a note by a semitone. 
 
 S as in ah ; a as in hate ; S as in a/; e as in 
 
 S8 
 
 Chromatic Fugue. A fugue in which the 
 subject has many chromatic intervals. 
 
 Chromatic horn. The French horn with 
 values, or keys. 
 
 Chromatic instruments. All instru- 
 ments upon which chromatic tones 
 and melodies can be produced. 
 
 Chromatic keyboard. An attachment 
 applied to the ordinary keys of a piano, 
 for the purpose of enabling players of 
 moderate skill to execute with greater 
 facility the simple chromatic scale, 
 chromatic runs, cadenzas, etc. 
 
 Chromatic keys . i . The black keys of a 
 pianoforte. 2. Every key in the scale 
 of which one or more chromatic tones 
 occur. 
 
 Chromatic melody. A melody the tones 
 of which move by chromatic intervals. 
 
 Chromatic scale. A scale which divides 
 every whole tone of the diatone scale, 
 and consists of twelve semitones or 
 half-steps in an octave. 
 
 Chromatic signature. The flats or 
 sharps placed after the clef at the be- 
 ginning of the staff. 
 
 Chromatic signs. Accidentals; sharps, 
 flats, and naturals. The chromatic 
 signs used in modern music are the 
 sharp (I), the flat (p), the natural (II), 
 the double sharp (x-), and the double 
 flat (bl?). The natural, or cancel, can 
 annul the effect of a double sharp or a 
 double flat, but if we desire a note to 
 be flatted, after using a double flat, we 
 must write (Ijb), and if sharped after a 
 double sharp, (W). The chromatics 
 are also called " accidentals." The flat 
 was the first of these signs in music, 
 and was used to indicate the position 
 of a single note — B — which was 
 sometimes sounded as B, and often 
 "softened" into B flat. This was 
 about A.D. 1000, when the letter nota- 
 tion was in use, and ran (for the scale 
 of C) as follows : c, d, e, f, g, a, b, "[-j, c. 
 The round b, called b rotundum, was b- 
 flat, the square b (L), called b quadra- 
 turn, was b-natural. In Germany, the 
 note b-flat is still called B, and as the 
 square b ('^) was mistaken for an h (of 
 the German print), it was called " H " 
 and is called so to-day, a clerical error 
 that has been perpetuated nearly a 
 thousand years. After some time'the 
 
 tree ; 6 as in if,4 ; i as in pine ; i as in pin ; 
 
CHROMATIC TUNING FORK 
 
 CIRCLE OF SCALES 
 
 two i'j were used as chromatic signs. 
 The sharp came in later and was origi- 
 nally a St. Andrew's cross (J). Double 
 sharps and double flats only came into 
 free use in music after Bach, with his 
 " Well-tempered Clavichord " (Part I, 
 1722; Part II, 1742), had brought in 
 the use of all the keys in modulation 
 and composition. In the music of the 
 seventeenth century, the effect of a flat 
 was generally annulled, not by a natu- 
 ral, or cancel, but by a sharp, and each 
 accidental was written as it occurred. 
 To-day the effect of the accidental ex- 
 tends through the measure, on all sub- 
 sequent notes of the same pitch, but it 
 is often allowed to apply to the same 
 note an octave higher or lower, if writ- 
 ten on the same staff. There are 
 many redundant and unnecessary chro- 
 matic signs employed in music, for 
 this rvile is followed by almost every 
 composer — If a note can for any rea- 
 son be considered doubtfztl, make its 
 meaning sure by using an accidental ! — 
 See Elson's " Theory of Music." 
 
 Chromatics, accideutal. Chromatics 
 employed in preparing the leading note 
 of the minor scale ; chromatics inciden- 
 tally employed. 
 
 Chromatic tuning fork. A tuning fork 
 sounding all the tones and semitones 
 of the octave. 
 
 Chromatiqtie (Fr.) (kr6-mat-^/5.) ) chrg . 
 
 Chromatisch(Ger.)(kro-»»a^ish.) ) matic; 
 moving by semitones. 
 
 Chromatiquement (F r.) (kro-raat-ek- 
 monh.) Chromatically. 
 
 Chromatisches klanggeschlecht (Ger.) 
 (kro-»jaM-shes VXing-^e-shlekht. ) The 
 chromatic genus or mode. 
 
 Chromatische tonleiter (Ger.) (kxo-mSt- 
 i-she ton-li-ter.) The chromatic scale. 
 
 Chronometer (Gr.) (kro-«^»z-e-ter.) The 
 name given to any machine for meas- 
 uring time. 
 
 Chronometer, Weber. An invention of 
 Godfrey Weber, and of Etienne Loulie, 
 before the existence of the metronome, 
 and simpler in construction, consisting 
 of a cord marked with fifty-five inch 
 spaces and having a weight attached to 
 its lower end. The degree of motion 
 is varied by the length of the cord. 
 
 Chrotta (It.) (kroi-ta.) The primitive 
 
 fiddle, differing from the modern in the 
 absence of a neck ; the crowle. 
 
 Church cadence. Another name for the 
 Plagal Cadence. 
 
 Church modes. See Gregorian modes. 
 
 Clacc6na (It.) (tshee-a-^iJ-na.) 1 A slow 
 
 Ciacc6nne (It.) (tshee-a-i«»-ne.) ) Sp a n- 
 ish dance generally constructed on a 
 ground b^ss. See Chaconne. 
 
 Cimbali (It. pi.) (tshim-W-le.) ) Cym- 
 Cimballes (Fr. pi.) (simbal.) ) bals ; 
 
 military instruments used to mark 
 
 the time. 
 Cimbalello (Spa.) (them-ba-/d'-yo.) A 
 
 small bell. 
 
 Cimbalo (Spa.) (them-*a-lo.) A cym- 
 bal. 
 
 Cimbel (Ger.) (^j-S«-bel.) A mixture 
 stop of acute tone. 
 
 Cimbal-stern (Ger.) {tsim-yS\. starn.) 
 Cymbal star. An organ stop consisting 
 of five bells, and composed of circular 
 pieces of metal cut in the form of a 
 star, and placed at the top of the in- 
 strument in front. 
 
 C in alt. The fourth note of the alt 
 octave. 
 
 i 
 
 =^ 
 
 See Tablature. 
 
 C in altissimo. The octave above C in 
 alt; the fourth note in altissimo. 
 
 ) A cymbal ; a Turkish 
 j musical instrument. 
 
 Cinelle (Tur.) 
 Cinellen (Tur.) 
 Cinelli (It.) (tschi-«rf-lee.) Cymbals. 
 Cink (Ger.) (tslnk.) A small reed stop 
 in an organ. 
 
 Cinq (Fr.) (sanhk.) ) Five ; the 
 
 Cinque (It.) (<j/4^«-que.) ) fifth voice or 
 part in a quintet. 
 
 Ciphering (ja'-fer-ing.) The sounding of 
 the pipes of the organ when the keys 
 are not touched. 
 
 Circular Canon. A canon which modu- 
 lates through the twelve major keys. 
 
 Circle of fifths. A method of modula- 
 tion, from dominant to dominant,' 
 which conveys us round through all 
 the scales back to the point from which 
 ^e started. 
 
 Circle of keys. 
 
 > See Keys. 
 
 Circle of scales. 
 
 as in tone y 6 as in dove ; 6 as in not y fi as in up ; ii the French sound of «. 
 
 59 
 
CIRCULAR SCALE 
 
 CLARINET 
 
 Circular scale. The row of tuning pins 
 
 and the wrest-plaiik of a piano made 
 
 in a curved form. 
 Cis (Ger.) (tsis.) The note C#. 
 Cis-cis (Ger.) (tsis-tsis.) The note C 
 
 double sharp, Cg;. 
 Cis-dur (Ger.) {tsis-cfoor.) The key of 
 
 Cl major. 
 Cis moll (Ger.) (tsis moll.) The key of 
 
 Ct minor. 
 Cistella (Lat.) (sis-i5f/-la.) A small chest 
 
 or box, triangular in shape, and strung 
 
 with wires which are struck with little 
 
 rods. See Dulcimer. 
 Cistre (Fr.) (sestr.) A cithern, a small 
 
 harp. 
 
 Cistrum. See Cittern. 
 
 Citara (It.) (i;j,4^-ta-ra.) A cittern, a 
 guitar. 
 
 Cithar (Dan.) {tstth-'i.x.) A cittern. 
 
 Cithara (Lat.) {sith~X--ik.) \ The lute ; 
 
 Cithara (Spa.) (^/^^/-a-ra.) ) an old in- 
 strument of the guitar kind. 
 
 Cithdra hispinica (Spa.) {thet-2.-rs. his- 
 /ffi»-i-ka.) The Spanish guitar. 
 
 Citharista (Lat.) {szth-i.-rts-ia..) A 
 player upon the harp. 
 
 Cither. 
 
 An old instrument of the 
 
 lute or guitar species; the 
 "■ oldest on record had three 
 strings, which were after- 
 ward increased to eight, 
 up to twenty-four. The 
 
 Cithera. 
 Cithern. 
 Cittern. 
 Cythorn. 
 nine, and 
 
 cither was very popular in the sixteenth 
 century. The cittern and guitar seem 
 to be derived from the same Greek 
 word. The cither is strung with wire 
 and played with a plectrum. 
 
 CitOle (Lat.) (sit-»-le.) An old instrument 
 of the dulcimer species, and probably 
 synonymous with it. 
 
 Civetteria (It.) (tshe-vet-^a-re-a.) Co- 
 quetry ; in a coquettish manner. 
 
 Clair (Fr.) (klar.) Clear, shrill, loud. 
 
 Claircylindre (klar-si-lanhdr.) An in- 
 strument invented by Chladni, in 1787, 
 for the purpose of experimenting in 
 acoustics. 
 
 Clam. In bell ringing, to unite sounds 
 on the peal. 
 
 Clamour. In bell ringing, a rapid multi- 
 plication of strokes. 
 
 Clamoroso (Spa.) (kla-mo-^ff-zo.) Plain- 
 tive sounds. 
 
 Clang. A sharp, shrill noise. 
 
 Clangor tubarum (Lat.) {kldn-gox tu- 
 ^lii-rum.) A military trumpet used by 
 the ancient Romans, consisting of a 
 large tube of bronze surrounded by 
 seven smaller tubes, all terminating in 
 one point, or a single mouth-piece. 
 
 Clang-tint. The color or quality of any 
 musical sound, and therefore its emo- 
 tional character. The clang-tint de- 
 pends upon the power of the over- 
 tones. See Acoustics. 
 
 Clan marches. These are composed for 
 the Scotch bagpipe, with a. strong 
 accent and marked rhythm. 
 
 Clapper. The tongue of a bell. 
 
 Claquebois (Fr.) (klak-bwa.) The Xylo- 
 phone. 
 
 Clar. An abbreviation of Clarinet. 
 
 Ciara voce (Lat.) {kld-xk v6-se.) A clear, 
 loud voice. 
 
 Clarabella (Lat.) (kld-'ii.-bel-\3,.) An organ 
 stop of eight-foot scale, with a soft 
 fluty tone ; the pipes are of wood and 
 not stopped. 
 
 Caribel-flute. An organ stop of the 
 flute species, of four-foot tone. 
 
 Clarichord. See Clavichord. 
 
 Clarichorde (Fr.) (klar-i-kdrd.) The 
 clarichord or clavichord. 
 
 Clarim (Por.) (kVi-rem.) 
 
 Clarin (Spa.) (kla-?-^«.) 
 
 Clarin (Ger.) (kla-?-^«.) A clarion; also 
 the name of a four-foot reed stop in 
 German organs. 
 
 Clarinero (Spa.) (kla-re-Kd-ro.) A 
 trumpeter. 
 
 Clarinet (also Clarinette.) A rich and 
 full-toned wind instrument of wood, 
 with a single reed mouth-piece. It is 
 one of the most important wood wind 
 instruments. It is said to have been 
 invented about 1700, by J. C. Denner, 
 of Nuremberg. It consists of a cylin- 
 drical tube, with finger-holes and keys, 
 which terminates in a bell, and has a 
 
 • A clarion. 
 
 Clairon (Fr.) (kla-ronh.) Trumpet; also 
 the name of a reed stop in the organ. 
 A clarion. beak-like mouth-piece. Its extreme 
 
 a, as in ah; a. as in hate j & as in at; e as in tree ; g as in eh ; i as in pine ; i as in />in^ 
 
 60 
 
CLARINET, BASS 
 
 CLAVES 
 
 I 
 
 t 
 
 compass is j^ There are 
 
 clarinets of 
 different 
 pitch; those 
 commonly used iiTthe orchestra are the 
 clarinets in C, in Be, and in A. 
 The clarinets in Ek, or Ab, are rarely 
 used except in military bands. All 
 clarinets, the one in C excepted, are 
 transposing instruments ; they do not 
 sound the notes which are written. 
 The Bb clarinet sounds a tone lower, 
 and the A clarinet a minor third lower. 
 Music for the clarinet is written in the 
 G clef. Besides the above-mentioned 
 clarinets, there is a bass clarinet (see 
 Clarinet, Bass.) The lowest register 
 of the clarinet is hollow-toned and 
 spectral. It is called "Chalumeau." 
 The middle register is much like the 
 human voice. The highest notes are 
 very acute and fierce. The B-flat clar- 
 inet has the best quality of tone. See 
 A. Elson's " Orchestral Instruments 
 and their Use," and Prout's " The Or- 
 chestra." 
 Clarinet, bass. A clarinet whose tones 
 are an octave deeper than those of the 
 C or B-ilat clarinet. 
 Clarinette (Fr.) (klar-i-nat.) The clari- 
 net ; also the name of an organ stop. 
 
 Clarinettista (It.) (kla-re-net-/^j-ta.) ) 
 Clarinettiste (Fr.) (Vlax-i-net-tisi.) ) 
 A performer upon the clarinet. 
 
 ClarindttO (It.) (kla-re-«//-t6.) A clari- 
 net. 
 
 Clart£ de voix (Fr.) (klar-ta diih vwa.) 
 Clearness of voice. 
 
 Classical music. Standard music ; music 
 of first rank, written by composers of 
 the highest order. Music whose form 
 and style has been accepted as suitable 
 for a model to composers. 
 
 Clause. K phrase. 
 
 Clausal (Ger.) {klou-z'l.) i A close ; a 
 
 Clausula (Lat.) (^/3«-su-la.) ) cadence ; a 
 concluding musical phrase. 
 
 Clausula affinalis (Lat.) {klau-su-\a.a.i-G- 
 «a-lis.) A cadence in a key nearly re- 
 lated to the original key of the piece. 
 
 Clausula dissecta (Lat.) (^&«-su-la dis- 
 sek-iii.) A half cadence. 
 
 Clausula dominans (Lat.) (^/a»-su-la 
 dStn-1-rta.ns.) A cadence on the dom- 
 inant. 
 
 Clausula falsa (Lat.) (klati-svi-Vifdl-sa.). 
 A false or deceptive cadence. 
 
 Clausula finalis (Lat.) (klau-su-\a. S.-nd- 
 Ife.) 
 
 Clausula prlmaria (Lat.) (^/a«-su-la 
 pri-w«a-ri-a.) 
 
 Clausula principalis (Lat.) (klau-sa-Ya. 
 prin-si-/o-lis.) 
 A final cadence or close in the original 
 key. 
 
 Clausula peregrina (Lat.) {klau-sd-Ya. 
 per-e-^^-na.) A cadence in a key 
 whose fundamental tone is not in the 
 principal key. 
 
 Clausus (Lat.) {klaw-sas.) A close 
 canon. 
 
 Clarin^tto secondo (It.) (kla-re-«/Mo se- 
 kon-Ao.) The second clarinet. 
 
 Clarino (It.) (kla-?-«-n6.) I A small or oc- 
 Clarion. ) tave trumpet ; 
 
 also the name of a 4-foot organ reed 
 stop tuned an octave above the trumpet 
 stop. The term is also used to indi- 
 cate the trumpet parts in a full score. 
 
 Clarion harmonique (Fr.) (kla-ri-onh 
 har-monh-«^.4.) An organ reed stop. 
 
 Clarionet. A wind instrument of the 
 single reed species, of a full, rich tone ; 
 also an organ reed stop of 8-foot scale 
 and soft quality of tone. See Clarinet. 
 
 Clarionet-flute. An organ stop of a simi- 
 lar kind to the stopped diapason. 
 
 Clarone (It.) (kla-^-^ne.) A clarinet. 
 
 as in tone ; 4 as in dove ; S as in not ; 
 
 6 
 
 Clav. An abbreviation of Clavecembalo, 
 Clavichord, and Clavecin. 
 
 Clave (Lat.) (/4/o-ve.) A key; a clef. 
 
 Clavecin (Fr.) (klav-e-sanh.) The harp- 
 sichord, or the spinte. 
 
 Clavecin acoustique (Fr.) (klav-e-sanh 
 'iu-Yooz-tek.) An instrument of the 
 harpsichord or pianoforte class. 
 
 Clavecin harmonieux (Fr.) (klav-e-sanh 
 har-mo-ni-iih.) An old instrument of 
 the haipsichord or pianoforte class. 
 
 Claveciniste (Fr.) (kla-ve-sanh-«i.) A 
 harpsichord player, or maker. 
 
 Claveoline (Fr.) (kldv-X-o-len.) An in- 
 strument of the harpsichord or piano- 
 forte class. 
 
 Claves (Lat.) {kld-ves.) A word for- 
 merly used for clefs. 
 
 ii as in «/ ; ii the French sound of u. 
 
CLAVES SIftNATiE 
 
 CLEF 
 
 Claves signatse (Lat.) A term applied 
 by Guido to colored lines used before 
 the invention of clefs, to mark the sit- 
 uation of the notes. 
 
 Claviatur (Ger.) (kla-vee-ah-ioor.) The 
 keyboard. 
 
 Clavicembalo (It.) (kla-ve-;j^a»?-b"a-"| 
 16.) I 
 
 Clavicetnbalum (Lat.) {ild-vi-sem-ia- f 
 mm.) J 
 
 The harpsichord. 
 
 Clavichord. A small, keyed instrument, 
 like the spinet, and the forerunner of 
 the pianoforte. The tone of the clavi- 
 chord vfas agreeable and impressive, 
 but very weak. Its mechanism 
 pushed a sharp edge, like the point of 
 a chisel, against the wire, and this point 
 remained, pressing the wire while the 
 key was held, forming a bridge. It 
 may be well, in playing clavichord 
 music, to remember that the clavi- 
 chord could sAat/e and play very 
 expressively, which the spinet and 
 harpsichord could not. See Weitz- 
 mann's " History of Pianoforte Music." 
 
 Clavichordium (Lat.) Qdav-e-Mr-dium.) 
 See Clavichord. 
 
 Clavicytherium (Lat.) (klav-\-s,h-the-ri- 
 um.) A species of upright harpsi- 
 chord, said to have been originally in 
 the form of a harp or lyre. It was in- 
 vented in the thirteenth century and 
 was the earliest approach to the mod- 
 ern pianoforte. 
 
 Clavicylinder. An instrument exhibited 
 in Paris in 1806. It consisted of a 
 series of cylinders which were operated 
 upon by bows set in motion by a crank, 
 and brought in contact with the cylin- 
 ders by means of the keys of a finger- 
 board. It was the invention of Chlad- 
 ni. 
 
 Clavier (Fr.) {\\&-veer.) ) The keys or 
 Clavier (Ger.) (kla-/^«?-.) ) key-board of 
 pianoforte, organ, etc. The German 
 name for spinets, harpsichords and 
 clavichords. At present the Germans 
 call the piano " Clavier " or " Kla- 
 vier." 
 
 Clavier-auszug (Ger.) (kla/^^r ous- 
 tsoog.) An arrangement of a full score 
 for the use of piano players. 
 
 Clavier-drath (Ger.) {k\&-feer drat.) 
 Wire for the pianoforte, etc. 
 
 Clavier-lehrer (Ger.) i^i.-fier la-rer.) 
 
 A pianoforte teacher. 
 Clavieren (Ger. pi.) (klaf-^«-ren.) The 
 
 keys. See Clavier. 
 
 Clavierschnle (Ger.) (yXki-eer-shoo-\e..) 
 A pianoforte instruction book. 
 
 Clavierspieler (Ger.) QiHia.i-eer-spee-X^'c.) 
 A pianoforte player. 
 
 Clavierstimmer (Ger.) (y.^i-eer-stilin- 
 mer.) A pianoforte tuner. 
 
 Clavieriibung (Ger.) (klaf-^i?^-«-boong.) 
 Exercises for the piano. 
 
 Clvierunterricht (Ger.) (klaf-#^?--w«-ler- 
 rikht.) Lessons or instruction on the 
 pianoforte. 
 
 Clavis (Lat.) (/5/a-vis.) ) , , 
 
 r.1 ■ //- \ Vir-r- ; f A key J a clef . 
 
 Clavis (Ger.) {kla-iSs,.) ) ■' 
 
 Clear-flute. An organ stop of four-foot 
 scale, the tone of which is very clear 
 and full. 
 CM (Fr.) (kla.)iA key ; a character 
 Clef j used to determine 
 
 the name and pitch of the notes on 
 the staff to which it is prefixed. The 
 clefs began in music about A. D. 
 goo. There were then no notes, 
 but certain characters called neumes, 
 without definite pitch, indicating the 
 rise and fall of the voice and its gen- 
 eral progression. Through these a red 
 line was drawn and marked "F." The 
 F clef was thus the earliest clef. 
 Soon after (before 1000), another line, 
 generally green, was drawn above it 
 and marked " C." Originally all the 
 clefs were letters, and all were mova- 
 ble. The following are used in music 
 to-day : — The G clef, placing g on the 
 second line, thus V 9 | — ^ ; the bass, 
 or F clef, placing l-W — * — I f on the 
 
 ; these two 
 immovable 
 
 fourth line, thus 
 are now fixed, 
 clefs. The c clef, which fixes the po- 
 sition of middle c, or c, is a movable 
 clef, and is used to-day, as follows : 
 
 Soprano clef Ej 
 
 ~^m 
 
 Alto clef 
 
 Tenor clef 
 
 ^-fe 
 
 frl*-^)^ 
 
 i / a as in hate ; a as in at ; e as in tree ; easiaek ; i as in Jiine ; i as iri pin ; 
 
 62 
 
CLEF, ALTO 
 
 CODA 
 
 and often in America 
 
 The object of such a moveable clef is 
 to avoid leger lines above or below 
 the staff. The c clef is sometimes 
 
 In old 
 
 ■varied in shape, as E or 1 
 
 music the following are sometimes 
 found : — Mezzo soprano clef 
 
 ^ y = j— ^ — r 
 
 ^0 
 
 Trench vio- 
 lin clef and the 
 baritone clef 
 The following is a recent use of the 
 tenor clef: and signifies that the notes 
 
 m 
 
 iw. 
 
 =\z 
 
 are to be played an octave lower than 
 in the G clef. 
 
 See Elson's " Realm of Music," article 
 on " The Rise of Notation." 
 
 ■Clef, alto. The C clef on the 
 third line of the staff. 
 
 W- 
 
 Clef, baritone. The F clef when ESE 
 placed on the third line. I ^ 
 
 Clef, bass. The character at the begin- 
 ning of the staff, where the 
 lower or bass notes are written, 
 
 m 
 
 and serving to Indicate the pitch and 
 name of those notes. The F clef. 
 
 Clef, C. So called because it gives its 
 name to the notes placed on the same 
 line with itself. 
 
 Clef, counter tenor. The C clef when 
 placed on the third line in order to ac- 
 commodate the counter tenor voice. 
 
 Clef d'accordeur (Fr.) (kla d'ak-kor- 
 diir.) A tuning hammer. 
 
 Clef de fa (Fr.) (kla diih fa.) The F, 
 or bass clef. 
 
 Clef descant. 
 
 clef. 
 
 Clef d'ut (Fr.) (kla d'oot.) The C clef. 
 
 Clef, F. The bass clef. 
 
 Clef, French Treble. The G clef on the 
 bottom line of the staff ; formerly much 
 
 as in ione y d as in dove ; 8 as in ko/ 
 
 The treble or soprano 
 
 used in French music for the violin, 
 
 flute, etc. 
 Clef, German soprano. The C clef ^^ 
 
 placed on the first line of the staff ^=1): 
 
 for soprano. 
 Clef, mean. The tenor clef rt^ 
 
 Clef, mezzo soprano. The C clef when 
 placed on the second line of the staff. 
 
 Clef, sol (Fr.) (kla sol.) The G, or rf 
 treble clef. c& 
 
 Clef, soprano. 
 
 first line. 
 
 The C clef placed on the 
 
 Clef, tenor. See Mean clef. The C clef 
 when on the fourth line of the staff. 
 
 Clef, treble. The G clef ; soprano clef. 
 
 Cloche (Fr.) (klosh.) A bell. 
 
 Cloche de I'elevation (Fr.) (klosh diSh 
 rel-e-wa-si-onh.) Saint's bell, rung at 
 elevation in Mass. 
 
 Cloche funebre (Fr.) (klosh fii-nabr.) 
 Funeral bell. 
 
 Cloche mortuaire (Fr.) (klosh mor-tii- 
 dr.) The passing, funeral bell. 
 
 Clocher (Fr.) (klo-sha.) A belfry. 
 
 Cloche sourde (Fr.) (klSsh soord.) A 
 muffled bell. 
 
 Clochette (Fr.) Q5\o-shet.~) A little bell ; 
 a hand bell. 
 
 Clocks, musical. Clocks containing an 
 arrangement similar to a barrel organ, 
 moved by weights and springs and pro- 
 ducing various tunes. 
 
 Close. A cadence; the end of a piece or 
 passage. 
 
 Close harmony. Harmony in which the 
 notes or parts are kept as close to- 
 gether as possible. 
 
 C. 0. An abbreviation of cAot'r organ. 
 
 Co (It.) (ko.) ] 
 
 Coi (It.) (ko-ee.) I With, with the. 
 
 Col (It.) (kol.) J 
 
 Cocchina (It.) (kot-/i^-na.) An Italian 
 country dance. 
 
 C6da (It.) (^J-da.) The end ; a few bars 
 added to the end of a piece of music 
 to make a more effective termination. 
 From the Latin " Cauda " — a tail. 
 The coda, originally a few added chords 
 after the completion of the musical 
 form, was developed by some of the 
 great masters, especially by Beethoven, 
 
 ii as in a^ ; ii the French sound of u. 
 
 63 
 
CODA BRILLANTE 
 
 COME PKIMA 
 
 into a great summing-up of the move- 
 ment or composition ; a climax of the 
 entire work. The final episode of a 
 fugue is called Coda. 
 
 C(5da brillante (It.) (kd-dA breWa«-te.) A 
 brilliant termination. 
 
 Codetta (It.) (ko-flfe;-ta.) A short coda 
 or passage added to a faece ; a connect- 
 ing passage in a fugue. 
 
 Codon. A bell. 
 
 Coffre (Fr.) (kofr.) The frame of a lute, 
 guitar, etc. 
 
 Cogli (It.) (/ioV-yee.) With the. 
 Cogli stromenti (It. pi.) kol-yes stro- 
 men-ie.) With the instruments. 
 
 Cognoscente (It.) (k6n-y5-j,4^«-te.) One 
 well versed in music ; a connoisseur. 
 
 Col bassi (It.) (ko-ee bas-se.) With the 
 basses. 
 
 Coi fagotti (It.) (k5-ee fa-got-te.) With 
 
 the bassoons. 
 Colachon (Fr.) (ko-la-shonh.) An Italian 
 
 instrument, much like a lute, but with 
 
 a longer neck. 
 Col drco (It.) (kol-ay-ko.) mth the bow ; 
 
 see Coll 'drco. 
 Col basso (It.) (kol bas-so.) With the 
 
 bass. 
 Col C. An abbreviation of Col Canto. 
 Col CAntO (It.) (kol kan-to.) With the 
 
 melody or voices ; see Colla Voce. 
 Coll (It.) (kol.) ~| 
 Colla (It.) (kol-la). )■ With the. 
 CoUo (It.) (k61-15.) J 
 Colla d^stra (It.) (kol-la des-tra.) With 
 
 the light hand. 
 Colla massima discrezione (It.) (kol-la 
 
 mas-se-ma dez-kra-tse-o-ne.) With 
 
 the greatest discretion. 
 Colla pirte (It.) (kol-la par-te.) With t¥ 
 
 part ; indicating that the time is to be 
 
 accommodated to the solo singer or 
 
 player. 
 
 Colla pinta d'arco (It.) (kol-la poon-ta 
 d'ar-ko.) With the point or tip of the 
 bow. 
 
 si-nis-tra.) 
 
 (kol-la 
 
 CoUo sinistra (It.) 
 With the left hand. 
 
 Colla v6cO (It.) (kol-la vo-tshe.) With 
 the voice ; implying that the accompanist 
 must accommodate and take the time 
 from the singer. 
 
 a as in a.^ ; ^ as in hate ; S as in at ; § as in tree / 6 as in ^^ / i as in pine ; I as in pin} 
 
 64 
 
 Coll' drco (It.) (kol- I'ar-ko.) With the 
 bow the notes are to be played with 
 the bow, and noi pizzicato. 
 
 Col' legno (It.) (kol Idn-yo.) With the 
 bow stick. 
 
 Col Idgno dell' arco (It.) (kol lan-y5 
 dell'ar-ko.) With the bow stick ; strike 
 the strings with the wooden side of the 
 bow. 
 
 CoUe parti (It.) (kol-le /oV-te.) With 
 the principal parts. 
 
 Colla trombe (It.) (kol-le trom-he.) With 
 the trumpets. 
 
 CoUinet. Flageolet. 
 
 Coll' Ottava (It.) (kol-l' ot-ta-va.) With 
 the octave. Add the octave to the 
 printed note. 
 
 Colofane (Fr.) (kol-o-fane.) 
 
 Colofdnia (It.) (kol-6-fo-ne-a.) 
 
 Colophane (Fr.) (kol-o-fane.) 
 
 Colophon (Fr.) (kol-o-fonh.) 
 
 Colophonium (Ger.) (ko-lo^/fl-ni-oom.) 
 
 Colophony (Eng.) 
 
 Resin ; used for the hair in the bow of 
 a vioUn, etc., to enable the horsehair 
 to get a better hold upon the strings. 
 
 Coloratura (It.) (ko-lo-ra-^oo-ra.) 
 
 Coloratura (It.) ) (k6-lo-ra-/oo-re.) 
 
 Coloraturan (Ger.) (ko-lo-ra-Zotf-ren.) 
 Ornamental passages, roulades, em- 
 bellishments, etc., in vocal music. 
 
 Col violini (It.) {kei we-6-le-ne.) With 
 the violins. 
 
 Combination pedals. See Composition 
 Pedals. 
 
 C6me 
 
 as. 
 
 Com^die 
 
 play. 
 
 Comddi^n (Fr.) (kom-a-di-a«;4.) 
 Comedianta (Spa.) (ko-ma-de-o»-te.) 
 A comedian ; an actor. 
 
 (It.) (^J-me.) As, like, the same 
 (Fr.) (kom-a-de.) Comedy, 
 
 (Fr.) (kom-a-di-a«,4.) An 
 
 Comedienne 
 
 actress. 
 
 Comedy, lyric. A comedy specially 
 adapted for singing. 
 
 C6me il primo t^mpo (It.) (ko-me el 
 pre-mo tem-p6.) In the same time as 
 the first. 
 
 Cdma prima (It.) (ko-me pre-ma.X 
 before ; as at first. 
 
 As 
 
COMES 
 
 COMPLAINT 
 
 Comes (Lat.) (i4»-mes.) A companion; 
 this term was used by old theorists to 
 indicate the answer, in a fugue or the 
 imitation in a canon. 
 
 C6me s6pra (It.) (ko-me s6-pr"a.) As 
 above ; as before ; indicating the repeti- 
 tion of a previous or similar passage. 
 
 C6me sta (It.) (ko-me sta.) A s it stands ; 
 perform exactly as written. 
 
 C6me t6mpo del t6ma (It.) (k5-me tSm- 
 p6 del ^ay-ma.) In the same time as 
 that of the theme. 
 
 Cdmico (It.) (/Jff-me-ko.) ) Comic; also a 
 Comique (Fr.) (k6m-«/S.) ) comic actor, 
 and a writer of comedies. 
 
 Comincidre (It.) (ko-min-tshe-a-re.) To 
 begin. 
 
 Comincidta (It.) (ko-min-tshe-a-ta.) The 
 beginning ; the commencement. 
 
 Comiquement (Fr.) (kom-^^/J-manh.) 
 Comically; jocosely. 
 
 C6mma (It.) {iom-ma..) The smallest of 
 all the sensible intervals of tone, and 
 used in treating or analyzing musical 
 sounds. As an illustration, the differ- 
 ence between Dj and E|j as played 
 upon the violin by the best performers. 
 A tone is divided into nine almost im- 
 perceptible intervals, called commas, 
 five of which constitute the major 
 semitone, and four the minor semitone. 
 The comma is therefore the small in- 
 terval between a major and a minor 
 tone, that is, between a tone whose 
 ratio is 8:9, and one whose ratio is 
 9:10. The ratio of a comma is there- 
 fore 80 : 81. A Pythagorean comma is 
 the difference between the note pro- 
 duced by taking 7 octaves upwards 
 and 12 fifths. The sign of a comma 
 (,) is often used as a breathing mark 
 in vocal music. 
 
 Commencer (Fr.) (kom-manh-sa.) To 
 begin ; to commence. 
 
 Commodamente (It.) (k6m-m5-da-»«^»- 
 te.) With ease and quietude. 
 
 Commodo (It.) {kllm-m.b-d.o.) Quietly, 
 easily, composedly. 
 
 Common chord. A chord consisting of 
 a bass note with its third and fifth, 
 to which its octave is usually added. 
 
 Common hallelujah metre. A stanza of 
 six lines of iambic measure, the syllables 
 
 O as in tone ; 6 as in dove ; 5 as in not 
 
 of each being in number and order as 
 follows : 8, 6, 8, 6, 8, 8. 
 
 Common measure. That measure which 
 has an even number of parts in a bar; 
 i rhythm, sometimes marked \~7T' 
 
 Common metre. A verse or stanza of 
 four lines in iambic measure, the syl- 
 lables of each being in number and 
 order, thus : 8, 6, 8, 6. 
 
 Common particular metre. A stanza of 
 six lines in iambic measure, the number 
 and order of syllables as follows : 8, 8, 
 6, 8, 8, 6. 
 
 Common time. That time which has an 
 even number of parts in a bar; common 
 measure ; J rhythm, sometimes also |. 
 
 Common time, compound. Sextuple 
 time, or -'5^^ time. 
 
 Common time, half. A measure con- 
 taining only two quarter notes or their 
 equivalents. 
 
 Common turn. A turn consisting of the 
 principal note, the note above it and 
 the note below it. 
 
 Comodam^nte (It.) (ko-mo-da- \ Conven- 
 men-te.) C iently, 
 
 C6modo (It.) (iS-mo-do.) ) easily, 
 
 quietly ; with composure. 
 
 Compars^s (Fr.) (konh-par-sa.) Super- 
 numeraries ; persons who appear upon 
 the stage to swell the numbers without 
 taking active part. 
 
 Compass. The range of notes or sounds 
 of which any voice or instrument is 
 capable. 
 
 Compensation mixture. An organ mix- 
 ture stop, in the pedals, and intended 
 to assist the intonation of the pedal 
 pipes. 
 
 Compiac^TOle (It.) (kom-pe-a- 
 tsAe-vo-\e.) 
 
 Compiacimento (It.) (kom-pe- 
 SL-tshe-men-to.) 
 attractive. 
 
 Compiacevolmente (It.) (kom-pe-a-tshe- 
 v6l-men-te.) In a pleasant and agree- 
 able style. 
 
 Compi^ta (It.) (kom-pe-(?-ta.) Complin; 
 evening prayers. 
 
 Complaint (Fr.) (kom-planAi.) A relig- 
 ious ballad. 
 
 ,• fi as in up ; ii the French sound of «. 
 
 65 
 
COMPLEMENT 
 
 CON animazi6ne 
 
 com- 
 pose 
 
 A com- 
 poser 
 of 
 
 Complement. That quantity which is 
 wanting to any interval to fill up an 
 octave. 
 
 Complementary part. That part which 
 is added to the subject and counter- 
 subject of a fugue. 
 
 Complete cadence. A full cadence. 
 
 Complin (Lat.) (ii)m-p\in.) Evening ser- 
 vice of the Catholic church. 
 
 Comp6nere (It.) (k6m-^o»-na-re.) 'i jo 
 
 Componiren (Ger.) Quom-po-fiee- I 
 r'n.) f 
 
 Compfirre (It.) (kom-^o>--re.) J 
 
 Componit6re (It.) (kom-po-ne- 
 tS-re.) 
 
 Componista (It.) (k6m-p5-»«j-ta.) 
 poser ; an author. 
 
 Composer (Fr.) (konh-po-za.) To com- 
 pose music. 
 
 Composite intervals. Those intervals 
 which consist of two or more semi- 
 tones. 
 
 Compositeur (Fr.) (k6m-p6s-i- 
 tur.) 
 
 Compositfire (It.) (kom-pos-e-z'J- 
 re.) 
 
 Componist (Ger.) (k6m-po-«;j-/,) 
 
 Composition. Any musical production ; 
 the art of inventing or composing 
 music, according to the rules of har- 
 mony. 
 
 Composition, free. That which devi- 
 ates somewhat from the rules of com- 
 position. 
 
 Composition pedals. Pedals connected 
 with a system of mechanism for arrang- 
 ing the stops of an organ. 
 
 Composition, strict. A composition that 
 adheres rigidly to the rules of art. 
 
 Compositor, music. A person who sets 
 music type. 
 
 Compositura (It.) (kom-pos-e- "l A 
 too-r'a.) I com- 
 
 Composizi6ne (It.) (kom-pos-e- | posi- 
 tse-tf-ne.) J tion, 
 
 or musical work. 
 
 Composizi6ne di tavolino (It.) (kom-pos- 
 
 e-tse-J-ne de tav-o-le-no.) Table music ; 
 
 music sung at table, as glees, catches, 
 
 rounds. 
 Composso (It.) (kom-/ar-so.) ) Com- 
 Comp6sto (It.) (k6m-/ftr-to.) ) posed ; 
 
 set to music. 
 
 Compound appoggiatura. An appog- 
 giatura consisting of two or more small 
 notes. 
 
 Compound harmony. Simple harmony 
 with an octave added. 
 
 Compound intervals. Those which ex- 
 ceed the extent of an octave; as a 
 ninth, tenth, etc. 
 
 Compound stops. Where three or more 
 organ stops are arranged so that by 
 pressing down one key, they all sound 
 at once. 
 
 Compound times. Those which include 
 or exceed six parts in a measure, and 
 contain two, or more, principal accents, 
 as, |, |, |, f, i^: See Rhythm, and 
 Time. 
 
 Compressed harmony. See Close Har- 
 m-ony. 
 
 Con (It.) (kon.) With. 
 
 Con abbanddno (It.) (kon a-ban-(/^-no.) 
 With passion ; with ardent feeling. 
 
 Con aff^tto (It.) (kon U-fet-lo.) \ In an 
 Con afEezi6ne (It.) (kon af-fe- [ affec- 
 tse-(j-ne.) ; tionate 
 
 manner ; with warmth. 
 
 Con afflizidne (It.) (kon af-fli-tse-J-ne.) 
 With afHiction ; mournfully. 
 
 Con agilitd (It.) (kon a-jil-e-ta.) With 
 
 agility; neatly. 
 
 Con agitazidne (It.) (kon aj-e-ta-tsi-J- 
 ne.) With agitation ; hurriedly. 
 
 Con alciina licenza (It.) (kon a]-i-oo-na.- 
 \e-ishen-tsa..) With a certain degree of 
 license as regards time and expression 
 or construction. 
 
 Con all^grezza (It.) (k6n-al-le-.^r^^sa.) 
 With lightness ; cheerfully. 
 
 Con alter^zza (It.) (kon al-te-r^^sa.) 
 With an elevated and sublime ex- 
 pression. 
 
 Con amabiliti (It.) (kon a-ma-bel-e-ta.) 
 With gentleness and grace. 
 
 Con amar^zza (It.) (kon a-ma-ret-sa..) 
 With affliction ; with bitterness. 
 
 Con am6re (It.) (kon a-ma-ve.) With 
 tenderness and affection. 
 
 Con anima (It.) (kon an-e-m'a.) ) With 
 
 Con animo (It.) (kon an-e-mo.) ) anima- 
 tion and boldness. 
 
 Con animazi6ne (It.) (kon an-e-ma-tse-o- 
 ne.) With animation ; decision ; bold- 
 ness. 
 
 S j" a as in hate ; a as ina^/ e as in tree ; tas\aeh ; ias inline; las xa pin; 
 
 66 
 
CON audAce 
 
 CONCERTO 
 
 Con auddce (It.) (kon ou-i/d-tshe.) With 
 boldness; audacity. 
 
 Con bellSzza (It.) (kon bel-let-z'a.) With 
 
 beauty of tone and expression. 
 Con bizarria (It.) (kon he-tsdr-iea.) 
 
 Capriciously ; at the fancy of the player 
 
 or composer. 
 Conbrayura (It.) (kon bra-f oo-ra.) With 
 
 dash, -with boldness. 
 Con brio (It.) (kon iree-o.) With life; 
 
 spirit ; brilliancy. 
 
 Con brio ed animdto (It.) (kon 6ree-o 
 ed a.a-e-ma-to.) With brilliancy and 
 animation. 
 
 Con calma (It.) (k6n-ka!-m'a..) With 
 calmness and tranquillity. 
 
 Con cal6re (It.) fkon ka-/J-re.) With 
 warmth; with fire. 
 
 Con carita (It.) (kon ka-r^-ta.) With 
 tenderness. 
 
 Con celerita (It.) (kon tshe-/<»?--e-ta.) 
 With celerity ; with rapidity. 
 
 Conc^nto (It.) Qcon-ts/ien-to.) Concord; 
 agreement ; harmony of voices and in- 
 struments. 
 
 Concentual. Harmonious. 
 
 Concentus (Lat.) (k6nj-/«-tus.) Har- 
 monious blending of sounds ; concord. 
 
 Concert, i. A performance in public; of 
 practical musicians, either vocal or in- 
 strumental, or both. 2. Harmony, 
 unison; (Ger.) a concerto. Concert 
 Spirituel (Fr.) a sacred concert. 
 
 Concertant (Fr.) (konh-ser-^o«/4.) Per- 
 former in a concert ; a musician. 
 
 Concertdnte (It.) '^k6n-tsher-/o«-te.) i. A 
 piece in which each part is alternately 
 principal and subordinate, as in a diio 
 concertdnte, 2. A concerto for two or 
 more instruments, with accompani- 
 ments for a full band. 3. A female 
 concert singer. 
 
 Concertata messa (It ) (k6n-tsher-/a-ta 
 mes sa.) A concerted Mass. 
 
 Concertata madrigali (It.) (k6n-tsher-&- 
 te mad-re-^3-le.) Accompanied madri- 
 gals. 
 
 Concertato (It.) (kon-tsher-;fa-t5.) Con- 
 certed. See also Concertdnte. 
 
 Concerted music. Music in which sev- 
 eral voices or instruments are heard at 
 the same time ; in opposition to s6lo 
 music. 
 as in tone ; 6 as in dove ; 5 as in not; 
 
 Concert-grand pianoforte. The largest 
 grand pianoforte. 
 
 Concertina (It.) (k6n-tsher-/#<?-na.) A 
 small instrument, hexagonal in shape, 
 held in the hands. The sounds are 
 produced by pressing the fingers upon 
 the keys, which are placed upon each 
 side of the instrument, and working 
 the bellows at the same time, to pro- 
 duce the requisite supply of wind to 
 the reeds. It is an improved accor- 
 dion. 
 
 Concertino (It.) (kon-tsher-fe-no.) i. A 
 short concerto. 2. A principal part in 
 a concerto, or other full orchestral piece. 
 3. The principal instrument in a con- 
 cert. 
 
 Concertiren (Ger.) (kon-tser-S^-r'n.) To 
 accord ; to agree in sound ; also a soli 
 movement where each instrument or 
 voice has in its turn the principal part. 
 
 Concert-meister (Ger ) (koa-tsert mis- 
 ter.) The chief violinist of the or- 
 chestra. He is leader of the violins, 
 and next in importance to the con- 
 ductor himself. See CAef d'Attaque. 
 
 Concerto (It.) (kon-C/iazV-to) ; (Ger.) 
 Konzert (kont-ja/W) . Also pronounced 
 as an English word — concerto. Orig- 
 inally the term was applied loosely to 
 almost any kind of concerted music. 
 Viadana used the term for motets with 
 organ, in 1602. The real inventor of 
 the concerto, as an instrumental con- 
 certed form, was Torelli, who, in 1686, 
 wrote concerted works for two violins 
 and basso. The form was developed 
 along the lines of the old sonata, by 
 Corelli, Geminiani and Vivaldi. The 
 old concerto, in the time of Bach and 
 Handel, were much like an orchestral 
 suite, and the form was much freer 
 than it became later. With Mozart 
 the concerto took the classical sonata- 
 form, although it is still the freest pres- 
 entation of this classical form of 
 music. The central idea of the concerto 
 is the display of a solo instrument, or 
 sometimes more than one. There are 
 concertos for almost every instrument, 
 but the piano concerto is the most 
 successful and the most numerous. 
 Among masterpieces in this form one 
 may mention the " Emperor " and the 
 fourth concerto, by Beethoven; the 
 two piano concertos, by Brahms ; the 
 two by Liszt (rather rhapsodies than 
 
 ii as in «/; ii the French sound of «. 
 
 67 
 
CONClfeRTO A SOLO 
 
 CON DIVOZIOHE 
 
 concertos) ; the A minor, by Schumann ; 
 the great violin concerto, by Beethoven ; 
 the violin concerto, by Brahms ; etc. 
 There is a concerto for harp and flute 
 by Mozart, and one for violin, violon- 
 cello and piano by Beethoven, illustrat- 
 ing the use of two or more instru- 
 ments simultaneously. There are even 
 concertos for the kettle-drums 1 While 
 the concerto is intended to display the 
 solo instrument, it should still give an 
 orchestral impression. The last con- 
 certos by Beethoven, and all of those 
 by Brahms, are symphonic in their 
 ■effect, although giving great difficul- 
 ties to the solo artist. The two con- 
 certos (conrerti is the Italian plural) by 
 Chopin, spite of their great beauties, 
 have the fault of being too entirely 
 piano compositions. Sometimes the 
 concerto movements are continuous. 
 The regular number of movements is, 
 however, three, the minuet or scherzo 
 of the full sonata form being omitted. 
 See also Cadenza. Reference works : 
 Prout's " Musical Forms," Mathew's 
 " Primer of Musical Forms," Elson's 
 " Theory of Music," Grove's " Diction- 
 ary." 
 
 Concerto a solo. A concerto written for 
 the purpose of displaying the powers 
 of a particular instrument without ac- 
 companiment. 
 
 Concerto di chiesa (It.) {Vbxi-tsher-to 
 de ke-a-za.) A concert of church mu- 
 sic. 
 
 Concerto doppio (It.) {^on-tsher-to 
 dop-pe-o.) A concerto for two or more 
 instruments. 
 
 Concerto grande (Fr.) (kon- l A 
 tsher-lo grand.) I grand 
 
 Conc&to gr6sso (It.) Qaor^-isher- \ or- 
 to gros-so.) J ches- 
 
 tral composition for many instruments, 
 with two or three especially prominent. 
 
 Concerto spirituSle (It.) (kon-isher-tb 
 spe-re-too-al-e.) A miscellaneous con- 
 cert consisting chiefly of sacred or 
 classical music. 
 
 Concertone (It.) (kon-tsher-to-ne.) A 
 concertdnte. 
 
 Concert pitch. The pitch adopted by 
 different manufacturers of musical in- 
 struments as best suited to display 
 them. It is a dubious and vague stand- 
 
 high pitch. In America it has been 
 displaced by the " International Pitch." 
 See Pitch. ' 
 
 Concert-saal (Ger.) (kon-^rf;-^ sal.) _ Con- 
 cert hall. 
 
 Concert-spieler (Ger.) ' (kon-Vrf?-; spe- 
 
 ler.) A solo player ; concerto player. 
 Concert spirituel (Fr.) (k6n-/«r; spe- 
 
 re-too-<z/.) See Concirto Spiritudle. 
 Concert-stiick (Ger.) (Von-tsM stUk.) 
 
 A concert-piece ; a concerto. 
 Con civetteria (It.) (kon tshe-vet-a/?-- 
 
 re-a.) With coquetry j in a coquettish 
 
 manner. 
 
 Conclusione (It.) (kon-kloo-ze-o-ne.) 
 The conclusion, or winding up. 
 
 Con c6modo (It.) (kon kd-rab-&b.) 
 With ease; in convenient time. 
 
 Concord. A harmonious combination of 
 sounds ; the opposite to a discord. 
 
 Concordabilis (Lat.) (kon-kor-aS'-be-lis.) 
 Easily, accoiding, harmonizing. 
 
 Concordant. Agreeing, correspondent, 
 
 harmonious. 
 Concordante (It.) (kon-kor-i/3«-le.) 
 
 Concordant. 
 Concordanten (Ger.) (k6n-k6r-flfa«-t'n.) 
 
 Those sounds which, in combination, 
 
 produce a concord. 
 Concorddnza (It.) (kon-kor- 
 
 oKw-tsa.) 
 Concorde (Fr.) (kon-kord.) 
 Concordia (It.) (.yAw-kSr- 
 
 de-a.) 
 
 Concords, perfect. The perfect fourth, 
 fifth and eighth. 
 
 Con delicat^zza (It.) (kon del-e-ka-^^/- 
 sa.) With delicacy and sweetness. 
 
 Con desid^rio (It.) (kon da-ze-i/^-re-6.) 
 With desire and ardent longing. 
 
 Con devozidne (It.) (kon de-v5-tse-«- 
 ne.) With devotion ; devoutly. 
 
 Con diligenza (It.) (kon di-le-^/»-tsa.) 
 With care and diligence. 
 
 Con discrezi6ne (It.) (kon des-kre-tse- 
 tf-ne.) With discretion ; at the discre- 
 tion of the performer. 
 
 Con disperazi6ne (It.) (kon dis-pe-ra- 
 tse-»-ne.) With despair; violence 
 of expression. 
 
 Con divozi6ne (It.) (kon di-vo-tse-a- 
 
 Concord; 
 "harmony. 
 
 ard, but almost always means a very | 
 a as in a^ / a as in hate ; a as in at; e as in tree ; 6 as in M y i as in pine ; \ as in pin; 
 
 68 
 
CON d6lce mani^ra 
 
 CONDUCTOR 
 
 ne.) With religious feeling; in a de- 
 votional manner. 
 
 Con d61ce mani&a (It.) (kon dSl- ) 
 tshe ma-ne-(?-ra.) ( 
 
 Con dolc^zza (It.) (kon 6.o\-tsche-sa..) ) 
 In a simple, delicate manner ; with soft- 
 ness, sweetness, delicacy. 
 
 CondoWre (It.) (kon d6-/o-re.) Mourn- 
 fully ; with grief and pathos. 
 
 Conductor. A director or leader of an 
 orchestra or chorus. The earliest con- 
 ductors were found among the Assyri- 
 ans, to regulate the rhythm of the 
 songs or dances. They conducted with 
 two sticks, one of which they beat 
 against the other, and so marked the 
 time or accent. Among the Greeks 
 the Coryphoeus led the dance and 
 chorus, and in everything requiring 
 united action, by his beating of time, by 
 stamping with a leaden shoe, held his 
 forces together. In the middle ages 
 the conductor led with a long staff, 
 with which he beat the ground, and 
 occasionally the musicians. The word, 
 in connection with music, has several 
 applications. It generally signifies one 
 who directs with a bSton the perform- 
 ance of a band of players. It is also 
 applied to one who accompanies vocal 
 or instrumental pieces on the piano- 
 forte. A conductor, as an independ- 
 ent time-beater, was not known until 
 the end of the eighteenth century. The 
 player who sat at the harpsichord gave 
 the time to the leader of the band, 
 who, directing his subordinates, was 
 called conductor. The art of conduct- 
 ing is comparatively young. The baton 
 was not used until after 1800. Weber 
 and Spohr were among the very first 
 conductors to use it. Mendelssohn and 
 Berlioz were probably the first great 
 conductors in the modern sense. The 
 conductor is far more than a mere 
 drill-master. He is the poet of the 
 orchestra. It is his conception, of the 
 work that is produced ; he plays upon 
 his orchestra as an organist upon his 
 manuals and pedals. The art of con- 
 ducting is far more advanced at present 
 than it has ever been in musical history. 
 It is not necessary that the conductor 
 should be a composer ; spite of the 
 fact that some composers have been 
 famous as conductors, the composer is 
 
 apt to become wedded to some particu- 
 lar school, and to be but a poor con- 
 ductor of any other ^i?«>-i?. The greatest 
 living conductor, Hans Richter, deter- 
 mined to give up composition when he 
 entered on his career as a conductor, 
 and without having a low opinion of 
 his creative talent, we must hold the 
 decision to have been a wise one, for 
 the interpretative faculty would have 
 conflicted vnth the creative. The con- 
 ductor of the modern orchestra has a 
 manifold task. First of all comes the 
 technical drill, which is the most wear- 
 ing of all. The ruling of a band of 
 sensitive musicians is, in itself, not an 
 easy matter. To repress an enthusias- 
 tic cellist and cause him to subordinate 
 his phrases to a viola passage which he 
 considers of minor importance, or to 
 subdue an over-zealous trombonist, is 
 not a trifling thing to do. But before 
 even this is done the conductor's work 
 has begun, and he has carefully studied 
 the score that he may have a clear 
 idea of what he intends' to do. The 
 discipline of an orchestra should be as 
 rigid as that of a military company. 
 The ideal conductor must not only feel 
 the emotion of a work, but he must be 
 able to express it to his men, by words 
 at rehearsal, by gesture at the concert. 
 The beating of the time is very impor- 
 tant, as an indecisive beat will cause 
 the attacks to be irregular. Many 
 composers sin in this respect and can- 
 not conduct their own works with 
 nearly as good results as are achieved 
 by the trained conductor. The signal- 
 ing of the different entrances of the 
 instruments is another task of the con- 
 ductor; if the ketde-drums have had 
 fifty-seven measures rest, they should 
 count them, and know exactly when 
 they are to resume playing, but, as a 
 matter of fact, they often rest with 
 calm tranquillity on the shoulders of 
 the conductor, and rely on him to give 
 them the signal to play the first note of 
 their phrase. These are a few of the 
 chief duties of a modem orchestral 
 conductor ; to those who imagine that 
 to shake a stick rhythmically over an 
 orchestra is to lead it, they may seem 
 exaggerated, but they are rather under 
 than over-stated. See Schroeder's 
 " Handbook of Conducting," Wagner's 
 " On Conducting." 
 
 as in tone ; d as in dove ; 8 as in not ; fi as in »/ / ii the French sound of u. 
 
 69 
 
CON du(5lo 
 
 CONJUNCT 
 
 Con du61o (It.) (kon doo-o-lo.) Mourn- 
 fully ; with grief. 
 
 Conduttfire (It.) (kon-doot-^c-re.) A 
 conductor. 
 
 Con eleginza (It.) (kon a-le-^a«-tsa.) 
 
 With elegance. 
 Con elevatezza (It.) (kon e-le-va-fe^sa.) 
 Con elevazidne (It.) (kon e-le-va-tse-o- 
 
 ne.) 
 
 With elevation of style ; with dignity. 
 Con energia (It.) (kon a-ner-je-a..) With 
 
 energy and emphasis. 
 Con entusiasmo (It.) (kon en-too-ze-aj- 
 
 mo.) With enthusiasm. 
 
 Con equalianza (It.) (kon a-qua-le-o«- 
 tsa.) With smoothness and equality. 
 
 Con e senza stromenti (It.) (kon a sen- 
 tsa str6-»«if«-te.) With and without 
 instruments. 
 
 Con e senza violini (It. ) (kon a sen-tsa 
 ve-5/^-ne.) With and without violins. 
 
 Con esp. ) An abbreviation of Con 
 Con espres. S Esfressione . 
 
 Con espressi6ne (It.) (kon es-pres-se-o- 
 
 ne.) With expression. 
 Con facilita (It.) (kon fa-tshi-le-Za.) With 
 
 facility and ease. 
 Conferm6zza(It.) (kon fer-»z«^sa.) With 
 
 firmness. 
 Confestivitd (It.) (konfes-ti-ve-ta.) With 
 
 festive gayety. 
 Conflducia (It.) (kon fe-(/oo-tshe-a.) With 
 
 hope ; with confidence. 
 
 Con fier^zza (It.) (kon fe-e-re^sa.) With 
 fire; proudly. 
 
 Conflation. The act of blowing two or 
 more instruments together. 
 
 Con flessibilit^ (It.) (kon fles-se-bi-le-/a.) 
 With freedom ; flexible. 
 
 Con forza (It.) (kon for-xaiu.) With 
 force ; with vehemence. 
 
 Con freddezza (It.) (kon fredV^'^-tsa.) 
 With coldness and apathy. 
 
 Con fr^tta (It.)(k6n/?-^«a.) Hurriedly, 
 with an increase of time. 
 
 Con fudco (It.) (kon foo-^-ko.) With fire 
 and passion. 
 
 Con fiiria (It.) (kony^-re-a.) ) With 
 Con fiirdre (It.) (kon foo-rJ-re.) ) fury ; 
 rage ; vehemence. 
 
 a as in a/5 ; a aa^in hate ; a as in at; e as in tree ; e as in ek 
 
 70 
 
 Con gdrbo (It.) (kon gdrho.) With 
 
 elegance. 
 Con gentil^zza (It.) (kon jen-te-let-tsa.) 
 
 With grace and elegance. 
 Con giustezza (It.) (kon doos-^rf-tsa.) 
 
 With justness and precisio 
 Con gli (It. pi.) (kon gle.) With the. 
 Con gli stromenti (It.) (kon lyee stro- 
 
 men-te.) With the instruments. 
 
 Con gradazione (It.) (kon gra-da-tse-o-ne.) 
 With gradual increase and decrease. 
 
 Con grdnde espressi6ne (It.) (kon g-ran- 
 de es pres-se-o-ne.) With much ex- 
 pression. 
 
 Con grand^zza (It.) (kon gran-afe^tsa.) 
 With dignity and grandeur. 
 
 Con gravita (It.) (kon gra-vi-/a.) With 
 gravity. 
 
 Con grdzla (It.) (kon^;-a-tse-a.) With 
 
 grace and elegance. 
 Con gusto (It.) {kon g-aos-to.) With taste. 
 Con Itnpeto (It.) (kon em-pe-lo.) 'i 
 
 Con itnpetuosita (It.) (kon empe-too- ( 
 
 With impetuosity and vehemence. 
 Con indifler^nza (It.) (kon in-def-fe-?-f»- 
 tsa.) In an easy and indifferent man- 
 ner. 
 
 Con innoc^nza (It.) (kon en-no-/j-/5?«-tsa.) 
 In a simple, artless style. 
 
 Con intimissimo sentim^nto (It.) (kon 
 en-te-OT^j-se mo sen-te-men-lo.) With 
 very much feeling; with great ex- 
 pression. 
 
 Con intrepid^zza (It.) (kon en-tra-pe-ofe^- 
 
 tsa.) With intrepidity, boldly. 
 Con ira (It.) (kon ^-ra.) With anger. 
 
 Con isdegno (It.) (kon es-dain-y5.) With 
 anger; angrily. 
 
 Con ismania (It.) (kon es-ma-ne-a.) In 
 a frenzied style. 
 
 Con istrepito (It.) (kon es-tra-pe-to.) 
 With noise and bluster. 
 
 Conjoint degrees. Two notes which im- 
 •mediately follow each other in the 
 order of the scale. 
 
 Conjoint tetrachords. Two tetrachords 
 or fourths of which the highest note of 
 one is the lowest of the other. 
 
 Conjunct (Lat.) (kon-j'anit.) A term 
 applied by the ancient Greeks to tetra- 
 chords, or fourths, when the highest 
 
 1 as in pine ; i as in pin/ 
 
CONJUNCT DEGREE 
 
 CONSECUTIVE FIFTHS 
 
 note of the lower tetrachord was also 
 the lowest note of the tetrachord next 
 above It. 
 
 Conjunct degree. A degree in which 
 two notes form the interval of a second. 
 
 Conjunct succession. Where a succes- 
 sion of tones proceed regularly upward 
 or downward through several degrees. 
 
 Con legger^zza (It.) (konled-je-rif^tsa.) 
 
 Con leggierezza (It.) (kon led-je-e-?-i?^ 
 tsa.) 
 With lightness and delicacy. 
 
 Con len^zza (It.) (kon le-«if/-tsa.) With 
 mildness ; sweetness. 
 
 Conlent^zza (It.) (kon len-ii?(/-tsa.) With 
 slowness ; lingering. 
 
 Con maesta (It.) (kon ma-es-/o.) With 
 majesty and grandeur. 
 
 Con malanconia (It.) (kon ma-lan-^«- 
 ne-a.) 
 
 Con malenconia (It.) (kon ma.-\en-io- 
 ne-a.) 
 
 Con malinconfa (It.) (kon ma-len-ii?- 
 ne a.) With an expression of melan- 
 choly and sadness. 
 
 Conmdno d&tra (It.) (kon md-nodes-> 
 tra.) I 
 
 Con mdno dritta (It.) (kon ma-no- C 
 dret-tSL.) With the right hand. J 
 
 Con mino sinistra (It.) (kon ma-no si- 
 nis-trsi.) With the left hand. 
 
 Con mist^rio (It.) (kon mez-^<?-re-6.) 
 With mystery ; with an air of mystery. 
 
 Con moderazi6ne (It.) (kon mod-e-ra-tse- 
 5-ne.) With a moderate degree of 
 quickness. 
 
 Con m61to cardtt&e (It.) (kon molxo 
 kar-aZ-te-re.) With much character 
 and emphasis. 
 
 Con m61to espressidne (It.) (kon mo/-to 
 es-pres-se-»-ne.) With much expres- 
 sion. 
 
 Con m61to passi6ne (It.) (kon mol-to pas- 
 se-^-ne.) With much passion and feel- 
 ing. 
 
 Con m61to sentim^nto (It.) (kon mo/to 
 sen-te-men-to.) With much feeling or 
 sentiment. 
 
 Con morbid^zza (It.) (kon mor-be-det- 
 tsa.) With excess of feeling or mor- 
 bidly. 
 
 Con m6to (It.) (kon mo-to.) With mo- 
 tion ; not dragging. 
 
 5 as in ione; d as in dove; 8 as in noi ; 
 
 7 
 
 Connecting note. A note held in com- 
 mon by two successive chords. 
 
 Con neglig^nza (It.) (kon nal-ye-jen-tsa.) 
 In a negligent manner; without re- 
 straint. 
 
 Con nobilita (It.) (kon no-be-le-ta.) 
 With nobility. 
 
 Connaisseur (Fr.) (kon-na-siir.) i One 
 
 Connoisseur (Fr.) (k6n-wa-j«n) ) skilled 
 in any art ; in music ; a composition 
 and performance. 
 
 Con osservanza (It.) (kon os-ser-van-za.) 
 With great care and exactness in re- 
 gard to time and expression. 
 
 Con OttAva (It.) (kon 6t-i!o-va.) ) With 
 
 Con 8va. ( the oc- 
 
 tave i to be played in octaves. 
 
 Con passidne (It.) (kon pas-se-o-ne.) In 
 an impassioned manner; with great 
 emotion. 
 
 Con piacevol^zza (It.) (kon pe-a-tshev-o- 
 let-isa..) With pleasing and graceful 
 expression. 
 
 Con piu moto (It.) (kon pe-oo mo-to.) 
 With increased motion. 
 
 Con precipitazi6ne (It.) (kon pre-tshe- 
 
 pe-ta-tse-iJ-ne.) With precipitation ; in 
 
 a hurried manner. 
 Con precisi6ne (It.) (kon-pre-tshe-ze-o- 
 
 ne.) With exactness and precision. 
 Con prest^zza (It.) (kon -pxes-ted-tsa.) 
 
 With precision and exactness. 
 Con rdbbia fit.) (kon rdb-ht a.) With 
 
 rage ; with fury. 
 
 Con rapiditi (It.) (kon ra-pi-de-i?a.) 
 With rapidity. 
 
 Con replica (It.) (kon ;-^-ple-ka.) With 
 repetition. 
 
 Con risoluzi6ne (It.) (kon re-z5-loo-tse- 
 o-ne.) With firmness and resolution. 
 
 Con scioltezza (It.) (kon she-ol-^if(/-tsa.) 
 Freely ; dashingly. 
 
 Con sd^gno (It.) (kon sdSn-yo.) With 
 wrath ; in an angry and scornful manner. 
 
 Consecutive. A term applied to two or 
 more similar intervals or chords, im- 
 mediately following one another. 
 
 Consecutive fifths. Two or more per- 
 fect fifths, immediately following one 
 another in similar motion. Consecu- 
 tive fifths are disagreeable to the ear 
 and forbidden by the laws of harmony, 
 
 fi as in «/ ; ii the French sound of u. 
 
CONSECUTIVE INTERVALS 
 
 CONSONANTE 
 
 although much used by the modern 
 composer. 
 
 Consecutive intervals. Where two 
 parallel parts or voices of a score pro- 
 ceed in succession by similar motion. 
 
 Consecutive octaves. Two parts mov- 
 ing in octaves with each other. 
 
 Consecutives covered. Passages in which 
 consecutive fifths may be imagined, 
 though they do not really exist ; as, 
 where a third or a sixth moves to a fifth. 
 
 Con semplicitd (It.) (kon sem-ple-tshe- 
 id.) With simplicity. 
 
 Con sensibilitd (It.) (kon sen-se-be-le-/o.) 
 With sensibility and feeling. 
 
 Con sentim^nto (It.) (kon sen-tl-men- 
 to.) With feeling and sentiment. 
 
 Consequent (Lat.) (kon-se-quent.) i The 
 Consequente(It.)(k6n-se-7«^«-te.) S an- 
 swer in a fugue, or of a point of imita- 
 tion. A musical phrase following a 
 similar one. In musical periods the 
 antecedent and consequent are two 
 balancing divisions, like two rhyming 
 lines, in a verse or couplet. In simple 
 music, there is a close resemblance to 
 poetic construction, and the two divi- 
 sions cap each other as follows : 
 
 Antecedent. 
 
 Carl Peeyer, 
 
 f 
 
 W=*»^ 
 
 -l-J-l--- 
 
 ^K^^^ 
 
 =F=I= 
 
 ^^ g 
 
 In more developed music, while the 
 antecedent is most frequently 4 or 8 
 measures long and is treated simply and 
 clearly, the consequent may be ex- 
 tended to any length and is sometimes 
 treated far more freely than the ante- 
 cedent phrase. See Form. 
 
 Conservatoire (Fr.) (kon-ser-va-^ra'fl>.) ^ 
 
 Conservatdria (It.) (kon-ser-va-io-re- 
 a.) 
 
 Conservatdrio (It.) (kon-ser-va-/J-re- 
 6.) 
 
 Conservatorium (Ger.) (kon-ser-fa-^^;- 
 li-um.) 
 
 Conservatory. 
 A school or academy of music, in which 
 every branch of musical art is taught. 
 
 Con severita (It.) (kon se-ver-e-t'ii.) 
 With strict and severe style. 
 
 Consoldnte (It.) (k6n-s6-/a«-te.) In a 
 cheering and consoling manner. 
 
 Consolatam^nte (It.) (k6n-s6-la-ta-ff?««- 
 te.) Quietly, cheerfully. 
 
 Console. The keyboard, pedals, stops, 
 of an organ, etc. The portion of the 
 instrument at which the organist sits in 
 playing. 
 
 Con solennita (It.) (kon so-len-ne-/a.) 
 With solemnity. 
 
 Con s6mma espressione (It.) (kon sdm- 
 ma es-pres-se-iJ-ne.) With the utmost 
 expression. 
 
 Consonance. An accord of sounds agree- 
 able and satisfactory to the ear; the 
 opposite to a discord or dissonance. 
 
 Consonance, perfect. A consonance in 
 which the interval is invariable ; oc- 
 taves, fifths and fourths, are caWeAper^ 
 feet consonances. 
 
 Consonances , imperfect. The maj or and' 
 minor thirds and sixes. 
 
 Consonant. Accordant, harmonious. 
 
 Consonante (It.) (kon-so-nan-te.) Har- 
 monious, consonant. 
 
 a as in fl.4 ; a as in hate ; a as in at; e as in tree ; 6 as in eh ; i as in pine ; i as in pin; 
 
 72 
 
CONSONANT AM^NTE 
 
 CONTRA-BASS VIOL 
 
 (ls6n-so-nan- 
 
 The major and minor 
 
 (kon-so- 1 Aconso- 
 |_ nance; 
 (k6n-s5- j a con- 
 J cord. 
 
 (k6n-s6-«o-re.) To 
 
 To 
 
 ConsonantamSnte (It.) 
 ta.-men-te.) Consonant 
 
 Consonantia (Lat.) (k6n-s6-»a«-shi-a.) 
 Accord ; agreement of voices. 
 
 Consonant sixths. The major and minor 
 sixttis. 
 
 Consonant thirds. 
 
 thirds. 
 Consonanz (Ger.) 
 ndnts.) 
 
 Consoninza (It.) 
 »an-tsa.) 
 
 Consonire (It.) 
 
 tune in unison with another. 
 Consoniren (Ger.) (kon-so -«J-r'n.) 
 
 harmonize ; to agree in sound. 
 Con SOnoriti (It.) (kon so-no-re-ta.) 
 
 With a sonorous, vibrating kind of 
 
 tone. 
 
 Con sordini (It. pi.) (kon sor-(S-ne.) 
 IVitA mutes, in violin playing ; in piano- 
 forte music, with dampers, indicating 
 that the dampers are not to be raised 
 by the pedal; the damper pedal not 
 to be used. 
 
 Con sordino (It.) (kon sor-(S-no.) With 
 the mute ; meaning that a mute or 
 damper is to be affixed to the bridge 
 of the violin, viola, etc. 
 
 Con spirito (It.) (kon j/«-re-t6.) With 
 spirit, life, energy. 
 
 Con str^pito (It.) (kon j-;?-«-pe-to.) In a 
 boisterous manner ; with impetuosity. 
 
 Con strom^nti (It. pi.) (kon -| With the 
 
 str5-»2^«-te.) 
 Con strum^nti (It. pi.) (kon 
 stroo-»2£K-te.) 
 that the orchestra and voices are to- 
 gether. 
 Con suay^zza (It.) (kon swa- > With 
 vet-\s2L.) I sweet- 
 
 Con suavitd (It.) (kon swa- [ ness and 
 ve-^fl.) J delicacy. 
 
 Cont. An abbreviation of Coutano. 
 
 Contadina (It.) (kon-ta-iS-na.) A coun- 
 try dance. 
 
 Contadin^sco "\ (It.) (kon-ta-de-««-k6.) 
 Rustic ; in a rural style. 
 
 Contano (It.) (kon-ii'-no.) To count 
 or rest ; a term applied to certain parts 
 not played for the time being, while 
 the other parts move on. 
 
 instru- 
 ments ; 
 meaning 
 
 Con tener^zza (It.) (kon te-ne-r^^-tsa.) 
 With tenderness. 
 
 Con tepiditd (It.) (kon te-pe-de-ifa.) 
 With coldness and indifference. 
 
 Con timed^zza (It.) (kon t%-me-det- 
 tsa.) With timidity. 
 
 Continto (It.) (kon ft»-to.) With vari- 
 ous shades of expression. 
 
 Continu&to (It.) (kon-te-noo-a-t5.) 
 Continued ; held on ; sustained. 
 
 Continued bass. See Basso Contlnuo. 
 
 A harmony that 
 though the bass 
 
 Continued harmony, 
 does not change, 
 varies. 
 
 Continued rest. A rest continuing 
 through several successive measures. 
 
 Written. Played. 
 
 S 123 223 323 423 523 
 
 ^^^i^i^= 
 
 the number of measures being indi- 
 cated by a figure over a whole rest. 
 Sometimes such a long rest is indicated 
 by a figure marked in the staff, thus : 
 
 The broad line written 
 
 m 
 
 :29=z:: 
 
 i^ 
 
 across one or more 
 spaces (called the bdton), is also some- 
 times used, thus, 246 
 etc. In such 
 a. case the rest 
 would have the same value even if 
 the figure was omitted ; but iii prac- 
 tical usage the figure is always present. 
 
 Continuo (It.) (kon-^^-noo-o.) Without 
 cessation. 
 
 Contra (It.) {kgn-txA.) Low, under. 
 
 Contrabdssist. A double bass player. 
 
 C6ntra-bass (It.) {kSn-ixa.- -^ The double 
 t>as.) bass; the 
 
 Cdntra-basso (It.) {kSn- ^ deepest- 
 tra-bas-so.) toned 
 
 Contra-bass viol. J stringed in- 
 
 strument of the bow species. The 
 strings are usually tuned a fourth apart 
 to the following notes when three 
 strings are em 
 
 ployed : 
 
 with the addition of the lower E : 
 
 when there are four 
 strings. The compass 
 
 generally written for the instrument 
 
 as in tone ; 6 as in dove ; 8 as in not; u as in up ; ii the French sound of u. 
 
 73 
 
CONTRA-BASSOON 
 
 CONTRE PARTIE 
 
 extends to the upper F : 
 The contra-bass sounds 
 an octave lower than 
 written. The orchestral contra-basses 
 have four strings (,very rarely five;, but 
 the solo instruments sometimes have 
 three. The contra-bass is the deepest 
 regular instrument of the orchestra. 
 
 Contra-bassoon. The contra-bassoon, 
 or double bassoon, is the deepest instru- 
 ment of the bassoon family. It has a 
 double-reed mouth-piece, and its tone is 
 powerful and solemn 
 
 Its compass is written : 
 but it sounds an oc- 
 tave deeper. It is the 
 
 gj 
 
 =& 
 
 W 
 
 deepest instrument that is ever used in 
 the orchestra. It is found only in large 
 scores and in great orchestras. See 
 A. Elson's " Orchestral Instruments 
 and Their Use" and Prout's "The 
 Orchestra." 
 
 Contraction. When two parts in a fugue 
 compress the subject, counter-subject, 
 or an intervening subject. 
 
 Contradddnza (It.) (kon-trad-dan-tsa.) 
 A country dance. 
 
 C6ntra fag6tto (It.) (kdn-ira-ii.-gdt-io.') 
 The contra-bassoon ; also, the name of 
 an organ-stop of i6 or 32-foot scale. 
 
 Contr' alti (kon-trdl-te.) The higher 
 male voices ; usually called counter- 
 tones. 
 
 Contrdlto (It.) (kon-/ra7-t6.) The deep- 
 est species of female voice. It is often 
 used as synonymous with alto. SeeA^to. 
 
 Con tranquilMzza (It.) (kon ~| With 
 
 tran-quel-///-tsa.) |^ tranquil 
 
 Con tranquillita (It.) 
 
 tran-quel-le-i'a.) 
 Contra-posaune (Ger.) (ion-tfi-po-zou- 
 
 ne.) Bass trombone; a 16 or 32-foot 
 
 reed-stop in an organ. 
 Contrappuntista (It.) (kon-trap-poon- 
 
 tez-ta..) One skilled in counterpoint. 
 
 Contrapplinto (It.) (kon-trap-^oo^-to.) 
 Counterpoint. 
 
 Contrapptinto d6ppio (It.) (kon-trap- 
 poon-to i/^-pe-o.) Double counter- 
 point. 
 
 Contrapplinto d6ppio alia duod^cima 
 
 (It.) (kon-trap-^i'OK-to dSp-pi-o di-la. 
 doo-o-flH-tshe-ma.) Double counter- 
 point in the twelfth. 
 
 (kon pity; with 
 J calmness. 
 
 Contrapplinto sciolto (It.) (kon-trap- 
 poon-X.0 she-itf-to.; A free counter- 
 point. 
 
 Contrapplinto s6pra il sogg^tto (It.) 
 (^k6n-trap-/oo«-to j^-pra el sod^>^-to.) 
 Counterpoint above the subject. 
 
 Contrapplinto sotto il sogg^tto (It.) 
 l,k6n-trap-;^£;««-to sot-to el s6d^>^to.) 
 Counterpoint below the subject. 
 
 Contrapplinto syncopato (It.) (kon- 
 trap-^dio?«-t6 sen-ko-^a-to.) The syn- 
 copation of one part for the purpose 
 of producing discord. 
 
 Contrapunkt (Ger.) (kon-tra-poonkt.) 
 Counterpoint. 
 
 Contrapunctum floridum (Lat.) (kon- 
 tra-/a«^-tum y?i?-ri-dum.) Ornamen- 
 tal counterpoint. 
 
 Contrapuntal- Relating to counterpoint. 
 
 Contrapuntist. •\ One 
 
 Contrapuntista (It.) (kon- [ skilled in 
 tra-poon-fe-tii.) ) counter- 
 
 point. 
 
 Contrapuntus simplex (Lat.) (kon-tra- 
 pun-tus sim-plex.) Simple counter- 
 point. 
 
 Contrario (It.) (kon-/ro-re-o.) Con- 
 trary ; in an opposite direction. 
 
 Contrary bow. A reversed stroke of the 
 bow. 
 
 Contrary motion. Motion in an oppo- 
 site direction to some other part ; one 
 rising as the other falls. 
 
 Contrassoggetto (It.) (k6n-tras-sod-/'i?- 
 to.) The counter subject of a fugue. 
 
 Con trasp6rtO (It.) (kon tras-/or-to.) 
 With anger, excitement, passion. 
 
 Contra-tenor. See Counter Tenor. 
 
 Contratbne (Ger.) {kSnAxi. to-ne.) A 
 term applied to the deeper tones of the 
 bass voice. 
 
 Contre. See Contra. 
 
 C6ntra viol6ne (It.) (kon-tra j The 
 
 ve-o-/ff-ne.) ( double 
 
 Contre-basse (Fr.) (kontr-bass.) ; bass. 
 
 Contredance (Fr.) (kontr-dahns.) A 
 country dance ; a dance in which the 
 parties engaged stand in two opposite 
 ranks. See Country Dance. 
 
 Contre partie (Fr.) (kontr par-te.) The 
 second part. 
 
 • a as in hate ; a as in a^ ; e as in tree ; e as in eh ;\-as. in pine ; 1 as in pin ; 
 74 
 
CONTREPOINT 
 
 COR DE VACHES 
 
 Contrepoint (Fr.J (kontr-pwanh.) Coun- 
 terpoint. 
 
 Contre-sujet (Fr.) (kontr-sii-zha.) The 
 counter-subject, or second subject in a 
 fugue. 
 
 Con trist^zza (It.) (kon trez-tat-tsa.) 
 With sadness ; with heaviness, 
 
 Contro (It.) (kon-tro.) Counter, low. 
 
 Contro basso (It.) (i/ln-tio 6ds-s6.) 
 Properly written. Contra Basso. A 
 double-bass viol ; the lowest part of a 
 musical composition. 
 
 Contro fagotto. See Contra Fagotto. 
 
 Controyiolone. See Contraviolone. 
 
 Con tutta fdrza (It.) (kon^i With all 
 toot-ta-/^?--tsa.) I possible 
 
 Con tutta la f6rza (It.) (kon [ force ; 
 toot-ta la/()>--tsa.) J with the 
 
 whole power ; as loud as possible. 
 
 Con un dito (It.) (kon oon di-io.) With 
 one finger. 
 
 Con yariazone (It.) (kon va-re-a-tse-o- 
 
 ne.) With variations. 
 Con yeem^nza (It.) (kon va-e-?«^K-tsa.) 
 
 With vehemence ; force. 
 
 Con yelocita (It.) (kon ve-lo-tshe-to'.) 
 With velocity. ' 
 
 Conyersio (Lat.) (kon-z'i7--si-o.) Inver- 
 sion in counterpoint. 
 
 Con yig6re (It.) (kon vi-^a-re.) With 
 vigor, sprightliness, strength. 
 
 Con viol^nza (It.) (kon ve-o-len-tsa.) 
 With violence. 
 
 Con viyacitd (It.) (kon ve-va- ■> With 
 
 tshe-/a.) I liveli- 
 
 Con yiyfoza (It.) (kon ve-vet- \ ness; 
 
 tsa.) J viva- 
 city; animation. 
 
 Con yolubiliti (It.) (kon v6-loo-be-le- 
 td.) With volubility, with fluency, 
 and freedom of performance. 
 
 Con z61o (It.) (kon /.fa-15.) With zea'. 
 
 Con 8ya. An abbreviation of Con Ot- 
 tava. 
 
 Con 8ya ad libitum. With octaves at 
 pleasure. 
 
 Cop^rto (It.) 
 muffled. 
 
 (ko-/(fr-to.) Covered, 
 
 Coppel-flote (Ger.) (/f<^-p'ly?^-te.) Coup- 
 ling flute ; an organ stop of the clara- 
 bella, or stopped diapason species, in 
 
 as in iont ; 6 as in dove ; B as in not , 
 
 tended to be used in combination with 
 some other stop. 
 
 C6pula (It.) (^o-poo-la.) l A coupler ; 
 
 Copule (fr.) Qi.b-pUl.) ) an arrange- 
 ment by which two rows of keys can 
 be connected together, or the keys 
 connected with the pedals ; a codetta ; 
 a connecting phrase in a fugue. 
 
 Copyright. The exclusive right of an 
 author or his representative to print, 
 publish, or sell his work during a speci- 
 fied term of years. 
 
 Cor. An abbreviation of Cornet. 
 
 Cor (Fr.) (kor.) A horn ; commonly 
 called the French horn. 
 
 Cordle (It.) (ko-ra-le.) Choral; the 
 plain chant. 
 
 Coranach (Gaelic.) A funeral song cr 
 dirge. 
 
 Cor Anglais (Fr.) (kor anh-glas.) Eng- 
 lish horn ; the tenor oboe ; also a 
 reed stop in. an organ. The com- 
 pass of the English horn is written 
 about the same as that of the oboe, 
 but it sounds a fifth deeper than 
 notated. Its music is written in the 
 treble clef. See A. Elson's "Orchestral 
 Instruments," Prout's " Orchestra," etc. 
 
 Cordnte (It.) (ko-?-a»-te.) i A dance in 
 
 Cordnto (It.) (ko-ra»-to.) ) I or | 
 time. See Courante. 
 
 CiSrda (It.) {kSr-iii..) A string ; lina cdrda, 
 one string. 
 
 Cordatiira (It.) (kor-da-^w ra.) The 
 scale or series of notes to which the 
 strings of any instrument are tuned. 
 
 Corde (Fr.) (kord.) A string. 
 
 Corde a boyau (Fr.) (kord a bwa-y5.) 
 Catgut ; strings for the violin, harp, 
 etc. 
 
 Corde a jour (Fr.) (kord a zhoor.) j An 
 
 Corde a yide (Fr.) (kord a ved.) 1 open 
 string on the violin, viola, etc. 
 
 Corde chasse (Fr.) (kor diih shass.) The 
 hunting horn ; the French horn. 
 
 Corde de luth (Fr.) (kord diih-loot.) A 
 lute string. 
 
 Cor de postilion (Fr.) (kor diih p6s-te- 
 yonh.) Postillion's horn. 
 
 Cor de signal (Fr.) (kor diih sen-yal.) A 
 bugle. 
 
 Cor de vaches (Fr.) (kor diih vash.) 
 The cowboy's horn. 
 
 il as in up; ii the French sound of «. 
 
 75 
 
cord£6ra 
 
 CORN^TTO 
 
 > Choral. 
 
 Cordi&a (It.) (kor-de-a-ra.) The tail 
 piece of a violin, viola, etc. 
 
 Coregrafia (It.) {ko-re-g-rd-ie-a.) The 
 method of describing the figures of a 
 dance. 
 
 Coriambus (Ger.) (ko-re-dm-hus.) In 
 ancient poetry, a foot consisting of 
 four syllables, the first and last long 
 and the others short ; — w w — 
 
 C6rica (It.) {io-ie-ki.) 
 
 C6rico (It.) {io-re-ko.) 
 
 Corif^o (It.) (k6-re-fa-5.) The leader of 
 
 the dances in a ballet. 
 Corimagistro (It.) (k6-rem-ay«-tro.) 
 
 The leader of a choir. 
 Coripheeus (Gr.) (k5-?-if-e-us.) A 
 
 leader, chief, head of a chorus, which. 
 
 in ancient times, combined singing and 
 
 dancing. See Corifio. 
 Corista (It.) (ko-r^j-ta.) A chorister. 
 Cormorne. A soft-toned horn ; also a 
 
 reed-stop in Ehghsli organs. See Cre- 
 mona. 
 
 Cornamdsa (It.) (kor-na-OT(7(?-za.) A 
 species of bagpipe. 
 
 Cornamute. A wind instrument; a 
 
 species of bagpipe. 
 Corns (Fr.) (korn.) A horn. 
 
 Corne de chasse (Fr.) (korn duh shass.) 
 See Cor de Chasse. 
 
 Cornemuse (Fr.) (korn-iih-miiz.) See 
 
 Cornamusa. 
 Corner (Fr.) (kor-na.) To sound a horn, 
 
 or cornet. 
 
 Cornet. The name of an organ-stop 
 consisting of several ranks of pipes. 
 Also, a small horn, of the nature of a 
 trumpet, used in brass bands. The 
 cornet, in the time of Shakespeare, 
 was a rough-toned instrument, lilce the 
 old serpent, but smaller. The cornet, 
 with keys, is an invention of the early 
 part of the nineteenth century. The 
 cornets most used in military bands are 
 in B flat, and sound a whole tone deep- 
 er than written. These are best in flat 
 keys, but, by the addition of an extra 
 crook, which can be thrown open at 
 will, the pitch is lowered a semi-tone 
 and the instrument plays easily in the 
 sharp keys. There is also a smaller 
 cornet in E flat, which sounds a minor 
 third higher than written, and has a 
 very bright and incisive tone. The 
 
 a as in 0.4 / a as in hate ; a as in at ; e as in 
 
 cornet in C (non-transposing) is little 
 used. The full name of this instru- 
 ment is Cornet a pistons, and it is al- 
 ways supphed with keys which make 
 the instrument capable of producing 
 the chromatic scale. Without touch- 
 ing these keys the cornet can produce 
 the following tones, which are the 
 harmonic series of this fundamental 
 
 ^^ 
 
 ^ 
 
 \>^ If: 
 
 & 
 
 See Harmonics. Some soloists can 
 produce the fundamental and lower it 
 chromatically by means of the keys, this 
 set of tones being called the " pedal 
 tones." There are also skilful per- 
 formers who can play higher tones than 
 we have given in the above series. The 
 ordinary compass used in modern 
 works would be about 
 
 f 
 
 =!== 
 
 ■=(: 
 
 sounding one tone deeper upon the 
 B-flat cornet. See Prout's " Orches- 
 tra," or A. Elson's " Orchestral In- 
 struments." 
 Corneta (Spa.) (kor-na-^a.) Comet ; a 
 French horn. 
 
 Corneta ) A name sometimes applied 
 Cornetto S to a reed-stop in an organ of 
 
 1 6-foot scale. 
 Cornet a bouquin (Fr.) (kor-net a boo- 
 
 kdnh.) Cornet ; bugle horn. 
 
 Cornet a pistons (Fr.) (kor-net a pes- 
 tonh.) A species of trumpet, but 
 shorter and wider, with valves or 
 pistons to produce the semi-tones. See 
 Cornet, 
 
 Cornet drelfach (Ger.) {kor-net drt-fikh.) 
 Cornet with three ranks in German 
 organs. 
 
 Cornete (Spa.) (k6r-«a-te.) ■■. 
 
 Cornett (Ger.) (k6r-«//.) V A cornet. 
 
 Corn^tta (It.) (kor-net-i.) ) 
 
 Cornetica (Spa.) (k6r-«a-te-ka.) ) A 
 
 Cornettino (It.) (kor-nat-/^^-no.) ) small 
 cornet. 
 
 Cornetto (It.) (kor-«^/-t6.) A comet. 
 
 tree ; & as in eh ; las in pine ; \ as in fin; 
 
 76 
 
CORNET STOP 
 
 COUNTER-FUGUE 
 
 Cornet stop. An organ-stop, consisting 
 of from three to five pipes to each 
 note 
 
 Coini (It. pi.) (kor-nee.) The horns. 
 
 Cornicello (It.) (k.6r-ne-tsAel-l6.) A small 
 horn or cornet 
 
 Cornisti ) A performer on the cornet or 
 
 Corneter. 5 torn. 
 
 Corniste (Fr.) (kor-»/>^) A player up- 
 on the horn 
 
 Cornmuse. A Cornish pipe, similar to a 
 bagpipe. 
 
 C6rno (It.) (kor-no.) A horn. 
 
 C6rno alto (It.) {kir-no al-to.) A horn 
 of a high pitch. 
 
 C6rno bdsso (It.) {kHr-no basso.) A 
 bass horn ; a horn of a low pitch. 
 
 C6rno cromitico (It.) {kdr-nb kro-ma- 
 te-ko.) The chromatic horn. 
 
 C6rno_di bassStto (It.) (iHr-no de bas- 
 sei-to.) I. The basset horn. A species 
 of clarinet a fifth lower than the C 
 clarinet. 2. A delicate- toned organ- 
 stop (reed) of 8-foot scale. 
 
 C6rno di cdccia (It.) (ii)r-no de Mi- 
 tshe a.) The hunting or French horn. 
 
 C6rno a61ce It.) (Agr-no dHUshe.) Soft 
 horn; an organ -stop, occurring both in 
 the manuals and pedals. 
 
 C6rno flute. An organ-stop of 8 foot 
 scale; of soft, agreeable tone. 
 
 C6mo in Bbisso (It.) A low B-flat horn. 
 
 Cdrno IngUse (It.) (iifr-nd In-gla-ze.) 
 The English horn. 
 
 Cornopean. An organ reed-stop of 8- 
 foot scale ; also, a wind-instrument of 
 the trumpet species. 
 
 C6rno primo (It.) (kgr-no pre-mo.) The 
 first horn. 
 
 C6rno quarto (It.) 
 The fourth horn. 
 
 C6rno sec6ndo (It.) 
 The second horn. 
 
 (It.) 
 
 (^^>--no qudr-to.) 
 (kor-no se-kon-Ao.) 
 
 (kor- 1 Chromatic 
 
 C6rno ventlle 
 
 no ven-/«-le.) 
 C6r omnitonique (Fr.) 
 
 (k6r-6nh-nit-6-«^^.') 
 
 producing the semi-tones. 
 
 C6ro ("It.) (kS-ro.) A choir; a chorus; 
 a piece for many voices. 
 
 I 
 
 horn with 
 valves or 
 keys for 
 
 A pause 
 or hold. 
 
 The body of a mu- 
 . A band of musi- 
 
 Cor6na (It.) (k6-;-^-na.) ' 
 Coronata (It.) (ko-r6-«^-ta.) 
 Couronne (Fr.) (koo-ronn.) . 
 Coronach (ko-ro-nak.) Funeral hymn. 
 
 Coro primo (It.) Qi.b-ibpre-mo.) The 
 first chorus. 
 
 Corps (Fr.) (kor.) 
 
 sical instrument. 
 
 cians. 
 Corps de ballet (Fr.) (kor duh bal-la.) 
 
 A general name for the performers in a 
 
 ballet. 
 Corps de voix (Fr.) (kor diih vwa.) 
 
 Body or fulness of tone. 
 Corr^nte (It.) (kor-?-««-te.) An old 
 
 dance tune in triple time. See Co- 
 
 rdnto. 
 Corr6p6titeur (Fr.) (kor-ra-pa ti-2'«r.) 1 
 Corripetitore (It.) (kor-re-pate-^o-re.) ) 
 
 A musician who instructs the chorus 
 
 singers of the opera. 
 Corybant (Gr.) (,60-ri-bant.) A priest 
 
 of Cybele, whose rites were celebrated 
 
 with dances to the sound of the drum 
 
 and cymbal. 
 Coryphaeus (Gr.) (ko-ri7"e-us.) The 
 
 conductor of the chorus. See Corifeo. 
 Coryphee (Fr.) (ko-ri-fa.) The leader 
 
 or chief of the group of dancers in a 
 
 ballet. 
 Cosaque (Fr.) (ko-sak.) A Cossack 
 
 dance. 
 Cotil. An abbreviation of cotillon. 
 Cotillon (Fr.) (k5-te-yonh.) A lively 
 
 dance, similar to the " German " ; a 
 
 quadrille. 
 Couac (Fr.) (quak.) The quacking sound 
 
 produced by bad playing of oboe or 
 
 clarinet. 
 Couched harp. The original name of the 
 
 spinet. 
 Coul^ (Fr.) (koo-Z^y.) A group of two 
 
 notes, connected by a slur. 
 Couler (Fr.) (koo-Zaj/.) To slide; to 
 
 slur. 
 Counter. A name given to a part sung 
 
 or played against another, as counter 
 
 tenor. 
 Counter-bass. A second bass. 
 Connter-dance. See Contredanse, 
 Counter-fugue. A fugue in which the 
 
 subjects move in contrary directions. 
 
 O as in tone ; 6 as in dove ; S as in tiot ; S as in »/ ; ii the French sound of u. 
 
 77 
 
COITNTERPOINT 
 
 CRESCENDO POI DIMINUENDO 
 
 Counterpoint. Point against point. The 
 art oi adding one or more parts to 
 a given theme or subject. Before the 
 invention of notes, the various sounds 
 were expressed by points. Counter- 
 point is the support of melody by mel- 
 ody instead ot by chords (harmony). 
 Hauptmann expressed the difference 
 between counterpoint and harmony by 
 calUng the latter "vertical," and the 
 former "horizontal music." 
 
 Counterpoint, double. A counterpart 
 that admits of an inversion of two 
 parts 
 
 Counterpoint, equal. Where the notes 
 are of equal duration. 
 
 Counterpoint, quadruple. Counterpoint 
 in four parts, all of which can invert 
 above or below each other, in twenty- 
 four different positions. 
 
 Counterpoint, single. Where the parts 
 
 are not invertible. 
 Counterpoint, triple. A counterpoint 
 
 in three parts, all of which can be in- 
 verted, making six possible positions. 
 Counter-subject. The second division 
 
 in a fugue, coming against the answer 
 
 in the second voice. 
 Counter-tenor. High tenor; the highest 
 
 male voice. It is generally afalsitto. 
 Countertenor clef. The C clef, when 
 
 placed on the third line. 
 
 Counter theme. See Counter-subject. 
 
 Country Dance. Contre-danse (Fr.) 
 Contradanza (It.) A rustic dance, of 
 English origin, in which performers 
 were arranged face to face, " one set 
 against another," and performed cer- 
 tain prescribed figures. The old 
 method of dancing the " country 
 dance " was to place the ladies and the 
 gentlemen in two parallel lines, the for- 
 mer on the left, the latter on the right, 
 facing their partners. Various figures 
 were then executed to sprightly music, 
 each figure occupying the time of four 
 or eight measures. 
 
 -Coup d'Archet (Fr.) (koo As-x-shay.) A 
 
 stroke of the bow. 
 -Coup de baguette (Fr.) (koo diih ba- 
 
 gwet.) Beat of the drum. 
 
 Coup de cloche (Fr.) (koo duh klosh.) 
 Stroke of the clock. 
 
 Couper le sujet (Fr.) (koo-pa luh soo-ja.) 
 
 a as in 2/5 / a as in iate / a as in a^; e as in free ; e as in 
 
 To curtail or contract the subject or 
 theme. 
 
 Coupler. See Cdpula. 
 
 Couplet (Fr.) (koo-pla.) ) A stanza, or 
 
 Couplet. Jverse; two 
 
 lines of poetry forming complete sense. 
 
 Coups d'archet (Fr.) (koo d'ar-sha.) 
 Strokes of the bow ; ways or methods 
 of bowing. 
 
 Courante (Fr.) (koo-ranht.) Running; 
 an old dance in triple time ; the second 
 number in the old Suites des Danses. 
 It is in rapid tempo. 
 
 C. P. Abbreviation of Colla Parte. 
 Cr. ^ 
 
 Cres. > Abbreviations of Crescendo. 
 Cresc. ) 
 
 Cracovienne (Fr.) (kra-/5»-ve /«k.) A 
 Polish dance in | (sometimes errone- 
 ously given as J) rhythm. 
 
 Cravicembalo (It.) (kra-ve.tshem-i5»-16.) 
 A general name for all instruments of 
 the harpsichord species. Also Clavi- 
 cembalo and Cravicembalo. 
 
 Credo (Lat.) (^r<sry-do.) I believe ; one 
 of the principal movements of the 
 Mass. The Creed. 
 
 "Crembala. An ancient instrument, re- 
 sembling the castanets. 
 
 Crem6na (It.) (kre-w«o-na.) An organ- 
 stop ; the name of a superior make of 
 violins. As Amati, Guarnerius, Stiadi- 
 varius, and ether great violin makers 
 lived in the city of Cremona, in north- 
 ern Italy, the name "Cremona" is 
 given to their instruments. See 
 Stoeving's " The Violin." 
 
 Cremorn. A reed-stop organ of 8-foot 
 scale. 
 
 Cres. al fortissimo. Increasing to very 
 loud. 
 
 Crescfodo (It.) (kre-j-5ra-do.) A word 
 denoting an increasing power of tone ; 
 it is often indicated by the sign, -=:. 
 
 Crescendo al diminuendo (It.) (kro- 
 shen-io al de-men-oo-en-do.) 
 
 Crescendo e diminuendo fit.) (kre- 
 shen-ia a de-min-oo-en-do.) 
 
 Cresctodo p6i diminuendo (It.) (kre- 
 shen-&o po-e de-men-oo-en-do.) 
 
 1 as in pine / i as in pin ; 
 
 78 
 
CRESCENDO AL FORTISSIMO 
 
 CUIVRE 
 
 Increase and then diminish the tone ; 
 indicated often by the sign, -=zr=— 
 
 Crescendo al fortissimo (It.) {kxe-sken- 
 do al f5r-;«-se-m6.) Increase the 
 tone until the greatest degree of power 
 is obtained. 
 
 Crescendo p6co a p6co (It.) Qare-shen-Ao 
 p6-k6 a po-ko.) Increasing the tone 
 by little and little. 
 
 Crescendo-zug (Ger.) (kre-shen-do- 
 tsoog.) The swell-box in the organ. 
 
 Crescent. A Turkish instrument made 
 of small bells hung on an inverted 
 crescent. 
 
 Cres. dim. An abbreviation of Crescen- 
 do e Diminuendo. 
 
 Cres. e legato (It.) Crescendo and 
 legato. 
 
 Criard (Fr.) (kre-ar.) Bawling; shout- 
 ing ; relating to the quality of the tone 
 of the voice. 
 
 Crier (Fr.) (kre-a.) To bawl ; to shriek ; 
 to sing badly. 
 
 Croche(Fr.) (krosh.) An eighth note.p^ 
 
 Croche, double (Fr.) (krosh doobl.) 
 sixteenth note. 
 
 ^ 
 
 Croche, pointee (Fr.) (krosh pwan-ta.) 
 A dotted eighth note. P-»^] 
 
 Croche, quadrupU (Fr.) .(krosh qu a-drii - 
 A sixty-fourth note. 
 
 pi.) 
 
 Croche, triple (Fr.) (krosh trepl.) 
 thirty-second note, thus, 
 
 Crochet (Fr.) (kro-sha.) The hook of a 
 quaver, semi-quaver, etc. 
 
 Crotchet. The quarter note. pzf 
 
 Crotchet rest. A rest equal in dur tion 
 to a quarter note. It was forme 'y 
 written I", but the close resemblance to 
 the eighth rest has led to its changs 
 into I orH. 
 
 Croma (It.) {iro-raz..) An eighth note. Cuivre 
 5 as in tone ; 6 as in dove ; 8 as in not; fi as in i 
 
 79 
 
 Cromdtica (It.) (kr6-»io-te-ka.) ) Chro- 
 Cromdtico (It.) (kro»«a-te-k6.) ) matic, 
 referring to intervals and scales. 
 
 Crom-horn (Ger.) {krom-hom.) A reed- 
 stop in an organ. Also Xrum-horn. 
 
 Cromorna-stop. (kro-mor-na.) ) The 
 
 Cromorne (Fr.) (kro-morn.) ) name of 
 a reed-stop in an organ. 
 
 Crooks. Small curved tubes to be added 
 to horns, trumpets, etc., to change their 
 pitch, and adapt them to the key of 
 the piece in which they are to be used. 
 
 Crotale (Fr.) (kro-^o/.) \ p^^ ^n- 
 
 Cr6talO (It.) (/5ro-ta-lo.) \ dent 
 
 Crotalum (Or.) (kro-te-lum. ) musical 
 instrument, used by the priests of 
 Cybele. From the reference made to it 
 by different authors, it seems to have 
 been a small cymbal or a species of 
 Castanet. 
 
 Crotales. Little bells. 
 
 Crowd. An old name for the violin. 
 See Crwth. 
 
 Crowth. The English name of the Crwth . 
 
 Crucifixus (Lat.) (kru-si-fix-us.) Part 
 of the Credo in a Mass. 
 
 Cruth. See Crwth. 
 
 Crwth (Welsh.) (kriith.) An old Welsh 
 instrument, having six strings, resem- 
 bling the violin. By some the Crwth is 
 held to be the progenitor of the violin. 
 
 C. S. The initials of Con Sordino. 
 
 Csardas (Hun.) (tsar-das.) Hungarian 
 dance. 
 
 C Schliissel (Ger.) (jfj^f shlU-s'l.) The 
 C clef. 
 
 Cto. Abbreviation of Concerto. 
 
 Cue. The tail; the end of a thing. The 
 last words of an actor on a stage, serv- 
 ing as an intimation to the one who 
 follows , when to speak and what to 
 say. In concerted music the " cue " is 
 certain small notes giving a prominent 
 phase of the music to serve as guide 
 for the entrance of the player or singer 
 after a long rest ; for example : 
 
 I. 
 
 #^ 
 
 47: 
 
 ^=d=iz^T^i 
 
 -i-^ 
 
 =* 
 
 3e 
 
 (Fr.) (queevr.) Meaning " cop- 
 ^ ; ii the French sound of «. 
 
CUM CANTU 
 
 DAL SilGNO 
 
 per " ; applied to the brass ■wind-in- 
 struments of an orchestra. 
 
 Cum cantu (Lat.) (kiim idn-tu.) With 
 song ; with singing. 
 
 Cum Sancto Spiritu (Lat.) (kiim sank- 
 to spir-i-tu.) Part of the Gloria in a 
 Mass. 
 
 Cupo (It.) (koo-po.) Dark, obscure. 
 Gusto (It.) (koos-to.) \ A direct vr. A 
 Custos (Lat.) {Ms-tos.) ) mark some- 
 times placed at the end of a staff, or of 
 a figure, to indicate the note next fol- 
 lowing. 
 
 Cycle forms, or Cyclical forms. Such 
 forms in music as are made up of sev- 
 eral complete forms, movements, or 
 compositions placed in contrast with 
 each other. The Sonata, Symphony, 
 Suite, String Quartet, etc., are ex- 
 amples. 
 
 Cymbales (Fr.) (sahn-bal.) ) Circular 
 Cymbals. \ metal- 
 
 plates used in bands, usually in com- 
 bination with the great drum ; they are 
 clashed together, producing a ringing, 
 brilliant effect. They originally came 
 from Turkey. 
 Cymbalum (Lat.) (sim-iJa-liim.) The 
 cymbal. 
 
 Cymbale (Fr.) (sahn-bal.) ) A mixture 
 Cymbal (Ger.) [tsim-'b'l.) ) organ-stop 
 of a very acute quality of tone. 
 
 Cypher system. An old system of mu- 
 sical notation, in which the notes were 
 represented by numerals. 
 
 Cytara. The cithara. 
 
 Cyter (Dan.) (sii-ter.) A cithern or 
 cithera. 
 
 Cythorn (sith-6rn.) A cithorn or cithera. 
 
 Czardas. See Csardas. 
 
 D. The second note in the diatonic 
 scale of C ; the syllable re is applied to 
 this note. The major scale with two 
 sharps in its signature. Abbreviation 
 for " Da " or " Dal," as Z). .?. — " Dal 
 Segno ; " D. C. — " Da Capo." 
 
 Da (It.) (da.) By, from, for, through, etc. 
 
 Da b4110 (It.) (da *a/-lo.) In the style 
 of a dance ; lik^ a dance. 
 
 Da cdmera (It.) (da ia-me-ra.) For the 
 chamber ; in the style of chamber music. 
 
 Da capp^Ua (It.) (da kap-/«/-la.) For 
 the church ; in the style of church or 
 chapel music. 
 
 Da cipo (It.) (da -5a-po.) From the 
 beginning; an expression placed at 
 the end of a movement to indicate 
 that the performer must return to the 
 first strain. In such a case the re- 
 peats indicated by dots are generally 
 not made after D. C. 
 
 Da cdpo al fine (It.) (da kO-fo a\fee-ne.) 
 Return to the beginning and conclude 
 with the word Fine. 
 
 Da cdpo, sin' al fine (It.) (da kiir^b 
 sen al /ee^ne.) Return to the begin- 
 ning and conclude with the word Fine. 
 
 Da capo e p6i la c6da (It ) (da ia-po a 
 po-e la io-d'a..) Begin again and then 
 play to the Coda. 
 
 Da capo sin' al s^gno (It.) (da kd-po 
 sin al sdn-yo.) Return to the begin- 
 ning and play to the sign ■^, after 
 which play the coda. 
 D' accord (Fr.) (d' ak.-klird.) i in 
 D' accordo (It.) (d' ak-kor-do.) ) tune; 
 in concord ; in harmony. 
 
 Da chi^sa (It.) (ka ke-a-za.) For the 
 church. 
 
 Dactilo (Spa.) (dak-«g-16.) A dactyl. 
 
 Dactyl (Lat.) {ddkA\[.) A metrical foot, 
 consisting of one long syllable followed 
 by two short ones, marked thus, — 
 ^ — / '^ 
 
 Dactylion (Gr.) (dak-ft7-i-on.) A ma- 
 chine invented by Henri Herz, for 
 strengthening the fingers and render- 
 ing them independent of each other in 
 pianoforte playing. 
 
 Dactylus (Lat.) (</a/Mil-us.) See Dactyl. 
 
 Daddy-mammy. A term used to indi- 
 cate the double strokes of a roll 
 (marked /r) on the snare-drum. 
 
 Daktylus (Gr.) {dak-fil-oos.) A dactyl. 
 Dal (It.) (dal.) 
 Dall' (It.) (dair.) 
 
 , From the ; by 
 the ; of the ; etc. 
 
 Dalla (It.) {ddl-\a..) 
 Dalle (It.) {ddl-\e.) 
 Dallo (It.) {ddl-\o.) 
 
 Da lontdno (It.) (da 16n-/a-no.) At a 
 distance; the music is to sound as if 
 far away. 
 
 Dal s^gno (It.) (dal sdn-yo.) From the 
 
 a asfjn hate ; a as in at; e as in tree; 6 as meh ; i as in pine; i as in pin; 
 
 80 
 
DAL SEGNO ALLA FflTE 
 
 DEEUTER 
 
 sign ;g;. A mkrk directing a repeti- 
 tion from the sign. 
 
 Dal s6gno alia fine (It.) (dal sen-yo 'i\- 
 Vi. fee-US.) From the sign to the end. 
 
 Dal teatro (It.) (dal te-a-tro.) In the 
 style of theatre music. 
 
 Damenisation. Solfeggi, to which are 
 adapted the syllables, da, me, ni, po, 
 tu, la, be. The system was invented 
 by Graun, and the syllables do not 
 indicate any scale degree, but are 
 merely intended to advance the student 
 in vocal pronunciation. 
 
 Damper pedal. That pedal in a piano- 
 forte which raises the dampers from 
 the strings and allows them to vibrate 
 freely. Its use is indicated by the 
 abbreviation ped. See Pedal. 
 
 Dampers. A portion of the movable 
 mechanism of the pianoforte covered 
 with felt, and, by means of a pedal,- 
 brought in contact with the wires in 
 order to stop their vibration and pre- 
 vent a confusion of sounds. The mute 
 of any brass instrument. 
 
 Dampfen (Ger.) (aTawj-pfen.) To muffle, 
 or deaden the tone of an instrument. 
 
 Dampfer (Ger.) (ddm-pter.) A mute, or 
 damper, used to deaden the tone of a 
 violin, or other similar instrument. 
 
 Dampfung (Ger.) (ddm-pioong.) Damp- 
 ing; smothering the tone. 
 
 Dance, country. A quadrille ; any lively, 
 pointed melody suitable for dancing. 
 
 Dance, morrice. \ a dance in 
 
 Dance, morris. > imitation 
 
 Dance, morriske. > °^ *^ 
 
 Moors, usually performed by young 
 men dressed in loose frocks, adorned 
 with bells and ribbons, and accom- 
 panied by castanets, tambours, etc. 
 
 Dances. Certain tunes composed espe- 
 cially for dancing. 
 
 Danklied (Ger.) {dafii-\ed.) A thanks- 
 giving song. 
 
 Danse (Fr.) (danhs.) A dance tune. 
 
 Danser (Fr.) (danh-sdy.) To dance. 
 
 Danseur (Fr.) (danh-siir.) A male 
 dancer. 
 
 Danseuse (Fr.) 
 dancer. 
 
 (danh-jaj.) A female 
 
 Danse, contre (Fr.) (danhs kontr.) 
 country dance ; a quadrille. 
 
 a as in a^ y a as in Aaie; 3 as in at.. 
 
 Danse de matelot (Fr.) (danhs duh 
 mat-a-16.) A dance resembling the 
 hornpipe. A sailor's dance. 
 
 Ddnza (It.) (ddn-tsa..) ) 
 
 A dance. 
 
 Danza (Spa.) {ddH-tWi.) 
 
 Danzdnte (It.) {dUn-tsdn-te.) A dancer. 
 
 Danzire (It.) (dan-/j-<i'-re.) To dance. 
 
 Danzatore (It.) (dan-tsa-^J-re.) A male 
 dancer. 
 
 Danzatrice (It.) (dan-tsa-^^««-tshe.) A 
 female dancer. 
 
 Danz^tta (It.) (dan-tset-ta.) A little 
 dance ; a short dance. 
 
 Da prima (It.) (da. pree-ma..) At first; 
 from the beginning. 
 
 Dar la voce (It.) (dar la v6-tshe.) To 
 strike or give the key-note. 
 
 Darm-saite (Ger.) {ddrm-si-te.) A gut- 
 string ; cat-gut. 
 
 Darm-saiten (Ger. pi.) ( dUrm-si-t'n.) 
 Gut-strings used for the harp, violin, 
 guitar, etc. 
 
 Darsteller (Ger.) (aKr-stel-ler.) A per- 
 former. 
 
 Da schSrzo (It.) (da sMri-so.) In a 
 lively, playful manner. 
 
 Da tedtro (It.) (da tea-tro.) For the 
 theatre ; music composed for the 
 theatre. 
 
 DittilO (It.) (ddt-te-lo.) A dactyl. 
 
 Dauer (Ger.) (dou-er.) The length or 
 duration of notes. 
 
 Daum(Ger.) (doum.) ^ I The thumb. 
 
 Daumen (Ger.) (dou-men.) ) 
 
 Daumenklapper (Ger.) (aToa-men-klap- 
 per.) Castanet, snapper. 
 
 D. C. The initials of Da Capo. 
 
 D dur (Ger.) (da-door.) D major; the 
 key of D major. 
 
 Debander (Fr.) (de-ban-da.) To un- 
 brace a drum. 
 
 D^bile (It.) ((&-be-le.) ) Weak, feeble, 
 
 D^bole (It.) (i&-bo-le.) ) faint. 
 
 D^but (Fr.) (i/5-bu.) First appearance ; 
 the first public performance. 
 
 Debutant (Fr.) (i/a-bii-tanh.) i A singer 
 
 Debutante (Fr.) (^J-bu-tanht.) ) or per- 
 former who appears for the first time 
 before the public. 
 
 D^buter (Fr.) ((^if-bii-ta.) To begin ; to 
 play first. 
 
 e as in tree / 6 as in i?,4 ; i as in pine ; i as in pin S 
 8i 
 
DECAMERONE 
 
 DEHNEN 
 
 Decamer6ne (It.) (dek-a-me-ro-ne.) A 
 period of ten days ; a collection of ten 
 musical pieces. 
 
 Decani (Lat. pi.) (de-M-ne.) In cathe- 
 dral music this term implies that the 
 passages thus marked must be taken 
 by the singers on the side of the choir 
 where the Dean usually sits. 
 
 Decanto (Lat.) (de-^o«-t6.) To sing ; to 
 chant. 
 
 Decastich. A poem consisting of ten 
 lines. 
 
 Deceptive cadence. A cadence which, 
 ihstead of closing upon the tonic, or a 
 chord bearing a close relation to it, 
 takes the ear wholly by surprise, and 
 terminates with a chord foreign to the 
 harmony of the tonic. 
 
 Deceptive modulation. A modulation 
 by which the ear is deceived and led 
 into unexpected harmony. 
 
 D^cidfi (Fr.) (de-se da.) ^ -w^jth jg. 
 
 D^cid^ment (Fr.) (de-se-da- S cision ; 
 manh.) ) with res- 
 
 olution. 
 
 Decima (Lat.) (oT^'-i-ma.) A tenth ; an 
 interval of ten degrees in the scale; 
 also the name of an organ-stop sound- 
 ing the tenth. 
 
 Decima acuta (Lat.) (</^j-i-ma a-iu-ta.) 
 Tenth above. 
 
 Decima gravis (Lat.) (ei^s-X-ma. ^ra-vis.) 
 Tenth below. 
 
 Decima quarta (Lat.) (des-i-ma ^uar-ta..) 
 The interval of a fourteenth. 
 
 Decima quinta (Lat.) {riesi-ma quin-ta.) 
 The interval of a fifteenth. 
 
 Decima tertia (Lat.) {des-i-ma ter-shi-a.) 
 The interval of a thirteenth. 
 
 D^cime (Fr.) (da-sem.) A tenth. See 
 Decima. 
 
 Decimole. A group of ten notes of arti- 
 ficial value, equal to eight of the natural 
 notes of the same denomination. See 
 Note, Notation. 
 
 D^cisif (Fr.) (da-se-sif.) Decisive, clear, 
 firm. 
 
 Decisi6ne (It.) (da-tshe-ze-o-ne.) De- 
 cision, firmness. 
 
 D^cisivement (Fr.) (da-se-zev-manh.) 
 Decisively. 
 
 5 as in tone ; d as in dove ; 8 as in not; 
 
 Decisivo (It.) (da-tshe-z^-vo.) ) In a bold 
 Decfso (It.) (da-^j,4^-z6.) ) and de- 
 cided manner. 
 
 Decke (Ger.) {dek-e.) The sound board 
 of a violin, violoncello, etc. ; also the 
 cover or top in those organ-stops which 
 are covered or stopped. 
 
 Declamdndo (It.) (dek-la-»2a«-d6.) With 
 declamatory expression. 
 
 Declamitio (It.) (dek-la-wjo-te-o.) Dec- 
 lamation, recitative. 
 
 Declamation. Dramatic singing; the 
 art of rendering words set to music in 
 a correct and effective style. 
 
 Declamazi6iie (It.) (dek-la-ma-tse-«-ne.) 
 Declamation. 
 
 D^compos^ (Fr.) (da-kom-po-za.) Inco- 
 herent, unconnected. 
 
 Decoration (Fr.) (da-ko-ra-si-onh.) Used 
 by some French theorists to indicate 
 the signature. 
 
 Decorative notes. Notes of embellish- 
 ment, appoggiaturas, etc. 
 Deer. I 
 
 _, > Abbreviations of decrescendo. 
 
 Decres. ) 
 
 Decrescendo (It.) (de-kr.e-.r,4^«-d6.) Grad- 
 ually diminishing in power of tone 
 
 Decrescendo sin al pianissimo (It.) 
 (de-kre-j,4if»-d6 sen al pe-an-«-si-mo.) 
 Diminishing to the softest possible 
 sound. 
 
 Dedicdto. (It.) (ded-e-ka-to.) i Dedi- 
 Dedie (Fr.) (da-di-a.) ) cated. 
 
 Defettiva quinta (It.) (da-fet/^-va quen- 
 ta.) A defective or false fifth. 
 
 Deficiendo (It.) (da-fe-tshe-aK-do.) Dy- 
 ing away. 
 Degli (It.) (dal-ye.) Of the. 
 
 Degre (Fr.) (de-^«.) A degree of the 
 staff. 
 
 Degree. The step between two notes; 
 
 each line and space of the staff. 
 Degree, conjunct. A degree in which 
 
 two notes form the interval of a 
 
 second. 
 
 Degree, disjunct. A degree in which 
 two notes form a third or any greater 
 interval. 
 
 Degree, half. A semi-tone. 
 
 Dehnen (Ger.) {day-nea.) To extend, ot 
 prolong. 
 
 ii as in up; ii the French sound of a. 
 
DEL 
 
 DESCANT, DISCANTUS 
 
 Del (It.) (del.) Of the. 
 
 D^Iassement (Fr.) (da-lass-manh ) An 
 
 easy and agreeable composition. 
 Deliberatamdnte (It.) (de-le-be-ra- \ 
 
 ta-men-te.) } 
 
 DellberitO (It.) (de-le-ba-ra-to.) ) 
 
 Deliberately. 
 DelicatamSnte (It.) (del-e-ka-ta-»?*«-te ) 
 
 Delicately, smoothly. 
 
 D^licatesse (Fr.) (da-le-ka-tess .) l Deli- 
 Delicatfizza (It.) (del-e-ka-i^rf-za ) ) cacy; 
 
 refined execution. 
 DelicatissimamSnte (It.) (del-e-ka- s 
 
 tes-se-ma-/w«»-te.) ( 
 
 Delicatfssimo (It.) (del-e-ka-ftj-se-mo.) ) 
 With extreme delicacy. 
 
 Delicato (It.) (del-e-M-to.) Delicately, 
 smoothly. 
 
 Delirio (It.) (de-/«-re-5.) Frenzy, ex- 
 citement. 
 
 Delivery. The act of controlling the 
 respiration and using the vocal organs 
 so as to produce a good tone. 
 
 Deliziosamente (It.) (de-let-se-o-za-»z«»- 
 te.j Deliciously, sweetly. 
 
 Dell' (It.) (dell.) 
 
 >Of the, by the, etc. 
 
 Delia (It.) (dma.) 
 Delle (It.) (de/-le.) 
 Dello (It.) (ael-lo.) 
 Dem (Ger.) (dem.) To the. 
 
 D^mancher (Fr.) (da-manh-shay.) To 
 change or alter the position of the 
 hand ; to shift on the violin, etc. ; to 
 cross hands on the pianoforte, making 
 the left hand play the part of the right, 
 and vice versa. 
 
 Demande (Fr.) {dje-mdnhd.) The ques- 
 tion, or proposition of a fugue ; called 
 also, dux, or leading subject. 
 
 Demi (Fr.) (de-me.) Half. 
 
 Demi-baton (Fr.) (de-me ^ai-tonh.) A 
 double whole-rest. 
 
 Demi-cadence (Fr.) {de-me TiSi-danAs.) A 
 haJf-cadence, or cadence on the domi- 
 nant. 
 
 Demi-croclie (Fr.) (de-me krosh.) An 
 eighth note. 
 
 Demi-jeu (Fr.) (de-««^ jhii.) Same as 
 
 Demi-mesure (Fr.) {de-me me-zUr.) i A 
 Demi-pause (Fr.) {de-me-^oz.) ] half, 
 rest. 
 
 Demi-quart de soupir (Fr.) {de-me kar 3 
 diih soo-Jier ) A 32d rest. 
 
 Demi-semiquaver. A 32d note fe or 
 thus S "^ 
 
 I? 
 
 Demi-semiquaver rest. A mark of si- 
 lence, equal in duration to <>. demi- 
 semiquaver, made thus q 
 
 Demi-soupir (Fr.) {de-me soo-peer.) 
 An eighth rest. 
 
 Demiton (Fr.) (de-w^-tonh.) i An inter- 
 Demitone (Fr.) (de-w^-ton.) ) val of a 
 half-tone. 
 
 Demoiselle (Fr.) {dem-vfa.-ae\.) A coupler 
 in the organ. 
 
 De plus en plus vite (Fr.) (duh plu-zanh 
 plii-veet.) More and more quickly. 
 
 Depressio (It.) {de-frSs-se-o.) The fall 
 of the hand in beating time. 
 
 Depression. The lowering of a tone. 
 
 Depression, chromatic. The depression 
 of a tone by a chromatic sign. 
 
 De profundis (Lat.) (de pro/«»-dis.) 
 One of the seven penitential psalms. 
 
 D^riv^ (Fr.) (de-re-va.) Derivative. 
 
 Derivative chords. Chords derived from 
 others by inversion. 
 
 Des (Ger.) (des.) The note D flat. 
 
 D&accordd (Fr.) (daz-ak-kor-da.) Un- 
 tuned ; put out of tune. 
 
 D^saccorder (Fr.) (daz-ak-kor-da.) To 
 untune ; to put out of tune. 
 
 Descant, Discantus (Lat.) i . The addition 
 of a part or parts to a tenor or subject. 
 This art, the forerunner of modern 
 counterpoint and harmony, grew out of 
 the still earlier art of diaphony or the 
 organum. In the latter the parts ran 
 in parallel motion, generally in consec- 
 utive fifths or fourths, but in descant, 
 oblique and contrary motion of parts 
 began to appear as early as the eleventh 
 or twelfth century. 2. Descant or 
 discant is the treble or soprano voice. 
 The highest part in the old contrapun- 
 tal works, as the old rhyme may show : 
 " Ye little youths and maidens neat, 
 We want your voices, high and sweet. 
 Your study to the Discant bring, 
 The only part that you should sing.'' 
 See Voice and Soprano. 
 
 as in tone y 6 as in dove ; 8 as in not ; ii as in up ; ii the French sound of k. 
 
 83 
 
DESCANT CLEF 
 
 DIAPASON 
 
 Descant clef. The treble or soprano clef. 
 
 Descant double. An arrangement of the 
 parts of a composition that admits of 
 the treble, or any high part, being con- 
 verted into the bass, and vice versa. 
 
 Descant, figured. A form of descant 
 consisting of a free and florid melody. 
 
 Descant, plain. Simple counterpoint. 
 
 Descendant (Fr.) (de-sanh-danh.) De- 
 scending. 
 
 Descendere (It.) (de-shen-da-re.) ) To de- 
 
 Descendre (Fr.) (de-sanhdr.) 5 scend. 
 
 Descendre d'un ton (Fr.) (de-sanhdr 
 d'unh tonh.) To sing a note lower. 
 
 Des dur (Gr.) (des-door.) D flat major. 
 
 DesinvolturAto (It.) (da-zen-vol-too-ra- 
 to.) See Disinvolturato. 
 
 Des moll (Ger.) (des moll.) The key of 
 D flat minor. 
 
 Desperazidne (It.)] (des-pe-ra-tse-^ne.) 
 See Disperazione. 
 
 Dessauer marsch (Ger.) ((ffir-sou-er 
 marsh.) A famous instrumental march; 
 one of the national airs of Germany. 
 
 Dessin (Fr.) (des-j-a«/«.) The design or 
 sketch of a composition. 
 
 Dessiner (Fr.) (des-si-na.) To make the 
 sketch or design of a composition. 
 
 Dessus (Fr.) (des-sii.) The treble, so- 
 prano, or upper part. 
 
 Desterita (It.) (das-ter-e-ta.) Dexterity. 
 
 D^sto (It.) (des-to.) Brisk, sprightly. 
 
 D&tra (It.) (des-tra.) Right; distra 
 mdno, the right hand. 
 
 D^tach^ (Fr.) (da-ta-shay.) Detached, 
 staccato. 
 
 Determinatfssimo (It.) (da-ter-me-na-/^j-- 
 se-mo.) Very determined ; very reso- 
 lutely. 
 
 Determindto (It.) (da-ter-me-«o-to.) De- 
 termined, resolute. 
 
 Determinazi6ne (It.) (da-ter-me-na-tse- 
 o-ne.) Determination, resolution. 
 
 D^tonnation (Fr.) (da-tonh-«o-se-6nh.) 
 False intonation. 
 
 D^tonner (Fr.) (da-tonh-wa.) To sing or 
 play out of tune. 
 
 D^tto (It.) (ddi-to.) The same. 
 
 Deutlich (Ger.) (<^OTV-likh.) Distinctly. 
 
 Deutsch (Ger.) (Doytsch.) . German. | 
 
 a. as in ah ; a. as in hate ; a asina^; e as in tree ; S asin^/Sy ias in pine ; iasin/««j 
 
 84 
 
 Deutsche flote (Ger.) (Mt-she^^Me.) A 
 German flute. 
 
 Deux (Fr.) (du.) Two. 
 
 Deux fois (Fr.) (dii fwa.) Twice. 
 
 Deuxieme (Fr.) (du-zi-dm.) Second. 
 
 Deuxieme position (Fr.) (dii-zi-am po-z^- 
 si-onh.) The second position of the 
 hand or fingers in playing the violin, 
 etc. 
 
 Development. The elaboration of a theme 
 by making new combinations of ils fig- 
 ures and phrases. It forms a most im- 
 portant part in symphony and sonata. 
 See Durchfahrung. 
 
 Dev6tO (It.) (da-z/J-to.) Devout, relig- 
 ious. 
 
 Devozi6ne (It.) (da-v6-tse-o-ne.) Devo- 
 tion ; religious feeling. 
 
 Dextra (Lat.) (dex-^xi.^ ) „ 
 
 T^ * /-n- //J- . N ^ The nght hand. 
 Dextre (Fr.) (dextr.) ) ^ 
 
 Di (It.) (de.) Of, with, for, from, to. 
 
 Dia (Gr.) (di-a.) Through, throughout. 
 
 Diaconicon (Gr.) (di-a-yjfe-i kon.) The 
 
 set of collects chanted in the service of 
 
 the Greek church. 
 
 Diagramma (Gr.) {de-a-grdm-msL.) 
 The ancient Greek scale or system of 
 sounds. 
 
 Dialogue. A composition in which two 
 parts or voices respond alternately to 
 each other. 
 
 Didlogo (It.) (de-a-/^-go.) 
 
 Dialogue (Fr.) {de-a.-Iog.) 
 
 Diap. An abbreviation of diapason. 
 
 Diapase (Gr.) (de-a-/a-se.) Diapason. 
 
 Diapason (Lat.) (de-a-/ii-son.) ) i. xhe 
 
 Diapason (Eng.) (dI-a-/«-son.) ) whole 
 octave. 2. Among musical instrument 
 makers, a rule or scale by which they 
 adjust the pipes of organs, the holes of 
 flutes, etc., in order to give the proper 
 proportion for expressing the tones and 
 semi-tones. 3. The two foundation 
 stops in an organ (sometimes called 
 Principal) — the open diapason and the 
 stopped diapason. Open diapasons 
 on the manuals are nearly always of 
 metal, but on the pedals are often of 
 wood. Stopped diapasons were for- 
 merly, in most cases, of wood, but now 
 are frequently made of metal. When 
 two or more open diapasons are on the 
 same manual, they are of different 
 
 !• A dialogue. 
 
DIAPASON 
 
 DIESIS ENHARMONICA 
 
 scales. 4. Fixed pitch ; «or»«a/ rf»a/o- 
 son ; a recognized standard of pitch. 
 See Pitch. 
 
 Diapason, bis. Twice through the oc- 
 tave ; a double octave. 
 
 Diapason cum diapente (Gr.) An octave 
 a.'CiA fifth ; the interval of a twelfth. 
 
 Diapason cum diatessaron (Gr.) An 
 
 octave and fourth ; the interval of an 
 
 eleventh. 
 Diapason open. An organ-stop, the 
 
 pipes of which are open at the top, and 
 
 generally made of metal. 
 Diapason stopped. An organ 'Stop having 
 
 its pipes closed at their upper end with 
 
 a wooden plug. 
 Diapente (Gr.) (de-a-/^«te.) A perfect 
 
 fifth; also an organ-stop. 
 Diapente col ditono (Gr.) (de-a-pen-te kol 
 
 di-io-no.) A major seventh. 
 
 Diapente col semiditono (Gr.) (de-a-/if»- 
 te kol sem-i-di-/o-no.) A minor seventh 
 
 Diapentisare (Gr.) (de-a-pen-ti-ja-re.) 
 To descant, or modulate in fifths. 
 
 Diaphonie {Ae-df-o-ne.) ) Clear ; trans- 
 Diaphony (de <^-o-ny.) ) parent; two 
 
 sounds heard together. 
 Diaphonics (Gr.) {de-a.-fdn-\ks.) The 
 
 science of refracted sounds. 
 Diatessaron (Gr.) (de-a-;S?j-sa-ron.) A 
 
 perfect fourth. 
 
 Diatoni (Lat. pi.) (de-a-to-ni.) The nat- 
 ural or diatonic series of notes ; the dia- 
 tonic scale. 
 
 Diatonic (Gr.) (de-a-/#«-ik.) Naturally; 
 proceeding in the order of the degrees 
 of the natural scale, including tones and 
 semi-tones. , 
 
 Diatonic flute. A flute capable of pro- 
 ducing the various sfe^deii or differ- 
 ences of pitch of the major and minor 
 scales. 
 
 Diatonic melody. A melody in which 
 no tones foreign to J;he key are used. 
 
 Diat6nico (It.) (d&-3.-tSn e-ko.) 
 Diatonique (Fr.) (de-a-t6nh-«^/J.) 
 Diatonisch (Ger.) (di-a-/i5?2-ish . ) 
 Diatonic scale. The different 
 
 tions of tone of the scale or gamut ar 
 ranged in proper order in conformity to 
 some particular key. 
 
 Diatonic scale, major. Where the semi- 
 
 ' Dia- 
 tonic. 
 
 grada- 
 
 tones fall between the third and fourth 
 and seventh and eighth, both in ascend- 
 ing and descending. 
 
 Diatonic scale, minor. That in which 
 the semi-tones occur between the 
 second and third and seventh and 
 eighth ascending, and between the fifth 
 and sixth and second and third descend- 
 ing. See Scale. 
 
 Diatoniquement (Fr.) (de-a-tonh-«^/6- 
 manh.) Diatonically. 
 
 Di chi&ro (It.) (dee-ke-a-ro.) Clearly. 
 
 Dichord (Ger.) (dl-kord.) Two-stringed 
 lyre. See Bichord. 
 
 Dichten (Ger.) {dihk-^!a^ To compose 
 metrically. 
 
 Dichter (Ger.) (dihk-'Csx.) A poet; a 
 minstrel. 
 
 Di c61to (It.) (i&kolAo.) At once; in- 
 stantly ; suddenly. 
 
 Didactic. That which is calculated to 
 instruct. 
 
 Didactic exercises. Scale exercises and 
 compositions designed to give a, cor- 
 rect knowledge of musical execution. 
 
 Diesdre (It.) (de-a-zo-re.) ) To raise the 
 
 Di^ser (Fr.) (di-<y/-za.) ) pitch of a 
 note, either at the signature or in the 
 course of a composition by means of a 
 sharp. 
 
 Diese (Fr.) (di-az.) A sharp ((). 
 
 Diese, double (Fr.) (di-az doobl.) A 
 double sharp (((). 
 
 Diesi (Spa.) (di-a-ze.) The smallest 
 division of a tone. 
 
 Dies irae (Lat.) (di-az e-ra.) A principal 
 movement in a requiem. 
 
 Diesis (Gr. and It.) (de-ay-sis.) ) The 
 
 Diesis (Fr.) (di-Jjr-sis.) ) Pytha- 
 
 gorean semi-tone (later Limma), which 
 is the difference between a fourth and 
 two whole tones = 256:243.2. In 
 modem theory, the difference between 
 an octave and three major thirds, the 
 modern enharmonic diesis (128:125). 
 In modern music it means a 
 See Pole's Philosophy of Music. 
 
 Diesis chromatica (G'-.) (di-(?-sTs kro- 
 mdt-i-k'a..) The third part or fraction 
 of a whole tone. 
 
 Diesis enharmonica (Gr.) (di-(f-sis en- 
 har-?«(CK-i-ka.) A quarter-tone. As an 
 illustration, the difference between Gj 
 
 as in tone; 6 as in dove; 8 as in not; vi as in up; ii the French sound of u. 
 
 85 
 
DIESIS MAGNA 
 
 DIMINUTION 
 
 and Ab, or between Dt and El', on the 
 violin. 
 
 Diesis magna (Gr.) (di-(?-sis mdg-na..) A 
 semi-tone. 
 
 Dies, music. Steel punches for the 
 purpose of stamping music-plates. 
 
 Difficile (It.) (defy?-tshe-le.) Difficult. 
 
 Di gala (It.) (de ga-la.) Merrily, cheer- 
 fully. 
 
 Digital exercises . Exercises for strength- 
 ening the fingers and rendering them 
 independent of each other. 
 
 Digit6rium. A small portable apparatus 
 for exercising the fingers, resembling a 
 diminutive piano in shape, and having 
 five keys set on strong springs ; some- 
 times called Dumb Piano. 
 
 Dignitd (It.) (den-ye-z^i.) 
 
 Dignitdde (It.) (den-ye-^o-de.) 
 
 Dignitdte (It.) (den-ye-«-te.) 
 greatness. 
 
 Di Grado (It.) (de ^ra-do.) 'By degrees; 
 step by step ; in opposition to di salto. 
 
 Di grddo ascendente (It.) (de ^a-do a- 
 shen-fl'««-te.) A series of notes of 
 regular ascent. 
 
 Di grddo descendente (It.) (de ^a-do 
 da-shen-rf««-te.) A series of notes de- 
 scending regularly. 
 
 Digressing. Moving from one key into 
 another to return to the first. 
 
 Digressione (It.) (de-gres-se-ff-ne.) A 
 deviation from the regular course of a 
 piece. 
 
 Diiambus (de-i-aw-bus.) A metrical foot 
 consisting of two iambic feet. 
 
 Di leggi^re (It.) (de led-je-az- "] 
 
 re.) 1^ Easily, 
 
 Di leggi^ro (It.) (de led-je-a? 
 ro.) 
 
 Dignity, 
 gran- 
 deur. 
 
 I lightly. 
 J 
 
 'inh) ) A li 
 4-te.) S of i 
 
 Dilettante (It.) (de-let-;««/4-te.) ) of art; 
 an amateur who composes or performs 
 without making music a profession. 
 
 Dilettosamente (It.) (de-let-to-za-wz^w- 
 te ) Agreeably, pleasantly. 
 
 Dilig^nza, con (It.) (de-le^>«-tsak6n.) 
 In a diligent and careful manner. 
 
 Diludium (Lat.) (di-/«-di-um.) An in- 
 terlude. 
 
 Dilu^ndo (It.) (de-16o-?«-d6.) Diminish- 
 a as in ah y a as in hate ; a as in at ; e as in tree ; £ as in 
 
 86 
 
 ing; a gradual dying away of the tone 
 until it is extinct. 
 
 • Abbreviations of diminuendo. 
 
 Dim. 
 
 Dimin. 
 
 Dimeter. A poetic measure of four feet ; 
 
 a series of two meters. 
 Diminished. This word is applied to 
 
 intervals or chords, which are less than 
 
 minor or perfect intervals. 
 
 Diminished chords. Chords that have a 
 diminished interval between their high- 
 est and lowest notes. 
 
 Diminished fifth. An interval contain- 
 ing two' whole tones and two semi- 
 tones. 
 
 Diminished fourth. One whole tone 
 and two semi-tones. 
 
 Diminished imitation. A style of imi- 
 tation in which the answer is given in 
 notes of less value than that of the sub- 
 ject. 
 
 Diminished intervals. Those which are 
 one semi-tone less than minor or per- 
 fect intervals. 
 
 Diminished octave. One semi-tone less 
 
 than a full octave. 
 Diminished seventh. One semi-toneless 
 
 than a minor seventh. 
 Diminished sixth. One semi-tone less 
 
 than a minor sixth. 
 
 Diminished third. One semi-tone less 
 than a minor third. 
 
 Diminished triad. A chord composed 
 of the minor third, and the diminished 
 or imperfect fifth. 
 
 Diminu^ (Fr.) (di-men-oo-ay.) Dimin- 
 ished. See Diminuito. 
 
 Diminuendo (It.) (.de-me-noo-^«-do.) 
 Diminishing gradually the intensity or 
 power of the tone. 
 
 Diminuer (Fr.) (di-me-noo-a.) To di- 
 minish. 
 
 Diminuito (It.) (de-mi-noo- 1 Diminished, 
 ^-to.) • (lessened, in 
 
 Diminuto (Lat.) (de-me- [speaking of 
 noo-\o}) J intervals or 
 
 chords. 
 
 Diminutio (Lat.) (dim-i-««-shi-o.) Di- 
 minution. 
 
 Diminution. In counterpoint this means 
 the imitation of a given subject or 
 theme, in notes of shorter length or 
 
 ^ / i as in pine ; i as in pin ; 
 
diminuzi6ne 
 
 DIS-DIS 
 
 duration ; in opposition to augmenta- 
 tion. 
 
 Diminuzi6ne (It.) (de-me-noo-tse-^-ne.) 
 Diminution. 
 
 Di molto (It.) (de mol-to.) Very much ; 
 an expression which serves to augment 
 the meaning of the word to which it is 
 applied. 
 
 D in alt (It.) 
 note in alt. 
 
 The fifth 
 
 $ 
 
 D in altissimo (It.) The fifth note in 
 altissimo. 
 
 D'inganno (It.) (d'en-^aK-no.) An un- 
 expected ending. 
 
 Di nu6vo (It.) (de noo-«-v5.) Anew; 
 once more ; again. 
 
 Diozia. A perfect fifth; the fifth tone 
 or sound. 
 
 Diphonium. A vocal duet. 
 
 Di p6sta (It.) (de pos-tsi.) At once. 
 
 Di quieto (It.) (de que-a-to.) Quietly. 
 
 Direct. A mark sometimes, placed at 
 the end of a staff ; a phrase or figure to 
 indicate the note next following (^) 
 
 Directeur (Fr.) (di-rek-^«r.) The director 
 or conductor of a musical performance. 
 
 Direct intervals. Intervals reckoned 
 from their fundamental tones upward, 
 on which any kind of harmony may be 
 produced. 
 
 Direct motion. Similar or parallel mo- 
 tion ; the parts rising or falling in the 
 same direction. 
 
 Dirge. A musical composition, either 
 vocal or instrumental, designed to be 
 performed at a funeral, or in commem- 
 oration of the dead. 
 
 Diritta (It.) (de-ret-ta.) Direct; 
 straight on, in ascending or descending 
 intervals. 
 
 Dirizzat6re (It.) (de-ret-tsa-^^-re.) A 
 _ director. 
 
 The note D J. 
 
 Dis (Ger.) (des.) 
 
 Disaccentdto (It.) 
 Unaccented. 
 
 (dez-at-tshan-Ai-to.) 
 
 Disarmonichissimo (It.) (dez-ar-mo-ni- 
 &j-si-mo.) Extremely discordant. 
 
 Disarm6nico (It.) (dez-ar-««tf-ne-ko.) 
 Inharmonious, discordant. 
 
 Discant. The upper part. See also 23es- 
 cant. 
 
 Discant schliissel (Ger.) (diz-Mnt- 
 shlii-s'l.) The soprano clef; the C clef 
 placed upon the first line — the note 
 upon that line being called C. 
 
 Discantist (Ger.) (dis-kan-Zi'rf.) Treble, 
 or soprano singer. 
 
 Discant-saite (Ger.) {dis Mnt si-te.)- 
 Treble string. 
 
 Discant-sanger (Ger.) {dis-kant-sdng- 
 er') Treble, or soprano singer. 
 
 Discantus(Lat.) (dis-^aw-tus.) Descant. 
 
 Discendere (It.) {de-shdn-da.-re.) To 
 descend. 
 
 Discidlto (It.) 
 dexterous. 
 
 (di-she-o/-to.) Skilful, 
 (It.) (dis-kon-zJor-de-a.) 
 
 Disconc6rdia 
 Discord. 
 
 Discord. A dissonant or inharmonious 
 combination of sounds. In harmony 
 it requires to be resolved or proceed to 
 a concord in order to satisfy the ear. 
 
 Discorddnte (It.) (dis-kor-(/a«-te.) Dis- 
 cordant. 
 
 Discordantem^nte (It.) (dis-kor-dan- 
 te-z»^«-te.) Discordantly. 
 
 Discorddnza (It.) {dSs-Voxdan-i&a..) 
 Discord. 
 
 Discordare (It.) (dis-kor-</(i'-re.) ) To be 
 Discorder (Fr.) (dis-kor-da.) ) o^^t of 
 
 Dis- 
 cord. 
 
 Discorde (Fr.) (dis-kord.) 
 Discordia (Lat.) (dis-zSiV-di-a. ) 
 
 Discord, prepared. Where the ear has 
 been prepared for the discordant note 
 in a previous concord. 
 
 Discr^to (It.) {d\s-krd-\.o.) Discreetly. 
 
 Discrezidne (It.) (dis-krat-tse-»-ne.) 
 Discretion, judgment, moderation. 
 
 Dis-diapason (Gr.) (dez-de-a/a-son.) 
 A double octave ; an interval of two 
 octaves ; a fifteenth. 
 
 Dis-dis (Ger.) 
 called disis. 
 
 (diss-diss.) D %%, also 
 
 Di salto (It.) (de-j-aZ-to.) By leaps or 
 by skips; in opposition to di grddo. 
 
 as in tone ; 6 as in dove ; o as in not ; li as in »// ii the French sound of u. 
 
 87 
 
disinv6lto 
 
 DITONUS 
 
 I 
 
 Disinvdlto (It.) (diz-en-wo/to.) 
 
 Disinvolturdto (It.) (diz-en-vol-too- 
 rd-to.) ) 
 
 Offhand ; bold ; not forced ; naturally. 
 
 Disjunct. A term applied by the Greeks 
 to those tetrachords where the lowest 
 sound of the upper one was one degree 
 higher than the acutest sound of the 
 one immediately beneath it. 
 
 Disjunct degree. Where two notes form 
 the interval of <t third or any greater 
 interval. ■ 
 
 Disjunct succession. A succession of 
 sounds passing from one degree to 
 another, without touching the inter- 
 mediate degrees. 
 
 Dis moll (Ger.) (dis mol.) The key 
 of D I minor. 
 
 Disonare (It.) (dez-o-«a-re.) To sound 
 discordantly. 
 
 Di soppiano (It.) (de sop-pe-a-no.) Low ; 
 
 with a low voice. 
 Di sopra (It.) (de so-pra.) Above. 
 Disperdto (It.) (dez-pe-ro-to.) With 
 
 desperation. 
 
 Disperazi6ne (It.) (dez-pe-rat-se-o-ne.) 
 Despair, desperation. 
 
 Dispersed harmony. Harmony in which 
 the notes forming the various chords 
 are separated from each other by wide 
 intervals. 
 
 Dispondee. In Greek and Latin poetry, 
 a double spondee, comprising four long 
 syllables. 
 
 Disposition. The arrangement of the 
 stops in an organ, disposing them 
 according to power, quality of tone, 
 etc. 
 
 Dissonance. A discord; an interval or 
 chord displeasing to the ear and requir- 
 ing to be followed by another in which 
 the dissonant note is resolved. 
 
 Dissonant. An inharmonious combina- 
 tion of sounds. 
 
 Of the head ; 
 
 Dissonant chords. All the chords except 
 the perfect concord and its derivatives. 
 
 Dissonant (Fr.) (dis-s5-nanh.) ^ 
 
 Dissoninte (It.) (dis-so-nan-te.) ) 
 
 Dissonant ; out of tune ; discordant. 
 
 Diss6nant sixths. The diminished and 
 superfluous sixths. 
 
 a as in a^ / a as in Aate; a as in aij e as in free 
 
 Dissonanz (Ger.) (dis-so-ndnis.) i 
 Dissondnza (It.) (dis-so-wfl»-tsa.) ) 
 
 Dissonance, discord. 
 Dissondre (It.) (dis-so-KO-re.) ) To sound 
 Dissoner (Fr.) (dis-so-«a.) ) out of 
 
 tune. 
 
 Distance. The interval between any two 
 sounds differing in pitch. 
 
 Distdnza (It.) {dez-idntsa..) Distance ; 
 space between. 
 
 Distich. A couplet ; a couple of verses, 
 
 or poetic lines, making complete sense. 
 
 See Couflet. 
 Distinto (It.) (des-/'f«-to.) Clear; dis- 
 tinct. 
 Distique (Fr.) (dis-Zf/J.) A distich. 
 Distondre (It.) (dis-to-«o-re.) To be 
 
 out of tune. 
 Distoniren (Ger.) (dis-to-«f-r'n.) To 
 
 get out of tune ; to produce discord 
 
 either in singing or playing. 
 Dital. A key which on being pressed 
 
 raises the pitch of the guitar string a 
 
 semi-tone. 
 Di testa (It.) (de fej-ta.) 
 
 in speaking of the voice. 
 Dithyrambe (Fr.) (de.-'a-rdhmb^ 
 Dithyrambe (Ger.) (de-tT-ra»«-be.) 
 
 A song or ode sung in ancient times in 
 
 honor of Bacchus ; a wild rhapsodical 
 
 composition. 
 Dithyrambic (Gr.) (de-thi-r^w-bik.) 
 
 A song in honor of Bacchus ; any poem 
 
 written in a wild rhapsodical manner. 
 Dithyrambique (Fr.) (de-ti-ranh-*«/5.) i 
 Dithyrambisch (Ger.) (de-ti-rawz-bish.) j 
 
 Dithyrambic. 
 Dithyrambus (di-thi-ya»«-bus.) See 
 
 Dithyrambe. 
 Ditirimbica (It.) (de-te-raw-be-ka ) 
 Ditirambico (It.) (de-te-?-a»«-be-ko.^ 
 
 Dithyrambic. 
 Ditirdmbo (It.) (de-te-ro>«-bo.) See 
 
 Dithyrambe. 
 
 DitO (It.) (rf^-to.) The finger. 
 Diton (Fr.) (de-t5nh.) ^ Oi\rf:o 
 
 Ditone (Gr.) (de-ton.) I parts or 
 
 Ditono (It.) (de-to-no.) pones; a 
 
 Ditonus (Lat.) (di-^o-niis.) J ^^io"^ 
 third or interval of two whole tones. A 
 Pythagorean major third of two greater 
 
 e as in ^,4 ; i as in pine ; i as in pin ; 
 
 >.1 s 
 
DITROCHEE 
 
 DOLC^ZZA 
 
 whole tones (8i : 64) ; wider by a 
 comma than a true major third (5 : 4). 
 
 Ditrochee. A double trochee; a foot 
 made up of two trochees. 
 
 Ditty. A song ; a little poem to be sung. 
 
 Divertimento (It.) (de-ver-te-»»«»-t6.) 
 A short, hght composition, written in a 
 pleasing and familiar style ; a series of 
 airs and dances introduced between the 
 acts or at the conclusion of an opera ; 
 also, an instrumental composition like 
 the suite, of several short movements in 
 contrast. 
 
 Divertissement (Fr.) (dee-ver-^m- 
 manh.) See Divertimont. 
 
 Divided accompaniment. A form of 
 accompaniment in which the intervals 
 are taken by both hands. 
 
 Divisi (It.) (di-w-ze.) Divided, sep- 
 arated. In orchestral parts this word 
 implies that one-half the performers 
 must play the upper notes and the 
 others the lower notes. The term has 
 a similar meaning when it occurs in 
 vocal music. 
 
 Division. A series of notes sung to one 
 syllable. Formerly this word implied 
 a sort of variation upon a given sub- 
 ject. The performance of this style of 
 music is called running a division : 
 
 w. 
 
 gp^gE 
 
 =1= 
 
 mg. 
 
 Division (Fr.) (di-z/^-ze-onh.) A 
 
 double bar. 
 Division du temps (Fr.) (di-ve-ze-onh 
 
 dii tanh.) Time-table. 
 Division marks. Figures with a curved 
 
 line above them, showing the number 
 
 of equal parts into which the notes are 
 
 divided, Ti T. Ti Ti etc. 
 Divotam^nte (It.) (de-vo-ta-»2^»-te.) 1 
 Div6to (It.) (de-j/o-to.) ) 
 
 in a solemn style. 
 
 Divozione (It.) (de-vot-tse-i?-ne.) Devo- 
 tion ; religious feeling. 
 
 Dizidme (Fr.) (dez-i-dm.) The ieniA, 
 or octave to the third. 
 
 D. M. The initals of Destra Memo, 
 generally written M. D. 
 
 D moll (Ger.) (da-moll.) The key of 
 D minor. 
 
 Do (It.) (do.) A syllable applied to the 
 first note of a scale in soifaing. In the 
 " fixed Do " system. Do is always C, 
 but in the " movable Do," it always 
 represents the key-note, whether that 
 note is C or not. In the " tonic-sol-fa " 
 system it is movable and is spelt 
 " Doh." SieeTonic Sol-fa, axid Aretinian 
 Syllables. 
 
 Doctor of music. The highest musical 
 degree conferred by the universities. 
 This degree is not conferred in Ger- 
 many. See Groves Dictionary, article 
 "Degrees in Music." 
 
 Dodedachordon (Gr.) (do-ded-a-zfiSr-don.) 
 The twelve ancient modes. 
 
 Ddglia (It.) {dol-ye-a..) Grief, afiliction, 
 sadness. 
 
 Doigt (Fr.) )dw'a.) Finger. 
 
 Doigt6 (Fr.) (dwa-tay.) Fingered. 
 
 Doigter (Fr.) (dwa-tay.) To finger; the 
 art of fingering any instrument. 
 
 Doigts fixes (Fr.) (dwa fek-se.) Fixed 
 fingers. 
 
 Dol. An abbreviation of dolce. 
 
 Dolcan. An organ-stop of 8-foot scale, 
 the pipes of which are of larger di- 
 ameter at the top than at the bottom. 
 The dulciana. 
 
 D61ce (It.) (<^o/-tshe.) Sweetly, softly, 
 delicately. 
 
 D61ce con giisto (It.) (</^/-tshe kon^aoj-to.) 
 Softly; sweetly; withtasteandexpression. 
 
 D61ce e cantabile (It.) (</J/-tshe a kan-^a- 
 be-Ie.) Sweet ; soft ; in singing style. 
 
 D61ce e lusingdndo (It.) (</o/-tshe a loo- 
 sen-^o«-d6.) In a soft and insinuating 
 style. 
 
 D61ce mani^ra (It.) ((/o/-tshe ma-ne-iJ-ra.) 
 A delicate and expressive manner of 
 delivery. 
 
 DolcemSnte (It.) (dol-tshe-»z^«-te.) 
 
 Sweetly, gently, softly. 
 Dolc^zza (It.) (diOX-tshet-zi.^ Sweetness ; 
 
 softness of tone. 
 
 Devoutly ; 
 
 as in tone ; 6 as in dove ; B as in not ; ii as in «/ / ii the French sound of «, 
 
 89 
 
dolciAno 
 
 DORIC MODE 
 
 / A small 
 ) bassoon, 
 
 Dolcidno (It.) (dol-tshe-a-no.) 
 
 Dolcino (It.) (doUsAi-no.) 
 
 formerly much used as a tenor to the 
 oboe. A reed-stop (8 or i6-foot tone) 
 in the organ. 
 
 Dolcimello (It.) (dol-tshe-w^Z-lo.) A 
 dulcimer. 
 
 Dolciss. An abbreviation of dolcissimo. 
 
 Dolcissimo (It.) (d6Wj,4M-se-m5.) With 
 
 extreme sweetness and delicacy. 
 Dolent (Fr.) (do-lanh.) ) S o r r o w f u 1, 
 DoWnte (It.) (do-&«-te.) (mournful, 
 
 pathetic. 
 
 DoIentemSnte (It.) (d6-lan-te->»^«-te.) 
 
 Sorrowfully, mournfully. 
 Dolentissimo (It .) (do-len-/«-se-mo.) 
 
 With extreme sadness ; with very 
 
 pathetic and mournful expression. 
 Dol6re (It.) (d6-/o-re.) Grief, sorrow. 
 Dolorosam^nte (It.) (do-16-ro-za-««««- ) 
 
 te.) [ 
 
 Dolor6so (It.) (do-lo->-o-zo.) ) 
 
 Dolorously, sorrowfully, sadly. 
 
 Dom (Ger.) (dom.) A cathedral. 
 
 Dom-chor (Ger.) (tfom-kor.) The cathe- 
 dral choir. 
 
 Dominant. The name applied by theo- 
 rists to the^/iA note of the scale. 
 
 Dominant chord. A chord found on the 
 dominant ox ffth note of the scale and 
 introducing a perfect cadence. 
 
 Dominante (Fr.) (dom-i-nanht.) ) The 
 
 Dominante(Ger.)(dom-i-«a»-te.) ) domi- 
 nant. 
 
 Dominant harmony. Harmony on the 
 dominant or fifth of the key. 
 
 Dominant section. A section terminat- 
 ing on the common chord of the domi- 
 nant. 
 
 Domine salvam fac (Lat.) (</o-mi-ne sSl- 
 vum fak.) A prayer for the reigning 
 sovereign, sung after Mass. 
 
 Dominican psalmi (Lat.) (do-mi-ne-^a- 
 le sal-me.) Certain psalms of the 
 Roman Catholic Church, sung in the 
 vespers. 
 
 Dom-kirche (Ger.) {dom ^^r-khe.) A 
 cathedral. 
 
 Dona n6bis pacem (Lat.) (do-na »^bis 
 /o-sem.) The concluding movement 
 of the Mass. 
 
 D6nna (It.) (t/ow-na.) Lady; applied to 
 the principal female singers in an opera. 
 
 D6nne (It. pi.) {don-ne.) Ladies. See 
 Z>6nna. 
 
 D6po (It.) (do-po.) After. 
 
 Doppel (Ger.) {ddp--p'\.) Double. 
 
 Doppel-be (Ger.) (</^^-p'l ba.) A double 
 flat {^)\ lowering a note two semi- 
 tones. 
 
 Doppel-flote (Ger.) (aT^-p'l y?^-te.) 
 
 Double flute; a stop in an organ the 
 
 pipes of which have two mouths. It is 
 
 of 8-foot tone. 
 Doppel-fuge (Ger.) (^^-p'l /<;o-ghe.) 
 
 Double fugue. 
 Doppelgeige (Ger.) (dSp-^'l £-Ai-ghe.) An 
 
 organ-stop. See Pto/a d'Amour. 
 Doppelgriffe (Ger.) {dilf-^'\-grlf-ie.) 
 
 Double-stop on the violin, etc. 
 Doppelkreuz (Ger.) (i/iJ^-p'l-kroitz.) A 
 
 double sharp x or X, raising a note two 
 
 semitones. 
 Doppelschlag (Ger.) ((^(!^-p'l-shlag.) A 
 
 turn. 
 
 Doppelschritt (Ger.) (</,ii^-p'l-shrit.) A 
 quick march. 
 
 Doppelt (Ger.) ((/^-p'lt.) Double. 
 
 Doppelten noten (Ger.) (aTf^-p'l-ten no- 
 t'n.) Double notes. 
 
 Doppelzunge (Ger.) ((/li^-p'l tsoon-ge.) 
 Double-tongueing on flutes and brass 
 wind-instruments. 
 
 Doppia lyra (It.) (dop-pe-a. le-r'i..) A 
 double lyre. 
 
 D6ppio (It.) {dop--pe-o.) Double; two- 
 fold; sometimes indicating that oc- 
 taves are to be played. 
 
 Dfippio movim^nto (It.) (o'^-pe-o mo-ve- 
 men-to.) Double-movement, or time, 
 that is, twice as fast. 
 
 D(5ppio pedale (It.) {dop-'pi-o pe-oS-le.) 
 Playing a bass passage on the organ 
 with the pedals moving in octaves, 
 etc. ; that is, using both feet at the 
 same time. 
 
 Ddppio tempo (It.) (dop-yH-o tem-po.) 
 Double-time; as fast again. 
 
 Dorian (Gr.) (d5-ri-an.) ) The name of 
 Dorien (Fr.) (do-ri-anh.) ) one of the an- 
 cient modes or scales. 
 
 Doric mode. The first of the authentic 
 Greek modes. 
 
 a as in A/^ ; a as in hate ; a as in at; e as in tree / 6 as in eh ; i as in pine ; i as in pin; 
 
 go 
 
DOSSOLOGIA 
 
 DOUBLE OCTAVE 
 
 Dossologia (It.) (d6s-s6-/»-je-a.) Doxol- 
 
 ogy- 
 
 Dot. A mark, which when placed after 
 a note increases its duration cne-hialf . 
 When the dot is placed mer a note it 
 signifies that the note is to be played 
 staccato. 
 
 Dot, double. Two dots placed after a 
 note to increase its duration three- 
 fourths of its original value. 
 
 Dots. When placed at the side of a bar, 
 or double bar, they show that the 
 music on that side is to be repeated. 
 
 Dotted double bar. A double bar with 
 dots preceding it, indicates that the 
 preceding strain is to be repeated; 
 when the dots are after the double bar, 
 it shows that the following strain is to 
 be repeated. A double bar with dots 
 both sides indicates that both the pre- 
 ceding and following strains are to be 
 repeated. 
 
 Double (Fr.) {doo-\A..) The old name for 
 a variation ; used by Handel, Scarlatti, 
 etc. 
 
 Double A, or AA. In 
 
 England, the term 
 double is applied to -j^ 
 
 all those bass notes from G to F in- 
 clusive. 
 
 Double-action harp. A harp with 
 pedals, by which each string can be 
 raised two semi-tones. 
 
 Double after-note. Two after-notes tak- 
 ing their time from the previous note. 
 
 w 
 
 ^n 
 
 =1= 
 
 Written 
 
 Played 
 
 gf^^S^ 
 
 Double appoggtatura. A union of two 
 short grace-notes. 
 
 Double bar. Two thick strokes drawn 
 down through the staff, to divide one 
 strain or movement from another. 
 
 Double-bass. The largest and deepest 
 toned of all bow-instruments. See 
 Contra-bass. 
 
 Double-bassoon. A large bassoon the 
 sounds of which are an octave deeper 
 than the bassoon; also, a i6 or 32-foot 
 organ-reed stop, of smaller scale and 
 softer tone than the double trumpet. 
 
 Double bemol (Fr.) (ba-mol.) Double- 
 flat. 
 
 Double chant. A simple harmonized 
 melody in four strains or phrases, and 
 
 extending to two verses of a psalm or 
 canticle. 
 Double chorde (Fr.) (doobl kord.) Play- 
 ing one and the same note, on the vio- 
 lin, upon two strings at once. 
 
 Double counterpoint. A counterpoint 
 wliich admits of the parts being in- 
 verted. 
 
 Double croche (Fr.) (doobl VxQ&\v.)Double- 
 hooked ; a sixteenth note. 
 
 Doubled. A term applied when one of 
 the notes of a chord is repeated in a 
 different part of the same chord. 
 
 Double-demisemiquaver. A note 
 
 equal in duration to one-half of 
 
 a demisemiquaver ; a sixty-fourth 
 
 note. It is written thus : 
 Double-descant. Where the treble or 
 
 any high part can be converted into the 
 
 bass, and vice versa. 
 Double diapason. An organ-stop tuned 
 
 an octave below the diapasons. It is 
 
 called a 16-foot stop on the manuals; 
 
 on the pedals it is a 32-foot stop. 
 Double diese (Fr.) (doobl diaz.) A double 
 
 sharp X. 
 Doubled letters. Capital letters doubled, 
 
 indicating that the tone is an octave 
 
 lower than where the letters stand 
 
 single. 
 Double flat. A character (bh) which, 
 
 placed before a note, signifies that it is 
 
 lowered two semi-tones. 
 Double flute. A flute so constructed that 
 
 two tones may be produced from it at 
 
 the same time ; a stop in an organ. 
 
 See Doppel Flote. 
 Double fugue. A fugue on two subjects. 
 Double G. Contra G ; the lowest G on 
 
 the pianoforte. In England the term 
 
 double is applied to all those bass notes 
 
 from G to F inclusive : 
 
 w 
 
 ^ 
 
 Double hautboy. A 16-foot reed-organ 
 stop of small scale. 
 
 Double lyre. The Lyria Doppia ; an old 
 instrument of the viol kind. 
 
 Double note. A breve ; a note |)> j| | 
 twice the length of a whole nz 
 note. 
 
 Double octave. An interval of two oc- 
 taves; a fifteenth. 
 
 5 as in tone ; 6 as in dove ; 8 as in not ; fi as in up ; u the French sound of a. 
 
 91 
 
BOUBLE QUARTET 
 
 DRAMMATICO 
 
 Double quartet. A composition written 
 for eight instruments or voices. 
 
 Double reed. The mouth-piece of the 
 hautboy, bassoon, etc., formed of two 
 pieces of cane joined together. 
 
 Doubles. An old term for variations. 
 See Double. 
 
 Double sharp. A character which, when 
 placed before a note, raises that note 
 two semi-tones. It is usually written 
 as follows : X or X. 
 
 Double sonata. A sonata composed for 
 two instruments concertante; as, the 
 pianoforte and violoncello. 
 
 Double-stopped diapason. An organ- 
 stop of 1 6-foot tone on the manuals ; 
 the pipes are stopped or covered at; the 
 top. 
 
 Double-stopping. The stopping of two 
 strings simultaneously with the fingers 
 in violin playing. The practice was 
 first suggested by John Francis Henry 
 Biber, in 1681. 
 
 Double suspension. A suspension that 
 retards two notes and requires a double 
 preparation and resolution. 
 
 Double tierce. An organ-stop tuned a 
 tenth above the diapasons, or it major 
 third above the principal. 
 
 Double-time. A time In which every 
 measure is composed in two equal 
 parts. It is marked by lettingthe hand 
 fall and rise alternately. 
 
 Double-tongueing. A method of articu- 
 lating quick notes used by flute players, 
 and on brass instruments. The tongue 
 is moved in quick alternation from the 
 upper front teeth to the hard palate and 
 back, producing a rapid staccato. 
 
 Double trill. Two trills- played simul- 
 taneously. 
 
 Double triplet. The union of two trip- 
 lets ; a sextolet, thus, ,. — - — -— -^ 
 is often erroneously ^ _^g_ Cz {-^-^— : 
 written as a double E ^'~i 1 - i — T — 
 
 • triplet. See Notes, Grouping, Sextolet. 
 
 Double trumpet. An organ-stop of 16- 
 
 foot scale ; sometimes the lowest octave 
 of pipes is omitted, and it is then called 
 the Tenoroon trumpet. 
 
 Double twelfth. An organ-stop, sound- 
 ing the fifth above the foundation-stops; 
 it is generally composed of stopped 
 pipes. 
 
 Doublette (Fr.) (doob-/^?.) A compound 
 
 a. as in ai ; a. as in ^atej a as in at; e as in tree ; S as in ei ; i as \npine ; i as in pin; 
 
 92 
 
 organ-stop, consisting of two ranks, 
 
 generally a twelfth and fifteenth. 
 Doucement (Fr.) ((/ow-manh.) Sweetly, 
 
 softly, pleasingly. 
 Douleur (Fr.) (doo-/ar.) Grief, sorrow, 
 
 pathos. 
 
 Douloureusement (Fr.) (doo-loor-iis- 
 manh.) Plaintively, sorrowfully. 
 
 Douloureux (fr.) (doo-loor-Uh.) Sor- 
 rowful, tender, plaintive. 
 
 Doux (Fr.) (dooz.) Sweet, soft, gentle. 
 
 Douzilme (Fr.) {ioo-zhi-dm.) A twelfth. 
 
 Down beat. The falling of the hand or 
 baton in beating or marking time. 
 
 Down bow sign. A sign used in violin 
 music indicating that the bow is to be 
 drawn down ; thus, | 1 . 
 
 Doxologia (Lat.) (d6x-o-/o-jia.) i Dox- 
 Doxologie (Fr.) (dox-iCZ-o-zhe.) ) ology. 
 Doxology. A form of praise sung in 
 divine service, usually at the close of a 
 prayer, psalm, or hymn; the Gloria 
 Patri, used at the end of the psalms 
 in the Christian Church ; also any met- 
 rical form of the same. 
 
 Draht-saite (Ger.) (drat-st-te.) Music 
 wire; wire string. 
 
 Dramatic. A term applied to music 
 written for the stage and to instrumen- 
 tal music that conveys a definite story 
 or picture ; program music. 
 
 Dramaticamente (It.) (dra-ma-te-ka-") 
 men-te.) I 
 
 Dramatiquemente (Fr.) (dra-ma-tek- [ 
 manht.) J 
 
 Dramatically. 
 
 Dramatique (Fr.) (dra-ma-^^i.) i Dra- 
 
 Dramatisch (Ger.) (dra-/»o-tish.) ) matic. 
 
 Dramatis personae (Lat.) (<2'r«-ma-tis 
 per-jo-ne.) The characters of an opeia 
 or play. • 
 
 Drame (Fr.) (dram.) 
 
 Drdmma (It.) (dram-ma..) 
 
 Drimma lirico (It.) (dra-ma-/f-re-ko.) 
 
 DrAmma per musica (It.) (dra-ma 
 
 par moo-ze-lisi.) 
 
 An opera or musical drama. 
 
 Drammaticam^nte (It.) (dram-ma-te-ca- 
 men-te.) Dramatically ; in a declama- 
 tory style. 
 
 DrammStico 
 
 Dramatic. 
 
 A drama. 
 
 (It.) (dram-ma-te-ko ) 
 
DRAW-STOPS 
 
 D. S. 
 
 • A trio. 
 
 Draw-stops. In an organ, stops placed 
 on each side of the rows of keys by 
 moving which the player opens or closes 
 the stops within the organ. 
 
 Dreh-orgel (Gr.) {dra org'l.) Barrel 
 organ. 
 
 Dreher (Ger.) (dra-er.) A slow waltz, or 
 
 German dance. 
 Drei (Ger.) (dri.) Three. 
 
 Dreifach (Ger.) (dri-iakh.) Three-fold, 
 triple. 
 
 Drelgesang (Ger.) (dri-ghe-sdng-.) For 
 
 three voices ; a trio. 
 Dreiklang (Ger.) {drt-kVa.ng.) A triad; 
 
 a chord of three sounds. 
 Dreimal (Ger.) (dri-mal.) Thrice. 
 Dreisang (Ger.) (^dri-sang.) ) 
 Dreispiel (Ger.) (dri-spel.) S 
 Dreist (Ger.) (drist.) Brave, bold, confi- 
 dent. 
 
 Dreistigkeit (Ger.) (dns-tig-kit.) Bold- 
 ness, confidence, resolution. 
 
 Dreistimmig (Ger.) (dris-tim-mig.) 
 Three-voiced. 
 
 Dringend (Ger.) (drin£--end.) Pressing. 
 
 Dritta (It.) (drii-ta..) I Right; mdna 
 
 Dritto (It.)(^?-«to.) I'iriUa, the right 
 hand. 
 
 Dritte (Ger.) (dra-te.) Third. 
 
 Driving notes. An old term applied to a 
 passage consisting of long notes placed 
 between shorter notes in the same 
 measure and accented contrary to the 
 usual and natural flow of the rhythm ; 
 a syncopation. 
 
 Drohne (Ger.) (dro-ne.) A heavy tone; 
 a drone. 
 
 Droite (Fr.) (drwat.) Right ; main droite, 
 the right hand. 
 
 Drone. The largest of the three tubes of 
 the bagpipe. It only sounds one deep 
 note, which answers as a perpetual bass 
 to every tune. Drone-bass, a bass on 
 the tonic, or tonic and dominant, which 
 is persistent throughout a movement or 
 piece, as in the Musette. 
 
 Dronen (Ger.) (i/riS-nen.) To give a 
 low, dull sound ; to drone. 
 
 Drum. An instrument of percussion 
 formed of a cylinder made of thin wood 
 or metal, over each end of which is 
 
 . drawn a skin, tightened by means of 
 cords. There are three kinds of drums ; 
 
 1. The bass drum, held laterally and 
 played with a stuffed knob drumstick. 
 
 2. The side-drum having two heads, 
 the upper one only being played upon by 
 two sticks of wood ; the lower head has 
 occasionally strings of catgut stretched 
 over its surface, and then it is called a 
 snare-drum. 3. The kettledrum, always 
 employed in pairs. 
 
 Drum, bass. A large drum used in mili- 
 tary bands. 
 
 Drum, kettle. A bass drum of a cup-like 
 shape, over the top of which the parch- 
 ment head is stretched. These drums 
 are used in pairs, one being tuned to 
 the key-note and the other generally 
 to the fifth of the key. The compass 
 of the larger kettle- 
 drum, called the G 
 drum, is between 
 And of the smaller, 
 or C drum, between 
 
 g= 
 
 S 
 
 so that the two drums overlap each 
 other in compass by a tone. The tun- 
 ing is effected by tightening or loosen- 
 ing the head or skin by means of a ring 
 of metal moved by screws turned by a 
 key. Many devices have been invented 
 by which the tuning can be rapidly 
 effected by a single screw. Such im- 
 proved kettledrums are called machine 
 drums. In the modern orchestra three 
 kettledrums are often used. It must 
 be borne in mind that the kettledrums 
 give definite pitch, which the other 
 drums do not. See Trout's " The 
 Orchestra," or Arthur Elson's " Or- 
 chestral Instruments." The different 
 names for the drums in orchestral 
 scores are : i . the side-drum or military 
 drum (Ger. Trommel; Fr. Tambour 
 Militaire; It. Tambura ;) 2. The bass 
 drum, or long drum (Ger. Grosse 
 Trommel; Fr. Grosse Caisse; It. 
 Gran Cassa, or Gran Tamburo;') 3. The 
 kettledrum (Ger. Pauken ; Fr. Ti7n 
 bales; It. Timpani^ 
 
 Drum, snare. The small drum, so called 
 on account of having strings of twisted 
 hide or catgut, drawn over its lower 
 head, and to distinguish it from the bass 
 drum ; the side-drum. 
 
 Drum, side. The common drum, the 
 snare-drum. 
 
 D. S. The initials of Dal Segno. 
 
 5 as in tone ; 6 as in dove ; 8 as in not; fi as in up; ii the French sound of u. 
 
 93 
 
DUDELKASTEK 
 
 DUPLEX LOITGA 
 
 Dudelkasten (Ger.) ((/w-d'l-kas-t'n.) 
 Barrel organ ; a hurdy-gurdy. 
 
 Dudelkastensack (Ger.) (afe^-d'I-kas- 
 t'n-sak.) A bagpipe , a cornemuse ; a 
 hornpipe. 
 
 Dudeln (Ger.) (doo-d'ln.) To play on 
 the bagpipe ; also a contemptuous term 
 for playing badly on the flute, etc. 
 
 Budelsack (Ger.) {dao-dle-sakh.) The 
 bagpipe. 
 
 Diie (It.) (doo-e.) Two ; in two parts. 
 
 Due clarini (It.) (doo-e kla-r^-ne.) Two 
 trumpets. 
 
 Due c6rde (It.) (doo-e ior-de.) Two 
 
 strings. See A due Corde. 
 Diie c6ri (It.) (doo-e ^J-re.) Two 
 
 choirs or choruses. 
 
 Diiepedili (It.) (doo-e pe-^a-le.) The 
 two pedals are to be used. 
 
 Suet. A composition for two voices or 
 
 instruments. 
 Duett (Ger.) (doo-et.) A duet. 
 Duette (Ger.pl.) (doo-et-\.h.) ) jjuets 
 Duetti (It. pi.) (doo-et-te.) i 
 Duettino (It.) (doo-et-/^«-no.) A short 
 
 and easy duet. 
 Duetto (It.) (doo-«/-to.) A duet. 
 Due volte (It.) {doo-e vo/-te.) Twice. 
 Dulcian (Fr.) (diil-se-anh.) A "small 
 
 bassoon ; an organ-stop. See Dolcidno. 
 Dulciana-stop. An 8-foot organ-stop of 
 
 a soft and sweet quality of tone. 
 
 Dulciana principal. A 4-foot organ-stop 
 of delicate tone. 
 
 Dulcimer. An instrument usually of a 
 triangular shape, the strings of which 
 are struck with little rods held in each 
 hand. The name of an ancient Hebrew 
 instrument, the qualities of which we 
 are ignorant, but probably of the wind 
 species. 
 
 Dumb piano. An instrument like a small 
 pia;no in form, having a key-board of 
 narrow compass, but neither hammers 
 nor strings ; intended for silent finger 
 practice, i.e., merely for increasing the 
 mechanical dexterity of the fingers. 
 
 Dumka (Bohem.) (afec/w-kah.) A dirge, 
 an elegy, or a funeral song. It has 
 been introduced into the symphony by 
 Dvorak. It possibly gave rise to the 
 early English slow dance called the 
 
 a as in ah ; a as in , 
 
 ; ; a as in 0/ ; e as in 
 94 
 
 '<■, and mentioned by 
 Shakespeare. 
 
 Dump or Dumpe. The name of an old 
 dance in slow time with a peculiar 
 rhythm. It is doubtful whether it was 
 entirely " dull and heavy," or merely 
 the slowness of the measure that made 
 the title of the dance synonymous with 
 wearisomeness ; whence the saying — 
 " In the Dumps." The dumpe was 
 usually in | rhythm. See Elson's 
 " Shakespeare in Music." 
 
 Dumpf (Ger ) (doompf.) ) Of a dull, 
 
 Dumpflg (Ger.) (^»tf»«/-fTg.) ) I' oHow, 
 muflSied sound. 
 
 Dumpflgkeit (Ger.) {doomp-fX%-V\\.) 
 HoUowness ; dullness of sound. 
 
 Duo (It.) (doo o.) Two ; in two parts ; a 
 composition for two voices or instru- 
 ments ; a duet. 
 
 Duo concertante (It.) idoo-o kon-tsher- 
 tan-te.) A duo in which each part is 
 alternately principal and subordinate. 
 
 Duod^cima (It.) (dooo-ofe-tshe-ma.) ( 
 
 Duodecimo (It.) (doo-o-afe-tshe-mo.) ) 
 The twelfth ; the twelfth note from the 
 tonic ; the name is also applied to an 
 organ-stop tuned a twelfth above the 
 diapasons. 
 
 Duodecima acuta (Lat.) (du-6-i/i»r-e-ma 
 a-/Ja-ta.) A twelfth above. 
 
 Duodecima gravi (Lat.) (du o-rf«-e-ma 
 grd-ve.) A twelfth below. 
 
 Duodecim61e (It.) (doo-o de tshe mo-le.) 
 A musical figure formed by a group of 
 twelve notes. 
 
 Ddodene. A 12-tone group applied to 
 the solution and correction of problems 
 in temperament and harmony. A 
 duodinal is the symbol of the root-tone 
 of a duodene. See Stainer & Barrett's 
 Dictionary, and Ellis' translation of 
 Helmholtz's " Sensations of Tone." 
 
 Duodrimma (It.) (doo-o (/r3>» ma.) A 
 kind of melodrama in which only two 
 persons act and sing_ 
 
 Du61o (It.) {dwo-\a.) Sorrow, sadness, 
 grief. 
 
 Du6mo (It.) (dwo-rao^ A cathedral. 
 
 Dupla (Lat.) (doo-pla.) Double. 
 
 Duple time. Double time. 
 
 Duplex longa (Lat.) (du-p\ex lifn-gi.) 
 
 tree ; e as in eA ; ias va.J)ine ; i as in pin ; 
 
DUPLICATION 
 
 ECHELLE 
 
 Maxima, one of the notes in the old 
 
 system of music H . 
 Duplication. • Doubling; where one or 
 
 more of the intervals of a chord are 
 
 repeated in different parts. 
 Duplo (It.) (doo-plo.) Double. 
 Dur (Ger.) (door.) Major, in speaking 
 
 of keys and modes ; as C dur, C major. 
 Dur (Fr.) (diir.) Hard ; harsh of tone. 
 Durale (It.) (doo-ra-le.) Hard, harsh, 
 
 sharp. 
 
 Duram6nte(It.)(doo-ra-ffz^«-te.) Harshly; 
 roughly ; also meaning that the pas- 
 sage is to be played in a firm, bold 
 style and strongly accented. 
 
 Durchcomponiren (Ger.) {doorkh-Voxa- 
 po-»?-r'n.) To set a song, through all 
 its stanzas, to music, without repetitions 
 of the same tune to each verse ; the 
 art-song form. 
 
 DuTchdringend (Ger.) {Aoox^ii-dring- 
 end.) Penetrating, piercing. 
 
 Durchfiihrung (Ger.) (<jfcor/J/4-fU-roong.) 
 Development. The term means " car- 
 rying-out," and is applied to the woik- 
 ing-out of figures in a sonata-allegro 
 form. It forms one of the chief divis- 
 ions in a sonata. It is the chief intel- 
 lectual point of classical music. 
 
 Durchgang (Ger., doorch-g-ixig; Lat., 
 transiius.) The " passage " or pro- 
 gression of one principal tone to an- 
 other through a tone or tones foreign 
 to the harmony or key. . . Durchgang- 
 ston, passing-tone ; changing-tone. 
 
 Uurchgangig (Ger.) ((/our/^/^-gang-ig.) ^ 
 
 Durchganglich (Ger.) {doorkh-^n%- \ 
 likh.) ' 
 
 Throughout. 
 
 Durchgehend (Ger.) (doorkh-^-^rA.) 
 Passing ; transient ; passing through, as 
 Durchgehender Akkord, passing-chord ; 
 durchgehende Stimmen, complete or- 
 gan-stops ; i.e., extending through the 
 manual. 
 
 Durchschallen (Ger.) (doorkh-j,4a7-l'n.) 
 To sound through ; to penetrate with 
 sound. 
 
 Durchschlagend (Ger.) (</(jo?-/f/5-shla- 
 gend.) A term applied to some organ- 
 stops, indicating that they extend 
 through the whole compass of the 
 manual ; it also signifies a free reed- 
 stop. 
 O as in tone ; 6 as in dove / $ as in not ; 
 
 Durchspielen (Ger.) {doorkh-s^e-V-a..) To 
 play to the end. 
 
 Durchtrillen (Ger.) {doorkh-tn\-\'Ti.) To 
 trill from beginning to end. 
 
 Dur& (Fr.) (dii-ra.) Length ; duration 
 of notes. 
 
 Durement (Fr.) (diir-manh.) Hard, harsh. 
 
 DureW (Fr.) (du-re-^a.) See Durdte. 
 
 Dur^zza (It.) {ioo-ret-zi..) Hardness; 
 harshness of tone or expression. 
 
 Duro (It.) (doo-ro.) Rude, harsh. 
 
 Diister (Ger.) (diis-ter.) Gloomy. 
 
 Dux (Lat.) (dux.) Leader; guide ; the 
 subject, or leading phrase of a fugue. 
 
 Dynamics, This term in music has ref- 
 erence to expression and the different 
 degrees of power to be applied to 
 notes. 
 
 E called in France and Italy mi ; the 
 third note of the scale of C. 
 
 E. Ed (It.) And. 
 
 E. The smallest and most acute string 
 on the violin and guitar. 
 
 Ear. A " musical ear " consists in the 
 power of appreciating and distinguish- 
 ing aerial vibrations both simple and 
 compound, just as " the good eye for 
 color " consists in the power of appre- 
 ciating and distinguishing the simple 
 and compound vibrations of light. See 
 Stainer Gf Barrett ; Blaserna's " Sound 
 and Music"; Tyndall "On Sound." 
 
 EboUimentO or'EboUizione (It.) {eh-bol- 
 litz-ee-o-neh.) Boiling over ; sudden ex- 
 pression of passion. 
 
 Eccheggiinte (It.) (ek-ked-je-a«-te.) Re- 
 sounding ; echoing. 
 
 Eccheggidre (It.) (ek-ked-je-a-re.) To 
 resound; to echo. 
 
 Eccl&ia (It.) {ek-kla-ze a.) Church. 
 EcclesiasticaL A term applied to all 
 music written for the church. 
 
 Ecclesiastical modes. See Church 
 Modes. 
 
 Ecclesiastico stilo (It.) (ek-kla-ze-oj-te- 
 k5 ste-16.) In the church or ecclesias- 
 tical style 
 
 Echeggiare (It.) (e-ked-je-a-re.) To 
 echo ; to resound. 
 
 Echelle (Fr.) (ashell.) The scale, or 
 
 gamut. 
 11 as in «/ ; ii the French sound of a. 
 
 95 
 
ECHELLE CHROMATIQUE 
 
 EINGANG DER MESSE 
 
 Echelle ehromatique (Fr.) (e-shell kro- 
 m.2.X.-eek.) The chromatic scale. 
 
 Echelle diatonique (Fr.) (e-sheU di-a- 
 t6nh-«/4.J The diatonic scale. 
 
 Echelon (Fr.) (,ash-e-16nh.) (Step, or de- 
 gree of the scale.. 
 
 Echo (Fr.) (a-ko.) i . In music, this term 
 means a repetition, or imitation oi a 
 previous passage, with much less 
 force than the original passage. In 
 old organ music the use of this term 
 signified that a passage so marked was 
 to be played upon the echo-organ, a 
 set of pipes enclosed in a box, by which 
 a soft and distant effect was produced, 
 incapable', however, of so great expres- 
 sion as that obtained by the use of the 
 swell, which is an improvement upon 
 the echo-organ. 2. Echo-stop on a 
 harpsichord was a contrivance for ob- 
 taining a soft and distant effect. 
 
 Echo cornet. An organ-stop, the pipes of 
 which are of small scale, with a light, 
 delicate tone. It is usually placed in 
 the swell. 
 
 Echometre. An instrument for measur- 
 ing the powers of echoes and other 
 sounds. 
 
 Echometry. The art of measuring the 
 duration of sounds. 
 
 Eclat (Fr.) {a-kld.) With dash; bril- 
 liancy; an outburst. 
 
 Eclatante (Fr.) {a.-V&-tanht.) Piercing, 
 loud. 
 
 Eclisses (Fr.) (a-kless.) , The sides or 
 hoops of a violin, guitar, etc. 
 
 Ecloga (Spa.) (ek-/o-ga.) ) An eclogue, 
 ) selection, 
 
 or air, in the Scotch style. A contra- 
 dance of lively tempo in ^ rhythm. 
 Ecossase (Ger.) (a-kos-jfl-ze.) See Ecos- 
 saise. 
 
 Ed (It.) (ad.) And. 
 
 Edel (Ger.) (ay-del). Noble and distin- 
 guished. 
 
 E dur (Ger.) (a door.) The key of E 
 major. 
 
 Efeet (Fr.) (ef-fa.) ) Effect ; the effect 
 
 Eff^tto(It.)(ef-/^^to.) ) of music upon an 
 audience. 
 
 Egalement (Fr.) (a-gal-manh.) Equally, 
 evenly, smoothly. 
 
 Egalit^ (Fr.) (a-gal-i-/a.) Equality, even- 
 ness. 
 
 Eglise (Fr.) (a-glez.) Church. 
 
 Egloga (It.) (a/-yo-ga.) ) An eclogue; 
 
 Eglogue (Fr.) {&-gldg.) S a pastoral poem. 
 
 Eguaglidnza (It.) (a gwal-ye-a«^sa.) 
 Equality, evenness. 
 
 EguAle (It.) {a.-gwd-\'e.) Equal ; even ; 
 alike ; also applied to a composition 
 for several voices or instruments of one 
 kind, as, male voices only, female voices 
 only, trombones only. 
 
 EguaWzza (It.) (a-gwa /^^2a.) Equality, 
 evenness. 
 
 Egualm^nte (It.) (a-gwal-ff!f«-te.) 
 Equally, evenly, alike. 
 
 Eighth. An octave. 
 
 Eilen (Ger.) (i-len.) To hasten ; accele- 
 rate ; go faster . JEilend, hastening ; 
 accelerando, stringendo . . Eilig, 
 hasty ; in a hurried style ; rapid ; swift. 
 
 Ein (Ger.) (in.) ) . 
 
 „. ,„ \ ,_ \, , ? A, an, one. 
 
 Eine (Ger.) («-ne.) S 
 
 Einblasen (Ger.) (fw-bla-z'n.) To blow 
 into. 
 
 Eclogue (Gr.) (ek-log.) 
 
 choice. 
 Eclogue or Eglogue (from Greek, to 
 
 select.) A pastoral; a poem, or song, 
 
 in. which shepherds and shepherdesses 
 
 are the actors. 
 Eco (It.) ((f-ko.) An echo ; the repetition 
 
 of a previous passage in a softer tone. 
 Ecole (Fr.) (a-kol.) A school ; a method 
 
 or course of instruction ; a style formed 
 
 by some eminent artist. 
 
 Ecole de chant (Fr.) (a-kol duh shanh.) 
 A singing-school. 
 
 Ecolier (Fr.) (a-ko-li-a.) A pupil. 
 
 Ecossais (Fr.) (a-kos-Ji?.) ) Scotch ; a 
 
 Ecossaise (Fr.) (a-kos-j-aa.) S dance, tune, 
 
 a as in a/J ; a as in hate ; a as ina^/ e asin tree ; 6asini?/4; ias va pine : las va pin} 
 
 Einen (Ger.) (f-nen.) A, one. 
 
 Einfach (Ger.) (f»-fakh.) Simple, plain, 
 ornamented. 
 
 Einfacher choral (Ger.) (f«-fakh-er ko- 
 ra7.) Plain choral, without variation or 
 ornament. 
 
 Eingang (Ger.) rfK-gang.) Introduction, 
 preface, prelude. 
 
 Eingang der messe (Ger.) (f«-gang der 
 mes-se.) The entrance or beginning of 
 a Mass ; the introit. 
 
 96 
 
EINGANGS-SCHLUSSEL 
 
 ELECTB,IC PIANO 
 
 Eingangs-schliissel (Ger.) (i«-gangs- 
 s/i/iis-s'l.) Introductory key. 
 
 Eingestrichen (Ger.) (f«-ghe-stri-kh'n.) 
 Note of the treble marked with one 
 stroke. This refers to the octave from 
 middle C to the B above. 
 
 Eingestrichene octave (Gr.) (f«-ghe-stri- 
 kh'n-e o^-id-th.) The notes from 
 middle C to the B above, both inclu- 
 
 f=^ 
 
 =t 
 
 Einglied (Ger.) {eyn-^eA.) One-linked 
 or one chord, in speaking of sequences. 
 
 Einhallig (Ger.) (i^jw-hal-lig.) Unison, 
 harmonious. 
 
 Einhalt (Ger.) {eyn-h'aXt.) A pause. 
 
 Einhalten (Ger.) (i?y«-hal-t'n.) To pause. 
 
 Einhauchen (Ger.) (tfj/«-hou-kh'n.) To 
 breathe into. 
 
 Einheit (Ger.) {eyn-iat.) Unity. 
 
 Einhelfen (Ger.) (^_y»-hel-f'n.) To 
 prompt. 
 
 Einhelfer (Ger.) (iry»-hel-fer.) Prompter. 
 
 Einigen (Ger.) (/rj/w-ni-ghen.) Some, any. 
 
 Einigkeit (Ger.) (<?j/«-nig-krt.) Concord, 
 harmony, unity. 
 
 Einklang (Ger.) {eyn-Y&ag.) Conso- 
 nance, harmony. 
 
 Einklingen (Ger.) (^j/«-klmg-en.) To 
 accord. 
 
 Einlage (Ger.) (^yw-lohge.) An inserted 
 piece ; an interpolation. 
 
 Einlaut (Ger.) (^«-lout.) Monotonous. 
 
 Einleitung (Ger.) (^«-lI-toong.) Intro- 
 duction, prelude. 
 
 Einleitungs-satz (Ger.) (^j)/»-li-toongs- 1 
 satz.) I 
 
 Einleitungs-spiel (Ger.) (if)/«-lJ-toongs- T 
 spel.) J 
 
 Introductory movement ; overture, pre- 
 lude. 
 
 Eintnal (Ger.) {eyn-maX.) Once. 
 Einmiithigkeit (Ger.) (^j»-mU-tig-kIt.) 
 Concord, unanimity. 
 
 Einsang (Ger.) (/rj/«-sang.) A solo. 
 
 Einschlafen (Ger.) (^j/w-shla-f'n.) To 
 die avfay; to slacken the time and dimin- 
 ish the tone ; to fall asleep. 
 
 Einschmeicheind (Ger.) (^^«-shmi- 
 khelnd.) Flattering, insinuating. 
 
 6 as in tone ; 6 as in dove 
 
 Einschnitt (Ger.) («j/»-shnit.) A phrase, 
 
 or incomplete musical sentence. 
 Einstimmen (Ger.) (eyn-siim-m'n.) To 
 
 agree in tune ; to be concordant ; to 
 
 join in. 
 Eistimmener gesang (Ger.) (^«-stim- 
 
 me-ner ghe-ja»^.) A solo. 
 Einstimmigkeit (Ger.) (^j)/«-stim-mig- 
 
 kit.) A concord, agreement. 
 
 Eintonig (Ger.) (^j»-t6-nig.) Monoto- 
 nous. 
 
 Eintiacht (Ger.) {eyn-trakhX.) Concord, 
 unity. 
 
 Eintrachtig (Ger.) (^j/«-trekh-tig.) Con- 
 cordant, harmonious. 
 
 Eintriichtigkeit (Ger.) (fj/»-trekh-tig- 
 kit.) Concordance, harmony. 
 
 Eintretend (Ger.) (i?y«-tra-tend.) En- 
 tering, beginning. 
 
 Eintrltt (Ger.) {eyn-trit.) Entrance, 
 entry, beginning. 
 
 Eis (Ger.) (is.) The note E sharp. 
 
 Eisis. E double sharp. 
 
 Eisteddfod (Welsh.) A bardic congress; 
 an assemblage of bards. 
 
 Ela. The name originally given to the 
 highest note in the scale of Guido. 
 
 Electric piano. A piano invented in 
 1851, the wires of which were vibrated 
 by electro-magnetism. There is also a 
 newer electric piano of which Baker's 
 Dictionary says: "It was invented in 
 1891 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 instrument) full, sweet, ca- 
 pable of the most various dynamic 
 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 
 possible. 
 
 8 as in not; u as in »/; ii the French sound of u. 
 
 97 
 
ELiGAMMENT 
 
 EMPLUMER 
 
 EUgamment (Kr.) (el-a-gara-mahn.) I 
 
 Elegantem^nte (It.) (el-a-gan-te- ) 
 men-te.) Elegantly, gracefully. 
 
 Elegdnte (It.) (el-a-^oKte.) Elegant, 
 graceful. 
 
 Eleginza (It.) (el-a-^o«-tsa.) Elegance, 
 grace. 
 
 Elegia (It.) (el-a-je-a.) An elegy, or 
 monody ; music of a mournful or fune- 
 real character. 
 
 Elegiac. Plaintive, mournful, sorrow- 
 ful. 
 
 Elegiico (It.) (el-a-je-a-kS.) ) Moum- 
 
 EWgiaque (Fr.) (el-a-zhi-o/J.) ) fi'. P'^in- 
 tive, elegiac. 
 
 EMgie (Fr.) (el-a-zhe.) An elegy. 
 
 Elegy. A mournful" or plaintive poem, 
 or a funeral song. ^ 
 
 Elementary music. Exercises and 
 studies specially adapted to beginners 
 in the study of music. 
 
 El^mens (Fr.) (el-a-manh.) ) The 
 
 Elemtoti (It.) (e\-e-men-te.) ) rudi- 
 ments, or elements, of musical science. 
 
 Elements. The first or constituent 
 principles or parts of anything; the 
 principles or rudiments of musical 
 science. 
 
 Eleutheria (Gr.) (e-lu-tkS-ri-a..) A 
 festival of liberty ; a song or hymn of 
 liberty. 
 
 Elevam^nto (It.) (el-e-va-z»if«-to.) 1 
 
 Elevatezza (It.) (el-e-va-/e/-za.) ) 
 
 Grandeur; sublimity; loftiness of ex- 
 pression. 
 
 Elevatio (Lat.) (ele-vaA-teeo.) The 
 upbeat ; the arsis ; also the elevation. 
 
 Elevation. A motet or organ piece 
 played or sung, in the Catholic service 
 during the elevation of the Host, in the 
 Mass. 
 
 ElevdtO (It.) (el-e-j/a-to.) Elevated, 
 exalted, sublime. 
 
 Elevazidne (It.) (el-e-va-tse-J-ne.) Ele- 
 vation, grandeur. 
 
 El^ve (Fr.) (a-/<Jz/.) A pupil. 
 
 Eleventh. An interval comprising an 
 octave and a fourth. 
 
 Elever (Fr.) (a-le-va.) To raise or lift 
 up the hand in beating time. 
 
 Elf (Ger.) (elf.) Eleven. 
 
 Elfte (Ger.) {elf-ll.) Eleventh. 
 Sl. 3S, '\n ah ; a. as in hate ; a as in at ; e as 
 
 Eloge (Fr.) (a-/^..5.) ! p.^^^, eulogy. 
 Elogio (Spa.) (a-/o-hi-o.) ) ^^ 
 
 Elogy. See Eulogy. 
 Embellir (Fr.) (anh-bel-/lr.) To em- 
 bellish ; to adorn ; to ornament. 
 
 Embellissement (Fr.) (anh-bel-less- 
 monh.) Embellishment. 
 
 Embellishments. Ornament, decoration, 
 notes added for the purpose of heighten- 
 ing the effect of a piece. See Trill, 
 Turn, Mordent, Appoggiatura, Acciac- 
 catura, Grace-notes. 
 
 Embouchure (Fr.) (anh-boo-shoor.) The 
 mouth-piece of a flute, oboe, horn, or 
 other wind-instrument ; that part to 
 which the lips are applied to produce the 
 sound. It also refers to the position 
 which the mouth must assume in play- 
 ing the instrument. Also called Z!js. 
 
 Em&ite (Fr.) (e-mar-et.) Said of a pro- 
 fessor who has honorably retired from 
 the duties of his profession. 
 
 Emettre (Fr.) {e-metr.) To utter 
 sounds. 
 
 E moll (Ger.) (a moll.) The key of E 
 minor. 
 
 Emozidne (It.) (em-ot-se-tf-ne.) Emotion, 
 agitation. 
 
 Empiterles sons (Fr.)(anh-pa-talesonh.) 
 To sing or play in a masterly manner, 
 without defects or imperfections. To 
 produce a very smooth legato. 
 
 Empfindsam (Ger.) {eTD-pfind-s:a.m.) Sen- 
 sitive, sentimental. 
 
 Empfindung (Ger.) (emp/&-doong.) 
 Emotion, passion, feeling. 
 
 Emphase (Ger.) (em-/3-ze.) Emphasis. 
 
 Emphatique (Fr.) (anh-fa-/,?,4.) 1 Em- 
 
 Emphatisch (Ger.) (em/o-tish.). ) phat- 
 ical. 
 
 Emphatiquement (Fr.) (anh-ta-tei- 
 manh.) Emphatically. 
 
 Emphasis. Particular stress or accent on 
 any note, indicated thus: > Afz.,sf., 
 etc. 
 
 Emphasize. To sing with marked accent. 
 Empito (It.) (em-/^-t5.) Impetuosity. 
 
 Empituosam^nte (It.) (em-pe-tw6-za- 
 men-te.) Impetuously. 
 
 Emplumer fFr.) (anh-plii-ma.) To pen, 
 or put quills into the j'acis of a spinet, 
 etc. 
 
 in tree ; ea,sineh ; i as in pine ; \ as in pin; 
 
EMPORTE 
 
 ENHARMONIC 
 
 Emport^ (Fr.) (anh-por-ta.) Passionate; 
 hurried ; carried away. 
 
 Emportement (Fr.) (anli-port-manh.) 
 Passion, transport. 
 
 Empress^ (Fr.) (anh-pres-sa.) In haiste, 
 eager, hurried. 
 
 Empressement (Fr.) (anh-press-manh.) 
 Eagerness, zeal. 
 
 En ^Fr.) (anh.) In. 
 
 En acc£l£rant (Fr.) (anh nak-sa-la-ranh.) 
 Accelerating. 
 
 En chantant ;Fr.) (anh shanh-tanh.) In a 
 singing style. 
 
 En choeur (Fr.) (anh kiir.) In a chorus. 
 
 Encore ^Fr. ong cor ; It. Ancora.) Again ; 
 a demand for the reappearance of a per- 
 former; the piece sung or played on the 
 reappearance of the performer. 
 
 Ende (Ger.) (end-e.) End ; conclusion ; 
 concluding piece. 
 
 En descendant (Fr.) (anh de-sanh-(/a«/4.) 
 In descending. 
 
 En diminuant la force (Fr.) (anh di- 
 men-oo-anh la fors.) Diminishing the 
 force of the tone. 
 
 Energetlcam^nte (It.) (en-er-ja-te-ka- 
 men le.) Energetically, forcibly. 
 
 Energ^tico (It.) (en er/a-te-k5.) Ener- 
 getic ; with emphasis 
 
 Energia (It.) (en-er-je a.) ) Energy, 
 
 Energie (Fr.) (en-er-zhe.) ) force, em- 
 phasis. 
 
 Energicam^nte (It.) (en-er-je-ka-m^K-te.) 
 Energetically, forcibly. 
 
 En^rgico (It.) Cen-ar-je-ko.) Energetic, 
 vigorous, forcible. 
 
 Energique (Fr.) (en-er-z/tei.) \ Ener- 
 
 Energisch(Ger.) (en-ar-ghish.) ) ge ti c ; 
 with emphasis. 
 
 Energiquement (Fr.) (en-er-zhek-manh.) 
 Energetically, forcibly. 
 
 Enfant de chceur (Fr.) (anh-fanh duh 
 kiir.) Singing boy. 
 
 Enfasi (It.) (en-fa-ze.) Emphasis ; ear- 
 nestness. 
 
 Enfaticam^nte (It.) (en-fa-te-ka-««««- 
 te 1 Emphatically. 
 
 Enfatico (It.) (en-/a-te-k5.) Emphatical ; 
 with earnestness. 
 
 Enfiatam^nte (It.) (en-fe-a-ta-««^«-te.) 
 
 Enfler (Fr.) (anh-Jld.) To swell ; to in- 
 crease the tone. 
 
 Enge (Ger.) (eng-e.) Close, condensed, 
 compressed ; this term is applied to the 
 siretto in a fugue. In speaking of organ- 
 pipes, it means narrow, straight. 
 
 Enge harmonie (Ger.) (eng-e har-m6-«^.) 
 Contracted, or close harmony, the inter- 
 vals or sounds being close together. 
 
 Englisll fingering. In pianoforte music 
 the use of a sign ( x ) to designate the 
 thumb, in distinction from the German 
 fingering, where the thumb is designated 
 as the tirst finger. It is often errone- 
 ously called American fingering. In 
 1 57 1, according to Ammerbach's " Or- 
 gel oder Instrument Tablatur," the 
 fingers were marked " o, i, 2, 3, 4," in 
 Germany, and this continued for more 
 than a century. At that period England 
 often marked the fingers, " i, 2,3, 4, 5," 
 so that the German fingering really 
 began in England, and the English fin- 
 gering " in Germany. The " English 
 fingering" of the present was chiefly 
 established by Clementi and Dussek, 
 in the last part of the eighteenth cen- 
 tury. See Fingering. 
 
 Englisll born. A species of oboe, a fifth 
 low r than the instrument usually des- 
 ignated by that name. It sounds a 
 fifth lower than its notation, and, since 
 in such a case the. scale of C sounds the 
 F scale, it is said to stand in the key of 
 F. Its tone-color is melancholy and 
 tender, and it is also used by modem 
 composers to represent a sliepherd's 
 pipe. Wagner, Schumann, Rossini, 
 etc., have thus employed it. It is a 
 double-reed instrument. See Cor An- 
 glais. 
 
 Enguichure (Fr.) (anh-ghe-j.4«?-.) The 
 mouth-piece of a trumpet. 
 
 Enharmonic (Ger.) (en-har-»«5«-ik.) One 
 of the ancient scales or modes, pro- 
 ceeding by quarter-tones. On the 
 pianoforte these cannot be expressed ; 
 but on the violin, cello, etc., they may 
 be described as something like the 
 difference between Gt and A'', or be- 
 tween Dt and El', etc. In modern 
 music it also means such a change in 
 the nature of an interval or chord, as 
 can be effected by merely altering the 
 notation of one 
 or more notes, 
 thus : 
 
 fS 
 
 zta»Lz 
 
 =^ 
 
 =t= 
 
 Proudly, pompously 
 5 as in tone ; 6 as in dove ; 8 as in tiot ; fi as in up ; ii the French sound of u, 
 
 99 
 
ENHARMONIC CHANGE 
 
 entrAre 
 
 Snharmonic change. A passage in which 
 the notation is changed, but the same 
 keys of the instrument are employed : 
 
 J- 
 
 litel^S&EEi. 
 
 i'|S= 
 
 ■1-- 
 
 Snharmonic diesis (Lat.) (en-har-OTo«- 
 ik di-a-sis.) The difference between 
 the greater and lesser semi-tone ; the 
 least sensible interval in music. 
 
 Enharmonic genus. A style of melody 
 constructed from a scale of tones nom- 
 inally about one-fourth as far from each 
 other as those of the common diatonic 
 scale. 
 
 Enharmonic intervals. Such as have 
 only a nominal difference; for instance, 
 the minor third C, Ei7, and the ex- 
 treme second, C, D I ; or, the augmented 
 fifth, C, GJt, and the minor sixth, C, 
 AI?, etc. 
 
 Enharmonic keys. They include (in 
 the pianoforte) the same notes, and 
 have the same scales, but under differ- 
 ent names ; for instance, the scales of 
 r« and Gb: — B and Cb : — DJ and 
 Eb:_EJtand F, etc. 
 
 Enharmonic modulation. A modula- 
 tion produced by altering the notation 
 of one or more intervals belonging to 
 some chord, and thus changing the key 
 into which the chord would naturally 
 have resolved. 
 
 Enharmonic organ. An organ in which 
 the octave, instead of being limited to 
 a division of twelve intervals, contains 
 from seventeen to twenty-four. An' 
 organ giving the propositions of inter- 
 vals demanded by nature and not the 
 compromise pitch known as " Equal 
 Temperament." Such an organ was re- 
 cently invented by a Japanese gentle- 
 man named Tanaka. 
 
 Enharmonic relation. The relation ex- 
 isting between two chromatics, when, 
 by the elevation of one and depression 
 of the other, they are. united into one. 
 
 Enharmonic scale. A scale proceeding 
 by quarter-tones. 
 
 Enharmonicus (Lat.) (en-har- " 
 
 OT(7«-l-kuS.) 
 
 Enharmonique (Fr.) (anh-nar 
 
 monh-^^.) 
 Enharmonisch (Ger.) (en-har 
 
 man -ish.) 
 
 Enhar- 
 
 Enjou^ (Fr.) (anh-zhoo-a.) Cheerful, gay. 
 Enjouement (Fr.) (anh-zhoo-monh.) 
 
 Cheerfulness, gaiety. 
 Enlever (Fr.) (anh-le-va.) To lift up 
 
 the hand in beating time. 
 Enmesure (Fr.) (anh me-siire.) In time; 
 
 a tempo. 
 Enoncer (Fr.) (a-nohn-sa.) To enun- 
 ciate ; to proclaim. 
 Enonciation (Fr.) (a-nonh-se-a-se-6nh.) 
 
 Enunciation, declaration. 
 En passant (Fr.) (anh pas-sanh.) In 
 passing ; by the way. 
 
 En ralentissant (Fr.) (anh ral-lanh-tes- 
 tanh.) Slackening the time. 
 
 En rondeau (Fr.) (anh ronh-a'^.) In the 
 style of a rondeau. 
 
 Enseignement(Fr.) (anh-san-manh.) In- 
 structions. 
 
 Enseigner (Fr.) (anh-san-ya.) To in- 
 struct ; to teach. 
 
 Ensemble (Fr.) (anh-ja«/^-bl.) Together; 
 the whole ; applied to concerted music 
 when the whole is given with perfect 
 smoothness of style. It means pre- 
 cision of attack ; unity of shading. K 
 morceau d'ensemble is a composition for 
 two or more parts, more especially 
 quintets, sextets, septets, etc., in an 
 opera, oratorio, or similar work. 
 
 Entgegen (Ger.) (ent-^a- I Con- 
 gh'n.) I trary; 
 
 Entgegengesetzt (Ger.) (ent- [opposite, 
 ^a-g'n-ghe-rffe<.) J speaking 
 
 of motion. 
 
 Enthousiasme (Fr.) (anh-too-ze-asm.) 
 
 Enthusiasmus (Ger.) (en-too-ze-oz- 
 moos.) 
 Enthusiasm. 
 
 Enthusiastisch (Ger.) (en-too-ze-o\f- 
 tlsh ) Enthusiastically. 
 
 Entoner (Fr.) (anh-to-na.) ) To begin 
 
 Entonner (Fr.) (ahn-tonh-na.) ) to chant ; 
 to begin to sing ; to intone. 
 
 Entr' acte (Fr.) (anh-tr' akt.) Between 
 the acts ; music played between the 
 acts of a drama. 
 
 Entrinte (It.) (en-tran-te.) 
 
 EntrAta (It.) (en-^ra-ta.) | 
 
 Entrdda (It.) {en-tra-di.) 
 tion ; prelude. 
 
 Entrdre (It.) (en-/?-3-re.) 
 to begin. 
 
 To enter ; 
 
 'i as in ah ; a. as in hate ; S as in at ; e as in tree ; § as in ^,4 ; i as in pine ; i as in pin; 
 
ENTREE 
 
 EPOS 
 
 Entrfe (Fr.) {Unh-ird.) Entry, entrance, 
 beginning. 
 
 Entremets (Fr.) (anh-tre-ma.) Move- 
 ments introduced for the sake of va- 
 riety. Short allegorical or dramatic 
 musical scenes. 
 
 Entries. Name formerly given to oper- 
 atic scenes, burlettas, etc. 
 
 Entscheidung (Ger.) (ent-j^f-doong.) 
 Decision, determination. 
 
 Entschieden (Ger.) {ent-sAee-d'n.) De- 
 cided ; in a determined manner. 
 
 Entschlafen (Ger.) (ent-j/4/a-f'n.) To 
 die away ; to diminish. 
 
 Entschliessung (Ger.) (ent-j;4/^^j-soong.) 
 Resolution, determination. 
 
 Entschlossen (Ger.) {ent-sA/Ss-s'n.) De- 
 termined, resolute. 
 
 Entschlossenheit (Ger.) (ent-j,4/OT-s'n- 
 hit.) Resoluteness, firmness. 
 
 Entschluss (Ger.) (ent-sAiooss.) Reso- 
 lution. 
 
 Entusiasmo (It.) (en-too-ze-as-mo.) En- 
 thusiasm. 
 
 Entwurf (Ger.) (ent-woor/.) Sketch ; 
 outline of a composition. 
 
 Enunci&re (It.) (a-noon-tshe-a-re.) To 
 enunciate ; to declare ; to proclaim. 
 
 Enunciativa (It.) (a-noon-tshe-a-<^-ya.) 
 Enunciation, declaration. 
 
 Enuncidto (It.) (a-noon-tshe-o-to.) 
 Enunciated, proclaimed. 
 
 Enunciazione (It.) (a-noon-tshe-at-se-c- 
 ne.) Enunciation, declaration. 
 
 E61ia (It.) (a-o-lea.) ^ Qne of the 
 
 Eolian (Gr.) (e-J li-an. ) > most an- 
 
 Eolien (Fr.) (a-6-le-anh.) ) cient 
 modes. See Greek Modes. 
 
 Eolique (Fr.) (a-o-/#i.) Eolic. See 
 Eolian. 
 
 Eoli-harpe (Fr.) (a-o-le harp.) The 
 jEolian harp. 
 
 Epic. A poem in the heroic, narrative 
 style. 
 
 Epicam^nte (It.) (ep-e-ka-»2««-te.) In 
 the epic style. 
 
 Epic^dio (It.) (ep-e-/j^(J-de-o.) ) An 
 
 Epicedion (Gr.) (ep i-j^-di-6n.) ) elegy, 
 dirge, funeral song, or ode. 
 
 Epico (It.) (ep-e-ko.) Epic, heroic. 
 
 Epilogue. A speech or short poem 
 addressed to the spectators by one of 
 
 as in tone ; 6 as in dove ; 8 as in Tiot ; 
 
 10 
 
 the actors, after the conclusion of the 
 play. A concluding piece. 
 
 Episode. An incidental narrative or 
 digression. A portion of a composi- 
 tion not founded upon the principal 
 subject or theme. An accessory part 
 of a composition, as contrasted with 
 the themes and their development. An 
 intermediate division. The parts of a 
 fugue that intervene between the repe- 
 titions of the main theme. 
 
 Episodicam^nte (It.) (ep-e-s6-de-ka-wz««- 
 te.) In the manner of an episode. 
 
 Episddico (It.) (ep-e-w-de-ko.) Episodic, 
 digressive. 
 
 Epis6dio (It.) (ep-e-j-o-de-6.) Episode, 
 digression. 
 
 Episodisch (Ger.) (ep i-w-dlsh.) In the 
 manner of an episode. 
 
 Epistrophe (Ger.) (ep-i-j-^rJ-fe.) A rep- 
 etition of the concluding melody. 
 
 EpitaUmio (I'-) (ep-e-ta-ffi- ^ _ 
 
 '"^-°-) ( mium. 
 
 Epitbalme (Fr.) (ep-i-tal-me.) > 
 
 Epithalamion (Gr.) (ep-i-tha- 
 
 /a-mi-on.) 
 Epithalamium (Gr.) (ep i-tha- 
 
 la-mi-iim.) 
 
 Epithalamium {Eng.) 
 
 Epithalamy (Eng.) 
 song, or ode. 
 
 Epitonium (Lat.) (ep-WJ-ni-um.) A tun- 
 ing hammer ; a peg or pin to which the 
 strings of an instrument are fastened. 
 
 Epitrite (Gr.) (ep-i-^«-te.) A metrical 
 foot consisting of three long syllables 
 and one short. 
 
 Epode (Gr.) (ep-o-de ) Conclusion of a 
 chorus ; a short lyric poem. 
 
 Epode. In lyric poetry, the third or last 
 part of the ode ; that which follows the 
 strophe and anti-strophe. The word 
 is now used for any little verse or 
 verses, that follow one or more great 
 ones ; thus, a pentameter after a hexa- 
 meter is an epode. 
 
 E p6i (It.) (a po-e.) And then. 
 
 E p6i la coda (It.) (a p6-e la ko-da.) 
 And then the coda. 
 
 Epopee (Gr.) (ep-o-pa.) An epic poem. 
 
 Epopeja (It.) (ep-6-/a-ya.) ^ An 
 
 Epopeya (Spa.) (ep-6-pa-ya.) \ epic or 
 
 Epos (Gr.) (ep-oz.) ) heroic 
 
 poem. 
 
 fi as in up; ii the French sound of «. 
 
 A 
 mar- 
 riage 
 song; 
 a nup- 
 tial 
 
EQUABILE 
 
 ESERCfzrO 
 
 Equal, 
 
 Equdbile (It.) (e-^«a-be-le.) 
 alike, uniform. 
 
 Equabilm^nte (It.) (e-qua-bel-w^»-te.) 
 Equally, smoothly , evenly. 
 
 Equal counterpoint. A composition in 
 two, three, four, or more parts, consist- 
 ing of notes of equal duration. 
 
 Equal temperament. That equalization, 
 or tempering of the different sounds of 
 an octave which renders them all of an 
 equal degree of purity ; the imperfec- 
 tion being divided among the whole. 
 The division of the octave into twelve 
 equal semi-tones. See Temperament, 
 
 Equal voices. Compositions in which 
 either all male or all female voices are 
 employed. 
 
 Equisonant. Of the same or like sound ; 
 a unison. In guitar music the term is 
 used to express the different ways of 
 stopping the same note. 
 
 Equisono (It.) (a-que-xo-no.) Having 
 the same sound. 
 
 Erbaben (Ger.) (er-.4a-b'n.) Elevated; 
 sublime ; in a lofty and exalted style. 
 
 Erbeben (Ger.) (er-,^<2-b'n.) To raise; 
 to elevate ; to lift up the hand in beat- 
 ing time. 
 
 Erhebung (Ger.) (er-/^^-boong.) Eleva- 
 tion ; raising the hand in beating time. 
 
 Erhohen (Ger.) (er-.4i5-en.) See Erheben. 
 
 Erhdbung (Ger.) (er-/iiJ-oong.) See Er- 
 hebung. 
 
 Erhohungs-zeichen (Ger.) (er-,4iJ-oongs- 
 ^j-f-kh'n.) An expression for raising a 
 note a semitone. 
 
 Erklingen (Ger.) (fix-kling-hcC) To ring ; 
 to resound. 
 
 Erlehren (Ger.) (er-/ii-r'n.) To acquire 
 by teaching. 
 
 Ermattet (Ger.) (er-wa^-tet.) Wearied, 
 exhausted. 
 
 Ermunterung fGer.) (er-(«tf£>«-te-roong.) 
 Animation, excitement. 
 
 Erniedrigung (Ger.) (er-«^-dri-goong.') 
 The depression of a note by means of 
 a flat or natural. 
 
 Erniedrigungs-zeichen (Ger.) {er-ned-n- 
 goongs-faf-kh'n.) A flat, or other sign 
 for lowering a note a semi-tone. 
 
 Ernst (Ger.) (arnst.) ) Earnest ; 
 
 Ernsthaft (Ger.) (<Jr«j?-haft.) ) serious; 
 in a grave and earnest style. 
 
 a as in ah ; li 3S in /late / a as in at 
 
 Ernsthaftigkeit (Ger.) (^rwrf-haf-tig-kit.) 
 
 Earnestness, seriousness. 
 Ernstlich (Ger.) {drnst-Yikh.) Earnest, 
 
 serious, grave. 
 Ernstlichkeit (Ger.) (<?r«rf-likh-kit.) 
 
 Earnestness. 
 Erntelied (Ger.) (JrK-te-led.) Harvest 
 
 song. 
 
 Erofinung (Ger.) (er-^-noong.) Open- 
 ing, beginning. 
 
 Erofinungs-stiick (Ger.) (er-i^-noongs- 
 stUk ) Overture; prelude; opeiiing 
 piece. 
 
 Eroico (Gr.) (er-tf-i-k5.) Heroic. 
 
 Erotic (er-^Mk.) An amorous composi- 
 tion, or poem. 
 
 Erotical (er-^K-i-kal.) Pertaining to love. 
 
 Er6tica (It.) (er-o^te-ka.) Love songs; 
 amatory djtties. 
 
 Erotic songs. Love songs. 
 
 Erst (Ger.) (arst.) First. 
 
 Erstemal (Ger.) (<zrj-te-mal.) First time. 
 
 Ersterben (Ger.) {er-sier-h'n.) To die 
 away. 
 
 Ertonen (Ger.) (er-/tf-nen.) To sound ; 
 to resound. 
 
 Erweckung (Ger.) {ei-vlk-oong.) Ani- 
 mation, excitement. 
 
 Erweitert (Ger.) (er-z/f-tert.) Expanded, 
 developed, extended. 
 
 Erzahler (Ger.) (ert-jza/'-ler.) The JVar- 
 rator or Evangelist in a Passion Play or 
 Passion Music. 
 
 Es (Ger.) (az.) The note E flat. 
 
 Esitta (It.) (ezii^ta.) Exact, strict. 
 
 Esitta intonazi6ne (It.) (ez-a/-ta in-to- 
 nat-se-o-ne.) Exact intonation. > 
 
 Es dur (Ger.) (az door.) The key of E 
 flat major. 
 
 Esecut6re (It.) (ez-a-koo-^o-re.) A per- 
 former. 
 
 Esecuzi6ne(It.) (ez-a-koot-se-o-ne.) Exe- 
 cution ; facility of performance. 
 
 Esecutrice (It.) (ez-a-koo-^r^^-tshe.) A 
 female performer. 
 
 Eseguire (It.) (ez-S.-gwe-re.) To execute, 
 or perform, either vocally or on an 
 instrument. 
 
 Es^mpio (It.) (ez-em-pe-o.) Example. 
 
 Esercfzio (It.) (ez-ar-ir.4^/-se-o.) An ex- 
 ercise ; a study. 
 
 e as in tree ; e as in i?^ / i as \npine y i as in pin ; 
 
 I02 
 
ESERCIZI 
 
 ETUI 
 
 Esercizi (It. pi.) (ez-a.i-isAei-se.) \ Exer- 
 Esercizj (It. pi.) (ez^ax-tskei-se.) ) cises. 
 Es es (Ger.) (azaz.) The note E double- 
 flat (Ebb). 
 EsitamSnto (It.) (ez-e-ta-OT««-t6.) ) Hesi- 
 Esitazidne (It.) (ez-e-tat-se-o-ne.) ) ta- 
 tion. 
 
 Es moll (Ger.) (az moll.) The key of 
 £ flat minor. 
 
 Esondre (It.) (ez-or-«a-re.) To adorn ; 
 to embellish. 
 
 Espace (Fr.) (es-^oj.) A space; the 
 interval between two lines of the staff. 
 
 Espagnol (Fr.) (es-pan-_j/o/.) ^ Span- 
 
 Espagnu61o (It.) (es-panyoo-«'- f ish ; 
 16.) ; in the 
 
 Spanish style. 
 
 Espagnuola, all' (It.) (es-pan-yoo-J-la.) 
 In the Spanish style. 
 
 Espirindo (It.) (es-pe-ra«-d6.) Breath- 
 ing deeply ; gasping. 
 
 „ > Abbreviations of Espressivo. 
 
 Espress. ) 
 
 Espressi6ne (It.) (es-pres-se-o-ne.) Ex- 
 pression, feeling. 
 
 Espressivo (It.) (es-pres-j^^-vo.) Ex- 
 pressive ; to be played or sung with 
 expression. 
 
 Esq^uisse (Fr.) (ess-^«m^.) A sketch. 
 
 Essai (Fr.) (es-J<J.) An essay ; a trial. 
 
 Essential harmonies. The three harmo- 
 nies of the key ; tonic, dominant, and 
 subdominant. 
 
 Essential notes. The real, component 
 notes of a chord ; in contradistinction 
 to all merely accidental, passing, or 
 ornamental notes. 
 
 Essential seventh. The dominant 
 seventh. 
 
 Essodio (It.) (es-j-o-de-5.) Interlude. 
 
 Estempordle (It.) (es tem-p6-^o le.) ) 
 
 Estemporineo (It.) (es-tam-p6-rane-o.) ) 
 Extemporaneous. 
 
 Estingu^ndo ' (It.) (es-ten-^^«-d6.) \ 
 
 Estinte (It.) (es-ten-te.) > 
 
 EstintO (It.) (es-ten-to.) * 
 
 Becoming extinct ; dying away in time 
 and strength of tone ; extinguished. 
 
 Estravagdnte (It.) (es-trav-a-^a'K-te.) ) 
 Estravagdnza (It.) (es-trav-a-^aW sa.) ) 
 Extravagant ; a fanciful and extrava- 
 gant work. 
 
 Estremam^nte (It.) (es-tra-ma-w«^«-te.) 
 
 Extremely. 
 Estrinienda (It.) (es-tre-ne-««-da.) A 
 
 close, binding style of performance ; 
 
 extremely legdto. 
 
 Estrinciendo (It.) (es-tren-tshe-f«-do.) 
 Playing a passage with force and pre- 
 cision. 
 
 Estro (It.) («-tr6.) Elegance and 
 grace. 
 
 Estro portico (It.) (w-tro po-a-te-k5.) 
 Poetic inspiration ; imaginative power 
 in a composer. 
 
 Esultazidne (It.) (es-ool-tat-se-c-ne.) Ex- 
 ultation. 
 
 Et (Lat. and Fr.) (et.) And. 
 
 Eteinte (Fr.) (e-tanht.) See Estinte. 
 
 Etendre (Fr.) (e-tanhdr.) To extend ; to 
 spread. 
 
 Etendue (Fr.) (e-tanh-du.) The extent 
 or compass of an instrument or voice. 
 
 Et incarnatus (Lat.) (et in-kar-Ka-tiis.) 
 A portion of the Credo, in the Mass. 
 
 £tOufi£ (Fr.) (a-toof-fa.) Stifled ; smoth- 
 ered; a word used in harp-playing to 
 signify a deadening of the tones with 
 the hand ; in pianoforte music it 
 means an exceedingly soft style of 
 playing. 
 
 Etouffer (Fr.) (a-toof-fa.) To stifle ; to 
 deaden the tone. 
 
 Etouffoirs (Fr. pi.) (a-too-fwar.) The 
 dampers. 
 
 Et resurrexit (Lat.) (et res-ur-/jr-it.) A 
 brilliant paTt of the Credo, in the Mass. 
 
 Etta (It.) (et-ta.) ) Z/rt/^ ; an Italian final 
 
 Etto (It.) (et-t5.) ) diminutive ; as Trom- 
 bitia, a little trumpet, Adagietto, a little 
 
 Ettachordo (It.) (et-ta-/J(>r-do.) Instru- 
 ments having seven strings ; a scale of 
 seven notes ; a heptachord ; the inter- 
 val of the seventh. Also eptacordo. 
 
 Etude (Fr.) (^-tud.) A study ; an exercise. 
 An ^tude usually furnishes technical 
 difficulties of some description. Etude 
 de concert is a very difficult study for 
 concert performance. Chopin's Etudes 
 are among the most famous. 
 
 Etudier (Fr.) (a-tii-de-a.) To study; to 
 practice. 
 
 Etui (Fr.) (a-twe ) A case for an in- 
 strument. 
 
 as in tone ; 6 as in dove ; 8 as in not ; ii as in up ; ii the French sound of u. 
 
 103 
 
ET VITAM 
 
 EXPRESSION 
 
 Et vitam (Lat.) (et-vee-tam.) A part of 
 the Credo, in the Mass. 
 
 Etwas (Ger.) (ei-vis.) Some; some- 
 what ; a little. 
 
 •Etwas langsamer (Ger.) {et-Vis /awg-sa- 
 mer.) A little slower. 
 
 Eufonfa (It.) (yoo-fo-ne-a.) ) Euphony; 
 
 Eufonia(Spa.) (yoo/»-ne-a.) fan agree- 
 able sound. 
 
 Euf6nico (It.) (yoo/o-ne-ko.) Harmo- 
 nious ; well-sounding. 
 
 Euharmonic. Producing harmony or 
 concordant sounds. 
 
 Euharmonic organ. An organ contain- 
 ing three or four times the usual 
 number of distinct sounds within the 
 compass of an octave, furnishing the 
 precise intervals for every key. The 
 name is not to be confounded with 
 enharmonic, 
 
 Euphone (Fr.) (iih-fon.) A reed-stop in 
 an organ of i6-foot scale. 
 
 Euphonie (Fr.) (iih-f o-?«?.) ) Euphony ; 
 
 Euphonie (Ger.) (oi-f6-«J.) ) sweetness 
 of tone ; sounds agreeable to the ear. 
 
 Euphonious (yuyo-ni-iis.) Smooth and 
 melodious. 
 
 Euphonique (Fr.) (iih-fo-«^,4.) Eupho- 
 nious. 
 
 Euphonlsm (jy«-fo-nism.) An agreeable 
 combination of sounds. 
 
 Euphonium. A bass wind-instrument of 
 modem invention, used in military 
 bands. The bass saxhorn. 
 
 Euphony. Agreeable sound ; an easy, 
 smooth enunciation of sounds. 
 
 Euterpe (yfi-^^r-pe.) The seventh muse, 
 celebrated for the sweetness of her 
 singing. 
 
 Eutimia (It.) (yoo-te-me-a.) Alacrity, 
 vivacity. 
 
 EveilW (Fr.) (a-va-ya.) Lively, gay, 
 sprightly. 
 
 Evirdti (It.) (ev-e-ra-te.) Men with 
 soprano voices among the Italians, who 
 formerly took the treble parts in the 
 church and theatre. They are now 
 nearly, if not quite, extinct. Castrali. 
 
 Evolutio (I^at.) (ev-o-/«-shi-o.) Inver- 
 sion of the parts in double counter- 
 point. 
 
 Evovffi. The vowels of S^CKlOT«m 
 ataetv, the last two words in the Gloria 
 
 a as in a^ y a as in /is^i; ; a as in a/ / e as in tree / e as in ^/% y i as in pine / i as in pin; 
 
 104 
 
 Patri. In Gregorian music, the trope 
 closing the Lesser Doxology ; in a 
 wider sense, any trope. Also Euotus. 
 
 Exaltation (Fr.) (gx-al-ta-se-6nh.) In 
 an exalted, dignified mannner. 
 
 Executant (Fr.) (ex-a-koo-tanh.) A 
 performer, either vocal or instrumental. 
 
 Executer (Fr.) (ex-a-koo-ta.) To per- 
 form ; to execute. 
 
 Execution. Dexterity and skill, either 
 vocal or instrumental ; agility in per- 
 formance. 
 
 Exemple(Fr.) (ex-a«,4-pl.) Example. 
 
 Exequiee (Lat.) (ex-a-qui-e.) Dirge. 
 
 Exequien (Ger.) (ex-a-que-en.) Masses 
 for the dead. 
 
 Exercice(Fr.) (ex-er-j^jj-.) Exercise. 
 
 Exercice de I'archet (Fr.) (ex-er-jwj 
 diih I'ar-sha.) Practice of the bow in 
 violin playing. 
 
 Exerciren (Ger. ) (ex-ar-ilj^-r'n.) To 
 practice. 
 
 Exercise. A musical composition calcu- 
 lated to improve the technique of the 
 performer. Exercises for the purpose 
 of imparting instruction in musical ex- 
 ecution. 
 
 Exercises, digital. Exercises for the 
 
 purpose of acquiring an independent 
 
 action of the fingers, 
 Exercitium (Ger.) (ex-er-/ji2-se-oom.) 
 
 An exercise. 
 Exercitien (Ger. pi.) (ex-er-te"i^-se-en.) 
 
 Exercises. 
 Exercizi (It. pi.) (ex-ar-/j,4^/-se.) See 
 
 Esercizj. 
 Exit (Lat.) (&-it.) A word set in the 
 
 margin of operas or plays, to mark 
 
 the time when the actor is to leave the 
 
 stage. 
 
 Explosive tone. A tone produced by 
 sounding a note suddenly and with 
 great emphasis and suddenly diminish- 
 ing ; indicated thus, > A, or Sf. 
 
 Expressif (Fr.) (ex-pras-j-^.) Expres- 
 sive. 
 
 Expressio (Lat.) {hn-press-x-o.') Indicates 
 that the passage is to be executed with 
 expression. 
 
 Expression. That quality in a composi- 
 tion or performance which appeals to 
 our feelings, taste or judgment dis- 
 played in rendering a composition and 
 
EXPRESSIVO 
 
 FACADE D'ORGUE 
 
 imparting to it the sentiment of the 
 author. Expression marks are sighs, 
 ■words or phrases, written against the 
 music to direct the performer in giving 
 its proper expression. 
 
 Expressive (It.) (ex-pras-js-vo.) See 
 Espressivo. 
 
 Extempore (Lat.) (ex-if/OT-po-re.) Un- 
 premeditated, improvised. 
 
 Extemporize. To perform extemporane- 
 ously ; without premeditation ; to im- 
 provise. 
 
 Extended harmony. See Dispensed Har- 
 mony. 
 
 Extended phrase. Whenever, by repeat- 
 ing one of the feet, or by any other 
 variation of the melody, three measures 
 are employed instead of two, the phrase 
 is termed extended, or irregular. 
 
 Extended section. A section containing 
 from five to eight bars. 
 
 Extension pedal. The loud pedal of a 
 pianoforte. 
 
 Extraneous. Foreign ; far-fetched ; be- 
 longing to a remote key. 
 
 Extraneous modulation. A modulation 
 into some remote key, far distant from 
 the original key and its relatives. 
 
 Extrayagdnza (It.) (ex-trav-a-.fa»^sa.) 
 An extravagant and eccentric composi- 
 tion. 
 
 Extreme. A term referring to the most 
 distant parts, as the treble and bass. 
 Relating also to intervals in an aug- 
 mented state ; as extre7ne sharp sixth, 
 .etc. The extreme Sixtli is resolved as 
 follows in minor ; 
 
 Ex. I. 
 
 Ex. i 
 
 The first form is called the Italian 
 Sixth, the second the French Sixth, and 
 the last the German Sixth. 
 
 F. The fourth note in the diatonic scale 
 of C. It was the note first used as a 
 clef sign to give definite pitch to the 
 mediaeval notation ( Neumes ) because 
 " small f " was a good medium note in 
 the baritone voice in the chants, which 
 were therefore almost always composed 
 around this note. F is also the ab- 
 breviation of Forte; ft, fortissimo; Si, 
 fortississimo; ffff is rarely used. 
 
 Fa. The name applied to F in France 
 and Italy; the fourth of the syllables 
 used in solfeggio. In the " fixed do " 
 system it is always F ; in the " movable 
 do " it is the fourth note of any dia- 
 tonic scale. In " tonic sol-fa" it is 
 spelled " Fah." 
 
 Fabliau (Fr.) ( /ai-lioh.) A versified tale 
 or romance of the truovires, in vogue 
 chiefly during the twelfth and thir- 
 teenth centuries ; a fable. 
 
 Faburden, Falsobordone (It.) Faux-bour- 
 don (Yr.) i. One of the early systems 
 of harmonizing a given portion of plain 
 song, or a canto fermo. As the word 
 implies, to faburden signified originally 
 to hold a drone. It afterwards became 
 the primitive harmonization of a can- 
 tus firmus 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 
 octave. 2. Later, the setting of a 
 simple (note against note) counterpoint 
 to the cantus firmus, the strict parallel 
 motion of parts now being no longer 
 retained. 
 
 Fapade d'orgue (Fr.) (fa-j<iV/d'org.) The 
 front of an organ-case. 
 
 or it can resolve into major as follows 
 5 as in tone ; 6 as in dove ; 8 as in not ; u as in up ; ii the French sound of u. 
 
 los 
 
PACCIATA 
 
 FALSE RELATION 
 
 [ Light, 
 
 easy. 
 
 Facciata (It.) (fat-tshe-a-tii.) Page, 
 
 folio. 
 Fach (Ger.) (fakii.) Ranks ; thus, funf- 
 
 fach, five ranks. 
 Fdcile (Fr.) (£a-j^/.) 
 Facile (It.) (fa-/j/5J-le.) 
 Facilita (It.) (fa-/j/!^/-e-ta.) 1 Facility ; 
 Facility (Fr.) (fa-sel-I-ta.) S an easier 
 
 arrangement or adaptation. Sometimes 
 
 in a difficult passage in a musical work 
 
 an easier method of execution is 
 
 printed above or below the passage, 
 
 and marked Facilita, or Ossia {Alsv). 
 Facilement (Fr.) (fa-sel-manh.) ^ Easily ; 
 Facilm^nte (It.) (fa-tshel-»2«K- [with 
 
 te.) ) facility. 
 
 Fackel-tanz (Ger.) (fak-'l-tants.) Dance 
 with torches. 
 
 Facteur de pianos (Fr.) (fak-^/?r duh pi- 
 a-no.) A piano-maker. 
 
 Facteur d'orgue (Fr.) (fak-ft?;- d'5rg.) 
 An organ-maker. 
 
 Facture (Fr.) (fak-tiir.) The composi- 
 tion, or workmanship, of a piece of 
 music. The scale of organ-pipes. 
 
 Facture d'orgues (Fr.) (fak-tiir d'org.) 
 Dimensions or scale of the pipes of an 
 organ. 
 
 Fa diese (Fr.) (fa di-az.) The key of 
 Ft. 
 
 Fa diese majeur (Fr.) (fa di-az ma-zAHr.) 
 The key of F t major. 
 
 Fa diese mineur (Fr.) (fa di-Sz im-niir.) 
 The key of F t minor. 
 
 Faggidlo (It.) (fad-je-ff^lo.) The flageo- 
 let. 
 
 Fagott (Ger.) {ii.-gdit.) A bassoon. 
 
 Fagottino (It.) (fa-got-^«-no.) A small 
 bassoon. 
 
 Fagottist (Ger.) (fa-got-^rj/.) ) A per- 
 
 Fagottista (It.) (fa-g6t-^^«j-ta.) S former 
 on the bassoon. 
 
 Fagfitto (It.) (fa-got-to.) A bassoon ; 
 also an organ-stop. 
 
 Fag6ttO contra (It.) (fa-got-to kon-tra ) 
 A large bassoon an octave lower than 
 the common bassoon ; the contra- bas- 
 soon. 
 
 Fag6ttone (It.) (fa-got-/o-ne.) A large 
 bassoon an octave lower than the 
 fagotto; the contra-bassoon. 
 
 Fahnen-marsch (Ger.) (fa-nen-marsh.) 
 
 a as in 3/5 ; a as in hate ; a as in at; e as in tree; e as in 
 
 io5 
 
 The march or tune that is played when 
 the colors are lodged. 
 
 Faible (Fr.) (/(f-bl.) Weak, feeble, thin. 
 
 Faiblement (Fr.) (fay-bl-manh.) Feebly, 
 weakly. 
 
 Faire (Fr.) (far.) To do ; to execute. 
 
 Fa-las. Short songs with the syllables 
 /a la at the end of each line or strain. 
 Morley (c. 1580), who composed some, 
 speaks of them as being a kind of ballet. 
 The fa las of Hilton (c. 1600) are held 
 in highest estimation for the freedom 
 of their construction and the beauty of 
 their melodies. Morley's " Now is the 
 Month of Maying " is an excellent ex- 
 ample of a Fa la. 
 
 Fall. A cadence. Shakespeare uses the 
 term in " Twelfth Night." 
 
 Falsa (It.) {falsa..) \ F'alse, wrong, 
 
 Falsch (Ger.) (falsh.) ) inharmonious. 
 
 Falsa musica (Lat.), called also musica 
 ficta. False or feigned music was that 
 in which notes were altered by the use 
 of accidentals. 
 
 False. Those intonations of the voice 
 that do not truly express the intended 
 intervals are called false, as well as all 
 ill-adjusted combinations. The term 
 false is applied in music to any viola- 
 tion of acknowledged or long estab- 
 lished rules, or to anything imperfect 
 or incorrect. 
 
 False accent. When the accent is re- 
 moved from the first beat of the bar to 
 the second or fourth, it is called false 
 accent. 
 False cadence. An imperfect or inter- 
 rupted cadence. See Deceptive Ca- 
 dence. 
 
 An epithet applied by 
 certain chords, because 
 contain all the intervals 
 to those chords in their 
 
 False chords. 
 theorists to 
 they do not 
 appertaining 
 perfect state. 
 
 False fifth. An old term for an imper- 
 fect or diminished fifth ; a fifth contain- 
 ing only six semi-tones, as C, Gb. 
 
 False harmony. Harmony contrary to 
 established rules. 
 
 False intonation. Incorrect intonation j 
 where the voice does not express the 
 intended or correct intervals. 
 
 False relation. 
 occurred in 
 
 When a note which has 
 one chord, is found 
 
 / i as in pine : i as in pinj 
 
FALSE TRIAD 
 
 FEEBERS 
 
 ■ Falsetto. 
 
 chromatically altered in the followed 
 chord, but in a different part. 
 
 False triad. The diminished triad, 
 formerly so-called on account of its 
 having a false fifth. 
 
 Falsett (Ger.) (fal-j//.) ) 
 
 Falsetto (It.) (fal-jrf-to.) ) 
 
 Falsette. i xhe male head-voice as dis- 
 
 Falsetto. S tinguished from the chest- 
 voice. A singer who sings soprano or 
 alto parts with such a voice. Fahetti 
 must not be confounded with castrati. 
 A false or artificial voice ; that part of a 
 person's voice that lies above its natural 
 compass. 
 
 Falso (It.) (yS/-s6.) False. 
 
 Filso borddne (It.) (fdl-so bor-do-ne.) 
 A term formerly applied to such coun- 
 terpoint as had a drone bass, or some 
 part constantly moving in the interval 
 with it. See Faburden. 
 
 Fa majeure (Fr.) (fa xak-zhUr^ \ The 
 
 Fa majore (Fr.) (fa ma-0/4^r.) ) key of 
 F major. 
 
 Fa mineur (Fr.) (fa mi-«^r.) Key of F 
 minor. 
 
 Fandtico (It.) (fa-Ki'-te-ko.) A fanatic 
 or passionate admirer. 
 
 Fancies. An old name 'for little lively 
 airs or tunes, 
 
 Fanddngo (Spa.) (fan-</a«-g6.) A dance 
 much used in Spain, in | or J time, 
 generally accompanied with castanets 
 and having a strong emphasis upon the 
 second beat of each bar. 
 
 Faiidangu6ro (Spa.) (fan-dan-^wa-ro.) 
 One who is skijfui in dancing the fan- 
 dango. 
 
 Fanfare (Fr.) (fanh-far.) A short, lively, 
 loud and warlike piece of music, com- 
 posed for trumpets and kettledrums. 
 Also short, lively pieces performed on 
 hunting-horns in the chase. A flour- 
 ish of trumpets. 
 
 Fantaisie (Fr.) (fan-ta-«^^.) ^ Pancy, 
 Fantasia (It.) (ia.n-t'i.-zee-a..) > imagina- 
 Fantasie (Get.) (fan-ta-«^^.) J ti°"' ca- 
 price ; a species of music in which the 
 composer yields to his imagination and 
 gives free scope to his ideas, without 
 regard to those restrictions by which 
 other productions are regulated. A 
 free fantasie follows the exposition of 
 
 as in tone / 4 as in dovej 8 as in not; 
 
 themes in the sonata-allegro of sym- 
 phony or sonata. This is called the 
 Development. The word " Fantaj/a " 
 is often mispronounced " Fan/asla." 
 
 Fantasiosam^nte (It.) (fan-ta-ze-o-za- 
 men-Xii.) Fantastically, critically. 
 
 Fantasi6so (It.) (fan-ta-ze-o-zo.) Fan- 
 tastic, capricious. 
 
 Fantasiren (Ger.) (fan-ta-z^«-r'n.) To 
 improvise ; to play extemporaneously. 
 
 Fantasticam^nte (It.) (fan-tas-te-ka- 
 »«««-te.) In a fantastic style. 
 
 Fantdstico (It.) (fan-^a'j-te-ko.) j fan- 
 
 Fantastique (Fr.) (fan-tas-/^^/5.) \ tasti- 
 
 Fantastisch (Ger.) (fan-/'aj-tish.) ) cal; 
 whimsical ; capricious in relation to 
 style, form, modulation, etc. 
 
 Farandole (Fr.) (fa-ranh-(/a?.) ) A 
 
 Farandoule (Fr.) (fa-ranh-^/oo/.) ( lively 
 dance in | or f time, peculiar to 
 Provence. See Bizet's " Suite Arle- 
 sienne." 
 
 Fdrsa (It.) (/«>-sa.) 
 
 Farsa (Spa.) f/aV-sa.) ! 
 
 Fdrsa in mlisica (It.) {fdr-sa. en moo- 
 ze-ka.) Musical farce ; a species of 
 little comic opera, in one act. 
 
 Fdscie (It. pi.) (/ar-tshe-e.) The sides 
 or hoops of a violin, viola, etc. 
 
 Fastosam^nte (It.) (fas-t6-za-«»*«-te.) 
 Pompously, proudly. 
 
 Fast6so (It.) (fas-/J-zo.) Proudly ; stately ! 
 in a lofty and pompous style. 
 
 Faucette (Fr.) {ib-set.) 
 
 Fausset (Fr.) (fo-jJ.) 
 
 Fauz (Fr.) (fo.) False ; out of tune. 
 
 Faux accord (Fr.) (fo 2Ak-ki)rd.) A dis- 
 sonance. 
 
 Faux bourdon (Fr.) (fo boor-donh.) See 
 Faburden, 
 
 F clef . The bass clef; a character F 
 placed on the fourth line of the f 
 
 Farce. 
 
 Falsetto. 
 
 staff so that the two dots are in the 
 third and fourth spaces. See Clefs. 
 
 F dur (Ger.) (f door.) The key of F 
 major. 
 
 Feathering. A term sometimes applied 
 to a particularly delicate and lightly 
 detached manner of bowing certain 
 rapid passages on the violin. 
 
 Feeders. Small bellows sometimes em- 
 
 ii as in «^ / ii the French sound of u. 
 
 07 
 
FEIER 
 
 FEUILLET 
 
 ployed to supply the large bellows of an 
 organ with wind. 
 Feier (Ger.) (/f-er.) Festival, celebra- 
 tion. 
 
 Feier-gesang (Ger.) (ft-er-ghe-saftg:) 
 Solemn hymn ; anthem. 
 
 Feierlich (Ger.) (/f-er-likh.) Solemn, 
 festive. 
 
 Feierlichkeit (Ger.) (/f-er-likh-kit.) 
 Solemnity, pomp. 
 
 Feigned voice. Kfalsltto voice. 
 
 Feinte. An old name for a semi-tone ; 
 an accidental. 
 
 Feld-musik (Ger.) {feld-moo-AV.) Mil- 
 itary music. 
 
 Feldrohr (Ger.) {feld-mx.) A rural pipe. 
 
 Feldton (Ger.) {feld-tbn.) The tone or 
 key-note of the trumpet and other mil- 
 itary wind-instruments. 
 
 Feld-trompete (Ger.) (feld-tr6m-/a-te.) 
 Military trumpet. 
 
 F^rma (It.) {/ar-ma..) Firm, resolute, 
 steady. 
 
 Fermamtete (It.) (far-ma-»z^«-te.) 
 
 Firmly, steadily. 
 Fermdta (It.) (far-mo-ta.) ) A pause 
 Fermate (Ger.) (far-ma-te.) ) or hold 
 marked thus, /7\. The fermata has 
 been used in music for four centuries. 
 Its length varies with the character of 
 the music. When found over a long 
 note it is not necessary to double the 
 value of that note, but when found 
 over a sixteenth 'J it may more than 
 double the value. IS Its length can be 
 varied by the words, lunga (long), 
 piccola (a little), G. P. (grosse 
 pause, great pause ), and other 
 signs. Over a double bar _j^__ it 
 usually signifies the end of =§^ the 
 composition. ~~^r~ 
 
 Fermdte (It.) (far-wa-te.) ) Firmly, 
 Fermato (It.) (far-wa-to.) ) steadily, res- 
 olutely. 
 Fermement (Fr.) (far-me-manh.) Firmly, 
 resolutely. 
 
 FermeW (Fr.) (far-me-^a.) ) Firmness, 
 Fer^l6zza(It.)(far-»^fl^za.) \ resolution. 
 
 F^rmo (It.) {fdr-rao.) Firm, resolute. 
 
 Fern-werk (Ger.) (/a/V«-vark.) Distant, 
 or remote work ; a term applied to the 
 " echo " in German organs. 
 
 S as in a,4 ; a as in hate ; a as in a? ; e as i 
 
 men- \ 
 (te.) > 
 
 Fer6ce (It.) (fa-rJ-tshe.) ) 
 
 Ferocem^nte (It.) (fa-r6-tshe-OT««-te.) ) 
 Fierce ; with an expression of ferocity. 
 
 Ferocita (It.) (fa-r6-tshe-/a.) Fierceness, 
 roughness. 
 
 Fertig (Ger.) (//r-tig.) Quick, nimble, 
 dexterous. 
 
 Fertigkeit (Ger.) (/i?r-tig-klt.) Quick- 
 ness, dexterity. 
 
 Fervemment (Fr.) (far-va-manh.) Fer- 
 vently, vehemently. 
 
 Fervfinte (It.) (far-z'^«-te.) Fervent, 
 vehement. 
 
 Ferventem^nte (It.) (far-van-te-»z^K- 
 te.) 
 
 Fervidam^nte (It.) (far-ve-da-»«^«te.) 
 Fervently, vehemently. 
 
 Firvido (It.) (_/a>--ve-do.) Fervent, ve- 
 hement. 
 
 Fes (Ger.) (fes.) The note F flat. 
 
 Fest (Ger.) A festival ; firm ; steady. 
 Musik-fest, a musical festival. • 
 
 Festigkeit (Ger.) (//j-tig-kit.) Firm- 
 ness, steadiness. 
 
 Festiglich (Ger.) (/&-tig-likh.) Firmly, 
 steadily. 
 
 Festivam^nte (It.) (fes-le-va-»;f«-te.) 
 Gayly, brilliantly. 
 
 Festivita (It.) (fes-te-ve-ia.) Festivity, 
 gayety. 
 
 Festivo (It.) {les,-te-vo.) Merry, cheer- 
 ful, gay. 
 
 Festlich (Ger.) {fesi-\\Va.) Festive, 
 solemn. 
 
 Festlichkeit (Ger.) (//jMikh-klt.) Fes- 
 tivity, solemnity. 
 
 Festlied (Ger.) (//jMed.) A festive 
 song. 
 
 Fest6so (It.) (fes-^o-zo.) Merry, cheer- 
 ful, gay. 
 
 Fest-overture (Ger.) (fest-o-ver-^r.) 
 Festival overture ; an overture in a 
 vigorous, brilliant style. 
 
 Festzeit (Ger.) (/A-/-tsIt.) Festival. 
 
 Feuer (Ger.) (y«'-er.) Fire, ardor, pas- 
 sion. 
 
 Feuille (Fr.) A leaf; feuilles volantes, 
 flying leaves. 
 
 Feuillet (Fr.) (/ay-ay.) A leaf, leaflet. 
 Feuillet d^album, album-leaf. 
 
 n tree ; S as in i'/i ; 1 as in pine ; i as in piti ; 
 
 oS 
 
FEURIG 
 
 FIGURES OF DIMINUTIOir 
 
 Feurig (Ger.) (,/oi-ng.) Fiery, ardent, 
 passionate. 
 
 F holes. The sound holes on a viohn 
 are so called because of their resem- 
 blance to any; 
 
 Fiicca (It.) (fe-oA-ka.) ) Feeble, weak, 
 
 Fiicco (It.) (te-M-ko.) \ languishing. 
 
 Fiasco (It.) (fe-oj-ko.) The technical 
 term for a failure ; a complete break- 
 down in a musical performance. 
 
 Fidto (It.) (fe-a-to.) The breath ; the 
 voice. 
 
 Fiddle-stick. A violin bow. 
 
 Fidicula (Lat.) (fe-di-koo-la.) A small 
 lute, or guitar. 
 
 Fiducia (It.) (ie-doo-tshe-Si.) Confidence. 
 Fiedel (Ger.) (/«-d'l.) A fiddle ; a violin. 
 Strohjiedel, a xylophone. 
 
 Fiel. An old name for the fiddle or 
 violin. 
 
 Field music. Music for military instru- 
 ments ; martial music. 
 
 Fieram^nte (It.) (fe-er-a-OT^»-te.) 
 Proudly, vehemently, boldly. 
 
 Fi^re (Fr.) (fi-ar.) Proud, lofty, fierce. 
 
 Fi^rement (Fr.) (fi-ar-manh.) In a 
 fierce manner. 
 
 Fieramente assai (It.) (fe-a-ra-»z?«-te 
 as-jo-e.) Very bold and energetic. 
 
 Fi&o (It.) (fe-a-ro.) Bold, energetic, 
 proudly. 
 
 Fiertd (Fr.) (fer-ta.) Fierceness, bold- 
 ness, 
 
 Fife. A small, shrill-toned instrument, 
 used only in martial music together 
 with drums. An octave cross-flute 
 with six holes and with- izjg 
 
 out keys (thus differ- - ■ ^ 
 ing from the piccolo) 
 compass about 
 
 An organ-stop of 2-foot pitch ; a pic- 
 colo-stop. 
 
 Fifre (Fr.) (fefr.) A fife; also a fifer; 
 the name is also applied to one of the 
 stops in a harmonium. 
 
 Fifteenth. An interval of two octaves ; 
 also the name of an organ-stop, tuned 
 two octaves above the diapasons, and 
 therefore of 2-foot pitch. 
 
 Fifth. A distance comprising four dia- 
 tonic intervals ; that is, three tones and 
 a semi-tone. (Ger., Quints; Fr., 
 
 ainer- _q. :_. 
 
 iccolo) ; paEp± 
 
 Fifth, augmented. An interval contain- 
 ing four whole tones. Also called 
 Sharp Fifth. 
 
 Fifth, diminished. An interval contain- 
 ing two whole tones and two semi- 
 tones. 
 
 Fifth, perfect. An interval containing 
 three whole tones and one semi-tone. 
 
 Fifths, consecutive. Two or more per- 
 fect fifths immediately following one 
 another in two parallel parts of the 
 score. 
 
 Figur (Ger.) (H-goor.) A musical figure, 
 phrase, or idea. 
 
 Figura(It.) (fe-goo-ra.) Note employed 
 as an ornament. 
 
 Figural-gesang (Ger.) (fi-goo-ro7-ghe- 
 siing.) Varied and ornamented chant, 
 as opposed to plain chant. 
 
 Figural-gesange (Ger. pi.) {G-goo-ral- 
 ghe-sdng-e) 
 
 Figurantes (Fr.) (ie-gu-ranht.) Those 
 dancers in a ballet who do not dance 
 singly, but in groups, and many together. 
 In the drama, people who figure with- 
 out having anything to say. 
 
 Figuration. An ornamental treatment of 
 a passage ; a mixture of concords and 
 discords. 
 
 Figuration, harmonic. The progression 
 of a chord from one tone to another of 
 the same chord, and similarly through 
 successive different chords. 
 
 FiguritO (It.) (fe-goo-ra-to.) ) Figured, 
 
 Figure (Fr.) (fi-gu-rd.) ) florid, 
 
 embellished. 
 
 Figured. Free, florid ; a term applied to 
 an air which, instead of moving note by 
 note with the bass, consists of a free 
 and florid melody. It also means indi- 
 cated or noted by figures. 
 
 Figured bass. A bass with figures placed 
 over or under the notes to indicate the 
 harmony. See Thorough Bass. 
 
 Figured harmony. Where one or more 
 of the parts of a composition move 
 during the continuance of a chord, 
 through certain notes which do not 
 form any of the constituent parts of 
 that chord. 
 
 Figures. Numerical characters written 
 upon the staff, usually in the form of a 
 fraction, to denote the measure. 
 
 Figures of diminution. Numerical char- 
 
 Quinte ; It., Quinta.) 
 
 as in tone / 6 as in dove ; 8 as in not ; fi as in up ; ii the French sound of «, 
 
 109 
 
FILAR LA vdCE 
 
 FINGERING 
 
 acters which change the time of the 
 notes over which they are placed, one- 
 third of their relative length. The 
 notes with a iigura three are called 
 triplets. See Grouping. 
 
 Filar la v6ce (It.) (fe-lar la w-tshe.) To 
 spin oijt ; to prolong the tone; gradually 
 augmenting and diminishing the sound 
 of the voice. 
 
 Filarmbnico (It.) (fe-lar-w«»-ne-ko.) 
 
 Philharmonic, music-loving. 
 Filer (Fr.) (fi-la.) To spin; to draw out. 
 Filet le son (Fr.) (fi-la luh sonh.) See 
 
 Filar la Voce. 
 Fileur (Fr.) (fi-lur.) A spinner; fem., 
 
 Fileuse. 
 
 Filum (Lat.) (fe-lum.) A name formerly 
 given to the stem of a note. 
 
 Fin (Fr.) (fanh.) The end. 
 
 Fin al (It.) (fen al.) End at ; play as far 
 as. 
 
 Final. An old application given to the 
 last sound of a verse in a chant which, 
 if complete, is on the key-note of the 
 chant ; if incomplete, on some other 
 note in the scale of that key. 
 
 Final close. Final cadence. 
 
 Findle (It.) (fi-Ko-le.) Final ; concluding ; 
 the last piece of any act of an opera 
 or of a concert ; or, the last movement 
 of a sonata or symphony, etc. 
 
 F in alt. The seventh above 
 G in alt ; the seventh note 
 in alt. 
 
 # 
 
 F in altissimo. The octave above F in 
 alt ; the seventh note in altissimo. 
 
 Fin a qui (It.) (fin a qui.) To this 
 place. 
 
 Fine (It.) {feen-z.y.) The end ; the termi- 
 nation. 
 
 Fine del aria (It.) (y?-ne del a-re-a.) The 
 
 end of the air. 
 Fine del atto (It.) (/-ne del oV-to.) The 
 
 end of the act. 
 
 Finement (Fr.) (fah-manh.) Finely, 
 acutely. 
 
 Finger-board. That part of a stringed 
 instrument on which the fingers press ; 
 the key-board or manual of a piano- 
 forte, organ, etc. 
 
 Fingered. A term applied to piano 
 music, signifying that figures or other 
 
 characters are applied to the notes to 
 show the method of fingering. 
 Fingering. The method of applying the 
 fingers to the keys, strings, or holes, 
 of different instruments. The figures 
 which are written in music to show the 
 performer which finger to use in sound- 
 ing a note. The art of fingering is 
 comparatively modem in music. The 
 system of marking numerals to guide 
 the player began with violin music. 
 As the violinist does not use the thumb, 
 this system (the oldest of all) numbered 
 the fingers, i, 2, 3, 4. When this was 
 transferred to the piano key-board (or 
 harpsichord, clavichord, and spinet), 
 the same figures were used, as the 
 thumb was very rarely upon the key- 
 board in the seventeenth century. 
 The thumb was sometimes used in left- 
 hand passages before it was allowed in 
 right-hand work. When the thumb 
 was applied, the figure o was used to 
 designate it. Therefore the earliest 
 fingering ran, o, 1,2, 3, 4. This was used 
 in Germany as early as 1571. But the 
 " o " was apt sometimes to be mistaken 
 for a whole note, therefore in England 
 it was soon changed to a sign like 
 the following — "ifij — afterwards writ- 
 ten X. (See English Fingering!) In 
 Germany, as early as the time of 
 Bach, the figures were used as they 
 are to-day — i, 2, 3, 4, 5. There 
 was very little attempt at any sys- 
 tem of fingering upon the spinet or 
 harpsichord, for those instruments gave 
 a continual staccato and could not 
 shade. Therefore, almost any fingers 
 were used, at the will of the performer. 
 We copy the following from a volume 
 of fingered pieces published in England 
 one hundred and fifty years ago : 
 
 Probably the earliest practical system 
 of fingering came in with the works of 
 
 a as in a^ y a as in hate ; a as in at ; e as in tree ; aza'vcveh ;\ as in pine ; 1 as mpin; 
 
FINGERING, AMERICAN 
 
 FIORfeXTI 
 
 J. S. Bach. He introduced the thumb 
 freely, and used the fingers in a much 
 more modern style than his predeces- 
 sors. He did not, however, publish 
 any system of fingering, but contented 
 himself with teaching the system to 
 his sons and other pupils. In Philipp 
 Em. Bach's " Versuch uber die wahre 
 Art das Klavierzu Spielen" (1753), this 
 system was first published. Neverthe- 
 less, there was published, in England, a 
 work on the same subject, which ante- 
 dates Bach's book. This is entitled 
 " Pasquali's Art of Fingering, for the 
 Harpsichord." In this (which has the 
 numeration o, i, 2, 3, 4), the thumb is as 
 freely used as in modern music. The 
 Italian masters undoubtedly aided the 
 advance in fingering, some of them 
 before the time of Philipp Em. Bach. 
 It will be seen from the above that the 
 so-called " American fingering " began 
 in Germany, took root in England, and 
 was probably the earliest numeration of 
 the fingers. See English Fingering. 
 Also consult Naylor's " An Elizabethan 
 Virginal Book." 
 
 Fingering, American. The use of the 
 sign (x) to indicate the thumb in piano- 
 forte playing, in distinction from the 
 German or foreign fingering, in which 
 the thumb is called the first finger. 
 
 Fingering, foreign. 1 a method of fin- 
 Fingering, German. ) gering piano music 
 which designates the thumb as the first 
 finger. 
 Fingering, scale. The system of scale 
 fingering at present in use is found in 
 the works of Philipp Em. Bach. Yet 
 the principle of it is to be found in 
 some earlier Italian works. In the old 
 spinet and harpsichord works, and in 
 an old organ book of 1 57 1 , the scale was 
 fingered (German fingering) as follows, 
 2, 3, 2, 3, 2, 3, 2, 3 — and in some 
 later methods ^2, 3, 4, 2, 3, 4. ^. 3- 
 The earliest valuable system of scale 
 fingering gave the rule to pass the 
 thumb under on the first white key 
 after a black one, which is the basis 
 of our scale fingering to-day. This 
 would present such fingerings as fol- 
 lows (Pasquali's " Art of Fingering " ): 
 
 ^^^^^^ 
 
 S 
 
 ^3=g=3= 
 
 5 as in tone ; 6 as in dme; 8 as in not; 
 
 II 
 
 But in the right hand, the fingering 
 very nearly followed our present sys- 
 tem. In modern scale fingering a few 
 recent theories may be mentioned A 
 few German pedagogues have endea- 
 vored to change the accustomed fin- 
 gering so that the thumbs shall always 
 fall together, in both hands. This has 
 not as yet been accepted as an advan- 
 tageous change. As an advanced 
 study, in difficult fingering many 
 great teachers, Rosenthal among 
 others, apply the fingering of the 
 C scale to many other scales. To 
 play the scale of D flat with the C scale 
 fingering is a task of some ditficulty. 
 Some teachers are in favor of ending 
 each scale exercise with a slow trill on 
 the last two notes. This counteracts the 
 chief defect of scale practice. In scale 
 work the fingers i, 2, and 3, have the 
 most work allotted to them ; the fourth 
 finger is less used, and the fifth least 
 of all. See Stainer & Barrett, and 
 Grove's Dictionary. 
 
 Fingern (Ger.) {Hng-ixvi.) To play ; to 
 finger. 
 
 Finger-leiter (Ger.) (/fe^-er-/f-ter.) 
 Finger-guides. 
 
 Finger-satz (Ger.) (/i«!j--er-satz.) Finger- 
 ing. 
 
 Finim^ntO (It.) (fe-ne-z«^«-to.) Con- 
 clusion, end. 
 
 Finita (It.) (fe-»^-ta.) ) Finished, ended, 
 
 Finito (It.) (fe-w-t5.) S concluded. 
 
 Finite canon. A canon which is not re- 
 peated, 
 
 Fino al (It.) (fe-no al.) Play as far as ; 
 stop at ; end at. Also Fino. 
 
 Fin qui (It.) (fen que.) To this place. 
 
 Fint (It.) ) Feigned, false, interrupted, 
 
 Finto (It.) ) in respect to cadences; a 
 feint, or deceptive close. 
 
 Fi6ca (It.) (fe-o-k'a.) (Hoarse, faint, 
 
 Fifico (It.) (fe-ff-ko.) S feeble. 
 
 Fioch^zza (It.) (fe-o-/5a/-za.) Hoarseness. 
 
 Fioreggi4nte (It.) (fe-o-red-je-a^-te.) Too 
 ornate ; decorated with roulades, caden- 
 ces, etc. 
 
 Fior^tti (It.) (fe-o-r«Me.) Little graces 
 or ornaments in vocal music. 
 
 fi as in up ; ii the French sound of a. 
 
FIORISCENTE 
 
 FLAT SEVENTH 
 
 Fioiisc^nte (It.) {ie-o-ie-sAen-te.) I 
 
 Fiorito (It.) (ie-o-ree-to.) ) 
 
 Florid ; abounding with ornaments. 
 
 Fiorita cadenza (It.) {ie-o-ree-t'i. ka-iient- 
 sa.j A cadenza whose last note but 
 one is divided into many notes. , 
 
 Fioritezza (It.) {ie-o-re-tei-s'a..) Embel- 
 lishment ; a florid style of perforriiance. 
 
 Fioriture (It.) {ie-o-re-ioo-re.) j^ Literally, 
 
 Fioritiiri (It.) (fe-6-re-fc<7-re.) S ^'^^^^ 
 flowers ; graces and embellishments in 
 singing. 
 
 First. A word applied to the upper part 
 of a duet, trio, quartet, or any other 
 composition, vocal or instrumental ; 
 such parts generally express the air. 
 In piano duets the first part is marked 
 Prima. The first string of an instru- 
 ment is its highest one. 
 
 First bass. High bass. 
 
 First inversion. A term applied to a 
 chord when the bass takes the third. 
 
 First soprano. The high soprano. 
 
 First tenor. The high tenor. 
 
 Fis (Ger.) (fis.) The note F sharp. 
 
 Fis-is, F double sharp. 
 Fischiare (It.) (fe-ske-a-re.) To whistle; 
 to hiss. 
 
 Fis dur (Ger.) (fis door.) The key of 
 
 F I, major. 
 Fis moll (Ger.) {fis moll.) The key of 
 
 F S, minor. 
 Fistel (Ger.) (/«i-t'l.) Feigned voice ; 
 
 falsetto.- 
 
 Fistola(It.)(y5i-t6-la.) U,e-ed;apipe. 
 Fistula (Lat.)(/2i-tu-la.) i 
 
 Fistula Germanica (Lat.) (/&-tu-la ger- 
 ffiffl« i-ka.) German flute. 
 
 Fistula panis (Lat.) (/rj-tu-la pa-ms.) 
 The Pandean pipes ; wind-instruments 
 of the ancients. 
 
 Fistula pastoralis (Lat.) (/ii-tii la pas- 
 to-ra-lis.) The Pandean pipes ; wind- 
 instruments of the ancients. 
 
 A 
 I piper; 
 a player on a flute or flageolet 
 
 Fistuliren (Ger.) (fis-too-/^r'».) To sing 
 in a falsetto voice. 
 
 Fithel. The old English name for the 
 fiddle. 
 
 a as in 3/^ ; a as in hate 
 
 Fistulator (Lat.) (/&-tu-&' tor.) ) 
 Fistulat6re(It..)(/«-too-la-to-re.) S 1 
 
 Fixed syllables. Vocal syllables which 
 do not change with the change of key. 
 The Italians and French use fixed 
 syllables. Theflxed-Do system is that 
 in which the tone C, and all its chro- 
 matic derivatives (C IB, C x , and C b, 
 Cbb) are called Do, D and its deriva- 
 tives Re, etc., in whatever key or har- 
 mony they may appear. 
 
 Flach-flbte (Ger.) (flakhy?^-te.) Shallow 
 flute ; flageolet ; also an organ-stop of 
 ■ rather thin tone. 
 
 Flageolet (Fr.) (fla-zhe-o-/^.) ) A small 
 Flageolet (Ger.) (fla-ghe-6-///.) j pipe or 
 flute, resembling a straight flute, the 
 notes of which are exceedingly clear 
 and shrill. It is generally made of 
 box or other hard wood, but some- 
 times of ivory. The flageolet is not 
 used in the orchestra, its tones being 
 too rough and shrill. Its compass is 
 Also an organ-stop of 
 2-foot scale and wood 
 pipes. 
 
 8va, 
 
 -m- 
 =1= 
 
 a as in a^ ; e as in free ; e as in eA 
 
 112 
 
 Flageolet, double. A flageolet having 
 two tubes. 
 
 Flageolet tones. Tones produced on in- 
 struments of the violin species by 
 drawing the bow very lightly and 
 merely touching the strings with the 
 fingers. See Harmonics. 
 
 FlagioMtta (It.) (fla-je-o-/^/-ta.) See 
 Flageolet. 
 
 Flat (Ger., Be ; Fr., Bemol; It., Bemolle.) 
 The sign b, which lowers the pitch of 
 the note following it by a semi-tone, 
 It came originally from the letter b, as 
 its shape and its foreign names indicate. 
 See Chromatic Signs. 
 
 Flat, double. A character composed 
 of two flats which lowers a note two 
 semi-tones, (bb)- 
 
 Flat eighth, extreme. The octave di- 
 minished by the chromatic semi-tone. 
 
 Flat, fifth. An interval consisting of 
 five degrees and containing two tones 
 and two semi-tones. The diminished 
 fifth. 
 
 Flat fourth, extreme. The perfect 
 fourth diminished by a chromatic 
 semi-tone. 
 
 Flat seventh. The minor seventh con- 
 taining four tones and two diatonic 
 semi-tones. 
 
 i as m:fiine / i as in pin ; 
 
FLATTER LA CORDE 
 
 FLUGBLATT 
 
 Flatter la corde (Fr.) {&it-Jd la k5rd.) 
 To play the violin, etc., in a soft, ex- 
 pressive manner. Literally to " caress 
 the string." 
 
 Flaut4ndo(It.)(fla-oo-/o«-do.) ) Flute- 
 
 FlautdtO (It.) (fla-oo-iai-to.) \ like tone; 
 that quality of tone obtained by draw- 
 ing the bow smoothly and gently 
 across the strings over that end of the 
 finger-board nearest the bridge. 
 
 Flautina (It.) (fla-oo-fe-na.) i A small 
 
 Flautino (It.) (fla-oo-^««-n6.) ) flute; an 
 octave flute ; a piccolo. 
 
 Flautista (It.) (fla-oo-^^^j-ta.) A per- 
 former on the flute. 
 
 Flauti unisoni (It.)(fla-oo-te oo-ne-j-o-ne.) 
 The flutes in unison. 
 
 Flduto (It.) (£a-oo-to.) A flute. 
 
 Fl&utO a becco (It.) (fla-oo-to a bek-Va^ 
 A beaked flute ; a flute having a 
 mouth-piece like a flageolet. A straight 
 flute called by Shakespeare "The 
 Recorders." 
 
 FIduto amdbile (It.) (fla-oo-to a-»?o-bee- 
 le.) The name of an organ-stop of soft 
 and delicate tone. 
 
 FIduto amorfiso (It.) (fla-oo-to iu-xao-ro- 
 20.) A 4-foot organ-stop of delicate 
 tone. 
 
 FIduto di Pan (It.) (fla-oo-to de pan.) 
 Pan's flute; an organ-stop of small size. 
 
 FIduto dolce (It.) (fla-oo-t5a?o/-tshe.) An 
 organ-stop of soft, agreeble tone. 
 
 FIduto doris (It.) (fla-oo-to </J-res.) ) 
 
 FIduto douce (It.) (fla-oo-to ofes-tshe.) ) 
 See FIduto Dolce and FlAte Douce. 
 
 FIduto e violino (It.) (fla-oo-to a ve-o-le 
 no.) Flute and violin. 
 
 FIduto grdve (It.) (fla-oo-to ^^a-ve.) An 
 organ-stop of 8-foot tone. 
 
 Flaut6ne (It.) (fla-oo-/ff-ne.) The bass 
 flute, not in use ; also a i6-foot pedal- 
 stop in an organ, of soft tone. 
 
 Flauto violino (It.) (fla-oo-to o ve-o li- 
 no.) Flute or violin. 
 
 FIduto piccolo (It.) (fla-oo-to //i-ko-l5.) 
 An octave flute ; a small flute of very 
 shrill tone. See Piccolo. 
 
 FIduto tacere (It.) (fla-oo-to tH-tsAe-re.) 
 The flute is not to play. 
 
 FIduto tedesco (It.) (fla-oo-to te-des-ko.) 
 A German flute. 
 
 as in tone ; d as in liove; 8 as in not; 
 
 I 
 
 FIduto transverso (It.) (fla-oo-to trans 
 vdir-so.) 
 
 FIduto trav6rso (It.) (fla-oo-to tra- i 
 vdir -so.) J 
 
 The flute ; the transverse flute, thus 
 named because it is held across, and 
 blown at the side, contrary to ^^flUte 
 a bee; it is also often called the German 
 flute. The name is also applied to an 
 organ-stop. 
 
 Fl^bile (It.) (722-be-le.) Mournful, sad, 
 doleful. 
 
 Flebilm^nte (It.) (fla-bel-»i!««-te.) 
 Mournfully, dolefully. 
 
 Flessibile (It.) (fles-j«,?-be-le.) Flexible; 
 pliant. 
 
 Flessibilita (It.) (fles-si-be-le-ta.) Flexi- 
 bility. 
 
 F-locher (Ger.) (ef IdMh-ex.) The F holes 
 or sound holes of a violin, etc. 
 
 Florid. Ornamental, figured, embel- 
 lished. 
 
 Florid counterpoint. Free counterpoint. 
 
 Floten (Ger.) (flS-Vn.) To play upon the 
 flute. 
 
 Flbten-begleitung (Ger.) {flS-i'n he-gli- 
 toong.) Flute accompaniment. 
 
 Floten-blaser (Ger.) {fld-t'n blS-z'x.) 
 Flute player. 
 
 Flbten-duo (Ger.) {fld-fn doo-o.) Flute 
 duet. 
 
 Flotenspieler (Ger.) {flS-'n-spi-Mr.) A 
 flute player. 
 
 Flotenstimme (Ger.) (flS-Vn-stim-me.) 
 A soft, sweet voice ; the part for the 
 flute. 
 
 Fldtenzug (Ger.) (flM'n. tsoog.) A flute- 
 stop in an organ. 
 
 Flotist (Ger.) (flo-ZTj-/.) A flute player. 
 
 Flourish. An appellation sometimes 
 given to the decorative notes which a 
 performer adds to a passage, with the 
 double view of heightening the effect 
 and showing his own dexterity and skill. 
 A fanfare of trumpets or brass instru- 
 ments. 
 
 Fliichtig (Ger.) (fluiA-tlg.) Lightly, 
 nimbly. 
 
 Fliichtigkeit (Ger.) {fliikh-iig-\s.lt.) Light- 
 ness, fleetness. 
 
 Flugblatt (Ger.) [floog-hV&t.) A fugitive 
 piece. 
 
 fi as in up; ii the French sound of «. 
 
 13 
 
FLTIGEL 
 
 F0C6S0 
 
 • A flute. 
 
 $ 
 
 ^ 
 
 Flugel (Ger.) (^«-g'l.) A grand piano, 
 so-called because it is shaped like a 
 " wing," or " flugel." 
 
 Fliigelhorn. A bugle, or a valve horn. 
 
 Fluit (Dut.) (floit.) 1 
 
 Fluta (Lat.) (_^i>o-ta..) ] 
 
 Flute. A common and well-known wind- 
 instrument, generally made of wood, 
 but sometimes of metal, consisting of 
 a tube closed at one end and being 
 furnished with holes and keys at its side 
 for producing various pitches. It is also 
 called Tra-uerse Jlule, German flute, and 
 D flute. It was greatly improved by 
 Theobald Boehm about 1834, and flutes 
 with his system of keys attached are 
 also called Boehm flutes or conce}-t 
 flutes. The usual com- *2£ 
 
 pass of the flute is : p-A -" p 
 
 although the instru- 
 ment may, exception- 
 ally, have an added semi-tone above 
 and below. It is generally a non-trans- 
 posing instrument, although transpos- 
 ing flutes are sometimes used in mili- 
 tary bands. 'Y\\e^ piccolo ox octave flute 
 sounds an octave higher than the ordi- 
 nary flute. Consult Prout's "Orches- 
 tra," and A. Elson's " Orchestral In- 
 struments and their Use." 
 
 Flute. An organ-stop of the diapason 
 species, the tone of which resembles 
 that of the flute. 
 Flute a bee (Fr.) (floot a bek.) Flute 
 with a beak; the old English flute, with 
 a lip or beak; it was blown at the end. 
 The Recorders used in England in the 
 Elizabethan era. 
 
 Flute allemande (Fr.) (floot al-manhd.) 
 The German flute. 
 
 Flute, ancient. An instrument which 
 had some sort of a mouth-piece and 
 was double as well as single. It also 
 frequently was composed of two tubes 
 both played together. It is probable 
 that the Ancients possessed oboes and 
 bassoons calling them all by the name 
 Aulia or Tibia which we translate 
 Flutes. 
 
 Flute, Boehm (b6m.) An instrument 
 invented by M. Boehm, of Germany, in 
 1834. It differs from the common 
 flute in having the size and location of 
 the holes arranged in their natural 
 order with keys. 
 
 Flute conique (Fr.) (floot kon-ek.) 
 
 Conical flute ; an organ-stop. 
 Flute d'allemande (Fr.) (floot d'al- 
 
 manhd.) A German flute. 
 
 Flute d'amour (Fr.) (floot d'a-moor.) A 
 flute, the compass of which is a minor 
 third below that of the German flute ^ 
 the name is also applied to an organ- 
 stop of 8 or 4-foot scale. 
 
 Flute douce (Fr.) (floot dooss.) Soft flute ; 
 the flMe d bee; there were four kinds,, 
 the treble, alto, tenor, and bass. 
 
 Flut^e (Fr.) (floo-ta.) Soft, sweet. 
 
 Flute, German. See Flute. 
 
 Flute, harmonique (Fr.) floot har, 
 monhn-ek.) See Harmonic Flute. 
 
 Flute, octave. A flute the tones of which 
 range an octave higher than the regu- 
 lar flute ; the piccolo. 
 
 Flute octaviante (Fr.) (floot ok-ta-vi- 
 
 anht.) Octave flute; an organ-stop. 
 Flute, ouverte (Fr.) (floot oo-var.) An. 
 
 organ-stop of the diapason species. 
 Flute, pastoral. ) A flute shorter 
 Flute, sheperd's. ) *an the transverse 
 
 flute, and blown through a lip-piece 
 
 at the end. 
 Fluter (Fr.) (floo-ta.) To play the flute. 
 Flute transverse. The German flute. 
 
 Flute traversifere (Fr.) (floot trav-er-si- 
 ar.) The transverse or German flute. 
 
 Flute-work. In the organ, the flute- 
 work includes all flue-stops not belong- 
 ing to the principal-work and gedacfr: 
 work, as well as various modifications 
 of these two groups. 
 
 FSt;(Fr.)(floo-test.)!^^"'^P'^y''^' 
 
 Fluttuan. An organ-stop with a tone 
 resembling a horn. 
 
 Flying cadence. See False Cadence. 
 
 F moll (Ger.) (ef moll.) The key of F 
 minor. 
 
 F6co (It.) (f5-k6.) 
 Also Fuoco. 
 
 Fire, ardor, passion. 
 
 Focosam^nte (It.) (fo-ko-za-men-te.) 
 Ardently, vehemently. 
 
 Focosissimo (It.) (fo-k6-««-se-mo.) Very 
 ardently ; with a great deal of passion. 
 
 Focdso (It.) {io-ko-zo.) Fiery, passion- 
 ate. 
 
 a as in a;4; a as in hate ; a as 'mat; e asm free; e asm eh; i as in pine; las in pin; 
 
 114 
 
FOGLI^TTO 
 
 FORM 
 
 FogUato (It.) {idl-ye-ei-to.) Copy of 
 the first violin part, in which the sil/o 
 passages of the other instruments, the 
 voice parts, and the cues for the en- 
 trance of different instruments, are 
 indicated for the use of the leader. 
 
 Fois (Fr.) (fwa.) Time. 
 
 Fois, deuzieme (Fr.) (fwa dii-zi-am.) 
 The second time. 
 
 Fois, premi&e (Fr.) (fwa prem-i-ar.) 
 The first time. 
 
 Folatre (Fr.) {io-ldtr.) Frolicsome, 
 wild, playful. 
 
 Folio, music. A case for holding loose 
 sheets of music ; a wrapper used in a 
 music-store for the convenience of 
 classifying the music. 
 
 Fondamentdle (It.) (fon-da-"| 
 
 men/ale.) I Funda- 
 
 Fondamentale (Fr.) (fonh- [ mental ; 
 da-manh-&7.) , J 
 
 fundamental bass. 
 
 Fondam^nto (It.) (fon-da-»2^K-to.) The 
 fundamental bass ; the roots of the 
 harmony. 
 
 Fond d'orgue (Fr.) (fonh d'org.) The 
 most important stop in an organ, called 
 in England the " open diapason, 8-foot 
 scale." In Germany this is called the 
 " 8-foot principal." 
 
 Foot. I. A certain number of syllables 
 constituting a distinct metrical element 
 in a verse. In very old English music 
 it was a kind of drone accompaniment 
 to a song which was sustained by 
 another singer. 2. That part of an 
 organ-pipe below the mouth. 3. The 
 unit of measure in organ-pipes, 
 open-pipe 8-foot long sounds, pa^- 
 and if a series of organ- 1-^- 
 pipes begin with this tone ^S- 
 
 giv'en by such a pipe, we call the 
 series " 8-foot tone." Any stop sound- 
 ing its actual pitch (as a piano- 
 key would do), is called " 8-foot." 
 If sounding an octave higher, " 4-foot," 
 two octaves higher, " 2-foot," an oc- 
 tave lower " 16-foot," etc. 1 ^y I 
 The sound - waves of \- ^ j 
 being eight feet long, of the S"- 
 octave lower sixteen feet, the octave 
 higher four feet, etc. See Pole's 
 "Philosophy of Music," and Zahm's 
 " Sound and Music." 
 
 Fork, tuning. A small steel instru- 
 
 5 as in tone ; 6 as in dove ; 6 as in not 
 
 An 
 
 ment with two tines and a handle, used 
 for ascertaining the pitch of any given 
 tone. Tuning-forks were invented by 
 John Shore, a sergeant trumpeter in 
 the English army, in 171 1. The early 
 forks were always dated, which helps 
 us greatly in ascertaining the ancient 
 pitches. Tuning-forks generally sound 
 
 a or a', , — e ,. for orchestral pur- 
 
 : and c or c* 
 
 poses 
 for tun- 
 
 ing pianos 
 Inventions have 
 
 f 
 
 and organs. 
 
 been made by which the pitch of the 
 
 tuning-fork can be changed to any 
 
 note. 
 
 Forlana (It.) (for-Za-na.) ) A lively 
 Forlane (Fr.) (ior-ldn.) ] Venetian 
 
 dance in f time, used by the gon- 
 doliers. It is introduced in Pon- 
 chielli's " La Gioconda." 
 
 Form. Although modem music has be- 
 come very vague in its shapes and 
 frequently eludes analysis, yet there is 
 in most music a definite architecture 
 that can be studied as readily as the 
 shape of a building. " Architecture is 
 frozen music," and the converse of this 
 proposition is also true, for every clas- 
 sical work and almost every bit of 
 folk-song has a clear and recognizable 
 shape. Musical form generally pos- 
 sesses two elements — contrast and 
 symmetry. In a simple period there 
 are two divisions in contrast and bal- 
 ance. See Antecedent and Consequent. 
 This in itself makes a complete shape, 
 as follows : 
 
 Antecedent. 
 Andante con motto- 
 
 r r r r r 
 
 ^I^E ^^^ ^- 
 
 ; ii as in «/ ; ii the French sound of u. 
 IS 
 
FORM 
 
 FORM 
 
 Starting from this as a unit, we can 
 build a larger form by balancing two 
 such periods against each other, end- 
 ing the first in any key, but returning 
 to the tonic key at the end of the 
 second period. " Annie Laurie " is an 
 example of the form of two periods. 
 Another principle now comes into play, 
 as the forms grow larger. This is 
 to end as we began, thus bringing sym- 
 metry more strongly to the foreground. 
 This can be attained even in the form 
 of two periods by causing the conse- 
 quent of the second period to repeat 
 (with alterations) the antecedent phrase 
 of the first period. " The Blue Bells 
 of Scotland," "The Last Rose of 
 Summer," "Auld Lang Syne," "Drink 
 to Me Only with thine Eyes," " The Old 
 Folks at Home," and a host of folk- 
 songs are built upon this model. The 
 principle of ending as we began is car- 
 ried still further in the form of three 
 divisions in which the entire first 
 period returns. 
 
 Div. I. First period. 
 Antecedent. 
 Very lively. 
 
 ^^^^^^^ 
 
 V Con- 
 
 Div. 1 1 . Middle Part (episode.) 
 
 Div. III. Return of first period. 
 
 ^^^^^m 
 
 In this form of three divisions the 
 second division may be a symmetrical 
 period, a countertheme, or it may be a 
 free interlude without a cadence (as 
 above) — an episode. In the return of 
 the first period (the third division), 
 the antecedent is usually presented 
 exact, or nearly so, but the consequent 
 may be freely altered and even a new 
 consequent may appear. Without 
 dwelling upon the variants of this 
 three-division form which is very freely 
 used in drawing-room mu-^iic (see 
 Mendelssohn's " Songs without Words" 
 for many examples) we pass to a still 
 larger form of three divisions. The 
 forms above described are generally 
 called " Song-forms." By placing two 
 of these complete song-forms in con- 
 trast with each other, in a single com- 
 position, we obtain a larger form which 
 we call " Minuet-form " or " Song-form 
 with Trio." The shape of this is as 
 follows: Part I. A complete song- 
 form of two or three divisions. Part 
 II. Another complete song-form of 
 from one to three divisions. This is 
 called the Trio, from the fact that 
 in the eighteenth century the contrast- 
 ing piece was generally in three-part 
 harmony. It is most frequently in the 
 
 S as in a^ / a as in hate ; a as in at ; e as in tree; S as in < 
 
 ii6 
 
 ! / i as in pine ; i as in fin; 
 
f6rte 
 
 FREE COMPOSITION 
 
 subdominant key. Part III. A re- 
 turn of Part I, either complete or its 
 first period only. If the abbreviated 
 form is used the trio should be larger 
 than a single period. See Chopin's "Po- 
 lonaise in A," for full form. Another 
 form, a simple " second rondo," 
 although sometimes called a " five-part 
 song-form," is made as follows : Div. 
 I. A period. Div. 2. Another period, 
 in contrast. Div, 3. The first period 
 again. Div. 4. A second contrasted 
 period, (Afferent from Div. 2. Div. 5. 
 A return of the first period, once more. 
 Schumann made a still larger form 
 from this by having each of the above 
 divisions complete song-forms, thus 
 making a song-form with two trios. 
 Larger forms still were evolved from 
 the cycle-forms (which see) of the 
 seventeenth and eighteenth centuries. 
 In these, the Suite, Partita, etc., sev- 
 eral different movements were placed 
 in contrast with each other. See 
 Suite, Sonata, Symphony. Consult 
 Parry's " The Evolution of the Art of 
 Music," Goetschius' " Lessons in Music 
 Form," and Elson's " Theory of Music," 
 for fuller details. 
 
 F6rte (It.) (/or-te.) Loud, strong. 
 
 Foitement (Fr.) (/ort-manh.) ^ Loudly, 
 
 Fortem^nte (It.) {foi-te-men- [ power- 
 te.) ) fully, 
 
 vigorously. 
 
 Forte mezzo (It.) (f or-te ma-zo.) With 
 medium power. 
 
 Fort^zza (It.) {for-tet-za..) 
 power, strength. 
 
 F6rte-pi4no (It.) (for-te-pe-a- 
 
 n5.) 
 Forte-piano (Fr.)(fortpi-a-no.) 
 Forte-piano (Ger.) (Jvr-te pi- 
 
 a-no.) 
 F6rte possibile (It.) (/or-te pos-«-be-le.) 
 
 As loud as possible. 
 Fortiss. An abbreviation of Fortissimo. 
 
 Fortissimo (It.) (f5r-/#j-se-m6.) Very 
 loud. 
 
 Fortissimo qtianto possibile (It.) (for- 
 /CT-se-mo quan-to pos-ji-be-le.) As 
 loud as possible. 
 
 Fortsetznng (Ger.) (y^?-^set-soong.) A 
 continuation. 
 
 Fortsingen (Ger.) (/o?-<-sing-en.) To 
 continue singing. 
 
 O as in tone ; 6 as in dove ; 8 as in not ; 
 
 I 
 
 Force, 
 
 The 
 piano- 
 forte. 
 
 F6rza (It.) {fort-&& ) Force, strength, 
 power. 
 
 Forzdndo (It.) (f6r-/ja«-d6.) ) Forced ; 
 
 Forzdto (It.) {ior-isd-io.) ) laying a 
 
 stress upon one note or chord ; some- 
 times marked A > . 
 
 Forzare (It.) (for- tsd-re.) To strengthen ; 
 to force. 
 
 Fourchette tonique (Fr.) (foor-shet tonh- 
 ek.) A tuning-fork. 
 
 Fourth. A distance comprising three 
 diatonic intervals; that is, two tones 
 and a half. 
 
 Fourth, augmented. An interval con- 
 taining three whole tones. 
 
 Fourth flute. A flute sounding a fourth 
 higher than the concert flute. 
 
 Fourth, perfect. An interval containing 
 two whole tones arid a semi-tone, 
 
 Fran(:aise (Fr.) (ix'a.n\i-saye.) A grace- 
 ful dance in j time. 
 
 Franpaise (Fr.) (franh-j(&2.) 1 French; 
 
 Franz^se (It.) (fran-^ja-ze.) in the 
 
 Franzosisch (Ger.) (frant-j,^- ( French 
 zish.) J style. 
 
 Franch^zza (It.) [han-ket-za.) Freedom, 
 confidence, boldness. 
 
 Frapp^ (Fr.) (frap-pa.) Stamping; strik- 
 ing : a particular manner of beating 
 time or striking notes with force. 
 
 Frapper (Fr.) (frap-pa.) To beat the 
 time ; to strike. 
 
 Frdsi (It.) (/>-a-ze.) Phrases; short 
 musical passages. 
 
 Frauenchor (Ger.) A female chorus. 
 Frauenstimme (Ger.) (frow-en-stim-me.) 
 A female voice. 
 
 Freddamente (It.) (fred-de-m^K-te.) 
 Coldly ; without animation. 
 
 Fredd^zza (It.) {ixeA-de-tsa.) Coldness, 
 frigidity. 
 
 Fr^ddO (It.) {fred-6.0.) Cold; devoid 
 of sentiment. 
 
 Fredon (Fr.) (fre-donh.) Trilling; a 
 flourish, or other extemporaneous orna- 
 ment. 
 
 Fredonner (Fr.) (fre-donh-na.) To trill ; 
 to shake ; also, to hum ; to sing low. 
 
 Free composition. In a free style ; a com- 
 position not in strict accordance with 
 the rules of musical art. 
 
 S as in up; ii the French sound of u. 
 
 17 
 
FREE REED 
 
 FUGA SOLUTA 
 
 Free reed. A reed-stop in an organ, in 
 which the tongue by a rapid vibratory 
 motion to and fro produces the sound. 
 The tone of s^free reed is smooth and 
 free from rattling, but not usually so 
 strong as that of the striking reed. 
 
 Fregiare (It.) (fra-je-a-re.) To adorn ; to 
 embellish. 
 
 Fregidto (It.) (fre-je-a-to.) Embellished, 
 ornamented. 
 
 Fregiatura (It.) (fre-je-a-^^o-ra.) An 
 ornament ; an embellishment. 
 
 Frei (Ger.) (fri.) Free; unrestrained as 
 to style. 
 
 Freie schreibart (Ger.) (/?-2-e shrlb-axt.) 
 Free style of composition. 
 
 Fr^missement (Fr.) (/rJ-mess-manh.) 
 Humming; singing in a low voice; a 
 murmur. 
 
 French horn. See Horn. 
 
 French sixth. One form of an aug- 
 mented sixth; a chord 
 
 ^^e; 
 
 composed of amaj or third, E 
 extreme fourth, and ex- 
 treme sixth. See Extreme. 
 
 French treble clef. The G clef on the 
 lowest line of the staff, formerly much 
 used in French music for violin, flute, 
 etc. See Clef. 
 
 Frescam^nte (It.) (fres-ka-OT^«-te.) ) 
 Frisco (It.) (/r/j-ko.) ) 
 
 Freshly, vigorously, lively. 
 
 Fr^tta (It.) {fretXa.:) Increasing the 
 time ; accelerating the movement. 
 
 Frets. Short pieces of wire, wood, or 
 ivory, fixed on the finger-board of 
 guitars, etc., which, as the strings are 
 brought in contact with them by the 
 pressure of the fingers, serve to vary 
 and determine the pitch of the tone. 
 
 Freude (Ger.)(/?-i7j/-de.) Joy, rejoicing. 
 
 Freuden-gesang (Ger.) (froy-^n ge- 
 sang.) A song of joy. 
 
 Freudig (Ger.) {/roy-d\g.) Joyfully. 
 
 Freudigkeit (Ger.)(/?-<)y-dig-kit.) Joyful- 
 ness, joyousness. 
 
 Friedens marsch (Ger.) (//-^-d'ns marsh.) 
 A march in honor of peace. 
 
 Frisch (Ger.) (frish.) Freshly, briskly, 
 lively. 
 
 a as in ak ; a as in hate ; S as ina^y e as in tree ; 6 as in M/ X^&vcipine ; i as vafin; 
 
 ii8 
 
 Frivolo (It.) (/r^vo-lo.) Frivolous; 
 trifling, trashy. 
 
 Frogesang (Ger.) (fro-ghe-sang.) A joy- 
 ous song. 
 
 Frdhlich (Ger.) (/r^-likh.) Joyous, gay. 
 
 Frohlichkeit (Ger.) (/rrf-likh-kit.) Joy- 
 fulness, gayety. 
 
 Frohnamt (Ger.) (/ran-amt.) High Mass. 
 
 Frosch (Ger.) (frosh.) The lower part or 
 nut of a violin bow. 
 
 Fr6ttola (It.) {/rdt-to-Vi.) A ballad ; a 
 song. 
 
 Friihlingslied (Ger.) (/ra-lings-led.) 
 Spring song. 
 
 Friihmesse (Ger.) (/?-«-mes-se.) Matins ; 
 early Mass. 
 
 F schliissel (Ger.) {M-sA/us-s'l.) The F 
 or bass clef. 
 
 Fliga (It.) (/ffff-ga.) A JigAt; a chase. 
 
 See Fugue. 
 Fuga authentica (Lat.) (^7-ga.aw-M/«- 
 
 ti-ka.) A fugue with an authentic theme 
 
 or subject. 
 Fugo canonica (Lat.) (/a-ga ka-«ife-i- 
 
 ka.) A canon. 
 
 Fliga contraria (Lat.) (/a-ga kon-Zra-ri- 
 a.) A fugue in which the answer is 
 generally inverted. 
 
 Fliga doppia (It.) (foo-ga i/o^-pe-a.) A 
 
 double fugue. 
 Fliga irregularis (Lat.) (fuga ir-reg-ii-/o- 
 
 ris.) An irregular fugue. 
 Fliga libera (Lat.) (fu-ga /ri5-e-ra.) A free 
 
 fugue. 
 
 Fliga mixta (Lat.) (fu-ga mix-'Ci,.) A 
 mixed fugue. 
 
 Fliga obligata (Lat.) (fu-ga 6b-li-ga-ta.) 
 A strict fugue. 
 
 Fuga plagale (It.) {foo-ga. pla-.fiji-le.) A 
 fugue with a.plagal theme or subject. 
 
 Fliga propria (Lat.) (fu-ga /rJ pri-a.) A 
 regular fugue strictly according to 
 rule. 
 
 Fugara (Lat.) {Va-gd-ri..) An organ-stop 
 of the gamba species. 
 
 Fliga ricercita (It.) {foo-ga. re-tshar-j5a- 
 ta.) A fugue with many contrapuntal 
 devices. 
 
 Fliga scidlta {lt.)( foo-ga. she-o/-ta.) ) A 
 Fliga soluta (Lat.) {fH-ga. s6-/«-ta.) ) ^"^66 
 fugue. 
 
FUGATO 
 
 FUGUE 
 
 FugdtO (It.) (foo-^a-to.) In the style of 
 a fugue. 
 
 Fuge (Ger.) (>«-ghe.) ) , 
 
 Fugha (It.) (/o»-ga.) 5 ^ ■ 
 
 Fughftta (It.) (foo-^rf-ta.) A short 
 fugue. 
 
 Fughetten (Ger.) (ioo-g-M-t'n.) Fugues. 
 
 Fugirtes (Ger.) (foo-^«^?--tes.) I In the 
 
 Fugirt (Ger.) (ioo-geeri.) ) f u g u e 
 
 style; fugirt is also applied to the 
 
 ranks of a mixture-stop in an organ. 
 
 Fugitive pieces. Ephemeral, composi- 
 tions. 
 
 Fugue (fiig.) A term derived from the 
 Latin word fuga, a flight. It is a 
 composition in the strict style, in which 
 a subject is proposed by one part and 
 answered by other parts, according 
 to certain rules. The old canons were 
 called fugues. Fugues can be classi- 
 fied as follows : i . According to the 
 number of voices appearing, as " a two- 
 voiced fugue," "a three-voiced fugue," 
 etc. 2. According to the number of 
 subjects; a fugue with one subject is a 
 " single fugue," one with two subjects is 
 a " double fugue," etc. 3. According to 
 the exactness of the answer ; an answer 
 that exactly imitates the subject on the 
 degree of the dominant, constitutes a 
 " real fugue," while an answer which 
 has some alterations from the subject, 
 in order to keep it in the " tone " or 
 key of the composition, constitutes a 
 tonal fugue. 4. According to the 
 modulations and scale-form of the com- 
 position ; a fugue which keeps within 
 the diatonic progressions is called a 
 " diatonic fugue," while one which has 
 chromatic progressions in its subject 
 and answer is a "chromatic fugue." 
 There are also fugues written in the old 
 Greek scales (similar to the Gregorian 
 tones) and these are called by the 
 names of these scales as a "doric 
 fugue," etc. 5. According to the style 
 of the answer,which may be inverted or 
 augmented, producing an inverted or 
 augmented fugue. Finally, a fugue 
 may be strict or free, according to the 
 style of its treatment. Fugues differ 
 very greatly in their construction, but 
 in one point they are all alike ; every 
 fugue is a contrapuntal development of 
 the subject which is announced quite 
 alone at the beginning. Most fugues 
 
 use more than this material ; they 
 develop the entire exposition. This 
 exposition is made up of : ist. The 
 subject, which is a figure or phrase, not 
 a complete melody. 2d. The answer, 
 which is the subject reproduced on the 
 degree of the dominant, either above 
 or below. 3d. The counter-subject, 
 which is a contrasted phrase, accom- 
 panying the subject or the answer, from 
 the entrance of the second voice. One 
 shape of four-voiced expositions in a 
 strict fugue may be presented as fol- 
 lows : 
 
 Soprano - 
 Alto 
 
 Tenor - 
 
 Answer. 
 
 Counter- 
 }ject. 
 
 Subiec. {Co- 
 
 -Answer {'^^^^- Free part. 
 
 Bass Subject { ^^i"^"" Free part Free part. 
 
 But there are many more free than the 
 above. The moment that the exposi- 
 tion is ended (there is no pause) the 
 voices go on to treatment of the matter 
 presented. Every device of counter- 
 point is used, so that the fugue becomes 
 the most intellectual composition in 
 music. Episodes may occur, in which 
 we find interesting derivations from 
 figures of the first part ; strettos may be 
 found in which the subject and answer 
 overlap each other, as in a canon. The 
 normal fugue is made of an alternation 
 of strettos (strict) and episodes (free). 
 In Bach's " Well - tempered Clavi- 
 chord," Vol. II, No. 9, there is an 
 example of this. No. 5, in the same 
 volume, is another. Sometimes the 
 fugue does not attempt stretto work at 
 all, but is made (a free fugue) of epi- 
 sodes. See No. 12 of the same vol- 
 ume. Sometimes a fugue can be 
 made wholly of strettos without epi- 
 sodes, as in the same work, Vol. I, 
 No. I. Sometimes the strettos become 
 absolute canons, as in Vol. II, No. 7 
 (Mozart's favorite fugue) : but which- 
 ever mode of treatment is followed, the 
 body of the fugue is logically derived 
 from .the exposition, there are no full 
 cadences, no complete melodies, and no 
 repetitions of any divisions. An organ- 
 point is given in some fugues near the 
 end, and the last division is an episode 
 which is called The Coda. In some 
 fugues the counter-subject is regularly 
 worked up with the subject and answer. 
 See Well-tempered Clavichord, Vol. II, 
 
 5 as in- tone ; d as in dove ; 6 as in not ; ii as in »^ / ii the French sound of a^ 
 
 119 
 
FUGUE, COUNTER 
 
 FUR DIE LINKE HAND ALLEIN 
 
 No. 9, for example of this. In others, 
 there is no regular recurring counter- 
 subject. See Vol. II, No. 7, for this. 
 Some fugues are chiefly developed by 
 double or triple counterpoint (see Vol. 
 
 I, Nos. 2, 3, and 10, for this) not relying 
 upon strettos in any degree. A stretto 
 driven through all the voices at regular 
 time-distance and intervals, forming a 
 short canon, is called a Stretto Maes- 
 irale, or Masterly Stretto. See Vol. 
 
 II, No. s, in the final stretto, for an 
 example of this. The double fugue 
 is two fugues going on at the same 
 time ; that is, it presents two subjects 
 and two answers, worked up simultane- 
 ously. For examples of this, see the 
 " Kyrie EleiEon " of Mozart's Requiem 
 or the finale of the second part of 
 Haydn's "Creation." For further 
 details regarding fugues see Prout's 
 " Fugue " and " Fugal Analysis," 
 Higg's " Primer of Fugue," and Boek- 
 elman's colored edition of " Bach's 
 Fugues." 
 
 Fugue, counter. A fugue in which the 
 subjects move in contrary directions. 
 
 Fugue, double. A fugue on two sub- 
 jects. 
 
 Fugue rerivers^e (Fr.) (fiig ranh-ver-j^.) 
 A fugue, the answer in which is made 
 in contrary motion to that of the sub- 
 ject. 
 
 Fugue, simple. A fugue containing but 
 a single subject. 
 
 Fugue, strict. A fugue in which the 
 fugal form and its laws are strictly 
 observed. 
 
 Fiihrer (Ger.) {fiih-xer.) Conductor, 
 director; also the subject or leading 
 theme in a fugue. 
 
 Full. For all the voices of instruments. 
 
 Full anthem. An anthem in four or 
 more parts, without verses or solo pas- 
 sages ; to be sung by the whole choir 
 in chorus. 
 
 Full band. A band in which all the in- 
 struments are employed. 
 
 Full cadence. See Perfect Cadence. 
 
 Fiill flote (Ger.) (y«/ flo-te.) Filling- 
 flute; a stopped organ-register of 4- 
 foot tone. 
 
 Full orchestra. An orchestra in which 
 all the orchestral stringed and wind 
 
 Full organ. An organ with all its re- 
 gisters or stops in use. 
 
 Full score. A complete score of all the 
 parts of a composition, vocal or instru- 
 mental, or both combined, written on 
 separate staves placed under each 
 other. 
 
 Full service. A service for the whole 
 choir in chorus. 
 
 Fundamental. An epithet applied to a 
 chord when its lowest note is that from 
 which the chord is derived. 
 
 Fundamental bass. The name given to 
 any bass note when accompanied with 
 the chord derived from that note. 
 Fundamental chord. A chord whose 
 lowest note is that from which the 
 chord is derived. 
 Fundamental note. The note on which 
 
 the chord is constructed. 
 Fundamental tones. The tonic, domi- 
 nant, and subdominant of any scale or 
 key. 
 Funebre (Fr.) {ivi-nabr>j \ Funereal, 
 
 Funerdle (It.) (foo-ne-ra-le.) > mourn- 
 Fun^reo (It.) (foo-«<f-re-o.) ) f"'- 
 Funestamente (It.) (foo-nes-t'a-»2^«-te.) 
 
 Mournfully. 
 Fiinf (Ger.) (funf.) Five. 
 
 Fiinf-fach (Ger.) {funf fakh.) Five- 
 fold; five ranks; speaking of organ- 
 pipes. 
 
 Fiinf-stimmig (GeT.) {funf stim-mig.) 
 For five voices. 
 
 Funzi6ne (It.) (foont-se-o-ne.) Func- 
 tion, or ceremony in a church. 
 
 Funzi6ni (It. pi.) (foont-se-o-ne.) Ora- 
 torios, Masses, and other sacred musi- 
 cal performances in the Roman Catho- 
 lic Church. 
 
 Fu6co (It.) (foo-o-ko.) Fire, energy, 
 passion. 
 
 Fuoc6sO (It.) (foo-6-/5J-z6.) Fiery, 
 ardent, impetuous. 
 
 Fiir (Ger.) (fur.) For. 
 
 Fiir das ganze werk (Ger.) (fiir das-, 
 
 gdnt-se vark.) [ 
 
 Fiir das voile werk (Ger.) (fiir dlsfol- f" 
 
 le vark.) ' 
 
 For the full organ. 
 
 Fiir die linke hand allein (Ger.) (fiir de 
 
 instruments are employed 
 Aasiaah; a. 3,5 in hate; a. 2iS\n at; I as in tree ; g as in i?/4 ; i as in fine ; i as in pin; 
 
 120 
 
FUR DIE RECHTE HAND ALLEIN 
 
 GAMME 
 
 /fe-ke hand ai-Iin.) 
 alone. 
 
 For the left hand 
 
 Fiir die rechte hand allein (Ger.) (fiir de 
 rekh-te hand al-/i».) For the right 
 hand alone. 
 
 Fureur (Fr.) (fn-riir.) ) Fury, passion, 
 
 Furia (It.) {/oo-re-a..) ) rage. 
 
 Furib6ndO (It.) (foo-re-*ff«-do.) Furi- 
 ous ; mad ; extreme vehemence. 
 
 Furie (Fr.) (fU-re.) Fury, passion. 
 
 Furieusement (Fr.) (fii-riuz-manh.) \ 
 
 Furiosam^nte (It.) (ioo-ie-o-zz-men- > 
 te.) ) 
 
 Furiously, madly. 
 
 Furiosissimo (It.) (foo-re-6-j«-se-mo.) 
 
 Very furiously. 
 Furi6so (It.) (foo-re-o-zo.) Furious, 
 
 vehement, mad. 
 Furlindo (It.) (foor-/a«-d6.) ) The for- 
 Furlino (It.) (foor-/a-n6.) jlana; the 
 
 gondolier's dance in Venice. 
 
 Furniture stop. An organ-stop consis- 
 ting of several ranks of pipes, of very 
 acute pitch. A mixture-stop. 
 
 Fur6re (It.) (foo-r^-re.) Fury, rage, 
 passion. 
 
 Fusa (Lat.) (^-sa.) An eighth note. 
 
 Fuste (Fr.) (fii-za.) A very rapid rou- 
 lade or passage ; a skip, etc. 
 
 Fusella (Lat.) (fu-j/Ala.) Name for- 
 mally applied to the demisemiquaver. 
 
 Fuss (Ger.) (foes.) Foot ; the lovrer 
 part of an organ-pipe. 
 
 Fiisse (Ger. pi.) (/iis-se.) Feet. 
 
 Fiissig (Ger.) (Jiis-sig.) Footed; 8-fiissig, 
 of 8-foot pitch. 
 
 Fusston (Ger.) (foas-ton.) The ione, or 
 /ii'tcA ; as %-Fusston, a pipe of 8-foot 
 tone. 
 
 Fz. An abbreviation of Forzando. 
 
 G 
 
 G. The fifth note of the normal scale of 
 C, called Sol. The lowest or fourth 
 string of a violin, the third of the viola 
 and violoncello. The key-note of the 
 major scale, having one sharp in the 
 signature. The letter-name of the 
 treble clef. 
 
 G (Fr.) {abb. iox gauche >j Left ; as, 
 with the left hand. 
 
 m.g., 
 
 Gagliirda (It.) (gal-ye-a>-da.) A gal- 
 
 liard. 
 Gagliardam^nte (It.) (gal-ye-ar-da-»«««- 
 
 te.) Briskly, gayly. 
 Gaglidrdo (It.) (gal-ye-aV-do.) Brisk, 
 
 merry, gay. 
 Gai (Fr.) (ga.) Gay, merry. 
 Gaiement (Fr.) (ga-manh.) ) Merrily, 
 Gaiment (Fr.) (ga-manh.) ) lively, gay. 
 Gaillarde (Fr.) {ga.-yard.) Merry, brisk ; 
 
 also 2Lgalliard. 
 Gaillardement (Fr.) (ga-^aV^Z-manh.) 
 
 Merrily, briskly. 
 Gaio (It.) (ga-e-o.) With gayety and 
 
 cheerfulness. 
 Gija (It.) (ga-j/a.) ) 
 g4o (It.) (ga-yo.)[^"y''"^"y'''"^'y- 
 Gajamente (It.) (ga-ya-OT««-te.) Gayly, 
 
 cheerfully. 
 GaUnte (It.) (ga-/3»-te.) ) 
 
 Galantem^nte (It.) (ga-lan-te-?«,f«-te.) ) 
 
 Gallantly, boldly. 
 Galanterie-fuge (Ger.) (ga-lan-te-r^* 
 
 foo-ge.) A fugue in the free style. 
 Galanterien (Ger. pi.) (ga-lan-te-?'«-en.) 
 
 The ornaments, turns, trills, etc., with 
 
 which the old harpsichord music was 
 
 embellished. 
 Galanterie-stiicke (Ger. pi.) (ga-lan-te- 
 
 ree-stii-Vk^i Pieces in the free orna- 
 mental style. 
 
 Galliard. A lively old dance in triple 
 time, formerly very popular. It was 
 possibly the parent of the minuet, but 
 was much quicker than that dance. 
 
 Galop (Fr.) (gdl-o.) A quick dance, 
 generally in | time. 
 
 Galopade (Fr.) (gal-o/<iV.) ^ 
 
 Galopp (Ger.) (gal-^/.) > A galop. 
 
 GaWppo (It.) (ga-/o?»-p5.) * 
 
 Gamba (It.) (gam-ba.) The mol di 
 gdmba. See that term. 
 
 Gamba-bass. A 1 6-foot organ-stop, on 
 the pedals. 
 
 Gdmba major. A name given to a 16- 
 foot organ-stop or double gamba. 
 
 Gambe (Ger.) (^aw-be.) Viol di gamba. 
 
 Gamma (It.) (gam-ma..) J^ The gamut or 
 
 scale. 
 
 Gamme (Fr.) (gam.) ) 
 as in tone; 6 as in dovej 8 as in not; ii as in up; ii the French sound of «. 
 
 121 
 
GAMME CHROMATIQUE 
 
 GEDACT 
 
 Gamine chromatique (Fr.) (gam kro- 
 
 mat-«^.) The chromatic scale. 
 Gamut. The scale of notes belonging to 
 
 any key ; the lines and spaces on which 
 
 the notes are placed. 
 Gamut G. That G which is on the first 
 
 line of the bass staff. 
 
 Gamut, Guide's. The table or scale in- 
 troduced by Guido, and to which he 
 applied the syllables ut, ra, mi, fa, sol, 
 la. It consisted of twenty notes, 
 namely, two octaves and a major sixth, 
 the first octave distinguished by the 
 capital letters, G, A, B, etc., the second 
 by the small letters, g, a, b, etc., and 
 the major sixth by double letters, gg, 
 aa, bb, etc. 
 
 Ganasci6ne (It.) (gan-a-she o-ne.) An 
 Italian lute. 
 
 Gang (Ger.) (gang.) Pace; rate of 
 
 movement or motion. 
 Ganz (Ger.) ( gants.) Whole, entire ; 
 
 also, all, very. 
 Ganz langsam (Ger.) {gdnis Idng-saxa.) 
 
 Very slowly. 
 Ganze note (Ger.) (gdn-ise no-te.) A 
 
 •whole note, or semibreve. 
 Ganzer ton (Ger.) (^a»-tser ton.) A 
 
 whole tone. 
 Ganzes-werk (Ger.) (^a'K-tses vark.) 
 
 The full organ. 
 Garbatam^nte (It.) (gar-ba-ta-»«<?«-te.) 
 
 Gracefully. 
 Garbdto (It.) (gar-*a-t5.) Graceful. 
 Garbo (It.) {gdr-Mb.) Simplicity, grace, 
 
 elegance. 
 Gariglione (It.) (ga-rel-ye-»-ne.) Chime; 
 
 musical bells. 
 Garrire (It.) (gar-«-re,.) To chirp; to 
 
 warble like a bird. 
 GastroUen (Ger.) (gas-trol-rn.) A term 
 
 applied to the r&les of a singer or actor 
 
 on a starring expedition. 
 Gauche (Fr.) (gozh.) Left. 
 Gauche, main (Fr.) (gozh manh.) The 
 
 left hand. 
 
 P 
 
 Gaud^nte (It.) (gow-(^««-te.) Blithe, 
 merry, sprightly. 
 
 Gaudentemtete (It.) (gow-den-te-OT^«- 
 te.) Merrily, joyfully. 
 
 Gaudioso (It.) (gow-de-c-z6.) Merry, 
 joyful. 
 
 S as in ah; a as in hate ; S as in a/; %^\\\tree ; 6 as in ^/4; iasin/»«ir,- ias 'm pin ; 
 
 122 
 
 Gavot (Eng.) {gi-vSt.) x Even rhythm, 
 Gavfitta (It.) {gi.-vdt-\:i..) \ generally 
 Gavotte. (Fr.) (ga-vot.) ) quadruple. 
 The character of this dance should be 
 genial and skipping. It should, prop- 
 erly, begin on the third beat, which re- 
 sults in a mild syncopation which is 
 one of the charms of the gavotte. The 
 phrases are generally, short. Some 
 gavottes have a musette as second part 
 (or trio), the character of which should 
 always be rustic. The musette has 
 generally a drone-bass, which imitates 
 the bagpipe. 
 
 Gazzarra (It.) (gat-zar-ra.) Rejoicings 
 with music and cannon. 
 
 G clef. The treble clef; a 
 character representing the 
 letter G which invariably turns 
 on the second line of the staff. 
 It determines the position of one-lined 
 G (g3) upon the staff. See Clef. 
 
 G double or double G. The octave below 
 
 G gamut. 
 6 dur (Ger.) (ga door.) The key of G 
 
 major. 
 
 Geberdenspiel (Ger.) (ghe-^ar-d'n-spel.) 
 Pantomine. 
 
 Geblase (Ger.) (ghe-^/o-ze.) Trumpet- 
 ing, blowing. 
 
 Geblase (Ger.) (ghe-Wa-ze.) Bellows; 
 apparatus for blowing. 
 
 Gebrochen (Ger.) (ghe-*?-o-kh'n.) Broken. 
 
 Gebrochene akkorde (Ger.) (ghe-*?-^-~| 
 kh'n-e 'ik-hor-de.) I 
 
 Gebr6chener accord (Ger.) {gh.e-iro- | 
 kh'n-er ak-horc/.) J 
 
 Broken chords ; chords played in ar- 
 peggio. 
 
 Gebunden (Ger.) (ghe-iaon-d'n.) Con- 
 nected, syncopated, in regard to the 
 style of playing or writing. 
 
 Gebundene note (Ger.) (ghe-^w»-de-ne 
 no-te.) A tied note ; a note which is 
 to be held and not repeated. 
 
 Geburts-lied (Ger.) (ghe-ioorts-\ed.) 
 Birthday song. 
 
 Gedackt (Gei.){ghe-ddMt.) ) Stopped; 
 Gedeckt (Ger.) (ghe-ifeiht.) \ in opposi- 
 tion to the open pipes in an organ. 
 
 Gedact. See Gedackt. 
 
GEDACKT-FLOTE 
 
 GELLENFLOTE 
 
 Gedackt-flote (Ger.) {^c-ddkht fd-te.) 
 
 Stopped flute, in an organ. 
 Gedeckte stimmen (Ger. pi.) (ghe-rfZ-i-te 
 
 stfm-men.) Stops with covered pipes, 
 
 as the stopped diapason. 
 Gedehnt (Ger.) (^ghe-ddni.) Lengthened. 
 
 Gedicht (Ger.) (^ghe-afiAi.) A poem ; tale; 
 
 foible. 
 Gefahrte (Ger.) (ghe-yZTr-te.) The an- 
 swer in a!> fugue. Also called Comes. 
 Gefallig (Ger.) (ghe-/<f/-Kg.) Pleasingly, 
 
 agreeably. 
 Gefiihl (Ger.) {^h-fiihl.) Sentiment, 
 
 expression. 
 Gegenbewegung (Ger.) (^d-g'n-be-z'<J'- 
 
 goong.) Contrary motion. 
 'Gegengesang (Ger.) {gd-g'n-^e-sdng.) 
 
 Antiphony. 
 Gegenstimme (Ger.) (^^-g'n-stim-me.) 
 
 Counter-tenor, or alto part. 
 •Gegensubject (Ger.) (^-a-g'n-soob-ject.) 
 
 Counter-subject, in a fugue. 
 Gehaucht (Ger.) {^s-howchi.) Whis- 
 pered ; sighed out. 
 Gehend (Ger.) {gd-exid.) A word refer- 
 
 ing to movement, and having the same 
 
 meaning as anddnte. 
 Geige (Ger.) (.jAf-ghe.) The violin. 
 Geigen (Ger.) (^ht-g'n.) To play on the 
 
 violin. 
 
 Geigen-blatt (Ger.) (^Ai^g'n blat.) The 
 finger-board of a violin. 
 
 Geigen-bogen (Ger.) {g/it-g'n-io-g'n.) 
 Violin-bow. 
 
 Geigen-clavicymbel. An 
 similar to a harpsichord. 
 
 mstrument 
 
 Geigen-futter (Ger.) 
 Case for a violin. 
 
 (gM-g'n foot-ter.) 
 
 Geigen-hals (Ger.) {ghl-^rv hals.) The 
 neck of a violin. 
 
 Geigen-harz (Ger.) ighi-^Vi harts.) Span- 
 ish resin ; hard resin. 
 
 Geigen-macher 
 violin-maker. 
 
 4f-g'n ma-kher.) A 
 
 ■Geigen-principal (Ger.) {ghi-^'o. prin-tsi- 
 /a7.) A German organ diapason stop 
 with a tone like that of the gamba, but 
 fuller. 
 
 {ghi-^rv say At.') 
 
 Geigen sattel (Ger.) (ghi-^r^ sat-t'l.) ) 
 
 Geigen-steg (Ger.) {ghi-g'n steg.) 5 
 
 The bridge of a violin. 
 
 Geigen-schule (Ger.) {ghi-^n shoo-le.) 
 A violin-school, or method of instruc- 
 tion. 
 
 Geigen-strich (Ger.) (g^t-g'n strikh.) A 
 stroke of the violin-bow. 
 
 Geigen-stiik (Ger.) (ghi-g'n. stiik.) A 
 tune for the violin. 
 
 Geigen-werk (Ger.) (gki-g^n vark.) 
 The celestina, an organ-stop of 4-foot 
 scale. 
 
 Geigen-wirbel (Ger.) C?/5f-g'n ver-b'l.) A 
 violin-peg. 
 
 Geigen-zug (Ger.) {^ki-g'n. tsoog.) A 
 violin-stop. 
 
 Geiger (Ger.) {ghi-^ex.) Violin-player. 
 
 Geistlich (Ger.) (^/4ij-Mikh.) Ecclesias- 
 tical, clerical. 
 
 Geistliche gesange (Ger.) (^/ilJ-?-likh-e 1 
 ge-sdn-ghe.) ' I 
 
 Geistliche lieder (Ger.) {ghist-V&ii-e le- \ 
 der.) _ J 
 
 Psalms, hymns, spiritual songs. 
 
 Geistreich (Ger.) (^/ijj^rikh.) ) Full of 
 
 Geistvoll (Ger.) {ghlst-ioX.) i soul and 
 of sentiment. 
 
 Geklingel (Ger.) (ghe-/i/r«.f-'l.) Tink- 
 ling ; ringing of a bell. 
 
 Gelassen (Ger.) (ghe-/oj-s'n.) Calmly, 
 quietly. 
 
 Gelassenheit (Ger.) (ghe/aj-'n-hlt.) 
 Calmness, tranquility. 
 
 Gelaufe (Ger.) (ghe-/»j'-fe.) ) Running 
 
 Gelaufen (Ger.) (ghe-/<7j/-f'n.) ) passages ; 
 scale passages ; rapid movements. 
 
 Gelaufig (Ger.) (ghe/^^y-fig.) Easy, flu- 
 ent, rapid. 
 Gelauflgkeit (Ger.) (ghe/cj-fig-kit.) 
 Fluency, ease, velocity. 
 
 Gelaut (Ger.) (ghe-/i7yA) A peal of 
 bells ; ringing of bells. 
 
 Gelinde (Ger.) (ghe-/r»-de.) Softly, 
 
 gently. 
 Gelindigkeit (Ger.) (ghe-/r»-dig-kit.) 
 
 Softness, gentleness, sweetness. 
 
 Gellen (Ger.) {ghel-Vn.) To sound 
 loudly. 
 
 Gellenflote (Ger.) {ghel-Vri fl6-te.) Clari- 
 onet. 
 
 'Geigen saite (Ger.) 
 Violin-string. 
 
 5 as in tone ; ^ as in dove; 8 as in not; u as in »j»; ii the French sound of «. 
 
 123 
 
GEMACHLICH 
 
 GES 
 
 Gemachlich (Ger.) (ghe-OTa^-likh.) f 
 
 Gemachsam (Ger.) {ghe-makA-sim.) ) 
 Quietly ; in a calm, slow manner. 
 
 Gemahlig (Ger.) (ghe-ma-lig.) Gradually; 
 by degrees. 
 
 Gemisch (Ger.) (ghe-misA.) Mixed; 
 mixture, or compound stops in an 
 organ. 
 
 Gems-horn (Ger.) {ghems horn.) " Cham- 
 ois-horn." In the organ, a metal flue- 
 stop having tapering pipes of 8, 4, or 
 2-foot pitch on the manuals and of 16- 
 foot pitch on the pedal, with inellow, 
 horn-like timbre. The tone is light, 
 but very clear. 
 
 Gems-horn-quint (Ger.) {ghems\ox\\- 
 kwint.) An organ-stop with conical 
 pipes, sounding a fifth above the foun- 
 dation stops. 
 
 Gemiith (Ger.) (ghe-miii.) Mind, soul. 
 
 Gemiithlich (Ger.) (ghe-miii-likh.) 
 Agreeable, expressive, genial. 
 
 Genera (Lat.) (//«-e-ra.) ) A term used 
 
 Genus (Lat.) (je-nus.) S by the 
 Ancients to indicate the modes accord- 
 ing to which they divided their tetra- 
 chords. The different methods of di- 
 viding the octave : when both tones 
 and semi-tones are employed, according 
 to the natural arrangement of the dia- 
 tonic scale, it is called the diatonic or 
 natural genus ; when it is divided by 
 semi-tones only, it is called the chro- 
 matic genus, and the enharmonic genus 
 when quarter-tones alone are used. 
 
 General bass (Ger.) (g«n-er-a/5/ bass.) 
 Thorough bass ; figured bass. 
 
 General pause (Ger.) (gen-e-rahl pow- 
 seh.) A general cessation or silence of 
 all the parts. 
 
 Generateur (Fr.) (zha-ne-ra-/z2?-.) The 
 fundamental note of the common 
 chord. 
 
 Generator. The principal sound or 
 sounds by which others are produced : 
 the fundamental note of the common 
 chord. 
 
 G^nere (It.) (y^-ne-re.) See Genera. 
 
 Generoso (It.) (je-ne-ro-so.) Noble ; in a 
 
 dignified manner. 
 G&ie (Fr.) (0,5(Z-nee.) •) Genius, talent, 
 G^nis (It.) (ja-nees.) ) spirit. 
 
 Genre (Fr. ) (zhanhr.) Style, manner. 
 a as in a^ ; a as in hate ; a as mat ; e as i 
 
 Genre chromatique (Fr.) (zhanhr kro-raa- 
 
 tek.") The chromatic genus. 
 Genre diatonique (Fr.) (zhanhr di-a- 
 
 t6nh-^/4.) The diatonic, or natural 
 
 genus. 
 Genre enharmonique (Fr.) (zhanhr anh- 
 
 har-monh-^A) The enharmonic genus. 
 Genre expressif (Fr.) (zhanhr eks-pres- 
 
 sef.) The expressive style. 
 
 Gentile (It.) (jen-^^-le.) Pleasing, grace- 
 ful, elegant. 
 
 Gentil^zza (It.) (jen-tel-/^^za.) Grace; 
 elegance ; refinement of style. 
 
 Gentilm^nte (It.) (jen-tel-»z««-te.) Grace- 
 fully, elegantly. 
 
 Genus (Lat.) (^a-nus.) See Genera. 
 
 Genus chromaticum (Lat.) (/a-niis kro- 
 zreaAi-kiim.) The chromatic genus or 
 mode. 
 
 Genus diatonicum (Lat.) (/anus di a- 
 <(5«-i-kum.) The diatonic genus or 
 mode. 
 
 Genus enharmonicum (Lat.) (/a-nus en- 
 har-wzife-i-kum.) The enharmonic 
 genus or mode. 
 
 Gerade bewegung (Ger.) (ghe ra-de be- 
 z'(J-goong.) Parallel motion. 
 
 Gerade taktart (Ger.) (ghe-rai-de tiikt- 
 art.) Common time. 
 
 Geriesel (Ger.) (ghe-?-?«-z'l.) A soft, 
 murmuring sound, 
 
 German fingering. A method of finger- 
 ing piano-music which designates the 
 thumb as the first finger, in distinction 
 from the English or American mode, 
 which indicates the use of the thumb 
 by a sign (x). See Fingering. 
 
 German flute. See Flduio Traversa. 
 
 German scale. A scale of the natural 
 notes, consisting of A, H, C, D, E, F, 
 G, instead of A, B, C, etc., the B 
 being always reserved to express B 
 flat. 
 
 German sixth. A name given - 
 
 to a chord composed of a I jZ-)|b&igr~ 
 major third, perfect fifth, t^z=&&— -I 
 and extreme sixth, as — 
 
 German soprano clef. The C clef placed 
 on the first line of the staff for soprano. 
 
 1= 
 
 Ges (Ger.) (ghes.) The note G flat. 
 n tree ; 6 as in eh ; las in pine / i as in pin ; 
 4 
 
GESARG 
 
 GIT ANA 
 
 Gesang (Ger.) (ghe-san^.) Singing ; the 
 art of sjnging ; a song ; melody ; air. 
 
 Gesang-buch (Ger.) {ghe-san^ bookh.) 
 Song-book, hymn-book. 
 
 Gesange (Ger. pi.) {ghe-sdn^-e.) Songs, 
 hymns. 
 
 Gesangsweise (Ger.) (ghe-ja«^j-vi-ze.) 
 In the style of a song. 
 
 Gesangverein (Ger.) (ghe-ja«^-fer-in.) 
 A singing society; a choral union. 
 
 Gesause (Ger.) (ghe-.fff»-ze.) Humming, 
 whistling. 
 
 Geschick (Ger.) (ghe-sAti.) Skill, dex- 
 terity. 
 
 Geschleift (Ger.) (ghe-sMl/i.) Slurred, 
 legato. 
 
 Geschwind (Ger.) {ghe-sAvfttd.) Quick, 
 rapid. 
 
 Geschwindigkeit (Ger.) (^ghe-sAvind-ig- 
 kit.) Swiftness, rapidity, speed. 
 
 Geschwindmarsch (Ger.) {^e-shvlnd- 
 marsh.) A quickstep. 
 
 Ges dur (Ger.) (ghes door.) The key of 
 G flat major. 
 
 Gestos'sen (Ger.) (ghe-j/olr-s'n.) Sepa- 
 rated, detached. 
 
 Gestrichene (Ger.) (ghe-j^^-i'-khe-ne.) A 
 quaver. Also meaning lined, as ein- 
 gestrichene oktave, the one-lined octave. 
 
 Getheilt (Ger.) (Ge-tm.) Divided, sepa- 
 rated ; Geiheilte Violinen., violini divisi ; 
 Gelheilte Stimmen, partial stops (organ). 
 
 Getragen (Ger.) (ghe-^ra-g'n.) Well-sus- 
 tained ; carried. 
 
 Geiibtere (Ger.) (ghe-«^-te-re.) Expert 
 performers. 
 
 Gewirbel (Ger.) (ghe-wV-b'!.) The roll 
 of drums. 
 
 Gewiss (Ger.) (ghe-z-ij-j.) Firm, resolute. 
 
 Gewissheit (Ger.) (ghe-i/fc-hit.) Firm- 
 ness, resolution. 
 
 Geziert (Ger.) {^l-tsert) With affec- 
 tation ; embellished. 
 
 G flat. The flat seventh of A flat ; the 
 fifth flat introduced in modulating by 
 fourths from the natural diatonic mode. 
 
 G gamut. The G on the firjt line of the 
 bass staff, from the Greek Gamma, the 
 lowest note of the ancient scale. 
 
 Ghiribizzi (It.) (ghe-re-iei-ze.) Unex- 
 pected intervals ; eccentric ; fantastical 
 passages. 
 
 6 as in iofte / 6 as in dove ; 6 as in not 
 
 Ghiribizz6so (It.) (ghe-re-bet-j«-zo.) Fan- 
 tastical, whimsical. 
 
 Ghironda (It.) (ghe-?-fl«-da.) A hurdy- 
 gurdy. 
 
 Giambo (It.) {je-am bo.) Iambic. 
 
 Gicher6so (It.) (je-ka-ro-zo.) Merry, 
 playful. 
 
 GIga (It.) U^e-ga.) ^ A jig, or lively 
 
 Gigue (Fr.)(zheg.) > species of dance. 
 
 Gige(Ger.)(ghegeh.) ) The name is sup- 
 posed to be derived from the German 
 word^«^, or geige, meaning a fiddle, as 
 the music is particularly adapted to in- 
 struments of that class. It is in |, |, 
 y , and sometimes even | rhythm. In 
 almost every case it will be found to 
 have a basis of rapidly-moving groups 
 of three notes. It is the final move- 
 ment of the suite, and is not unlike the 
 modern tarantella in charactei', being 
 very rapid, and possessing a rough 
 heartiness. 
 
 G in alt. The first note in alt: 
 
 P 
 
 G in altissimo. The first note in altis- 
 
 simo; an octave above G in alt. 
 Gioch^vole (It.) (je-6-i/-v6-le.) Merry, 
 
 sportive, gay. 
 Giochevolm^nte (It.) {ie-o-ke-woUmenA 
 
 te.) I 
 
 Giocolarm^nte (It.) (je-o-ko-lar-?«^K- ) 
 
 te.) J 
 
 Merrily, sportively. 
 Giocondam^nte (It.) (je-o-kon-da-»z^«- 
 
 te.) Merrily, joyfully, gayly. 
 Gioc6ndo (It.) (je-o-ion-do.) Cheerful, 
 
 merry, gay. 
 Giocosamfinte (It.) (je-6-ko-za-»2«K-te.) ) 
 Giocoso (It.) Qe-d-ko-zd.) ' 
 
 Humorously, sportively. 
 Gi6ja (It.) (je-o-ya.) Joy, gladness. 
 Giojinte (It.) Qe-o-ydn-te.) ) Blithe, joy- 
 Gioj6so (It.) (je-o-yo-zo.) ) ful. gay. 
 Giojosam^nte (It.) (je-o-yo-za-m^K-te.) 
 
 Joyfully, merrily. 
 Giovidle (It.) (je-o-ve-a-le.) Jovial. 
 Giovialita (It.) (je-o-ve-a-le-^a.) Joviality, 
 
 gayety. 
 Gis (Ger.) (ghis.) The note G sharp. 
 Gis moll (Ger.) (ghis moll.) The key of 
 
 G ( minor. 
 Gitana (It.) (je-^a-na.) A Spanish dance. 
 
 li as in u/i ; ii the French sound of ». 
 
 125 
 
GIUBBILOSO 
 
 GLOCKNER 
 
 Giubbildso (It.) (joob-be-/o-z6.) Jubi 
 lant, exulting. 
 
 Gubilazione (It.) (joo-be-lat -le-^-ne.) 
 Giiibilio (It.) (joo-be-le-6.) 
 Giubilo (It.) (Joo-he-lo.) 
 Jubilation, rejoicing. 
 
 Giucante (It.) {]oo-ian-te.) 1 Merry, 
 Giuchevole (It.) (joo-/6<?-vo-]e.) ( joyful. 
 See Giojante. 
 
 Giulivamtete (It.) (joo-le-va-»2fK-tei) 
 Joyfully, lively. 
 
 Giulivissimo (It.) (joo-le-z/^j-se-mo.) 
 Very joyful. 
 
 Giulivo (It.) (joo-/^-v5.) Cheerful, joy- 
 ful. 
 
 Giuocante (It.) (joo-5-,JaK-te.) With 
 
 sport and gayety. 
 Giuoc680 (It.) (joo-o-^J-zo.) See Giocoso. 
 Giustam^nte (It.) (joos-ta-»z^«-te.) 
 
 Justly ; with precision. 
 
 GiustO (It.) {joos-to.) A term signifying 
 that the movement indicated is to be 
 performed in an equal, steady, and 
 exact time. Giusto is sometimes used 
 to indicate moderation, as Allegro 
 Giusto, a moderate allegro. 
 
 Giustezza (It.) (joos-fe^za.) Precision. 
 
 Given bass. A bass given, to which the 
 harmony is to be added. 
 
 Giving out. The prelude by which the 
 organist announces to the congrega- 
 tion the tune they are to sing. 
 
 Glais (Fr.) (gla.) The passing bell. 
 
 Glais fun^bre (Fr.) (gla fii-Ka*7-.) A 
 funeral knell. 
 
 Glapissant (Fr.) Qf/a-pis-sanh.) Shrill, 
 squeaking. 
 
 Glasses, musical. An instrument formed 
 of a number of glass goblets shaped 
 like finger-glasses, tuned by filling 
 them with more or less water, and 
 played upon with the fingers. 
 
 Glatt (Ger.) (glat.) Smooth, even. 
 
 Glatte (Ger.) (g-lai-te.) Smoothness, 
 evenness. 
 
 Glee. A vocal composition in three or 
 four parts, generally consisting of more 
 than one movement, the subject of 
 which may be grave, tender, or gay, and 
 bacchanalian. The glee was less intri- 
 cate than the madrigal, and was fre- 
 quently accompanied, while the madri- 
 
 a. as in a/i ; a as in Aaie ; a as in ai. 
 
 gal was sung a cappella. It is a 
 composition peculiar to England. 
 
 Gleek. An old Anglo Saxon word, sig- 
 nifying music or musician. Also 
 Gligg ; probably the root of the word 
 " Glee." 
 
 Gleemen. An ancient name for min- 
 strels. 
 
 Gleich (Ger.) (glJkh.) Equal, alike, 
 consonant. 
 
 Gleichklang (Ger.) (glikh-^sXi.'cv%.) Con- 
 sonance of sound. 
 
 Gleichstlmmig (Ger.) [gltkh-s.'&m.-mi^.) 
 Harmonious, accordant. 
 
 To slide the 
 
 Gleiten (Ger) (^//-t'n.) 
 fingers. Glissando. 
 
 Gli (It. pi.) (lyee.) The (masculine plural) 
 as gli stromenti, the instruments. 
 
 Glide. Portamento. 
 
 Gliding. In flute playing, a sliding move- 
 ment of the fingers for the purpose of 
 blending the tones. 
 
 Glissade (Fr.) (glis-jo;/.) Gliding; the 
 act of passing the fingers in a smooth, 
 unbroken manner over the keys or 
 strings. 
 
 Glissdndo (It.) (gles-j-a»-d6.) ^ Slurred; 
 
 Glissdto (It.) (gles-j-a-to.) \ smooth; 
 
 Glissement (Fr.) (gles-monh.) ) '" ^ 
 gliding manner. Sliding the finger. 
 
 Glisser (Fr.) (gles-jaj/.) An embellish- 
 ment which is executed by turning the 
 nail and drawing the thumb or finger 
 rapidly over the keyboard. Glissando. 
 
 Glissez le pouce (Fr.) (gles-say liih poos.) 
 Slide the thumb. 
 
 Glissicdndo (It.) (glis-se-/ta«- i Slurred ; 
 do.) V smooth ; 
 
 Glissicdto (It.) (glis-se-,^a-to.) ) in a glid- 
 ing manner. See also Glisser. 
 
 Gli stromenti (It.) (lyee stro-»«i?»-te.) 
 The instruments. 
 
 Glitschen (Ger.) (^/ijt-shen.) To glide 
 the finger. See Glisser. 
 
 Glockchen (Ger.) (gm-Wn.) A little 
 bell. 
 
 Glocke (Ger.) {glok-e.) A bell. 
 
 Glockengelaute (Ger.) (glo-Vn-ghloy-ie.) 
 The ringing or chiming of bells. 
 
 Glockenist (Ger.) (gldk-en-'ist..) i Player 
 Glockner (Ger.) {gl$k-ner.) ] on the 
 
 chimes, or bell ringer. 
 
 e as in tree ; g as in M y i as in pine ; i as in pin; 
 126 
 
GLOCKENKLANG 
 
 GRACE-NOTE 
 
 Glockenklang (Ger.) (^/o/J-en-klang.) 
 
 The sound of bells, 
 Glockenlauter (Ger.) {gldk-in-loy-ter.) 
 
 Bell ringer. 
 
 Glockenspiel (Ger.) {gldk-^n-spt\.) 
 Chimes; also, a stop in imitation of 
 bells, in GermSn organs. This Ger- 
 man name, signifying a chime of bells, is 
 applied to a set of small bars of pol- 
 ished steel, used in the orchestra, 
 ■which, on being struck with a mallet, 
 give forth tinkling tones of definite 
 pitch. The glockenspiel is only used 
 in passages of extreme sweetness, and 
 the instrument is scarcely used in 
 symphonies at all. It is sometimes 
 supplied with a keyboard. Examples 
 of its use can be found in the Feuer- 
 Zauber in Wagner's opera " Die 
 Walkiire," and in Mozart's " Magic 
 Flute." 
 
 Gloria (Lat.) (g/o-n-a..) A movement 
 in a Mass, following the Kyrie. 
 
 Glottis (Gr.) (glUt-Vis.) The narrow open- 
 ing at the upper part of the trachea 
 or windpipe, which by its dilation and 
 contraction contributes to the modula- 
 tion of the voice. The name is also 
 applied to a kind of reed used by the 
 ancient flute-players, which they held 
 between their lips, and blew through in 
 performance. 
 
 Gliihend (Ger.) (^/«-end.) Ardent, 
 glowing. 
 
 G moll (Ger.) (ja m61.) The key of G 
 minor. 
 
 G61a (It.) [go-la..) The throat; also, a 
 gutteral voice. 
 
 Gondellied (Ger.) (^»«-d'l-led.) A gon- 
 dolier song. 
 
 Gondolier songs. Songs composed and 
 sung by the Venetian gondoliers, of a 
 very graceful and pleasing style ; bar- 
 carolles. 
 
 Gong. A Chinese instrument of the pul- 
 satile kind, consisting of a large, circu- 
 lar plate of metal, which, when struck, 
 produces an exceedingly loud noise, 
 not of definite pitch. Also called Tam- 
 tam. 
 
 Gorghdggi (It. pi.) {g6r-ged-i%.) Rapid 
 divisions, or passages, as exercises for 
 the voice to acquire facility. 
 
 Gorgheggiamteto (It.) (gor-gad-je-a- 
 me?i-to.) Trilling, quavering. 
 
 Gorgheggidre (It.) (gor-ged-je-a-re.) 
 
 To trill, to shake. 
 Gorgeggio (It.) {gar-ged-ie-o.) A trill; 
 
 a shake of the voice in singing. 
 
 Gout (Fr.) (goo.) Taste, style, judg- 
 ment. 
 
 Governing key. The principal key ; 
 that key in which a piece is written. 
 
 Grab-gesang (Ger.) {grab ge- \ Dirge ; 
 sang.) \ funeral 
 
 Grab-lied (Ger.) {grab leed.) ) song. 
 
 Grace. ) Ornamental notes and em- 
 
 Grace-note. ) bellishments, either written 
 by the composer, or introduced by the 
 performer. The principal embellish- 
 ments are the appoggiatiire, the turn 
 and the shake. Any note added to a 
 composition as an embellishment. 
 Embellishments of every kind were 
 most copious in harpsichord, spinet, 
 and clavichord music, as well as in 
 violin music, in the eighteenth century. 
 In the first-named instruments their 
 presence was often necessary, since 
 they served to prolong a note (liy trill, 
 turn, or mordent) which these instru- 
 ments could not sustain. But what 
 began in necessity soon became a per- 
 verted taste. Marchand, in Paris, used 
 to boast that he could add an embel- 
 lishment to every note of a composi- 
 tion. Bach followed Marchand's plan 
 of ornamentation in his suites and in- 
 ventions. The matter of embellish- 
 ments has been a very misty one from 
 the beginning. In studying the eigh- 
 teenth century rules one finds numer- 
 ous inconsistencies. Ph. Em. Bach 
 contradicts Leopold Mozart, and Bros- 
 sard and Grassineau, in their diction- 
 aries, differ from Callcott. It is not 
 in the province of a dictionary to enter 
 into the polemics of this subject. The 
 reader can find a small encyclopedia of 
 this matter in Dannreuther's " Musical 
 Ornamentation " (2 vols.). Many of the 
 signs are becoming obsolete, and it has 
 become the custom to write the nota- 
 tion in full, in modern editions, avoid- 
 ing the signs altogether. The chief 
 signs of embellishments used at present 
 are the Trill, Turn, Mordent, Appog- 
 giatura and Acciaccatura, which will be 
 found defined under their respective 
 names. A brief synopsis of graces may 
 be thus presented : 
 
 as in tone y 6 as in dove ; 8 as in not / ii as jn up ; ii the French sound of u. 
 
 127 
 
GRACE-NOTE 
 
 GRACILE 
 
 Appoggiatura . Trill, 
 Written. 
 
 Schlei/er. Schneller. 
 
 PralltrilUr. 
 
 Other signs with varying nomenclature 
 are found in Bach and his contempor- 
 aries, as follows : 
 
 Written. 
 
 Played, , 
 
 ^^ 
 
 :t 
 
 When the tempo is rapid, and there is 
 difficulty in executing the figure in full, 
 it can be played in five notes. Ex- 
 ample : 
 
 Written. 
 
 Played. 
 
 I 
 
 
 Written. 
 
 ^ 
 
 Played. 
 
 There are also combinations of turns 
 and trill, represented by single signs. 
 This sign,Q.vv w signifies a trill begin- 
 ning and ending with a turn : 
 
 C/VX'Sv Written. 
 
 ^ 
 
 Played. 
 
 while the following, "^/vvxU signifies a 
 trill beginning with an inverted turn, 
 and ending with a simple turn. Ex- 
 ample : 
 
 Written. 
 
 P 
 
 Played. 
 
 If, however, either of these signs occur 
 over a short note, where there would 
 not be time to trill, the two turns alone 
 can be played. Example : 
 
 Written. 
 
 The inversion of this figure is signified 
 by this sign,G'Ntv. Example: 
 
 a as in a.^ ; a as dn hate ; S as in at; e as in tree 
 
 128 
 
 Although many more signs of embel- 
 lishment and grace-notes might be added 
 to the above, these (with the turn, trill, 
 etc.) are all that will be found in practical 
 use to-day, and even these are rapidly 
 disappearing from modern notation, 
 being written out in full when required. 
 
 Gracieux (Fr.) (gra-si iih.) Graceful. 
 
 Grdcile (It.) (^m-tshee-le.) Thin, weak, 
 small ; referring to the tone. 
 
 6 as in ^/4 ; i as in pine ; i as in pim 
 
GRAD 
 
 GRATIAS AGIMUS 
 
 \ 
 
 Grad (Ger.) (grad.) Steps, degree. See 
 Grado. 
 
 Graddre (It.) (gra-(/o-re.) To descend step 
 by step. 
 
 Gradatam^nte (It.) (gra-da-ta-»2«K- \ 
 te.) 
 
 Gradation (Fr.) (gra-da-se-ohn.) 
 
 Gradazi6ne (It.) (gra-da-tse-o-ne.) 
 
 By degrees; a gradual increase, or 
 diminution of speed, or intensity of 
 tone. 
 
 Grad^vole (It.) {gx'a.-de-yo-\e.) ^ 
 
 Gradevolm^nte (It.) \(gra-da-v61-ff«^»- f 
 te. ' 
 
 Gracefully, pleasingly. 
 
 Gradlre (It.) (gra a?«-re.) To ascend step 
 by step. 
 
 Gradleiter (Ger.) {grdd-M-ttr.) A scale. 
 
 Grido (It.) [grd-do.) A degree, or single 
 step on the staff ; di grddo means that 
 the melody moves by degrees, ascend- 
 ing or descending, in opposition to di 
 sdlto, by skips of greater intervals. 
 
 Grido ascend^nte (It.) (gra-do a-shen- 
 ddn-te.) An ascending degree. 
 
 Grado descend^nte (It.) (gra-do da-shen- 
 den-te^ A descending degree. 
 
 Gradual, i. That part of the Roman Ca- 
 tholic service that is sung between the 
 Epistle and the Gospel, and which was 
 anciently sung on the steps of the altar. 
 The name comes from Gradus, a step. 
 2. A cantatorium (book of chants) 
 containing the graduals, introits, and 
 other antiphons of the Catholic Mass. 
 
 Gradualm^nte (It.) (gra-doo-al-ff«^«- "1 
 
 te.) 1 
 
 Graduatam^nte (It.) (grad-doo-a-ta- j 
 
 w«««-te.) J 
 Gradually ; by degrees or steps. 
 
 Graduare (It.) (gra-doo-a-re.) To divide 
 into degrees. 
 
 Graduazidne (It.) (gra-doo-a-tse-o-ne.) 
 See Gradazione. 
 
 Graduellement (Fr.) (gra-^w^Z-manh.) i 
 Gradweise (Ger.) (ffrdd-vl-ze.) ) 
 
 Gradually; by degrees. 
 
 Grammatical accent. The common 
 measure accent, marked by the length 
 of the words, and a regular succession 
 of strong and weak parts. The regu- 
 lar rhythmic accent. 
 
 5 as in tone 
 
 Great, grand. 
 The bass 
 
 Grdn (It.) (gran.) 
 
 Grinde (It.) (gran-de.) 
 
 Grknc&saa. (It.) (gran kas-si.) 
 drum. 
 
 Grand-barr6 (Fr.) (granh har-rd.) In 
 guitar-playing this means laying the 
 first finger of the left hand upon ail the 
 six strings of the guitar at once. 
 
 Grand bourdon. Great or double bour- 
 don ; an organ-stop of 32-foot tone in 
 the pedal. 
 
 Grand chantre (Fr.) (granh shantr.) A 
 
 precentor. 
 Grand choir. In organ-playing, the union 
 
 of all the stops of the choir-organ. 
 Grand cornet. This name is sometimes 
 
 given to a reed-stop of 16-foot scale on 
 
 the manuals of an organ. 
 
 Grande messe (Fr.) (granhd mass.) High 
 Mass. 
 
 Grande mesure a deux temps (Fr.) 
 (granhd ma-zhiir a dii tanh.) Common 
 time of hvo beats in a bar, marked |, 
 See also Alia CappSlla. 
 
 Grand^zza (It.) (gran-(il?^sa.) Grandeur, 
 dignity. 
 
 Grandi6so (It.) (gran-de 6-z6.) Grand, 
 noble. 
 
 Grandisondnte (It.) (gran-de-zo-«<i«-te.) 
 Very sonorous ; full-sounding. 
 
 Grand jeux (Fr.) (granh zhii.) Full or- 
 gan ; all the stops in organ-playing. 
 
 Grand opera. A full opera with an in- 
 tricate plot and full cast of performers. 
 
 Grand orgue (Fr.) (granh dorg.) Great 
 organ. 
 
 Grand pianoforte. The largest size 
 wing-shaped piano. 
 
 Grand sonata. An extended sonata, 
 consisting generally of four movements. 
 
 Grdn gdsto (It.) (gran goosAo.) In a 
 lofty, elevated manner; a full, rich, 
 high-wrought composition. 
 
 Grdn prova (It.) (gran prd-v'a..) A full 
 rehearsal. 
 
 Gikn tambdro (It.) (gran tam-^w-ro.) 
 The bass drum. 
 
 Graphophone. See Phonograph. 
 
 GrAppa (It.) {grdp-^'i..) The brace, or 
 
 character used to connect two or more 
 
 staves. 
 
 Gratias agimus (Lat.) {gra-shi-ts dj-\- 
 mus.) Part of the Gloria in a Mass. 
 
 d as in dove ; 8 as in not; fi as in up; ii the French sound of u. 
 129 
 
GRAVE 
 
 GROB-GEDACKT 
 
 Grave (It.) {gra-\h.) A slow and solemn 
 movement ; also a deep low pitch in the 
 scale of sounds. The slowest tempo 
 in music. 
 
 Gravecembalum (Lat.) (^ro-ve-sem-^o- 
 liim.) An old name for the harpsi- 
 chord. 
 
 Gravement (Fr.) (grav-manh.) i With 
 
 Gravem^nte (It.) (gra-ve-/«^»-te.) ( grav- 
 ity ; in a dignified and solemn manner. 
 
 Grav^zza (It.) (gra-z/^-tsa.) Gravity, 
 solemnity. 
 
 Gravic^mbalo (It.) (gra-ve-/j/5f»«-ba- 1 
 lo.j I 
 
 Gravic^mbolo (It.) {e,Ti.-ye-ishem-ho- i 
 16.) ' J 
 
 An old name for the harpsichord. 
 
 Gravisonante (It.) (gra-ve-z5-K»«-te.) 
 Loud-sounding. 
 
 Gravita (It.) (gra-ve-/o.) n 
 
 Gravitat (Ger.) (gxi-H-m.) i Gravity, 
 
 . , 1 ( maiestv. 
 
 Gravity (Fr.) {gvi-vUd.) ) ^ 
 
 Gravity. That modification of any 
 sound by which it becomes deep or low 
 in respect to some other sound. The 
 gravity of sounds depends in general 
 on the mass, extent, and tension of the 
 sonorous bodies. The larger and more 
 lax the bodies, the slower will be the 
 vibrations and the graver the sounds. 
 
 Gr4zia (It.) (gra-tse-a.) ) Grace, ele- 
 
 Grazie (Ger.) (^a-tsi-e.) ) gance. 
 
 Graziosanv^nte (It.) (gra-tse-o-za ot^«- 
 te.) Gracefully, smoothly. 
 
 Grazi6so (It.) (gra tse-o-zo.) 
 ful style. 
 
 Greater sixth. A name 
 given to the major sixth. 
 
 Greater third. A name sometimes given 
 to the major third. 
 
 Great octave. The name 
 given in Germany to the 
 notes between C and B ^ 
 
 inclusive ; these notes are expressed by 
 capital letters. 
 
 In 
 
 a grace- 
 
 sometimes 
 
 i: 
 
 Great organ. In an organ with three 
 rows of keys, usually the middle row, 
 so-called because containing the most 
 important stops, and having its pipes 
 voiced louder than those in the swell 
 or choir organ. 
 
 Great sixth. The appellation given to 
 
 a as in a^ ; a as in ^<zfe ; 5 as in a/ ; e as in tree ; iasiaeA; i as in pine ; i as in pin; 
 
 130 
 
 the chord of the fifth and sixth when 
 the fifth is perfect and the sixth major. 
 
 Greek modes. The ancient Greek modes 
 or scales were twelve in number; of 
 these, six were authentic, and six 
 plagal. The sounds are supposed to 
 have been somewhat similar to those in 
 the scale of C, but with different notes 
 of beginning and completion. The 
 Greek systems are composed of tetra- 
 chords (series of four notes with a com- 
 pass of a perfect fourth) which succeed 
 each other in two ways — either the 
 last note of one tetrachord coincides 
 with the first note of the adjoining 
 tetrachord, or an interval of tone is left 
 between them. See Monroe, " The 
 Modes of Ancient Greek Music,'' and 
 the " Oxford History of Music," Vol. I. 
 
 Gregorian chant. A style of choral 
 music, according to the eight cele- 
 brated church modes introduced by 
 Pope Gregory in the sixth century. 
 
 Gregorianisch (Ger.) (gre-g6-ri-a7«-Jsh.) 
 Gregorian. 
 
 Gregorianischer Gesang (Ger.) (gre-go- 
 ri-i?«-ish.) The Gregorian chant. 
 
 Gregorian modes. ) Those chants or mel- 
 
 Gregorian tones. S odies used for the 
 psalms in the Roman Catholic service, 
 and also in many English churches. 
 They are taken from the ancient Greek 
 modes, and the sounds are supposed to 
 have been somewhat similar to those in 
 the modern or natural scale of C ; but 
 with different orders of progression. See 
 the " Oxford History of Music," Vol. I. 
 
 Gregoridno(It.) (gre-go-re-<i'-n6.) ) Grego- 
 
 Gr^gorien (Fr.) (gre-go-ri-anh.) ( rian. 
 
 Grell (Ger.) (grell.) Shrill, acute. 
 
 Grellheit (Ger.) (^r//-h!t.) Sharpness, 
 shrillness. 
 
 Grelot (Fr.) (gra-16.) A small bell. 
 
 Griffbret (Ger.) f^ri^f-bret.) The finger- 
 board of a violin, violoncello, etc. 
 
 Grillig (Ger.) {grft-iig.) Capricious, fanci- 
 ful. 
 
 Gringotter (Fr.) (gmnh-go-td.) To 
 quaver; to warble. 
 
 GrisoUer (Fr.) (gre-zo-/<f.) To sing like a 
 lark. 
 
 Grob (Ger.) (grob.) Deep, low voice, 
 coarse, rough. 
 
 Grob-gedackt (Ger.) (groi ghe-iiiiiiAt.) 
 Large stopped diapason of full tone. 
 
GROPP^TTO 
 
 GTJIDO'S GAMUT 
 
 Grcpp^tto (It.) (gr6p-/«M6.) See Grup- 
 pitto. 
 
 Gr6ppo (It.) (grop-p6.) A group of notes ; 
 a rapid voc^ passage. 
 
 Grossartig (Ger.) (^«r-ar-tig.) Grand. 
 
 Grosse (Ger.) (jror-se.) Major, speaking 
 
 of intervals ; also grand in respect to 
 
 style. 
 
 Grosse caisse (Fr.) (^rar-kass.) The bass 
 drum. 
 
 Grosse nazard (Ger.) (grosse ni-tsdrd.) 
 
 An organ-stop, sounding a fifth above 
 
 the diapasons. 
 Grosse principal (Ger.) (grosse prln-tsi- 
 
 pdl.) An organ-stop of 32-foot scale of 
 
 the open diapason species. 
 Grosse quint (Ger.) (grosse quint.) 
 Grosse quinten-bass (Ger.) (grosse 
 
 quin-i'n bass. 
 
 An organ-stop in the pedals 'sounding 
 
 a fifth or twelfth to the great bass of 
 
 32-foot or 16-foot. 
 
 Grosse sonate (Ger. pi.) (grosse so-na-te.) 
 Grand sonata. 
 
 Grosse tierce (Ger.) (grosse terse.) 
 Great third sounding stop in an organ, 
 producing the third or tenth, above the 
 foundation stops. 
 
 Grosse trommel (Ger.) (jgrosse-trdm-va^^ 
 The bass drum. 
 
 Gross-gedacht (Ger.) (gros ghe-ddkki.) 
 Double stopped diapason of ib-foot 
 tone in an organ. 
 
 Gr6sso It.) (grossb.) Full, great, grand. 
 
 Grossvatertanz (Ger.) (gros-ia-tet-tdnts.) 
 Grandfather's dance; an antiquated, 
 old fogy dance. , 
 
 Gros tambour (Fr.) (gro tanfi-boor.) The 
 great -drum. 
 
 Grott^sco It.) (gro-^i?j--ko.) Grotesque. 
 
 Ground. The name of any composition 
 in which the bass, consisting of a few 
 bars of independent notes, is perpet- 
 ually repeated to an ever-varying 
 melody. 
 
 Ground bass. A bass consisting of a 
 few simple notes, intended as a theme, 
 on which, at each repetition, a new 
 melody is constructed. 
 
 Group. Several short notes tied together. 
 
 Grund-stimme (Ger.) (groond stim-me.) 
 The bass part. 
 
 Grund-ton (Ger.) (groond ' ton.) The 
 
 5 as in tone ; d as in dove; 8 as in not ; 
 
 13 
 
 bass note ; fundamental, or principal 
 tone. 
 Gruppe (Ger.) (groop-pe.) ) A group of 
 Griippo (It.) (groop-po.) S notes ; for- 
 merly it meant a tiill, shake, or turn. 
 
 Giuppetto (It.) (groo-pet lo.) A turn. 
 Also, a collective term applied loosely 
 to various " groups," or grace-notes, 
 such as : 
 
 tj etc. 
 
 G-schliissel (Ger.) (ga-shliis-s'l.) The G, 
 or treble clef. 
 
 Guariicha (Spa.) (gwar-a,4-a.) A Span- 
 ish dance. 
 
 Guarnerius (gwar-«iJ-ri-iis.) A make of 
 violin highly prized, so-called from the 
 name of the manufacturer. 
 
 Guerri^ro (It.) (gwer-re-a-ro.) Martial, 
 warlike. 
 
 Guida (It.) (gwe-dsL.) Guide: also, the 
 mark called a direct. The subject of 
 a fugue. 
 
 Gufda arm6nica (It.) (gwe-da ar-mo-ne- 
 ka.) A guide to harmony. 
 
 Guida musica (It.) (gwe-da moo-ze-ka.) 
 An instruction-book in music. 
 
 Guide-main (Fr.) (ghed manh.) The 
 hand-guide, an instrument invented by 
 Kalkbrenner, for assisting young 
 players to acquire a good position of 
 the hands on the pianoforte. 
 
 Guidon (Fr.) (ghe-donh.) The mark 
 called a direct. 
 
 Guidonian hand. The figure of a left 
 hand used by Guido and upon which 
 was marked the names of the sounds 
 forming his three hexachords. 
 
 Guidonian syllables. The syllables, ut 
 re, mi, fa, sol, la, used by Guido 
 d'Arezzo, and called the Aretinian 
 scale. See Aretinian. 
 
 Guido's gamut. The table or scale in- 
 troduced by Guido d'Arezzo to the 
 notes of which he applied the syllables 
 ut, re, mi, fa, sol, la. It consisted of 
 twenty notes, viz., two octaves and a 
 major sixth, the first octave being dis- 
 tinguished by capital letters, the second 
 by small letters, and the sixth by double 
 small letters. See Gamut. 
 
 u as in 2^ y ii the French sound of u. 
 
6UIMBARBE 
 
 HALLELUJAH 
 
 Guimbarde (Fr.) {^eva-bdrd.) A Jew's 
 harp. 
 
 Guitar (ghit-a>.) An instrument with 
 six strings, the body of which is some- 
 what oval in form and the neck some- 
 what similar to the violin. The strings 
 are tuned in fourths, with the excep- 
 tion of the third string which is tuned 
 a third below the second. There are 
 three kinds : the German, Italian, and 
 Spanish guitar. It is supposed to be 
 of Spanish invention and is very popu- 
 lar in that country. The guitar is not 
 admitted to the orchestral ranks, 
 although Schumann at first thought of 
 employing it as accompaniment to the 
 " Romanza " of his D minor symphony ; 
 but finding it too light toned, he sub- 
 stituted violins, pizzicato, for it. This 
 same substitution is made in a few 
 other cases where composers have used 
 guitar or similar instruments, as, for 
 example, the serenade of Almaviva in 
 Rossini's " Barber of Seville," or the 
 serenade of Don Giovanni in Mozart's 
 opera. In the latter case the composer 
 used the mandoline. The guitar is 
 generally tuned : 
 
 having six strings, and sounds an oc- 
 tave lower than ^^^ a- 
 
 =F 
 
 A guitar. 
 
 written. Compass 
 (in actual pitch), 
 
 Guitare (Fr.) (ghit-a>.) 
 Guitdrre (Spa.) (ghe-^ar-ra.) 
 Guitarre (Ger.) (ghit-a?--re.) 
 
 Guitarre d 'amour (Fr.) (ghe-i^a?- d'a- 
 moor.) A modification of the German 
 guitar. 
 
 Guitarre, lyre (Fr,) (ghe-^aV lerh.) A 
 French instrument having six strings 
 and formed somewhat like an ancient 
 lyre. 
 
 Gunst (Ger.) (goonst.) Grace, tender- 
 ness, favor.. 
 
 Guracho (Spa.) (goo-ra-ko.) See Gu- 
 ardcha. 
 
 (goos-to.) Taste, expres- 
 
 Gusto (It.) 
 sion. 
 
 Gustosam^nte (It.) (goos-to-za-»«^«-te.) 
 Tastefully, expressively. 
 
 Gust6so (It.) (goos-^o-zo.) Expressive, 
 tasteful. 
 
 G, ut, A name applied by Guide to the 
 tone large G, because this tone was the 
 lowest of the whole system of tones. 
 
 Gut. The gutstrings of viohns, guitars, 
 etc., are never made of Catgut, al- 
 though always called so. The best 
 are made from the entrails of young 
 lambs, and the finest come from Rome. 
 (Ger., Darviseite ; Fr., Corde a boyau \ 
 It, Minugia.) 
 
 Gutdunken (Ger.) (forf-diin-k'n.) At 
 pleasure ; according to the taste of the 
 performer. 
 
 Guttural. Formed in the throat ; per- 
 taining to the throat. 
 
 Gutturalmente (It.) (goot too-ral- ot^»- 
 te.) Guturally. 
 
 H. This letter is used by the Germans 
 for B natural, which note is called by 
 the French and Italians, si. The Ger- 
 man " H " came from the mistake, 
 made nine centuries ago, of reading 
 the " square b " / ]^ \ as " h." See 
 Flat. 
 
 
 Habanera (Spa.) (ha-W«-e-ra.) A slow 
 Spanish dance in } or | time. 
 
 Haber-rohr (Ger.) (/4a-ber r5r.) Shep- 
 herd's flute. 
 
 Hackbrett (Ger.) {hak-hret.) The dulci- 
 mer. 
 
 Halb (Ger.) (halb.) Half. 
 
 Halb-cadence (Ger.) (halb ka-(//«-tse.) 
 Half-cadence. 
 
 Halb-note (Ger.) (halb no-ts.) A half- 
 note. 
 
 Halb-ton (Ger.) (halb ton.) Half-tone, 
 semi-tone. 
 
 Half-cadence. An imperfect cadence ; a 
 close on the dominant. 
 
 Half-note. A minim, I . 
 
 Half-rest. A pause equal in duration to 
 a half -note. 
 
 Half-shift. The first shift on a violin; 
 that on the fifth line. 
 
 Half -step. The smallest interval used in 
 our musical system. 
 
 Half-tone. A semi-tone. 
 
 Hall (Ger.) (hall.) ) Sound, 
 
 Halle (Ger.) {kaUh) ) clangor, clang. 
 
 Hallelujah ' (Heb.) (hal-le-Zoo-yiih.) 
 
 a. as in ah ; a. as in Aaie; si as in at; easin tree; Sasin^/ ias ir\ pine; lasinpin; 
 
 132 
 
HALLELUJAH METRE 
 
 HARMONICS 
 
 Praise ye the Lord; a song of thanks- 
 giving. 
 
 Hallelujah metre. A stanza in six lines 
 of Iambic measure, tlie syllables of 
 each being in number and order as fol- 
 lows : 6, 6, 6, 6, 8, 8. 
 
 Hallen (Ger.) {hal-\'r\.) To sound; to 
 clang. 
 
 Halmpfeife (Ger.) (halm-^/rfe.) Shep- 
 herd's pipe. 
 
 Hals (Ger.) (hals.) Neck of a violin, 
 viola, etc. 
 
 flammer. That part of the action or 
 mechanism of a pianoforte, which 
 strikes the strings and thus produces 
 the sound. 
 
 Hammer, tuning. An instrument by 
 which pianos and harps are tuned, 
 by tightening or loosening the strings. 
 
 Hanch£ (Fr.) (hanh-she.) See Anche. 
 
 Hand-drum. A tambourine. 
 
 Hande (Ger.) (han-de.) Hands. 
 
 Handespiel (Ger.) (han-de-spel.) Organ 
 keys, manuals. 
 
 Hand-glocke (Ger.) (hand WJ-ke.) Hand- 
 bell. 
 Hand-guide. See Guide-main. 
 
 Hand-klapper (Ger.) {kdnd kldp-^er.) A 
 Castanet. 
 
 Hand-harmonica. An accordion. 
 
 Handlage (Ger.) {hdnd-ld-gh.e.) The po- 
 sition of the hand. 
 
 Handleiter (Ger.) {hiind-li-ier.) Hand- 
 guide. See Guide. 
 
 Hand organ. A portable instrument 
 consisting of a cylinder, on which by 
 means of wires, pins, and staples are 
 set the tunes, the revolution of the 
 cylinder causing the pins, etc., to act 
 on the keys and also -to give admission 
 to the wind. 
 
 Hardiment (Fr.) (har-di-manh.) Boldly, 
 firmly. 
 
 Harfe (Ger.) {kdr-ie.) A harp. 
 
 Harfen (Ger.) {/idr-i'n.) To play on the 
 harp. 
 
 Harfener (Gr.) (/iaV-fn-er.) Harp-player. 
 
 Harfenist (Ger.) {tiar-f'nist.) Harp- 
 player. 
 
 Harfen-saite (Ger.) (har-f'n si-te.) Harp- 
 string. 
 
 Harmonia (Lat.) (har-znJ-ni-a.) A 
 
 5 as in tone y 6 as in dove ; 8 as in not , 
 
 daughter of Mars and Venus. Her 
 name was first used to indicate music 
 in general. 
 
 Harmonic. Concordant, musical. 
 
 Harmonica. A musical instrument in- 
 vented by Benjamin Franklin, consis- 
 ting of glasses, sometimes globular 
 and sometimes flat. The tone is pro- 
 duced by rubbing the edge of the glob- 
 ular glasses with a moistened finger, or 
 striking the flat ones with small ham- 
 mers. The name is also applied to an 
 organ-stop of delicate tone. Mouth- 
 harmonica. See Harmonicoti. 
 
 Harmonica-atherisch (Ger.) (har-mo-m- 
 ka a-ter-ish.) A mixture stop of very 
 delicate scale in German organs. 
 
 Harmonic figuration. Broken chords. 
 
 Harmonic flute. An open metal organ- 
 stop, of 8 or 4-foot pitch ; the pipes 
 are of double length, that is, i6 or 8 
 feet, and the bodies have a hole bored 
 in them, midway between the foot and 
 the top ; the tone is exceedingly full, 
 fluty, and powerful. 
 
 Harmonic hand. The Guidonian hand. 
 
 Harmonichord. An instrument having 
 the form of an upright piano, but a 
 tone something like that of a violin, 
 pioduced by the friction of a cylinder 
 covered with leather upon the strings. It 
 was invented in 1785, by Fr. Kaufman. 
 
 Harmonici (It. pi.) (har-mo-ne-tshe.) 
 Harmonics in violin music. 
 
 Harmonic mark. A sign used in violin, 
 harp music, etc., to indicate that 
 certain passages are to be played upon 
 such parts of the open strings as vrill 
 produce the harmonic sounds, marked 
 
 
 
 Harmonic modulation. A change in the 
 harmony from one key to another. 
 
 Harmonicon. A small instrument held 
 in the hand, the sounds being produced 
 from metal reeds, set in motion by 
 blowing from the mouth. 
 
 Harmonics, i. An epithet applied to those 
 concomitant, accessory sounds accom- 
 panying a principal, and apparently 
 simple tone. See Acoustics. 2. 
 Harmonics is also the name given 
 to certain tones produced on the 
 violin, harp, and other stringed in- 
 struments, tones which have another 
 name — flageolet tones — owing to 
 
 11 as in up ; u the French sound of u. 
 
 m> 
 
HARMONIC TRIAD 
 
 HARMOIfy, CLOSE 
 
 their peculiar character. By touch- 
 ing a vibrating string very lightly in the 
 middle, or at a point a third, fourth, 
 fifth, etc., of its length distant from one 
 of its ends, it is made to vibrate in two, 
 three, four, five, etc., divisions, and the 
 results are notes respectively an octave, 
 twelfth, fifteenth, seventeenth, nine- 
 teenth, etc., higher than the tone ob- 
 tained from the open string. 3. The 
 harmonics can be sounded one by one 
 on any tube or wind-instrument under 
 certain conditions. They are produced 
 from the column of Eur by subdivision, 
 exactly as with the string described 
 above. Thus, a tube 8 feet in length, 
 will sound rTSv — 1 but by forcing 
 
 3 of air to divide 
 segments we 
 
 the column 
 into regular 
 
 Mi 
 
 can obtain the over-tones, or harmonics. 
 The first will be produced by one-half 
 the length of the column, and will be 
 the octave, the second by one-third, 
 and will be the fifth above that tone, 
 and the column can be subdivided into 
 fourths, fifths, sixths, etc. The series 
 will be as follows : 
 
 
 i 
 
 J^ s <^ '^ 
 
 w. 
 
 i length i 
 
 i i i ^ i J i^A 
 
 A 
 
 etc. 
 
 Fundamental. 
 
 And a. similar series of tones will be 
 produced from any other fundamental, 
 i. e., the octave, twelfth, fifteenth, etc. 
 All of these over-tones are also sound- 
 ing simultaneously with the fundamen- 
 tal tone. But these arenot all exactly 
 notated, nor can they be, in our musical 
 system. The intervals grow closer and 
 closer, as the column is more and more 
 subdivided. The notes marked " x " 
 in the above series are not exactly rep- 
 resented in the table. On the brass 
 instruments, such as horns, cornets, 
 trumpets, trombones, etc., the larger 
 part of such a series as the above is 
 sounded in playing. 
 Harmonic tiiad. The common chord, 
 consisting of a fundamental note, its 
 third and fifth. 
 
 Harmonie (Fr.) (har-mo-w^.) ) Har- 
 Harmonie (Ger.) (har-mo-K^.) ) mony. 
 
 Harmonie-musik (Ger.) (har-m6-«? 
 moo-zek.) Music for wind-instruments 
 only. 
 
 Harmonie-regeln (Ger.) (har-mo-xe rd- 
 g'ln.) The rules or laws of harmony. 
 
 Harmonieusement (Fr.) (har-mo-ni-iis- 
 manh.) Harmoniously. 
 
 Harmonieuz (Fr.) (har-m6-ni-»,4.) Har- 
 monious. 
 
 Harmonious. A term applicable to any 
 two or more sounds which form a con- 
 sonant or agreeable union. 
 
 Harmoniphon. A small instrument with 
 a keyboard like a pianoforte, invented 
 in 1837, and intended to supply the 
 place of oboes in an orchestra. The 
 sounds are produced from small metal 
 tongues acted upon by a current of air 
 through a, flexible tube. 
 
 Harmonique (Fr.) (har-mo-neei.) Har- 
 monic ; the relation of sounds to each 
 other; also applied to organ pipes of 
 double length. 
 
 Harmoniquement (Fr.) (har-mo-nek- 
 manh.) Harmonically. 
 
 Harmoniren (Ger.) (har-mo-Kl^-r'n.) 
 To harmonize ; to be in unison. 
 
 Harmonish (Ger.) (har-w^-nish.) Har- 
 monious, harmonical. 
 
 Harmonium. An instrument played 
 upon by means of keys, like a piano- 
 forte, and furnished with iDellows, the 
 tones being produced by the vibration 
 of metallic reeds. A cabinet-organ. 
 
 Harmonize. To combine two or more 
 parts according to the laws of harmony. 
 
 Harmonized. A melody is said to be 
 harmonized when additional parts are 
 subjoined in order to give it more ful- 
 ness. 
 
 Harmonometre (Fr.) (har-m6-n5-OT<K>-.) 
 An instrument to measure the propor- 
 tion of sounds, a species of mono- 
 chord. 
 
 Harmony. The agreement or conso- 
 nance of two or more united sounds. 
 The art of combining sounds into chords 
 and treating those chords according to 
 certain rules. 
 
 Harmony, borrowed. Chords of the 
 added ninth derived from the dominant 
 seventh, by substituting the ninth in 
 place of the eighth. 
 
 Harmony, close. A harmony whose 
 
 a as in (2,^ j" a as in hate ; a as in at ; e as in tree ; S as in ^,4 y i as mpine ; \ as vapin; 
 
 134 
 
HARMONY, COMPOUND 
 
 HARPIST 
 
 tones are compact, the upper three 
 voices lying within the cqmpass of an 
 octave. 
 
 Harmony, compound. Simple harmony 
 with the harmony of another octave 
 added. 
 
 Harmony, dispersed. A harmony in 
 which the notes forming the different 
 chords are separated by wide intervals. 
 
 Harmony, dominant. Harmony on the 
 fifth of the key. 
 
 Harmony, false. A harmony contrary to 
 the received rules. 
 
 Harmony, figured. Harmony in which, 
 for the purpose of melody, one or more 
 of the parts of a composition move, 
 during the continuance of a. chord, 
 through certain notes that do not form 
 any of the constituent parts of that 
 chord. Harmony in which simple 
 tones are broken up by foreign, pas- 
 sing tones, etc. 
 
 Harmony, natural. The harmonic triad, 
 or common chord. 
 
 Harmony, simple. A harmony in which 
 there is no concord to the fundamental 
 above an octave ; it is sometimes termed 
 close harmony. 
 
 Harmony, suspended. One or more 
 notes of a chord retained in the fol- 
 lowing chord. 
 
 Harp. A stringed instrument of very 
 ancient origin, consisting of a triangular 
 frame, having strings extended in 
 parallel sections from the upper part to 
 one of its sides, and played with the 
 fingers. It had its origin in the bow of 
 most ancient races. It was a highly 
 developed instrument in ancient Egypt. 
 But, in all its ancient forms, it was a 
 diatonic instrument and could only 
 modulate by pausing to retune the 
 strings. Such was the instrument of 
 the Cymric and Celtic bards. In 1758, 
 an improvement was made by M 
 Simon, which altered the pitch of the 
 strings, by wheels, with pins attached, 
 worked by pedals. From this time the 
 composers began to use the harp, and 
 Mozart, Gluck, and others, employed 
 it in their scores. But it was still far 
 from being a thoroughly modulatory 
 instrument. The perfection of the 
 harp did not occur until 1810, when 
 Sebastian Erard introduced a system Harper, 
 of double-acting pedals by which any Harpist. 
 
 5 as in tone ; 6 as in dove ; 8 as in not ; fi as in u^ 
 
 135 
 
 note could be raised either a semi-tone 
 or a whole tojie, at will. As the pedals 
 could only raise, not lower, the pitch 
 of any note, in order that the natural 
 and sharp degrees of a tone could be 
 gained in every case, and in a similar 
 manner, it was necessary that each 
 open wire should represent a flat note 
 in the first place. This is done in tun- 
 ing the modem harp (called the double- 
 action or concert-harp ) and as there is 
 but one key in which the notes are all 
 flat, the harp is tuned in that key, C 1^. 
 The harp has very nearly the compass 
 of the piano, starting with the lowest 
 C b of- that instrument, and ending 
 with its highest F I. It is notated as 
 the piano, on two staves, one treble and 
 one bass. Its strings are of catgut in 
 the upper octaves, of catgut wired, or 
 of heavy wire, in the lower. The C- 
 strings are colored red, the F-strings 
 blue, that the performer may readily 
 see the position of any note. The harp 
 sounds best in flat keys. It has usually 
 forty-six strings. An attempt has re- 
 cently been made in France to do away 
 ■with the pedals, and string the harp 
 chromatically. See Flood's " Harp." 
 
 Harp .Solian. An instrument consisting 
 of wire or catgut drawn in parallel lines 
 over a box of thin wood and placed so 
 that a current of air may cause the 
 strings to vibrate. 
 
 Qarpcliorde (Fr.) (harp-kord.) An old 
 French name for the harpsichord. 
 
 Harp, couched. Name originally given 
 to the spinet. 
 
 Harp, double-action. A harp with pedals 
 that can be used in two positions, the 
 first, raising the instrument a half-tone, 
 and the second a whole tone. 
 
 Harpe (Fr.) (harp.) A harp. 
 
 Harpe Eolienne (Fr.) (harp a-6-li-enn.) 
 .^olian harp. 
 
 Harpeggiate (It.) (har-ped-je-ii-te.) In 
 the style of a harp ; in .arpeggios. 
 
 Harpeggiato (It.) (har-ped-je-a-to.) Caus- 
 ing the sounds of a chord to be played 
 not together, but distinctly, one after 
 another. See Arpeggiato. 
 
 Harpeggiren (Ger.) (har-pe-^4^-r'n.) To 
 play arpeggios. 
 
 > A performer upon the harp, 
 i; il the French sound of «. 
 
HARP, JEWS' 
 
 HELDEN-LIED 
 
 Harp, Jews'. A small instrument made 
 of brass or steel with a flexible metal 
 tongue, played upon by placing it be- 
 tween the teeth and vibrating the 
 tongue by striking it with the finger ; 
 the action of the breath determines the 
 power of the tone. 
 
 Harp pedal. The pedal of a pianoforte, 
 generally called the soft pedal. 
 
 Harpsecol. See Harpsichord. 
 
 Harpsichord. An instrument much used 
 before the invention of the pianoforte. 
 In shape it resembled the grand piano- 
 forte and had sometimes two rows of 
 keys, but it was very inferior to that 
 instrument in capacity for power and 
 expression ; the various shades of loud 
 or soft could only be obtained by chang- 
 ing from one set of keys to another, or 
 by moving certain stops as in the 
 organ. Its wires were not struck by 
 hammers, but plucked by quills. See 
 Piano. The compass was about four 
 octaves, but sometimes more. 
 
 Harpsichord, double. A harpsichord 
 with two keyboards, one for loud and 
 one for soft effects. 
 
 Harpsichord, single. A harpsichord 
 with one keyboard. 
 
 Harpsichord, viol. An old French instru- 
 ment resembling a viol, played with a 
 wheel. 
 
 Harpsichord, vis-a-vis. A harpsichord 
 arranged for two performers at the 
 same time. A double harpsichord. 
 
 Harp, single-action. A harp whose 
 pedals can be used in one position only 
 raising the sounds of the instrument a 
 half-tone. 
 
 Harp style. In the arpeggio style. 
 
 Harte (Ger.) (hdr-\.l.) Major, in re- 
 spect to intervals and scales. 
 
 Hart-klingend (Ger.) {hart kling-h-ai.) 
 Hard-sounding ; harsh. 
 
 Hate (Fr.) (hat.) Haste, speed. 
 
 Haupt (Ger.) (houpt.) Head, principal. 
 
 Haupt-kirche (Ger.) {houpt'^x-Va.h ) 
 Cathedral. 
 
 Haupt-manual (Ger.) (houpt ma-noo- 
 dl.) The great or principal manual ; the 
 great organ. 
 
 Haupt-note (Ger.) {houpt no-te.) The 
 principal note in a shake or turn. 
 
 Haupt-periode (Ger.) {houpt pe-ri-^-de.) 
 Capital period ; the principal period in 
 a musical phrase. 
 
 Haupt-satz (Ger.) {houpt ^i.\.z.) Prin- 
 cipal theme, or subject ; the motive, or 
 leading idea. 
 
 Haupt-schluss (Ger.) {houpt shloos.) A 
 final cadence. 
 
 Haupt-tonart (Ger.) {houpt to-nart.) The 
 principal key of a composition. 
 
 Haupt-stimme (Ger.) {houpt stlfii-me.) 
 Principal voice ; principal part. 
 
 Haupt-ton (Ger.) {houpt t5n.) Funda- 
 mental, or principal tone ; the tonic. 
 
 Haupt-werk (Ger.) {houpt-v'i.xV^ Chief 
 work, or manual ; the great organ. 
 
 Hausse (Fr.) (hoss.) The nut of a bow. 
 
 Hausser (Fr.) (hos-Jif.) To raise, or 
 sharpen the pitch. 
 
 Haut (Fr.) (ho.) Acute, high, shrill. 
 
 Hautb. An abbreviation of hautboy. 
 
 Hautbois (Fr.) (ho-bwa.) The oboi or 
 hautboy. 
 
 Haute-contre (Fr.) (hot-kontr.) High or 
 counter-tenor. 
 
 Haute-dessus (Fr.) (hot-des-sii.) High 
 treble ; first treble. 
 
 Hautement (Fr.) (h5t-manh.) Haughtily ; 
 in dignified manner. 
 
 Haute-taille (Fr.) (hot ;<f-yuh.) High 
 tenor. 
 
 H dur (Ger.) (ha door.) B major. 
 
 Head. That part of a note which deter- 
 mines its position on the staff and to 
 which the stem is joined. 
 
 Head-tones. Tones produced by the 
 upper register of the voice. 
 
 Head-voice. The upper or highest regis- 
 ter of the voice ; the falsetto in men's 
 voices. 
 
 Hebdomadary. A member of a convent 
 whose weekly turn it is to officiate in 
 the choir, rehearse the anthems, prayers, 
 etc. 
 
 Heftig (Ger.) (/5^-tig.) Vehement, 
 boisterous. 
 
 Heftigkeit (Ger.) (,^^7-tig-kit.) Vehe- 
 mence, impetuosity. 
 
 Heiss (Ger.) (hiss.) Hot, ardent. 
 
 Heiter (Ger.) (/^f-ter.) Genial, bright. 
 
 Helden-lied (Ger.) (A//-d'n-led.) Heroic 
 song. 
 
 a as in ah y a as in hate ; a as raat ; e as in tree ; e as in eh ; i as in pine y i as in pin ; 
 
 136 
 
HELDENMUTHIG 
 
 HINCHAR 
 
 Heldenmiithig (Ger.) (hel-d'n-?««-tig.) 
 Heroic. 
 
 Helikon (Gr.) (y4^/-i-k6n.) i , . The name 
 
 Helicon (Eng.) (hel-i-kon.) J of an an- 
 cient instrument said to be invented 
 by Ptolemy, for demonstrating, or 
 measuring consonances. 2. The bass 
 tuba is so-called when made in a circu- 
 lar form to carry on the shoulder in 
 marching. 
 
 Hell (Ger.) (hel.) Clear, bright. 
 
 Helle stimme (Ger.) {kel-\e slifn-me.) A 
 clear voice. 
 
 Hemi (Gr.) {Ad-mi.) Half. 
 
 HemidemisemiquaTer. A sixty- ^ 
 fourth note. " 
 
 Hemidemisemiquaver rest. A six- 
 ty-fourth rest. 
 
 Hemiditonos (Gr.) (hem-i-de-^ff-nos.) 
 
 Lessor or minor third. 
 Hemiphrase. A half-phrase. 
 Hemistich. Half a poetic verse, or a 
 
 verse not completed. 
 Hemitone. A half-tone, called now a 
 
 semi-ione. 
 Hemitonium (Gr.) (ha-mi-^o-ni-um.) A 
 
 semi-tone or half-tone. 
 Heptacliord. A scale or system of seven 
 
 sounds. In ancient poetry verses sung 
 
 or played on seven chords or different 
 
 notes ; a lyre or cithera having seven 
 
 strings. 
 Herabstrich (Ger.) (har-a^-strikh.) A 
 
 down-bow. 
 Heraufgehen (Ger.) {hax-ou/-ga.'n.) To 
 
 ascend. 
 Herstrich (Ger.) {Aair-strich.) Down- 
 bow on the 'cello and double-bass. 
 Herunterstricli(Ger.)(har-<p»«-ter-strikh.) 
 
 Down-bow on the violin, etc. 
 Hervorgehoben (Ger.) (ha.r-/ar-ghe-Ao-^ 
 
 b'n.) ■ I 
 
 Hervorhebend (Ger.)(har-_/o?--,4(f-bend.) | 
 Hervortretend (Ger.)(har/OT-.tre-tend.) '' 
 
 Prominently and distinctly.- 
 Herzlich (Ger.) (AMsAikh.) Tenderly, 
 
 delicately. 
 Hexachord (Ger.) (^«i;-a-kord.) A scale 
 
 or system of six soutjds ; an interval of 
 
 a sixth ; a lyre having six strings. 
 
 Hexachordon (Gr.) (hex-a-i(!(>--d6n.) A 
 
 Hexachorde (Fr.) {hex-a-Ai)rd.) A Aexa- 
 chord. See that word. 
 
 Hexameron (Gr.) (hex-i^w-e-ron.) Set of 
 six musical pieces or songs. 
 
 Hexameter. In ancient poetry, a verse 
 of six feet, the first four of which may 
 be either dactyls or spondees, the fifth 
 always a dactyl and the sixth a spon- 
 dee, or a trochee. 
 
 Hexaphonic. Composed of six voices. 
 
 Hexastich (Gr.) (hex-oj-tich.) A poem 
 of six verses. 
 
 Hiatus (Lat.) (hi-a-tiis.) A gap ; imper- 
 fect harmony. 
 
 Hidden. A term applied to octaves and 
 fifths when the harmony moves in such 
 a manner that consecutive octaves and 
 fifths may be imagined, although they 
 do not really occur ; two voices in 
 parallel motion taking a fifth or octave- 
 Hidden consecutives. Such as occur in 
 passing by parallel motion from an im- 
 perfect to a perfect concord. 
 
 Hief-horn (Ger.) (//^-horn). Bugle-horn; 
 hunting-horn. Also Hi/thorn. 
 
 Hief (Ger.) (h|f .) ) Sound 
 
 Hief-stoss (Ger.) (/if/'stoss.) ) given by 
 the bugle or hunting-horn. 
 
 Hierophon (Gr.) (^^-ro-fon.) A singer 
 of sacred music. 
 
 High. Acute in pitch ; speaking of 
 sounds. 
 
 High bass. A voice between bass and 
 tenor ; a baritone. 
 
 Higher rhythm. A rhythmical form 
 which is larger than a single measure. 
 
 High Mass. The Mass celebrated in the 
 Roman Catholic churches by the sing- 
 ing of the choristers, distinguishing it 
 from the low Mass in which the prayers 
 are read -without singing. 
 
 High soprano. The first soprano. 
 
 High-tenor. Counter-tenor voice; the 
 highest male voice. 
 
 Hilfs (Ger.) Auxiliary ; HilfslinU, leger- 
 line; HilfsnoU, auxiliary note; Hilfs- 
 siimme, mutation-stop (often Hillfs) . 
 
 Hinaufstrich (Ger.) (hin-o«</"-stiikh.) 
 Hinstrich (Ger.) (hin-ArOeCa.) 
 
 An up-b , 
 
 Hinchar (Spa.) (hen-Mr.) To fill a musi- 
 cal instrument with air. 
 
 major sixth 
 
 as in tone ; 6 as in dove; 8 as in not ; fi as in up ; U the French sound of u. 
 
 137 
 
HIRTEW-FLOTE 
 
 HOPS-WALZER 
 
 Hirten-flote (Ger.) {h{r-\'nfl6-Xe>) 
 herd's flute. 
 
 Shep- 
 
 Hirten-gedicht (Ger.) {hir-Vn ghe-^mAi.) 
 Pastoral poem ; idyl. 
 
 Hirten-Iied (Ger.) {Alr-t'n led.) A pas- 
 toral song. 
 
 Hirten-pfeife (Ger.) (Arr-t'n-^/i-ie.) 
 
 Rural pipe ; pastoral pipe. 
 Hirtlich (Ger.) {hirt-mih.) Pastoral, 
 
 rural. 
 
 His (Ger.) (his.) The note B sharp. 
 H moll (Ger.) (ha mol.) The key of B 
 minor. 
 
 Hoboe (Ger.) (,4i7-bo-e.) ) 
 
 Oboe, hautboy. 
 Oboes, 
 
 Hoboy (Ger.) (ho-boy.) 
 Hoboen (Ger. pi.) {hd-ho-en.) 
 hautboys. 
 
 Hoboist (Ger.) (ho-b6-&/.) Oboe- 
 player. 
 Hoch (Ger.) (hokh.) High. 
 
 Hoch-amt (Ger.) (hokh-amt.) High 
 
 Mass. 
 
 Hochfeierlich (Ger.) (hdkh-/t-er^^\s.h..) 
 Exceedingly solemn. 
 
 Hoch-gesang (Ger.) (hokh-^e-zdng.) 
 Ode, hymn. 
 
 Hoch-messe (Ger.) {Adkh mes-se.) High 
 Mass. 
 
 Hochmuth (Ger.) (^AokA-moot.) Dignity, 
 elevation, pride. 
 
 Hochsten (Ger.) (ASiA-sten.) Highest. 
 
 Hochzeils-gedicht (Ger.) {AoAA-tslts- ") 
 g'.-.e-diAAi. ? 
 
 Hochzeits-lied (Ger.) {AoiA-tsLts led.) ) 
 Epithalamium nuptial poems ; wedding- 
 song. 
 
 Hochzelts-marsch (Ger.) {AoAA-tslts 
 marsh.) Wedding march. 
 
 Hof-capelle (Ger.) (hof ka-/«/-le.) Court- 
 chapel choir, or orchestra. 
 
 Hof-concert (Ger.) (hoikon-iseri.) Court- 
 concert. 
 
 Hof-dichter (Ger.) (hof -JAA-ter.) Poet 
 laureate. 
 
 Bof-kirche (Ger.) 
 church. 
 
 (hof AlrAA-e.) Court 
 
 Hoflich (Ger.) (,A6/-likh.) ] In a 
 
 Hoflichkeit (Ger.) (/4^/likh-kit.) f Pleas- 
 ing and polite style. 
 
 Hof-musikant (Ger.) (Aqf moo-H-iani.) 
 Court-musician. 
 
 {Aqf or-gan-&;.) 
 Dignity, lofti- 
 
 Hof-K)rganist (Ger.) 
 Court-organist. 
 
 Hoheit (Ger.) {Ao-\ai.) 
 ness. 
 
 Hohen (Ger.) {Ad-en.) High, upper. 
 
 Hohl-fliJte (Ger.) {k5l-&t,-te.) Hollow- 
 toned flute ; an organ-stop producing a 
 thick and powerful hollow tone. Each 
 pipe has two holes in it, near the top, 
 and bpposite each other. 
 
 Hohl-quinte (Ger.) {Adl quin-te.) A 
 quint stop of the AoAl-flute species, 
 sounding a fifth higher. 
 
 Hold (Ger.) (hold.) Pleasing, agreeable. 
 
 Hold. A character CrJ indicating that 
 the time of a note or rest is to be pro- 
 longed. See Fermata. 
 
 Holding-note. A note that is sustained 
 or continued while the others are in 
 motion. 
 
 Holzblaser (Ger.) (.4^/0-bIazer.) Players 
 on the wood wind-instruments of an 
 orchestra. 
 
 Holzblasinstrumente (Ger.) (.^ofe-blahz- 
 in-stroo-mente. ) Wood wind-instru- 
 ments, technically called TAe Wood 
 mind. 
 
 Holz-flote (Ger.) {Adits fl&-te.) Wood 
 flute J an organ-stop. 
 
 Homophonie (Fr.) (h6-m5-fo-ne.) Ho- 
 mophony. 
 
 Homophonous. Of the same pitch ; in 
 unison. 
 
 Homophonoi suoni (It.) (ho-mo^-no-e 
 j-wJ-ne.) Unisons. 
 
 Homophony. Unison; two or more 
 voices singing in unison. In modern 
 music, a style in which one melody or 
 part, supported to a greater or less ex- 
 tent by chords (an accompanied mel- 
 ody) predominates. It is the opposite 
 of polyphony, where different melodies 
 are heard simultaneously. 
 
 Hook (Ger., FaAne : Fi., croc Aet ; It., coda 
 uncinala.) A stroke attached to the 
 stems of eighth nptes, sixteenth notes, 
 etc., / J> 'p\. Also I'lag, Pennant. 
 
 Hopser (Ger.) {Adp-^ex^ A German 
 
 dance ; a lively waltz. 
 Hops-tanz (Ger.) (/io/j-tants.) IIop- 
 
 dance. * 
 
 Hops-walzer (Ger.) 
 Quick waltzes. 
 
 (^^j-wa7-tser.) 
 
 a as in fl^ ; a as in Aate / a as in <j^ ; e as in tree ; e as in «^ ; 
 
 1 as in pine ; 1 as in pin ; 
 
HORffi 
 
 HORN, FRENCH 
 
 Horse (Lat.) {Aa-re.) Hours. 
 
 Horae Canonicae. The canonical hours 
 at which religious services are held, in 
 monasteries, etc. The following is the 
 order of the canonical hours : Lauds, 
 at daybreak; Prime, or first hour, a 
 later service ; Tierce, or third hour, at 
 9 A.M.; Sext, or sixth hour at noon ; 
 Nones, or ninth hour, at 3 p. M. ; 
 Vespers, or evening service ; Compline, 
 or final service, at bed-time. Each of 
 these has fixed psalms, except vespers, 
 which has certain.psalms read in course, 
 and a canticle. The book for these 
 offices is called the Breviary. 
 
 Horsiegulares (Lat.) (^a-re reg u/o-res.) 
 Hours : chants sung at prescribed hours, 
 in convents and monasteries. 
 
 Horizontal lines. ) Used in connec- 
 
 Horizontal strokes. ) tion with the fig- 
 ured bass, they usually show the 
 continuation of the same harmony, the 
 bass note being unchanged. 
 
 Horn. See Horn, French. 
 
 Horn, alpine. An instrument made of 
 wood, and used to convey sounds to a 
 great distance. 
 
 Horn, basset. An instrument resembling 
 the clarinet, but of greater compass, 
 embracing nearly four octaves. A 
 species of clarinet a fifth lower than the 
 C clarinet. Like the English horn it 
 stands in F, that is, it sounds a perfect 
 fifth lower than written. Its written 
 
 compass is about 
 
 s^m 
 
 f- 
 
 It has a very mournful, gloomy tone- 
 color, which suits it well to funereal 
 music. It plays easiest in flat keys. 
 It was prominently used by Mozart in 
 his great Requiem, and in other works. 
 
 Horn, bugle. A trumpet with keys. 
 
 Horn, chromatic. The French horn. 
 
 Horn, English. A species of oboe, a 
 fifth lower than the ordinary oboe. It 
 is more melancholy and also more 
 masculine than the oboe. It' has 
 been freely used by Wagner, Berlioz, 
 Rossini, and Schumann, to represent a 
 shepherd's pipe. The English horn, 
 as it sounds a fifth below the written 
 notes, is said to stand in F, as the 
 scale of C, written, will actually sound 
 the scale of F. If, for example, we 
 desired to employ the English horn in 
 
 a composition in the key of E flat, we 
 should be obliged to write it in the key 
 of B flat, a fifth above, to attain the 
 required sounds. The written compass 
 of the English horti is 
 
 m^ 
 
 but the actual sounds thus represented 
 
 are . b ^. 
 
 P 
 
 (Ger., Das Englische Horn ; Fr., Cor 
 Anglais; \\.., Corno Inglese.) It prob- 
 ably had its origin in England from a 
 shepherd's pipe. 
 
 Horn, French. An orchestral instrument 
 of brass or silver, consisting of a long 
 tube, twisted into several circular folds, 
 and gradually increasing in diameter 
 from the mouth-piece to the end. 
 This instrument is most frequently 
 called simply ike horn. There are 
 horns in all the different keys, but it is 
 not necessary to make a special instru- 
 ment in each key, for, by the addition 
 of sections of tubing, called crooks, 
 the horn (as also the trumpet and 
 cornet) can be lengthened and set in 
 another key than its- natural one. The 
 horn generally used in the orchestra is 
 the one in F, which, in its natural 
 state, without any added crooks, 
 would sound a perfect fifth lower than 
 its notation. The highest horn 
 made is that in C-alto, which is 
 non-transposing, sounding as writ- 
 ten. By drawing out the mouth- 
 piece the horn can be lowered a semi- 
 tone in pitch, the C-alto horn thus 
 becoming B-alto. All the horns but 
 the C-alto transpose downwards. In 
 an orchestral score the horns are gen- 
 erally notated in the key of C, and the 
 B-alto sounds a semi-tone deeper than 
 notated, the B-flat alto one tone, 
 the A-horn a minor third, the A- 
 flat horn a major third, etc., the 
 deepest being the B-flat basso which 
 sounds a ninth deeper than written. 
 The horns from the C-alto down to the 
 G-flat horn give the harmonic series (see 
 
 Harmonics) of tones pag : 
 the fundamental note l- ^= 
 about the ninth har- 
 
 from 
 
 to 
 
 monic 
 
 O as in tone ; 8 as in dove ; 8 as in not ; fi as in «<;» / ii the French sound of u. 
 
 139 
 
HORN, GEMSEN 
 
 HYDRAULUS 
 
 , without touching the keys. 
 The keys by constantly 
 lengthening the tube (see Key), add 
 lower series to the natural tones, so 
 that a chromatic scale can be played on 
 the instrument. The horns from that 
 in F, to that in B-flat basso, lose the 
 fundamental tone of the series, but 
 give the entire harmonic series of tones 
 up to the fifteenth harmonic, although 
 the tenth overtone is difficult to pro- 
 duce. The tone of the horn is modi- 
 fied by the player's right hand, which 
 is placed in the bell of the instrument. 
 When the hand is pressed very firmly 
 in the tube, as if to prevent the escape 
 of any air, a " stopped " tone is the 
 result, and the pitch is lowered a semi- 
 tone. The quality of the horn is mel- 
 low and tender, its tone-color suiting it 
 to romantic effects, and woodland and 
 forest pictures, but the stopped tones 
 are the reverse of this, and are the 
 most repulsive tone-color that can be 
 produced in the orchestra. 
 
 Horn, gemsen. An instrument formed 
 of a small pipe made of the horn of the 
 chamois or wild goat. 
 
 Horn, hunting. A bugle. 
 
 Horn, kent. A horn having six keys, 
 four of which are used by the right 
 hand and two by the left. 
 
 Horn, klappen. The kent-horn. 
 
 Horn, valve. A horn in which a portion 
 of the tube is opened or closed by the 
 use of valves, by means of which a 
 higher or lower pitch is obtained. See 
 Key. 
 
 Horner (Ger. pi.) (/4^r-ner.) The horns. 
 
 Hdrnerschall (Ger.) (A^r-ner-shall.) 
 Sound of horns. 
 
 Hornpipe. An old dance in triple time, 
 peculiar to the English nation. It is 
 supposed to have received its name 
 from the instrument played during 
 its performance. Modem hornpipes 
 are usually in common time and of a 
 more lively character than the ancient 
 hornpipe. 
 
 Hornquinten (Ger.) {horn-fi/t/is.) The 
 covered fifths produced by the natural 
 tones of r P I J * J ^ 
 
 Hosanna (Lat.) (ho-zdn-via..) 
 Sanctus in a Mass. 
 
 Part of the 
 
 Huchet (Fr.) (hu-sha.) 
 
 postman's horn. 
 Huer (Fr.) (hwa.) 
 
 Hiift-horn (Ger.) 
 horn. 
 
 A huntsman's or 
 
 To shout. 
 (/4a/?-hom.) Bugle- 
 
 Huitain (Fr.) (hwe-tanh.) A stanza of 
 eight lines. 
 
 Hiilfslinien (Ger.) {hiil/s-lin-i-^n.) Led- 
 ger lines. 
 
 Hiilfs-note (Ger.) {kUlfs-ndt-e.) ) Auxil- 
 Hiilfs-ton (Ger.) {hUlfs-ton.) ) iary 
 note ; accessory note ; a note standing 
 one degree above, or below the principal 
 note. 
 
 Hummel (Ger.) {hoom-raB..) i 
 
 Hummelchen (Ger.) (/4w«-mel-khen.) ) 
 
 A sort of bagpipe ; in organs the bass, 
 
 dronfe. 
 
 Hunting-horn. A bugle ; 
 cheer the hounds. 
 
 a horn used to 
 
 a pair of p(^ — ^ ii= 
 
 horns : 
 
 ^^EilEE 
 
 Hunting-song, 
 of the chase. 
 
 A song written in praise 
 
 Hurdy-gurfly. An old instrument con- 
 sisting of four strings, which are acted 
 upon by a wheel, rubbed in resin powder, 
 which serves as a bow. Two -of the 
 strings are affected by certain keys, 
 which stop them at different lengths 
 and produce the tune, while the others 
 act as a drone bass. This instrument 
 was imitated by Schubert in his song, 
 Der Leiermann. 
 
 Hurtig (Ger.) (hoor-'ag. ) Quick; swiftly ; 
 same meaning as Allegro. 
 
 Hurtigkeit (Ger.) (/^oor-tlg-kit.) Swift- 
 ness, quickness, agility. 
 
 Hydraulicon (Ger.) (hi-c'raw-ll-kon.) An 
 ancient instrument whose tones were 
 produced by the action of water. 
 
 Hydraulic organ. An organ whose 
 motive power was water, and the inven- 
 tion of which is of much greater anti- 
 quity than the pneumatic or wind-organ. 
 It is supposed to have been invented 
 by Ctesibius, a mathematician of 
 Alexandria. 
 
 Hornsordin (Ger.) (horn-sor-deen.) Mute 
 for a horn. 
 
 Hydraulon (Gr.) (hi-(/?-aa;-lon.) 
 Hydraulus (Lat.) (tii-draw-Xis,) 
 blown by the action of water. 
 'd asin aA; a as in Aale; S as in al; e as in tree; 
 
 140 
 
 ) An 
 J organ 
 
 e as in ^/4 ; i as in Jiine / i as in ^in/ 
 
HYMENiEA 
 
 IMITATION 
 
 Hymenaaa (Gr.) (him-en-«-a.) n ^^ 
 
 Hymenaus (Ger.) (him-en-^-oos.) [ mar- 
 Hymenaion (Gr.) (him-en-<i-on.) * n^ge 
 
 song. 
 Hymeneal (hi-»«*-ne-al.) ) A marriage 
 Hymenean (hi-w^-ne-an.) ) song. 
 Hymn. A song of praise or adoration to 
 the Deity ; a sliort, religious lyric poem 
 intended to be sung in churcii. An- 
 ciently, a song in honor of the gods or 
 heroes. 
 Hymnal. ) A compilation, or collec- 
 Hymn-book. 5 tion of hymns. 
 
 Hymn, choral. A hymn to be performed 
 
 by a chorus. 
 Hymne (Fr.) (emn.) 1 A hymn; 
 Hymne (Ger.) (^jfe-ne.) ) sacred song; 
 
 an anthem. 
 Hymne de louange (Fr.) (emn diih loo- 
 
 anzh.) Doxology; hymn of praise. 
 Hymnologie (Fr.) (emn-n61-5^^.) Hym- 
 
 nology. 
 Hymnologist. A writer or composer of 
 
 hymns. 
 Hymnology. The art of composing 
 
 hymns. 
 
 Hymn Orphic. A hymn pertaining to 
 
 Orpheus. 
 Hymnus (Lat.) {Mm-nus.) A hymn. 
 Hymnus, ambrosianus (Lat.) (Alm-nns 
 
 am-bro-z,4i'-a-nus.) The Ambrosian 
 
 chant. 
 
 Hymn, vesper. A hymn sung in the 
 vesper service of the Catholic Church. 
 
 Hypate (Gr.) The first or most grave 
 string in the lyre ; the lowest of the 
 Greek tetrachords. 
 
 Hypathoides. The lower sounds in the 
 ancient Greek scale. 
 
 Hyper (Gr.) (At-per.) Above. This 
 word in connection with the name of 
 any mode or interval signifies that it is 
 higher than when without it. 
 
 Hyper-diapason (Gr.) {ii^pex-di-'i-Jia- 
 son.) The upper octave. 
 
 Hyper-ditonos (Gr.) (.4?-per-di-/J-nos.) 
 The third above. 
 
 Hypo. Below. The word prefixed to 
 the name of any ancient mode or inter- 
 val, signifies that it is lower than when 
 without it. 
 
 Hypo-.ffiolian (Gr.) .(hi-po-e-J li-an.) 
 
 Thep/agal .lEohan mode 
 Hypo-diapason (Gr.) (hi-p6-de-a-pa-s6n.) 
 
 The lower octave. 
 Hypo-diapente (Gr.) (hi-p6-de-a-/f«-te.) 
 
 The fifth below. 
 Hypo-ditonos • (Gr.) (hi-po-de-^J-nos.) 
 
 The third below. 
 I 
 
 I (It.) (masculine plural.) The. 
 Iambic. ) A poetical and musical foot. 
 Iambus. ) consisting of one short un- 
 accented, and one long accented note 
 or syllable, -^ — . 
 
 Iambics. Certain songs or satires which 
 are supposed to have been the pre- 
 cursors of the ancient comedy; they 
 were of two kinds, one for singing and 
 one for recitation, accompanied by 
 instruments. 
 
 lastian (Gr.) (e-&--ti-an.) One of the 
 ancient Greek modes ; Ionian. 
 
 Ictus (Gr.) (i^k-tus.) A stroke of the foot, 
 marking the point of emphasis in music, 
 or poetry. 
 
 IdlUio (It.) (ed-eel-li-o.) An idyl. 
 
 Idyl. A short poem in pastoral style ; an 
 eclogue. 
 
 Idylle (Fr.) (e-</r//.) ) 
 
 Idylle (Ger.) (id-i7-le.) ) ^ ' 
 
 II (It.) (el.) The. 
 
 Ilarita (It.) {e-\ar-e-ia.) Hilarity, cheer- 
 fulness, mirth. 
 
 II basso (It.) (il ias-so.) The funda- 
 mental tone ; the lowest note of a 
 chord ; the bass part. 
 
 II canto (It.) (il ,^o«-to.) The song. 
 
 II piu (It.) (iljie-oo.) The most. 
 
 Im (Ger.) (em.) In the. 
 
 Imboccatura (It.) (em-bot-ka-<w-ra.) 
 Mouth-piece, embouchure. 
 
 Imbr6glio (It.) (im-*?-if/-yo.) Confusion ; 
 want of distinct ideas ; a mixture of 
 rhythms. 
 
 Imitindo (It.) (im-e-fi»-do.) Imitating. 
 
 Imitdndo la voce (It.) (im-e-?a»-d6 la 
 vo-tshe.) Imitating the inflections of 
 the voice. 
 
 Imitatio (Lat.) (im-i-&-shi-6.) Imita- 
 tion ; in counterpoint. 
 
 Imitation (Lat., imitatio ; Fr., imitation ; 
 It., imitazione ; Ger., Nachahmung.) 
 
 as in tone ; 6 as in dove ; 8 as in not ; ii as in «/ ; ii the French sound of u. 
 
 141 
 
IMITATION, AUGMENTED 
 
 IMPROVISARE 
 
 The repetition of a motive, phrase, or 
 theme proposed by one part (the ante- 
 cedent) in another part (the consequent), 
 with or without modification. 
 
 Imitation, augmented. A style of imi- 
 tation in which the answer is given in 
 notes of greater value than those of 
 the subject. 
 
 Imitation, diminished. A style of imi- 
 tation in which the answer is given in 
 notes of less value than those of the 
 subject. , 
 
 Imitation, free. Where the order of 
 
 successive notes is not strictly retained. 
 
 Imitation, in contrary motion. That 
 
 in which the answers invert the sub- 
 ject so that the rising intervals descend, 
 and the falling intervals ascend. 
 
 Imitation, in different divisions. That 
 in which the subject is answered in a 
 different division of the bar ; for in- 
 stance, the subject beginning on the 
 accented division, is answered on the 
 unaccented. 
 
 Imitation, in similar motion. Where 
 the answer retains the same order of 
 notes as the subject. 
 
 Imitation retrograde. A form of imita- 
 tion in which the subject is com- 
 menced backwards in the answer. 
 
 Imitative music. Music written to imi- 
 tate some of the operations of nature, 
 or art, as, the firing of cannon, the 
 rolling of thunder, etc. 
 
 ImitatO (It.) (em-e-^a-t5.) Imitation. 
 
 Imitazi6ne (It.) (em-e-ta-tse-iJ-ne.) Imi- 
 tation ; referring to counterpoint. 
 
 Immer (Ger.) (zm-meT.) Always, ever. 
 
 Imparfait (Fr.) (anh-par/a.) Imper- 
 fect. 
 
 Impazi^nte (It.) (im-pa-tse-««-te.) Im- 
 patient, hurried 
 
 Impazientem^nte (It.) (im-pa-tse-en- 
 te-men-te.) Impatiently, hurriedly. 
 
 Imperfect. Not perfect; less than per- 
 fect in speaking of intervals and 
 chords. 
 
 Imperfect cadence. A cadence which 
 ends on a triad of the dominant ; the 
 preceding chord may be either that of 
 the tonic or subdominant or in minor 
 keys the sixth of the scale ; the triad of 
 the dominant always being major. 
 
 Imperfect close. Imperfect cadence. 
 
 Imperfect concords. Thirds and sixths 
 are called imperfect concords because 
 they are liable to change from major 
 to minor, or the contrary, still remain- 
 ing consonant. 
 
 Imperfect consonances. The major and 
 minor third and the major and minor 
 sixth. 
 
 Imperfect intervals. Those which in- 
 clude one semi-tone less than the per- 
 fect interval of the same name. 
 
 Imperfect time. {Imperferium.) A term 
 by which the Ancients designated com- 
 mon time, indicated by the semi-circle 
 
 Imperfect triad. The chord of the 
 third, fifth, and eighth, taken on the 
 seventh of the key, consisting of two 
 minor thirds. 
 
 Imperfetto (It.) (im-per/^^-to.) Imper- 
 fect. 
 
 Imperiosam^nte (It.) (im-pa-re-o-za-»2«2- 
 te.) Imperiously, pompously. 
 
 Imperiosita (It.) (im-pa-re-o-ze-^a.) 
 Stateliness, pomposity. 
 
 Imperi6so (It.) (im-pa-re-o-zo.) Imperi- 
 ous, pompous. 
 
 Imperturbdbile (It.) (im-per-toor-*a-be- 
 le.) Quietly, easily, imperturbable. 
 
 Impeto (It.) (2>«-pe-t6.) Impetuosity, 
 vehemence. 
 
 Impetuosam^nte (It.) (im-pa-too-o-za- 
 men-Xe.) Impetuously. 
 
 Impetuosita (It.) (im-pa-too-6-ze-/a.) 
 Impetuosity, vehemence. 
 
 Impetu6so ( It.) (im-pa-too-o-zo.) Im- 
 petuous, vehement. 
 
 Impon^nte (It.) (im-p6-«^«-te.) Im- 
 posingly, haughtily. 
 
 Impresario (It.) (im-pre-2o-re-6.) A 
 term applied by the Italians to the 
 manager or conductor of operas or 
 concerts. 
 
 Impr6mptu (Fr.) (anh-/?-«w/-tii.) An 
 extemporaneous production. 
 
 Improperia (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. 
 
 Improvisare (It.) (im-pro-ve-za-re.) To 
 compose, or sing extemporaneously. 
 
 a as in 3,4 ; a as in .4afe ; a as in a/ ; e as in tree ; S as in i?/4 ; i as in pine ; I as in fiini 
 
 142 
 
IMPROVISATEUR 
 
 infuriAto 
 
 ] 
 
 y impro- 
 
 An 
 
 Improvisateur (Fr.) (anh-pro- 
 \e-zdL-ttir.) 
 
 Improvisator (Ger.) (im-pro-fi- .■ 
 za-tor.) J 
 
 Improvisation. The act of singing, play- 
 ing, or composing music without pre- 
 vious preparation ; extemporaneous 
 performance. 
 
 Improvisatrice (Fr.) (anh-pro-ve-za- 
 iress.) A female who plays or sings 
 extemporaneously. 
 
 Improvise. To sing or play without pre- 
 meditation. 
 
 Improviser (Fr.) (anh-pr6-ve-a<f.) To 
 improvise. 
 
 Improvise (Fr.) (anh-pro-ve-za.) Ex- 
 temporaneous. 
 
 Improwisam^nte (It.) (im-pro-ve-za 
 men-le.) Extemporaneously. 
 
 Improwisare (It.) (im-pro-ve-xa-re.) To 
 improvise. 
 
 ImprowisAta (It.) (im-pro-ve-za-ta.) 
 An extempore composition. 
 
 Improwisatfire (It.) (im-pro-ves-sa-to- 
 re.) One who sings or declaims in 
 verse extemporaneously. 
 
 Improvviso (It.) (im-prov-w^-za) Ex- 
 temporaneous. 
 
 Im tact (Ger.) (im tdkt.) In time. 
 
 In (It. and Lat.) (en.) In, into, in the. 
 
 In alt (It.) (in alt.) Notes are said to 
 be in alt when they are situated above 
 F on the fifth line of the treble staff. 
 
 In altissimo (It.) (in al-^zj se-mo.) A 
 term applied to all notes which run 
 higher than F above the third leger 
 line in the treble, or F in alt. 
 
 Inbrunst (Ger.) (in-broonst.) Fervor; 
 ardor ; warmth of passion. 
 
 Inbriinstig (Ger.) (fc-briins-tig.) Ardent, 
 fervent, passionate. 
 
 Incalzando (It.) (In-cal-^j-3«-do.) With 
 growing warmth and fervor. 
 
 Incantation. Enchantment ; a form of 
 words pronounced or sung in connec- 
 tion with certain ceremonies, for the 
 purpose of enchantment. 
 
 Incantazione (It.) (en-kan-ta-tse-^-ne.) 
 Songs of incantation. 
 
 Incarnatus (Lat.) Part of the Credo of 
 the Mass. 
 
 (It.) (in-dan-y'a-ta- 
 
 Inconsoldto (It.) (en-kon-so-/ai-t6 ) In a 
 mournful style. 
 
 Inconsonant. Discordant. 
 
 Incordam^nto (It.) (en-k6r-da-w«if«-t6.) 
 
 Tension of the strings of an instru- 
 ment. 
 
 Incordire (It.) (in-kor-i/o-re.) To string 
 an instrument, 
 
 Indeciso (It.) {in-de-tshe-zo.) Undecided, 
 wavering, hesitating ; slight changes of 
 time and a somewhat capricious value 
 of the notes. 
 
 Indegnatam^nte 
 
 men-i.e.) 
 IndegndtO (If.) (en-dan-j<i'-t6.) 
 Angrily, furiously, passionately. 
 
 Index. A direct -w ; also the forefinger. 
 See Direct. 
 
 Indications sceniques (Fr.) (anh-de-.4a- 
 se-onh sa-riei.) Stage directions. 
 
 Indifier^nte (It.) (in-def-fe-«»-le.) 
 
 Indifierentem^nte (It.) (in-def-fe-ren- 
 le-men-te.) 
 Coldly ; with indifference. 
 
 Indifierenza (It.) {in-del-ie-ren-tsa..) In- 
 difference. 
 
 In distdnza (It.) (in des-^a«-tsa.) At 
 a distance. 
 
 Inferndle (It.) (in-fer-wa-le.) Infernal, 
 diabolic. 
 
 Infervordto (It.) (in-fer-vo-ra-to.) Fer- 
 vent, impassioned. 
 
 Infiammatam^nte (It.) (in-fe-am-ma-ta- 
 men-te.) Ardently, impetuously. 
 
 Infinite canon. An epithet given to 
 those canons which are so constructed 
 that the end leads to the beginning, 
 and the performance may be indefinitely 
 repeated ; also called endless canon. 
 
 Infinito (It.) (in-fe-«^-t6.) Perpetual. 
 
 Inflatile. An epithet applied to wind- 
 instruments. Inflatable. 
 
 Inflection. Any change or modification 
 in the pitch or tone of the voice. 
 
 Beneath. 
 
 In haste: 
 hastily. 
 
 Infuridnte (It.) (in-foo re-o«-te.) ) Fuii- 
 InfuriAto (It.) (in-foo-re-a-to.) 1 ons, 
 raging. 
 
 Infra (Lat.) (fe-fra.) 
 
 In fr^tta (It.) (in frdta.) 
 
 5 as in tone ; 6 as in dove ; 8 as in not ; ii as in up ; ii the French sound oias, 
 
 143 
 
ingAnni 
 
 INSTRUMENTS, MECHANICAL 
 
 i-te- >■ 
 
 IngAnni (It. pi.) {in-^dn-ne.) See /«- 
 g'dnno. 
 
 Ingdnno (It.) {m-gdn-no.) A deception ; 
 applied to a deceptive or interrupted 
 cadence ; also, to any unusual resolu- 
 tion of a discord, or an unexpected 
 modulation. 
 
 Ing^gno (It.) {en-jan yo.) Art, skill, 
 discretion. 
 
 Inharmonic relation. The introduction 
 of a dissonant sound, not heard in the 
 preceding chord. 
 
 Innario (It.) (en-«3-re-o.) Hymn-book. 
 
 Inneggiare (It.) (in-nad-je-o-re.) To 
 compose or sing hymns. 
 
 Inni (It. pi.) (in-ne.) Hymns. 
 Innig (Ger.) (i'w-nig.) Sincere ; cordial ; 
 with depth of feeling. 
 
 Inno (It.) (in-n5.) A hymn ; canticle ; 
 ode. 
 
 Innocdnte (It.) (vn.-no-isken-ie.) 
 
 Innocentem^nte (It.) (in-no-tshen 
 Tnen-X.t.') 
 
 Innocently; in an artless and simple 
 style. 
 
 Innoc^nza (It.) Qxi-no-ishen-tsa..) Inno- 
 cence. 
 
 Ino (It.) («-no.) An Italian final di- 
 minutive. As Scherzo, Scherzino. The 
 feminine is Ina, as Sonata, Sonatina. 
 
 In pdlco (It.) (mpdl-'kb.) On a stage ; 
 
 applied to musical performances on the 
 
 stage. 
 Inqui^tO (It.) (in-que-a-to.) Restless, 
 
 uneasy, agitated. 
 
 Insegnam^ntO (It.) (in-san-ya-w^w-to.) 
 Instruction. 
 
 Insegnat6re (It.) (in-san-ya-^a-re.) Teach- 
 er, instructor. 
 
 Insensibile (It.) (in-sen-j^^-bi-le.) J 
 
 Insensibilm^nte (It.) (in-sen-se-bel- 1 
 men-te.) ' 
 
 Insensibility ; by small degrees ; by 
 little and little. 
 
 Instantem^nte (It.) (in-stan-te-/»?«-te.)' 
 Vehemently, urgently. 
 
 Instrument a cordes (Fr.) (anh-strii- 
 manh a kord.) A stringed instrument. 
 
 Instrument a I'archet (Fr.) (anh-strii- 
 manh a I'ar-sha.) Instrument played 
 with a bow. 
 
 Instrumental. A term appUed to music 
 composed for or performed on instru- 
 ments. 
 
 Instrumentdle (It.) (en-stroo-men-&-le.) 
 Instrumental. 
 
 Instrumental score. A score in which 
 the instrumental parts are given in full. 
 
 Instrumentare (It.) (in-stroo-men-Zo-re.) 
 To compose or arrange instrumental 
 music. 
 
 Instrumentation. The act of writing for 
 an orchestra, with a practical knowl- 
 edge of each instrument, and of the 
 distribution of harmony among the 
 different instruments. 
 
 Instrument a vent (Fr.) (anh-strii-manh 
 a vanh.) A wind-instrument. 
 
 Instrumenrtazi6ne (It.) (in-stroo-men-ta- 
 
 tse-o-ne.) Instrumentation. 
 Instrumentiren (Ger.) (in-stroo-men- ^ 
 
 ^^-r'n.) I 
 
 Instrumentirung (Ger.) (in-stro6-men- T 
 
 ^^-roong.) J 
 
 Instrumentation. 
 
 Instrum^nto a corda (It.) (in-stroo-^ 
 
 men-io a kdr-d^i.) I 
 
 Instrum^nto da arco (It.) (in-stroo- ] 
 
 men-tb da o>-ko.) J 
 A stringed instrument. 
 
 Instrum^nto da fiito (It.) (in-stroo-»«^«- 
 to da fe-a-to.) A wind-instrument. 
 
 Instrum^nto da p^nna (It.) (in-stroo- 
 men-tb da pen-rii..) Instrument with 
 the quill ; an old name for the spinet. 
 
 Instrum^nto da percotimento (It.) (in- 
 
 sixoo-men-ib da per-ko-te-»;^«-to.) 
 
 An instrument of percussion. 
 Instrum^nto da tasto (It.) {instroo-men- 
 
 to da tds-tb.) A keyed instrument. 
 Instruments. See Classified Table on 
 
 next page. 
 Instruments, bow. All instruments 
 
 whose tones are produced by means of 
 
 a bow. 
 Instruments, brass Wind-instruments 
 
 formed of brass and used chiefly for 
 
 military purposes. 
 Instruments, keyed. All instruments 
 
 the sounds of which are produced by 
 
 the pressure of the fingers upon the 
 
 keys. 
 
 Instruments, mechanical. Instruments 
 which produce tunes by the means of 
 
 a as in a/4 ; a as in hate ; a as in at ; e as in tree ; e as in eh ; i as in pine ; i as in pin; 
 
 • 144 
 
INSTRUMENTS, PERCUSSIVE 
 
 INTERLUDE 
 
 some mechanical contrivance, as, crank, 
 
 springs, weights, etc. 
 Instruments, percussive, i Instruments 
 Instruments, pulsatile. ) whose sounds 
 
 are produced by being struck. 
 
 Instruments, reed. Instruments whose 
 tones are produced by the action of air 
 upon reeds of metal or wood. 
 
 Instruments, stringed. Instruments 
 whose tones are produced by striking 
 or drawing strings or the friction of a. 
 tow. 
 
 Instruments, tubular. Instruments con- 
 sisting of one or more tubes of wood 
 or metal. 
 
 Instruments, wind. Instruments the 
 sounds of which are produced by the 
 breath or the wind of bellows. 
 
 A CLASSIFIED TABLE OF MUSICAL IN- 
 STRUMENTS. 
 String Instruments : 
 Percussion — 
 
 Pianoforte. 
 
 Schlagzither. 
 Friction (Bowing) — 
 
 Violin. 
 
 Viola. 
 
 Violoncello. 
 
 Contrabass. 
 
 Viol d'Amore 
 Plucking — 
 
 Harp. 
 
 Guitar. 
 
 Mandoline (plectrum or pick). 
 
 Zither. 
 
 Banjo. 
 
 Wtnd-instruments of Wood: 
 "With open mouth-piece — 
 Flute. 
 Piccolo. 
 Fife. 
 
 Single reed — 
 
 Clarinet. 
 
 Bass Clarinet. 
 
 Basset-horn. 
 
 Pedal Clarinet. 
 Double Reed — 
 
 Oboe. 
 
 English Horn. 
 
 Bassoon. 
 
 Contrabassoon> 
 
 Brass Instruments : 
 With cup mouth-piece — 
 
 Cornet. 
 
 Trumpet. 
 
 French Horn. 
 
 Trombone (keyed). 
 
 Trombone (slide). 
 
 Tuba. 
 
 Saxhorns. 
 
 Bugle. 
 
 Post-horn. 
 
 Ophicleide. 
 With single reed — 
 
 Saxophone. 
 With double reed ^ 
 
 Sarussophone. 
 
 Instruments of Percussion : 
 With definite pitch — 
 
 Kettle drum. 
 
 Xylophone. 
 
 Glockenspiel. 
 
 •Bells. 
 Without pitch — 
 
 Bass-drum. 
 
 Military Drum. 
 
 Cymbals. 
 
 Gong. 
 
 Tambourine. 
 
 Castagnettes. 
 
 Triangle. 
 
 The organ combines most of the effects 
 of the above-given wind-instrunients, 
 and there are also obsolete instruments, 
 such as the clavichord, harpsichord, 
 oboe di caccia, etc., which are not given 
 in the above list. 
 
 Intavoldre (It.) (en-ta-v6-/»-re.) To write 
 notes ; to copy music. 
 
 Intavolatiira (It.) {en-ta-wo-Va-too-ra.) 
 Musical notation ; figured bass. 
 
 In t^mpo (It.) (en-//ff«-po.) In time. 
 
 Intendant (Fr.) (anh-tanh-danh.) j Direc- 
 Intend^nte (It.) (en-ten-a'/«-te.) ) tor, 
 conductor. See Impresdrio. 
 
 Interligne (Fr.) (In-ter-few.) The space 
 (between two lines) of the staff. 
 
 Interlude. A short musical representa- 
 tion, introduced between the acts of 
 any drama or between the play and 
 afterpiece ; an intermediate strain or 
 movement played between the verses 
 of a hymn, or of a song. 
 
 as in tone ; 6 as in dove ; 8 as in not ; ii as in up; ii the French sound of ». 
 
 145 
 
INTERLUDIUM 
 
 INTIMISSIMO 
 
 Interludium (Lat.) (in-ter-loo-di-oom.) 
 Intermede (Fr.) (anh-ter-mad'.) 
 Intermedio (It.) (in-ter-ma-di-6.) 
 Intermezzo (It.) (in-ter-met-s6.) 
 
 An interlude ; intermediate, placed be- 
 tween two others ; detached pieces in- 
 troduced between the acts of an opera. 
 Also a short movement in the sym- 
 phony taking the place of the Scherzo. 
 In the old Suite, the Intermez'zi were 
 from two to four short movements, of 
 moderate tempo (generally minuets or 
 gavots), placed between the sara- 
 bande and the finale, — the gigue. 
 Interval (Lat., intervallum ; Ger., Inter- 
 vall ; Fr., intervalle ; It., intervallo.) 
 The difference in pitch between two 
 tones. The interval is counted from 
 the lowest note to the highest. Thus 
 in the scale of C major the intervals 
 would be named as follows : 
 
 # 
 
 ii^^. 
 
 ^^ 
 
 =t: 
 
 In the inversion of these, the prime be- 
 comes an octave, the second a seventh, 
 the third a sixth, etc. But the charac- 
 ter of the interval may change in the 
 inversion. The intervals are thus 
 classified : 
 
 Primes. 
 Perfect, 
 or Unison. 
 
 Augmented. 
 
 Seconds. 
 Major. Minor. 
 
 Augmented. 
 
 Thirds. 
 Major. Minor. Diminished. 
 
 I^^l^^^^ 
 
 r 
 
 Fourths. 
 Perfect. Augmented. Diminished. 
 
 Perfect. 
 
 Fifths. 
 Augmented. Diminished. 
 
 Jim — ,-_ C^L 
 
 Octaves. 
 Perfect . Diminished. 
 
 P 
 
 *= 
 
 ^- 
 
 It will be noticed that each major or 
 perfect interval, when widened by a 
 semi-tone, becomes augmented ; that 
 each major interval, contracted by a 
 semi-tone, becomes minor; and that 
 each minor or perfect interval con- 
 tracted by a semi-tone, becomes dimin- 
 ished; and that in the inversion 
 
 a Perfect interval remains perfect, 
 
 a Major " becomes minor, 
 
 a Minor " " major, 
 
 an Augumented " " diminished, 
 
 a Diminislied " " augmented. 
 
 Thus, if we invert the three sevenths 
 above given they become seconds, but 
 of the following kinds : 
 
 Minor. Major. Augmented. 
 
 f 
 
 -h 
 
 ^ 
 
 *= 
 
 =1= 
 
 Interval, augmented. An interval which 
 is a semi-tone, or half-step, greater than 
 a major or perfect interval. 
 
 Interval, consecutive. An interval pas- 
 sing in the same direction in two par- 
 allel parts. 
 
 Interval, diminished. An interval less 
 than a perfect interval by a half -step or 
 semi-tone. 
 
 Interval, enharmonic. An interval — 
 which is only nominal, as from G( to 
 
 Ab. 
 
 Interval, extreme. A larger interval 
 than the major, or a smaller than the 
 minor. 
 
 Intimlssimo (It.) (in-te-»«^«-se-mo.) 
 Very expressive ; with great feeling. 
 
 U as in aA; a as in hate ; S as ino^; easin tree ; 6 asinM; X^sm pine ; las in pin; 
 
 146 
 
INTIMO 
 
 INVERSION, STRICT 
 
 Intimo (It.) (««-te-mo.) Inward feel- 
 ing ; expressive. See Innig. 
 
 Intonare (It.) (in-t6-«ai-re.) \^ To pitch 
 
 Intuondre (It.) (in-tw6-Ka-ie.) i the 
 voice ; to sound the key-note ; to begin. 
 
 Intonation. A word referring to the 
 proper emission of the voice so as to 
 produce any required note in exact 
 tune ; the act of modulating the voiQe. 
 The chanting of Plain-song. 
 
 Intonation, false. A variation in pitch 
 from what is understood to be the true 
 tone. 
 
 Intonato (It.) (in-to-«o-to.) Tuned ; set 
 to music. 
 
 Intonatiira (It.) (in-to-na-/«o-ra.) j 
 
 Intonazione (It.) (in-to-na-tse-J-ne.) i 
 Intonation. 
 
 Intoniren (Ger.) (in-to-ne-r'n.) To in- 
 tone ; to sound. 
 Intrdda (It.) (in-^ra da.) 1 A short pre- 
 Intrade (Ger.) (in-ira-de.) ) lude or intro- 
 ductory movement. 
 
 Intrepidam£nte (It.) (in-tre-pe-da-»«««- 
 te.) Boldly ; with intrepidity. 
 
 Intrepidezza (It.) (in-tre-pe-</«Asa.) In- 
 trepidity, boldness. 
 
 Intr^pido (It.) (en-/i>-^-pe-d5.) Intrepid, 
 bold. 
 
 Introducim^ntO (It.) (en-tro-doo-tshe- 
 men-to.) An introduction. 
 
 Introduction. That movement in a com- 
 position, the design of which is to pre- 
 pare the ear for the movements which 
 are to follow. It may be a mere 
 phrase, or an entire division of a work. 
 See Beethoven's ist, 2d, and 7th Sym- 
 phonies. 
 
 Introductorio (It.) (en-tro-dook-^J-re-o.) 
 Introductory, preliminary. 
 
 Introduzione (It.) (en-tro-doo-tse-J-ne.) 
 An introduction. 
 
 Introit (Eng.) (in-^rJ-it.) 
 
 Introit (Fr.) (anh-trwa.) 
 
 Intrfiito (It.) (en-tr5-M6.) 
 
 Introito (Spa.) (en-tro-^ to.) 
 
 Introitus (Lat.) (in-;?-o-^-tus.) '' 
 
 chant sung while the priest approaches 
 the altar at the commencement of the 
 Mass. In the Anglican Church, a .short 
 anthem, psalm, or hymn, sung while 
 the minister proceeds to the table to 
 
 En- 
 trance ; 
 > a hymn 
 or anti- 
 phonal 
 
 administer the Holy Communion, For- 
 merly, in some English cathedrals, the 
 Sanctus was sung as an Introit. 
 
 Invention (Fr.) (anh-vanh-si-onh.) An 
 old name for a species of prelude or 
 short fantasia: a short piece in free 
 contrapuntal style. 
 
 Invenzione (It.) (en-veit-tse-^-ne.)- In- 
 vention, contrivance. 
 
 Inversio (Lat.) (in-z/a;--si-o.) Inversion. 
 See that word. 
 
 Inversio cancrizans (Lat.) (in-mV-sT-o 
 kan-kri-8o»j.) Retrograde, or crab-like 
 inversion, or imitation ; because it goes 
 backwards. 
 
 Inversio in octavam acutam (Lat.) (in- 
 vdr-si-o in ok-te'-vam a-^a-tam.) In- 
 version in the octave above, the trans- 
 position of the lower part an octave 
 above. 
 
 Inversio in octavam gravem (Lat.) (in- 
 vdr-si-o in ok-td-vara grd-vem.) In- 
 version in the octave below ; the trans- 
 position of the upper part an octave 
 below to form the bass, while the other 
 part remains stationary. 
 
 Inversion, A change of position with 
 respect to intervals and chords ; the 
 lower notes being placed above, and the 
 upper notes below. See Interval, A 
 chord is inverted when the bass takes 
 some note other than the fundamental. 
 
 Chord. Inversions. Chord. Inversions. 
 
 Inversion, first. A term given to a 
 chord when the written bass takes the 
 third. 
 
 Inversion, retrograde. An inversion 
 made by commencing on the last note 
 of the subject and writing it backwards 
 to the first note. 
 
 Inversion, second. Where the bass note 
 takes the fifth from the fundamental. 
 
 Inversion, simple. An inversion made 
 by reversing the notes of a subject in 
 its answer, so that the ascending notes 
 of the original passage descend in the 
 answer, and vice versa. 
 
 Inversion, strict. The same as simple 
 inversion, yet requiring that whole 
 tones should be answered by whola 
 tones, semi-tones by semi-tones, etc. 
 
 as in tone ; 6 as in dove ; 8 as in not ; ii as in up ; iL the French sound of u. 
 
 147 
 
UrVERSION, THniD 
 
 JAGD-SIKFOWIE 
 
 Inversion, third. Name givuii to a 
 chord when the bass takes the seventh. 
 
 Invert. To change the position either in 
 a subject or chord. 
 
 Inverted. Changed in position. 
 
 Inverted chord. A chord whose funda- 
 mental tone is not its lowest. 
 
 Inverted turn. A turn which com- 
 mences with the lowest note instead of 
 the highest. 
 
 Invitatorio (Spa.) (en-ve-ta-Z^-ri-o.) 
 Psalm or anthem sung at the beginning 
 of the matins. 
 
 Invitatorium (Lat.) (in-vi-ta-/o-ri-iim.) 
 The name applied to the antiphone, or 
 response, to the psalm " Venitp Exulte- 
 mus." 
 
 Invitatory. A part of the service sung 
 in the Roman Catholic Church ; a 
 psalm or anthem sung in the morning. 
 
 Invocatis (Lat.) (lu-vo-zJa-tis.) ^ 
 
 InvocdtO (It.) (in-vo-/^a-to.) > 
 
 Invocazi6ne (It.) (in-v6 ka-tse-o-ne.) ' 
 An invocation, or prayer. 
 
 lo bacche (Lat.) (yo bak-ke.) A burden 
 used in the lyric poetry of the Romans. 
 
 Ionian (Gr.) (i-^-ni-an.) ) One of the 
 Ionic (Gr.) (i-if»-ik.) ) ancient Greek 
 
 modes. 
 Ionic music. A light, airy style of 
 
 music. 
 lo triumphe (Lat.) (yo tn-um-ie.) A 
 
 phrase of exultation often found in the 
 
 lyric poetry of the ancient Romans. 
 
 Ira (It.) (e-ra.) Anger, wrath. 
 
 Ir4ta (It.) (i-;-a-ta.) ^ 
 
 IrdtO (It.) (i-ra-lo.) I A"g"fy' 
 
 , >-passion- 
 
 Iratamente (It.) (i-ra-ta-»z^K- i ^teiy 
 
 te.) J ■'■ 
 
 Irlandais (Fr.) (ir-lanh-oK.) i ^j, 
 Irlandisch (Ger.) (/>-lan-dish.) ) air, or 
 
 dance tune, in the Irish style. 
 
 Ironicam^nte (It.) (i-r6n-e-ka-ffz^«-te.) 
 Ironically. 
 
 Irdnico (It.) (i-riln-e-ko.) Ironical. 
 
 Irregolare (It.) (ir-ra-go-/a-re.) Irreg- 
 ular. 
 
 Irregular cadence. An imperfect ca- 
 dence. 
 
 Irregular period. A period in which a 
 
 false cadence interrupts or suspends an 
 expected final close. 
 Irresolute (It.) (ir-ra-zo-Zoo-to.) Irreso- 
 lute, wavering. 
 
 Isdegno, con (It.) (is-ddn-yo kon.) With 
 indignation. 
 
 Ismania, con (It.) (is-md-ne-'i.) With 
 wildness ; with madness. 
 
 Isochronal (Gr.) i Uniform in time ; per- 
 Isochronous. ) formed in equal time. 
 
 Isotonic system. A system of music 
 consisting of intervals in which each 
 concord is tempered alike, and in which 
 there are twelve equal semi-tones. 
 
 Ist^sso (It.) (is-to-so.) The same. 
 
 Ist^sso tempo (It.) (is-/«-so tem-po.) 
 The same time. 
 
 Istrepito, con (It.) (is-tra-pe-to.) With 
 noise and bluster. 
 
 Istrumentdlo (It.) (is-troo-men-zS'-le.) 
 
 Instrumental. 
 Istrumentazidne (It.) (is-troo-men-ta- 
 
 tse-o-ne.) Instrumentation. 
 Istrum^nto (It.) (is-troo-»i^«-t6.) An 
 
 instrument. 
 
 Italian sixth. A name 
 sometimes given to a 
 chord composed of a ma 
 jor third and an augmented sixth. 
 
 Italidno (It.) (i-ta-le-o-no.) 
 
 Italienisch (Ger.) (it-a-li-a«- 
 ish.) 
 
 Italienne (Fr.) (it-a-le-enn.) J 
 
 Ita missa est (Lat.) (^-ta mis-sa est.) 
 The termination of the Mass sung by 
 the priest to Gregorian music. It 
 means " Go, ye are dismissed," and 
 gave the name Missa or Mass to the 
 entire service. 
 
 3 
 
 Italian. 
 
 Jack. The quill which strikes the strings 
 of a harpsichord, or the upright lever 
 in piano action. 
 
 Jaeger-chor (Ger.) (j^a-gher-kor.) Hunt- 
 ing-chorus 
 
 Jagd-ruf (Ger.) <^ydgd-xooi.) Sound of 
 
 the bugle or hunting-horn. 
 Jagd-horn (Ger.) (yagd-\^oxr^.) ) Hunt- 
 Jagd-zink (Ger.) (j)/4jv/-tsink.) ( ing-horn, 
 bugle-horn. 
 
 Jagd-sinfonie (Ger.) {yiigd-sm-io-ne.) 
 Hunting symphony. 
 
 a ^■s.'vaah; a as in hate; a as \nat; e asm free; hasin£A; las in pine; ias uvpin; 
 
 148 
 
JAGD-STUCK 
 
 JUBEL-LIED 
 
 Jagd-stiick (Ger.) (yag-t/st^k.) A hunt- 
 ing-piece. 
 
 Jager-chor (Ger.) (j/J-gher-kor.) See 
 Jaeger-chor. 
 
 Jager-horn (Ger.) (j/J-gher-horn.) Hunt- 
 ing-horn, bugle-horn. 
 
 Jalfe (Spa.) (,4a-la 6.) A national Span- 
 ish dance. 
 
 Jambe (Ger.) {ydm-hi.^ See Iambus. 
 
 Jambico(It.)(e-«».-be-ko.) i ^n iambic. 
 
 Jambo (It.) (e-a>«-bo.) ) 
 
 Janko keyboard. A system of piano- 
 forte keys invented by a Hungarian, 
 Paul von Janko, in. 1882. It is two 
 series of keys (each key representing a 
 step of one whole tone), set in three 
 different positions (six ranks of keys in 
 all), and presents the following advan- 
 tages : I . The same fingering of scales 
 and runs in any key. 2 . The widest in- 
 tervals are brought within the compass 
 of a small hand. 3 . Octave passages 
 are made especially easy. There are 
 other advantages, but, as yet, very few 
 prominent artists have used the ingen- 
 ious invention. 
 
 Janitscharen-musik (Ger.) (ya-nit-sha- 
 r'n-moo-zik.) Janizary music, Turkish 
 music. In the orchestra, music for tri- 
 angle, bass-drum and cymbals. 
 
 Jardbe (Spa.) (ha-ra-be.) A Spanish 
 dance. 
 
 Jauchzend (Ger.) (j/o»M-tsend.) Shout- 
 ing, joyful. 
 
 Jeu (Fr.) (zhiih.) Play ; the style of play- 
 ing on an instrument ; also a register 
 in an organ or harmonium ; also Grand 
 jeu, plein jeu, full organ ; full power ; 
 demi-jeu^ half-power. 
 
 Jeu cfleste (Fr.) (zhfih sa-lest.) The 
 name of a soft stop in an harmonium ; 
 also an organ-stop of French invention, 
 formed of two dulciana pipes, the pitch 
 of one being slightly raised, giving to 
 the tone a waving undulating character. 
 
 Jeu d'anche (Fr.) (zhuh d'ansh.) A reed- 
 stop in an organ. 
 
 Jeu d'anges (Fr.) (zhiih d'anzh.) Soft 
 stops. 
 
 Jeu d'^chos (Fr.) (zhiih d'a-ko.) Echo 
 stop. 
 
 Jeu de flutes (Fr.) (zhiih diih floot.) Flute 
 stop. 
 as in tone ; 5 as in dove ; 8 as in not 
 
 Jeu d'orgues (Fr.) (zhuh d'org.) Repster, 
 ■ or row of pipes, in an organ. 
 
 Jeux (Fr. pi.) (zhuh.) Stops or registers, 
 in an organ, or harmonium. 
 
 Jeux forts (Fr.) (zhiih for.) Loud stops ; 
 forte stops. 
 
 Jew's harp. A small instrument of brass 
 or steel, and shaped somewhat like a 
 lyre with a thin, vibrating tongue of 
 metal : when played, it is placed be- 
 tween the teeth, and struck with the 
 forefinger. 
 
 Jewstrump. A term applied by old 
 writers to the jews-harp. 
 
 Jig. A light, brisk movement ; an old 
 species of dance in | or J^l time ; the 
 name is supposed to have been derived 
 from Geige, a fiddle. See Gigue. 
 
 Jingles. Loose pieces of metal placed 
 around a tambourine to increase the 
 sound. 
 
 Jocosus (Lat.) (jo-^»-sus.) Jocose, merry, 
 funny. 
 
 Jodeln (Ger.) (_i/J-d'ln.) A style of sing- 
 ing peculiar to the Tyrolese peasants, 
 the natural voice, and the falsetto, being 
 used alternately. 
 
 Jodler (Ger.) (j^'J-dler.) A song sung in 
 the above manner. 
 
 Joie (Fr.) (zhwa.) Joy, gladness. 
 
 Jongleurs (Fr. pi.) (zhonh-gloor.) ) An 
 
 Jongleurs (Fr. pi.) (zhonh-gliir.) ) old 
 term for the itinerant musicians of the 
 eleventh and following centuries. 
 
 J6ta (Spa.) (ho-ta.) A Spanish national 
 dance in triple time and rapid move- 
 ment. 
 
 Jouer (Fr.) (zhoo-a.) To play upon an 
 instrument. 
 
 Joueur de flute (Fr.) (zhoo-iir duh fioot.) 
 A flutist. 
 
 Joueur de musette (Fr.) (zhoo-ur diih mu- 
 zet.) A bagpiper. 
 
 Joueur d'instrumens (Fr.) (zhoo-ur d'anh- 
 strii manh.) A player upon musical in- 
 struments. 
 
 Jovialisch (Ger.) (yo-fi-a-lish.) Jovial, 
 joyous, merry. ' 
 
 Jnbel-flote (Ger.) (j/OT-b'l-_;?|^-te.) An 
 organ-stop of the flute species. 
 
 Jubel-gesang (Ger.) {yoo-\>'\ ghe-zang.) ) 
 Jubel-lied (Ger.) (yoo-h'Ued.) ) 
 
 Song of jubilee. 
 ,• 11 as in up; ii the French sound of u. 
 
 149 
 
JUBELND 
 
 KEY 
 
 Jubelnd (Ger.) (yoo-helnd.) Rejoicing. 
 
 Jubilar (Ger.) (yoo-b!-/<i>.) The recip- 
 ient of a jubilee ; one in whose honor a 
 public performance is given. 
 
 Jubilate. In the Anglican liturgy, the 
 one hundredth psalm, following the 
 second lesson in the morning service. 
 
 Jubilee. A season of great public jojf 
 and festivity. Among the Jews, every 
 fiftieth year was a jubilee. 
 
 Jubil6so (It.) (yoo-be-/o-z6.) Jubilant, 
 exulting. 
 
 Just. A term applied to all consonant 
 intervals, and to those voices, strings, 
 and pipes that give them with exact- 
 ness. 
 
 Juste (Fr.) (zhiist.) Accurate in time, 
 tone, harmony, and execution. 
 
 Justesse (Fr.) (zhiis-^ajj-.) Exactness, 
 correctness, or purity of intonation. 
 
 Justesse de la voix (Fr.) (zhiis-^ajj diih 
 la vwa.) Purity of voice. 
 
 Justesse de I'oreille (Fr.) (zhiis-iajj diih 
 rs-ra-yiih.) Correctness of ear. 
 
 Justo, con (It.) (yoos-to kon.) With ex- 
 act precision. 
 
 Just relations. Relations whose extremi- 
 ties form consonant intervals. 
 
 Kalamaika (kaI-a-»«<?-ka.) A lively 
 
 Hungarian dance in J time. 
 Kammer (Ger.) (kdm-tasx.') Chamber. 
 
 Kammer-concert (Ger.) (^awz-mer-kon- 
 tslrt.) Chamber-concert. 
 
 Kammer-musik (Ger.) (kdm-mer-moo- 
 zik.) Chamber-music ; music for pri- 
 vate performance. See Chamber-music. 
 
 Kammer-musikus (Ger.) (kim-mex-moo- 
 zi koos.) Chamber-musician ; member 
 of a private band. 
 
 Kammer- sangerin (Ger.) {kdm-mer-sdng- 
 er-in.) Private singer to a prince or 
 king; court-singer (female). 
 
 Kammer-spiel fGer.) (iaw-mer-spel.) 
 See K'aTnm.er-musik. 
 
 Kammer-styl (Ger.) (/5a>«-mer-stel.) 
 Style of chamber-music, as opposed to 
 the ecclesiastical and theatrical styles. 
 
 Kammer-ton (Ger.) (,J<z/«-mer-t6n.) The 
 pitch, or lower tuning, of the instru- 
 ments in chamber-music. Normal 
 pitch (a=43S.) 
 
 Kanon (Ger.) (kd-nor\..) A canon. 
 Kanzel-lied (Ger.) (,4a»-tsel-led.) Hymn 
 
 before the sermon. 
 Kapelle (Ger.) (kap-///-le.) Chapel. 
 Kapell-meister (Ger.) i\ii.f~pel-mis-\&x.) 
 
 Chapel-master ; musical director. 
 
 Karfreitag (Ger.) (kar-/n-tag.) Good 
 Friday. 
 
 Kathedrale (Ger.) (kat-e-^ra-le.) ^ 
 
 Katbedral-kirche (Ger.) (kat-e-aVa/ ( 
 
 kir-\Ca&C) I 
 
 Cathedral. 
 Keck (Ger.) (kek.) Pert, fearless, bold. 
 Keckheit (Ger.) {kSk-\a.\..) Boldness, 
 
 vigor. 
 
 Keeners. Singers engaged by the Irish, 
 to sing lamentations over the dead. 
 
 Kehle (Ger.) (ia-le.) The voice : the 
 throat. Kehlfertigkeit, vocal skill ; 
 Kehlkopf, larynx; Kehlschlag, Fr., 
 coup de glotte ; sudden firm attack of a 
 vocal tone. 
 
 Kehraus (Ger.) (;Sa-rous.) A peculiar 
 kind of dance, practiced at the conclu- 
 sion of an entertainment. 
 
 Kent bugle. A bugle having six keys, 
 foiir of which are commanded by the 
 light hand and two by the left. 
 
 Keranim (ke-ra-nim.) The sacred trum- 
 pet of the ancient Hebrews. 
 
 Keren (Heb.) (ker-en.) A horn ; an in- 
 strument first used by the Hebrews 
 formed of a ram's horn,- and subse- 
 quently made of metal. 
 
 Keraulophon (Ger.) (ke-rou-16-fon.) An 
 8-foot organ-stop, of a reedy and pleas- 
 ing quality of tone ; its peculiar char- 
 acter being produced by a small round 
 hole bored in the pipe near the top. 
 
 Keron-jebel (Heb.) (/J«--on-ya-b'l.) Jubi- 
 lee-horn. 
 
 Ketten-triller (Ger.) {ket-t'Ti. trii-ler.) 
 Chain of trills. 
 
 Kettledrum. A brass drum, of a cup- 
 like shape, over which the parchment 
 head is stretched ; used in pairs, one of 
 which is usually tuned to the key-note, 
 the other to the fifth of the key. See 
 Dfum. 
 
 Kettledrummer. A performer upon the 
 kettledrum. 
 
 Key. The lever by which the sounds of 
 a pianoforte, organ, or harmonium, are 
 a as in ah; a. as in hate ; a. as mat ; e as in tree; 6asin«.4/ i as in pine ; ias in pin; 
 
 150 
 
KEY 
 
 KEY 
 
 produced. Also an arrangement by 
 which certain holes are opened and 
 closed in flutes, oboes, and other wind- 
 instruments. A key also means, a scale, 
 or series of notes progressing diatoni- 
 
 cally, in a certain order of tones and 
 semi-tones, the first note of the scale 
 being called the Key-note. 
 
 The signature of these keys would 
 be as follows: 
 
 Table of Keys in 
 
 English 
 
 French 
 
 Italian 
 
 German 
 
 7 Sharps i^^l'^T""?J°'^ 
 '^ \ A sharp minor 
 
 6S>^^^^{d:S= 
 
 5 Sharps ^ ";?^J°"^ . 
 ■' '^ \ G sharp minor 
 
 4 Sharps |]?'?^i°'- . 
 
 '^ j C sharp mmor 
 
 3 Sharps {^™^J^'^^^^ 
 
 2 Sharps ^",^j°r 
 ^ xS minor 
 
 I Sharp ^ ".^J""^ 
 '^ \ Ji minor 
 
 Ut difese majeur 
 La diese mineur 
 Fa diese majeur 
 R^ diese mineur 
 Si majeur 
 Sol diese mineur 
 Mi majeur 
 Ut diese mineur 
 La majeur 
 Fa diese mineur 
 Re majeur 
 Si mineur 
 Sol majeur 
 Mi mineur 
 
 Do diesis maggiore 
 La diesis minore 
 Fa diesis maggiore 
 Re diesis minore 
 Si maggiore 
 Sol diesis minore 
 Mi maggiore 
 Do diesis minore 
 La maggiore 
 Fa diesis minore 
 Re maggiore 
 Si minore 
 Sol maggiore 
 Mi minore 
 
 Cis dur. 
 Ais moll. 
 Fis dur. 
 Dis moll. 
 H dur. . 
 Gis moll. 
 E dur. 
 Cis moll. 
 A dur. 
 Fis moll. 
 Ddur. 
 H moll. 
 Gdur. 
 E moll. 
 
 No Sig- I C major 
 nature ( A minor 
 
 Ut majeur 
 La mineur 
 
 Do maggiore 
 La minore 
 
 Cdur. 
 A moll. 
 
 1 Flat \ ^ '"*J°'' 
 ' -^'^ \ D minor 
 
 2 Flats ^^"j"-- 
 
 ( \j minor 
 
 3 Flats 1 ^ ^^""^j""^ 
 •* 1 C minor 
 
 4Flatsi^^f "^j"-^ 
 ^ r minor 
 
 ,- -E-ioto S ^ flat major 
 5 ^^a*«iB flat minor 
 
 e. TTiot, ( G flat major 
 ^ ^'^^M E flat minor 
 
 7 Flats i ^ ^^^ "'^J°'' 
 7 i''atsj^fl3j^„o^ 
 
 Fa majeur 
 
 Re mineur 
 
 Si bemol majeur 
 
 Sol mineur 
 
 Mi bemol majeur 
 
 Ut mineur 
 
 La bemol majeur 
 
 Fa mineur 
 
 R^ bemol majeur 
 
 Si bimol mineur 
 
 Sol bemol majeur 
 
 Mi b^mol mineur 
 
 Ut b^mol majeur 
 La bemol mineur 
 
 Fa maggiore 
 
 Re minore 
 
 Si bemolle maggiore 
 
 Sol minore 
 
 Mi bemolle maggiore 
 
 Do minore 
 
 La bemolle maggiore 
 
 Pa minore 
 
 Re bemolle maggiore 
 Si bemolle minore 
 Sol bemolle maggiore 
 Mi bemolle minore 
 Do bemolle maggiore 
 La bemolle minore 
 
 F dur. 
 D moll. 
 B dur. 
 G moll. 
 Es dur. 
 C moll. 
 As dur. 
 F moU. 
 Des dur. 
 B moll. 
 Ges dur. 
 Es moll. 
 Ces dur. 
 As moll. 
 
 t 
 
 Key of C or 
 A minor 
 
 Se 
 
 Key of G or 
 £ minor. 
 
 ^E 
 
 i 
 
 Key of D or 
 
 B minor. 
 
 ^i 
 
 m_ 
 
 Kev of A or 
 F$ minor. 
 
 ^E*E 
 
 5 as in totie ; 6 as in dove ; 5 as in not ; S as in up; ii the French sound of u. 
 
 I. 51 
 
KEY 
 
 KEYS, AUTHENTIC 
 
 >-*-*»- 
 
 -5%. 
 
 s 
 
 =efs 
 
 Key of B or 
 G$ minor. 
 
 Key of Ci or 
 AJf minor. 
 
 Key of Bb or 
 G minor. 
 
 Key of Ab or 
 F minor. 
 
 Key of Gb or 
 Fb minor. 
 
 The relationship of these keys can best 
 be illustrated by the following diagram, 
 which is called the Circle of the keys : 
 C-a 
 
 D-b 
 
 ^-/# 
 
 '•£■4 
 
 t\)-Z)\) 
 
 B-il 
 
 F'^-dt 
 a.'zsva.ah; aasin haie ; Sasina^; e asin/r^«; gasinM; iasin/2«e/ iasin/«»; 
 
 Keyboard. (Ger., Klaviatur, Fr., Cla- 
 vier, Xt., Tastatura.) The rows of keys 
 upon a pianoforte, organ, or similar in- 
 strument. The keyboard as at present 
 arranged for piano, or organ, is very 
 ancient. The principle of the present 
 keyboard existed on the Halberstadt 
 organ in the fourteenth century. The 
 earliest known record of the clavichord 
 occurs in some rules of the minnesin- 
 gers, dated 1404, preserved at Vienna. 
 The monochord is named with it, 
 showing a differentiation of these in- 
 struments, and of them from the clavi- 
 cymbalum, the keyed cymbal, cembalo 
 (Italian), or psaltery. From this we 
 learn that a keyboard had been thus 
 early adapted to that favorite mediaeval 
 stringed instrument, the cembalo of 
 Boccaccio, the sautrie of Chaucer. 
 The oldest actually existing keyboard 
 of the present style is on a spinet in the 
 Paris Conservatoire, which is dated 
 1523. It is probable that the shape of 
 the piano keyboard has not materially 
 changed in the last five hundred years. 
 
 Key-bugle. A Kent-bugle. 
 
 Keyed. Furnished with keys. 
 
 Keyed cithara. An oblong box holding 
 a series of strings in triangular form, 
 struck by plectra of quill affixed to the 
 inner ends of the keys. 
 
 Keyed harmonica. An instrument with 
 keys, the hammers striking upon plates 
 of glass. 
 
 Key, fundamental. The original key. 
 
 Key, governing. The principal or orig- 
 inal key. 
 
 Key-harp. An instrument resembling a 
 piano externally, with a similar arrange- 
 ment of keys and pedals. It consists 
 of an adjustment of tuning forks of 
 various pitches, over cavities of sonor- 
 ous metal. 
 
 Key, major. That scale or key in which 
 the third from the tonic is major. 
 
 Key, minor. That scale or key in which 
 the third from the tonic is minor. 
 
 Key, natural. That which has neither 
 sharp nor flat at the signature. 
 
 Key-note. The tonic, or first note of 
 every scale. 
 
 Keys, authentic. Keys in the ancient 
 system of the Greeks, whose tones ex- 
 tend from the tonic to the fifth and oc- 
 tave above. 
 
 152 
 
KEYS, CHROMATIC 
 
 KLAVIATUR 
 
 Keys,, chromatic. The black keys of a 
 pianoforte; every key in whose scale 
 one or more so-called chromatic tones 
 occur, and in which a chromatic signa- 
 ture is requisite. 
 Keys, parallel. The major and minor 
 
 of the same tonic or key-note. 
 Keys, pedal. That set of keys belong- 
 ing to an organ which are acted upon 
 by the feet. 
 Keys, plagal. In the ancient Greek 
 system, those keys yvhose tones ex- 
 tended from the dominant or fifth up- 
 ward to the octave and twelfth. 
 Keys, relative. Keys which only differ 
 by having in their scales one flat or 
 sharp more or less, or which have the 
 same signature. 
 Keys, remote. Those which are at a 
 distance from each other as the keys 
 of one sharp and six sharps. 
 Key-tone. The key-note. 
 Key, transposed. A key removed or 
 changed from that in which a piece was 
 originally written. 
 Key, tuning. An instrument for the 
 purpose of tightening or loosening the 
 strings of a piano or harp. Tuning- 
 hammer. 
 Kicks (Ger.) {kix.) A couac or break in 
 the tone of an oboe or clarinet-player. 
 Kinnor (Heb.) (kin-«or.) A small harp 
 held in the hand and played upon 
 while dancing. 
 Kirchen-componist (Ger.) (iir-kh'n- 
 kom-po-nist.) Composer of church 
 music. 
 Kirchen-dienst (Ger.) (ilr-kVn-denst.) 
 
 Church-service; form of prayer. 
 Kirchen-fest (Ger.) {Hr-kh'n-iest.) 
 
 Church festival. 
 
 Kirchen-gesang (Ger.) (h'r-Vh'n glie- ^ 
 
 sang.) \ 
 
 Kirchen-lied (Ger.) (,5r?--kh'n-led.) ; 
 
 Spiritual song, canticle, psalm, or hymn. 
 
 Kirchen-musik (Ger.) (iir-kh'ti-moo-zik.) 
 
 Church music. 
 Kirchen-sanggr (Ger.) (h"r-'k.h'n-sd>tg-ei:.) 
 A chorister ; a chanter. 
 
 Kirchen-stiick (Ger.) (iir-kh'n-stuk.) 
 Church-piece, or composition. 
 
 Kirchen-styl (Ger.) (/52>-kh'n-stel.) 
 Church style ; ecclesiastical style. 
 
 as in tone ; 6 as in tiove ; 8 as in noi 
 
 Kirchen-ton (Ger.) (,4^r-kh'n-t6n.)Church 
 
 mode, or tone. 
 Kirchen-tonarten (Ger. pi.) (iir-kh'n 
 
 ton-ar-t'n.) The old church modes. 
 Kirchen-weise (Ger.) (iir-kh'n-vi-ze.) 
 
 A church melody. 
 Kit. The name of a small pocket-violin 
 used by dancing masters. Its length is 
 about sixteen inches, and that of the 
 bow about seventeen. 
 Kitar (ki-/a>.) A musical instrument of 
 
 the Arabs. 
 Kithara (Gr.) {kiiA-a.-ra..) A cithara. 
 Klage (Ger.) (/S/a-ghe.) Lamentation. 
 Klagend (Ger.) (/f/a-g'nd.) Plaintive. 
 Klage-gedicht (Ua-ghe-ghe-diiAt.) ) 
 Klage-lied (Ger.) {Ha-ghe-\ed.) ) 
 
 Elegy ; mournful song ; lamentatioii. 
 Klage-ton (Ger.) (/J/a-ghe-ton.) Plain- 
 tive tune, or melody. 
 Klang (Ger.) {kldng.) Sound, tune, 
 
 ringing. 
 Klang-boden (Ger.) (klang-bo-d'n.) 
 
 Sound-board. 
 Klange (Ger. pi.) {kldng-e.) Sounds, 
 
 melodies. 
 Klangeschlecht(Ger.)(i/a«-ghe-j/4//;4.4;.) 
 
 A genus, or mode. 
 Klangfarbe {Ger.){i/dng-f3.hrheh.) Tone- 
 color ; quality of tone ; clang-tint. 
 Klanglehre (Ger.) (iidng-liL-re.) Acous- 
 tics. 
 Klangnachbildung (Ger.) {kldng-nakh- 
 
 bil-doong.) Imitation of a sound. 
 Klappe (Ger.) (kldp-^t.) Key of any 
 
 wind-instrument ; a valve. 
 Klappen-flugelhorn (Ger.) (/5/a>>-p'n-_/?«- 
 
 g'l-horn.) The keyed bugle. 
 Klappen-horn (Ger.) (/J/o>>-p'n-horn.) A 
 
 keyed horn ; a bugle. 
 Klapp-trompete (Ger.) (klap-tr6m-/<i-te.) 
 
 A keyed trumpet. 
 Klar (Ger.) (klar.) Clear, bright. 
 Klarheit (Ger.) {kldr-'tiit.) Clearness, 
 
 plainness. 
 Klarlich (Ger.) {kldrJSkh..) Clearly, dis- 
 tinctly. 
 
 Klausel (Ger.) {klou-zB..) A close; a 
 regular section of a movement. 
 
 Klaviatur (Ger.) (klah-veeah-^tfor ) See 
 Keyboard. 
 
 ; u as in up ; ii the French sound of u. 
 
 153 - 
 
KLAVIER 
 
 KRUMMHORN 
 
 Klavier (Ger.) (kVi-/er.) Pianoforte, 
 
 harpsichord. See Clavier. 
 Klaviermassig (Ger. ) (kla/^^;--may-sich.) 
 
 Suited to the piano. 
 
 Klavier-sonaten (Ger.) (kla-/7r-so-«o- 
 ten.) Pianoforte sonatas. 
 
 Klavier-spieler (Ger.) ()sX&-fer-spe-\tT.) 
 
 Pianoforte-player. 
 Klein (Ger.)- (kiln.) Minor ; speaking of 
 
 intervals. 
 Klein-bass (Ger.) (/5/i«-bass.) 
 
 Klein-bass-geige (Ger.) t^^m-bdss-ghi- 
 
 ghe.) 
 
 Violoncello. 
 Kleine alt possaune (Ger.) {kli-VLt alt 
 
 pos-sou-ne.) A small alto trombone. 
 Kleine lieder (Ger.) (ilt-ne ll-der.) Little 
 
 songs. 
 
 Kleine-gedacht (Ger.) {kli-ne-ghe-dakhi.) 
 A small covered stop in an organ ; a 
 stopped flute. 
 
 Kleinlaut (Ger.) {klm-Xont.) Small or 
 low in tone, or voice ; timid. 
 
 Klingbar (Ger.) {kllng-'tiax.) Resonant, 
 sonorous. 
 
 Klingeln (Ger.) (/5/%-.eln.) To ring, or 
 sound a small bell ; to jingle. 
 
 Klingen (Ger.) {kltng-'n.) i Sonorous, 
 
 Klingend (Ger.) (^/^«^-end.) ) resonant, 
 ringing. 
 
 Kling klang (Ger.) (/J/fe^ klang.) Tink- 
 ling. 
 
 Klingspiel (Ger.) {kling-spWL.) The 
 sound or noise of instruments. 
 
 Knabenstimme (Ger.) (knd-h'n-stim- 
 me.) A boy's voice ; a counter tenor. 
 
 Knee-stop. A knee-lever under the 
 manual of the reed-organ; there are 
 three kinds, used (a) to control the 
 supply of wind ; {b) to open and shut 
 the swell box ; {c) to draw all the stops. 
 
 Knell. The tolling of a bell at a death 
 or funeral. 
 
 Knie-geige (Ger.) {kne-ghl-^t.) Viol da 
 Gdmba, violoncello. 
 
 KoUo (Jap.) (kol-lo.) A Japanese in- 
 strument somewhat resembling a harp. 
 
 Komisch (Ger.) (,Jaw-ish.) Comical. 
 
 Komma (Gr.) {kSm-raa..) ) Comma; a 
 
 Komma (Ger.) (kom-xda.^ ) musical sec- 
 tion or division. 
 
 Komodiant (Ger.) (k6-m8-di-»Vaf.) Come- 
 dian, actor, player. 
 
 Komddie (Ger.) (k5-OT(5-di-e.) Comedy, 
 play. 
 
 Komponiren (Ger.) (k6m-p6-«^r-'n.) To 
 compose. 
 
 Komponist (Ger.) (kom-po-wij'-) A com- 
 poser. 
 
 Komposition .(Ger.) (k6m-po-zit-si-tf«.) 
 A composition. 
 
 Konzert-meister (Ger.) (kon-Zj/rtmis- 
 ter.) See Concert-meister . 
 
 Kopf-stimme (Ger.) (/Ji^/-stim-me.) 
 Falsetto; head' voice. 
 
 Koppel (Ger.) (.4^-p'l.) Coupler ; coup- 
 ling stop in an organ. 
 
 Koryphaeus (Gr.) (k5-rif-^-us.) Chief or 
 leader of the chorus in ancient Athens. 
 
 Kos (Hun.) (koz.) An Hungarian dance. 
 
 Kosake (k5-sa-ke.) A national dance of 
 the Cossacks. 
 
 Koto. The Japanese zither-harp, with 
 thirteen silk strings stretched over an 
 arching oblong soundboard, each hav- 
 ing a separate movable bridge, by ad- 
 justing which the string can be tuned. 
 Compass about two octaves. 
 
 Krachzen (Ger.) (krdkh-Xs'xv.) To sing 
 with a croaking voice. 
 
 Kraft (Ger.) (kraft.) Power, strength, 
 energy. 
 
 Kraftig (Ger.) {krdfX\g.) ) 
 
 Kraftiglich (Ger.) [krdfA\g-\^\i.) \ 
 Powerful ; vigorous ; full of energy. 
 
 Krakoviak (kra-k5-vi-ak.) i xhe 
 
 Krakovienne (Fr.) (kra-k5-vi-en.) ) Cra- 
 covienne, a Polish dance in | time. 
 
 Kreuz (Ger.) (kroits.) A sharp. 
 
 Kreuz-doppeltes (Ger.) (kroits afo^-pel- 
 tes.) A double sharp X or ttf. 
 
 Kriegerisch (Ger.) (/Sr^-gher-ish.) War- 
 like, martial. 
 
 Kr jegs-gesang (Ger. ) {kregs-^e.-sdng.) 
 Kriegs-lied (Ger.) (/fr^^j-led.) 
 
 A war-song ; a soldier's song. 
 Krome. See Croma. 
 
 Krumm (Ger.) (kroom.) Crooked, 
 curved, bent. 
 
 Krummhorn(Ger.) {kroom-\ioxn:) Crooked 
 horn. The name of a portable wind- 
 instrument formerly much in use re- 
 sembling a small comet. Organ- 
 builders corrupt this word into cremona 
 and apply it to one of their organ-stops. 
 
 a as in a/5 / a as in hate; a as in at; e as in tree; e as in eh;\2& in pine; i as mpin; 
 
 154 
 
KUH-HORN 
 
 LANDLICH 
 
 Kuh-horn (Ger.) (ioo-hom.) Cow horn ; 
 Swiss horn ; Alpine horn. 
 
 Kiilin (Ger.) (kiin.) Dashing, audacious. 
 
 Kuhreihen (Ger.) {iao-il-h'n.) Ranz des 
 Vaches. 
 
 Kunst (Ger.) (koonst.) Art, skill. 
 
 Kiinstler (Ger.) (kiinst-ler.) An artist. 
 
 Kunstlied (Ger.) {ioo»sl-]eed.) An art- 
 song. The opposite of the folksong. 
 See Strophe. 
 
 Kuppel (Ger.) (,Jw/-p'l.) See Koppel. 
 
 Kurz (Ger.) (koorts.) Short, detached 
 staccato. 
 
 Kiirzen (Ger.) (,4«?--tsen.) To abridge. 
 
 Xiirzung (Ger.) (^«?--tsoong.) Abbrevia- 
 tion. 
 
 Kiirzungszeichen (Ger.) (/Sar-tsoongs-^jf- 
 kh'n.) Sign of abbreviation. 
 
 Kussir (Fr.) (kiis-ser.) A Turkish musi- 
 cal instrument. 
 
 Kiitzial-flote (Ger.) (kut-si-a/-^^-te.) An 
 organ-stop of the flute species. 
 
 Kynnor (Heb.) (kin-nor.) The harp of 
 David. 
 
 Kyrie eleison (Gr.) (ke-re a-le-zon.) 
 Lord have Tnercy upon us. The first 
 movement in a Mass. 
 
 Kyrielle (Fr.) (ke-re-el.) Litany. 
 
 l. Left hand. Notes to be played with 
 
 the left hand are sometimes written 
 
 with an L over them. (Ger., Links ; 
 
 Eng., Left.-) 
 La. A syllable applied in solfa-in^; 
 
 to the note A ; the sixth sound in 
 
 the scale of Guido. In Italy and 
 
 France, the note A is always called La- 
 La (It.) (la.) 
 La (Fr.) (la. 
 La b^mol (Fr.) (la ba-m51.) The note A 
 
 flat. 
 La b^mol majeur (Fr.) (la ba-mol ma- 
 
 zhur.) The key of A flat major. 
 La b^mol mineur (Fr.) (la ba-mol me- 
 
 nur.) The key of A flat minor. 
 Labial. Organ-pipes with lips, called 
 
 aisojlue pipes. 
 Labial-stimmen (Ger.) (la-bi-aZ-j^Sw-m'n.) 
 
 Stops belonging to the _flue work, not 
 
 reed-stops. 
 Labium (Lat.) (/a-bi-iim.) The lip of an 
 
 organ-pipe. 
 
 as in tone ; 6 as in dove ; 8 as in not 
 
 The. 
 
 Lacrim4ndo(It.)(la-cre-man-do.) i Sadly; 
 Lacrim6so (la-cre-mo-z6.) J '" ^ 
 
 mournful, pathetic style. 
 
 Lacrimosa (Lat.) A division of the Re- 
 quiem Mass. 
 
 Lage (Ger.) (/a-ghe.) Position of a 
 chord, or of the hand. 
 
 Lagnoso (It.) (lan-i/J-z5.) Plaintive, dole- 
 ful. 
 
 Lagrimdndo (It.) (la-gre-»?o«-do.) ) 
 
 Lagrimdso (It.) (I'a-gre-wJ-zo.) ) 
 
 Weeping; tearful; in a sad and mourn- 
 ful style. 
 
 Lai (Fr.) (la.) Lay; ditty; short, plain- 
 tive song. 
 
 La majeur (Fr.) (la ma-zhur.) The key 
 of A major. 
 
 L'ame (Fr.) (I'am.) Sound-post of a 
 violin, viola, etc. 
 
 Lament. An old name for harp music of 
 the pathetic kind ; applied also to the 
 pathetic tunes of the Scotch. 
 
 Lamentibile (It.) (la-men-Za-be-le.) La- 
 mentable, mournful. 
 
 Lamentabilm^nte (It.) (la-men-ta-bel- 
 men-\.e.) Lamentably, mournfully. 
 
 Lamentabondo (It.) (Ia-men-ta-ij«-d6.) 
 Mournful, doleful. 
 
 Lamentdndo (It.) (la-men-^<if»-do.) La- 
 menting, mourning. 
 
 Lamentations. The funeral music of 
 the ancient Jews was called by this 
 name. 
 
 Lamentazione (It.) (la-men-ta-tse-J-ne.) 
 A lamentation. 
 
 Lament^TOle (It.) (la-men-/^-vo-le.) 
 Lamentable, mournful, plaintive. 
 
 Lamentevolm^nte (It.) (la-men-te-vol- 
 men-te.) Mournfully, plaintively. 
 
 Lament6so (It.) (la-men-/J-z6.) Lamen- 
 table, mournful. 
 
 La mineur (Fr.) (la mi-nur.) The key 
 of A minor. 
 
 Lampons (Fr.) (lanh-ponh.) Drinking 
 songs. 
 
 Landerer (Ger.) (/(f»-de-rer.) i a country 
 
 Landler (Ger.) (I3nd-\er.) ) dance, or 
 air in a rustic and popular style, in f or 
 I time. It is like the Tyrolienne. 
 
 Landerisch (Ger.) (/ifw-der-ish.) In the 
 manner or measure of a country dance. 
 
 Landlich (Ger.) (/aWa'-likh.) Rural. 
 ;fl as in up ; ii the French sound of a. 
 
 55 ■ 
 
LAND-LIED 
 
 LAUTENBALKEN 
 
 Land-lied (Ger.) {/and-led.) Rural song ; 
 
 rustic song. 
 Lang (Ger.) (lang.) Long. 
 Langsam (Ger.) (/a»^-sam.) Slowly ; 
 
 equivalent to Ldrgo. 
 Langsamer (Ger.) (/o«_f-sa-mer.) Slower. 
 
 Language. ) In an organ flue-pipe, this is 
 Languid ( the flat piece of metal or 
 
 wood placed horizontally just inside of 
 
 the mouth. 
 
 Languemfinte (It.) (lan-gue-««^»-te.) 
 Languishingly 
 
 Langu^ndo (It.) (lan-^«^«-do.) j i^n- 
 
 Langu^nte (It.) (lan-^K^a-te.) \ guish- 
 
 Ldnguido (It.) (/a«-gue-d6.) ) ingi 
 
 feeble ; with languor. 
 Languettes (Fr.) (Ianh-^(J«.) The brass 
 
 tongues, belonging to the reed-pipes in 
 
 an organ. 
 
 Largamtote(It.) (lar-ga-»?^»-te.) j Large- 
 
 Largam^nto (It.) (lar-ga-wifK-to.) ) ly ; 
 fully ; in a full, free, broad style of per- 
 formance. 
 
 Large. The longest note formerly in 
 use in ancient music. It is equal to 
 eight whole notes or four breves. 
 
 Largement (Fr.) (larzh-manh.) Full; 
 free in style. See Largamente. 
 
 LarghettO (It.) (lar-^rf-to.) A word 
 specifying a time not quite so slow as 
 that denoted by largo, of which word it 
 is the diminutive. 
 
 Larghezza (It.) (lar-f««sa.) Breadth, 
 largeness, freedom. 
 
 Larghissimo (It.) (lar-^/4zj-se-m6.) Ex- 
 tremely slow ; the superlative of largo. 
 
 Ldrgo (It.) {Idr-go.) A slow and solemn 
 degree of movement. 
 
 Lirgo andante (It.) {Idr-go an-ddn-te.) 
 Slow, distinct, exact. 
 
 Ldrgo assai (It.) (Idr-go as-jo-e.) 
 
 Lirgo di m61to (It.) (largo de mol-to 
 Very slow. 
 
 L&rgo ma non tr6ppo (It.) (lar-go ma 
 non trop-p6.) Slow, but not too much 
 so. 
 
 Ldrgo un p6co (It.) (lar-go oon po-ko.) 
 Rather slow. 
 
 Larigot (Fr.) {ldr-\-gb.) Shepherd's 
 flageolet or pipe ; an organ-stop tuned 
 an octave above the twelfth. 
 
 Laringe (It.) (Vi-rm-ghe.) Larynx. 
 
 'd.asia aA; a as in Aate ; a as in at ; e as in 
 
 .>! 
 
 Larmoyant (Fr.) (lar-mwa-yanh.) Weep- 
 ing ; with a tearful expression. 
 
 Larynx. The upper part of the trachea. 
 It is composed of five annular carti- 
 lages, placed above one another and 
 united by elastic ligaments, by which it 
 is so dilated and contracted as to be 
 capable of varying the tones of the 
 voice. 
 
 Laryngoscope, an instrument for examin- 
 ing the larynx. In 1854, M. Manuel 
 Garcia, the well-known singing-master, 
 thought of employing mirrors for 
 studying the interior of the larynx 
 during singing. He made his observa- 
 tions on himself and succeeded admir- 
 ably. He used a small mirror on a 
 long stem suitably bent, and introduced 
 this into the pharynx. He directed 
 the person experimented on to turn to 
 the sun, so that the rays might be re- 
 flected into the larynx. To-day an 
 electric light is used by experimenters 
 with the laryngoscope, one of the most 
 important inventions in vocal physi- 
 ology. 
 
 Laud. To praise with words alone, or 
 with words and music. 
 
 Laiid (Spa.) (laood.) A lute. 
 
 Lduda (It.) {la-oo-da.) Laud; praise; 
 hymn of praise. 
 
 Laudamus te (Lat.) (law-rfa-mus ta.) 
 We praise Thee ; part of the Gloria. 
 
 Laudes. (Lat.) (law-des.) i Canticles, or 
 
 Ldudi(It. pl.)(la-oo-dee.) ) hymns of 
 praise, that follow the early Mass. 
 
 Laudi spirituali (Lat.) (/<zTO-de_spir-it-u- 
 a-le.) Sacred songs and dialogues 
 sung by the priests in- the oratory. 
 
 Lauf (Ger.) (louf .) That part of a violin, 
 etc., into which the pegs are inserted ; 
 also, a rapid succession of notes ; a 
 trill. 
 
 Laufe (Ger. pi.) (/«-fe.) ) Rapid divis- 
 
 Laufer (Ger.) (lai-ieT.) ) ions of 
 notes ; a flight or run of rapid notes ; 
 a roulade. 
 
 Launig (Ger.) {lou-nig.) Humorous, 
 capricious. 
 
 Laut (Ger.) (lout.) Loud; also, sound. 
 
 Laute (Ger.) (lou-te.) The lute.. 
 
 Lauten (Ger.) (loi-i'n.) To ring ; to toU ; 
 to sound. 
 
 Lautenbalken (Ger.) (/<7«-t'n-^ii7-k'n.) 
 The bridge of a lute. 
 
 tree ; e as in eh; las in pine ; i as in pin; 
 
 156 
 
LAUTENBLATT 
 
 LEGGIARDO 
 
 Lautenblatt (Ger.) (/aa-t'n-blatt.) The 
 table of a lute. 
 
 Lauten-futter (Ger.) {/ou-t'n- ■\ 
 
 foot-tei.) I Lute 
 
 Lauten-kasten (Ger.)(/o«-t'n- j case. 
 
 Lautenist (Ger.) (lou-t'n-!X) Lute- 
 player, lutenist. 
 
 Lauten-schlager (Ger.) {lou-t'n-sk/a- ) 
 gher.) ( 
 
 Lauten-spieler (Ger.) Qo-a-t'n-spe-ler.) ) 
 Lute-player, lutenist. 
 
 Lautlos (Ger.) {loui-\os.) Soundless, 
 mute. 
 
 La volta (It.) (la vol-ta.) i a lively, ani- 
 
 La volte (It.) (la j/o/-te.) ( mated tune 
 performed to an old dance, the action 
 of which consisted chiefly of quick 
 turns and high leaps. It was in J or 
 I time. 
 
 Lay. A song; a species of narrative 
 poetry among the ancient minstrels. 
 
 Lay clerk. A vocal officiate in a caithe- 
 dral, who takes part in the services and 
 anthems, but is not of the priesthood. 
 
 Laymen. Those vocal officiates in a 
 cathedral who are not of the priest- 
 hood ; the laity or people in distinction 
 from the clergy. 
 
 Le (Fr.) (luh.) 
 
 Le (It. pi.) 
 
 Leader. The first or principal violin in 
 an orchestra ; a director of a choir, or 
 of a military band, generally the first 
 cornet. 
 
 Leading chord. The dominant chord. 
 
 Leading melody. The principal melody 
 in a composition of several parts. 
 
 Leading-note. The major seventh of 
 any scale ; the semi-tone below the key- 
 note ; the major third of the dominant. 
 
 Leaning-note. See Appoggiatura. 
 
 Leben (Ger.) (/5-b'n.) Life, vivacity. 
 
 Lebhaft (Ger.) {lab-Miii.) Lively, viva- 
 cious, quick. 
 
 Lebhaftigkeit (Ger.) (/<?*-haf-tig-kit.) 
 Liveliness, vivacity. 
 
 Lepon (Fr.) (la-sonh.) A lesson ; an ex- 
 ercise. 
 
 Ledger lines, i The short extra, or addi- 
 
 Leger lines. ) tional lines drawn above 
 
 or below the staff, for the reception of 
 
 ih.) ) 
 (16.) S 
 
 The. 
 
 such notes as are too high or too low 
 
 to be placed on or within the staff. 
 
 Left beat. A movement to the left in 
 
 beating time. 
 
 Legibile (It.) (le-^a-be-le.) ) „ ^ . 
 , , , X , ,,- .. ,- s (■ See Legato. 
 Legdndo (It.) (le-^o^-do.) ) ^ 
 
 Legire (It.) (le-^o-re.) To slur, or 
 
 bind. 
 Legatissimo (It.) (le-ga-<«-se-mo.) Ex- 
 ceedingly smooth and connected. 
 Legato (It.) (le-^o-to.) In a close, 
 
 smooth, graceful manner ; the opposite 
 
 to staccato. It is often indicated by a 
 
 sign called a slur -- — ^. 
 Legato assai (It.) (le-.fii'-to as-j-a-e.) Very 
 
 close and connected. 
 Legato touch. A sliding of the fingers 
 
 on and off the keys, holding down one 
 
 key until the finger is fairly on another. 
 
 It is indicated by the word legato., or 
 
 by a curved line -■ — ~.. 
 Legatura (It.) (le-ga-/w-ra.) A slur ; a 
 
 ligature. 
 Legende (Fr.) (Le-zhdnd.') A legend; 
 
 a piece written in a romantic, narrative 
 
 style. 
 L^ger (Fr.) (la-zha.) Light, nimble. 
 L^gerement (Fr.) (la-zhar-manh.) 
 
 Lightly, nimbly, gaily. 
 L^eretanim6 (Fr.) (la-zhar et an-e-ma.) 
 
 Light and animated. 
 L^geret^ (Fr.) (la-z/^iZ-re-ta.) Lightness, 
 
 agility. 
 Legg^nda (It.) (led^V«-da.) A legend ; 
 
 a tale. 
 Leggeramfinte (It.) (led-jer-a-ff«*«-te.) 
 
 Lightly, easily. 
 Leggeranza (It.) (led-jer-o«-tsa.) ) Light- 
 Leggerezza (It.) (led-jer-^/-tsa.) ) ness 
 
 and agility. 
 Leggerissimamente (It.) (led-jer-es-se- 
 
 ma->»/K-te.) Very light and sprightly. 
 Leggerissimo (It.) (led-jer-«-se-mo.> 
 
 Very light and sprightly. 
 Leggermente (It.) (led-jer-/«^«-te.) A 
 
 light and easy movement. 
 Leggiadra (It.) (led-je-a-dra.) Grace- 
 ful, elegant. 
 Leggiadram^nte (It.) (led-je-'a-dra-OT«'»- 
 
 te.) Gracefully, elegantly. 
 
 LeggiirdO (It.) (led-je-aV-do.) Lightly, 
 delicately. 
 
 as in tone ; S as in dove : 8 as in not; ii as in up ; ii the French sound of «. 
 
 •57 
 
LEGGIERAMENTE 
 
 LESSON 
 
 I 
 
 Leggieram^nte (It.) (led-je-ar-a-«^« 
 
 tej 
 Leggi&e (It.) (led-je-^-re.) ■, 
 
 Leggierm^nte (It.) (led-je-er-/«««-te.) J 
 
 Easily, lightly, delicately. 
 Leggier^zza (It.) (led-je-e-ri;^tsa.) 
 
 Lightness, delicacy; in a light, elastic 
 
 style. 
 Leggi^ro (It.) (led-je-J-ro.) Light, swift, 
 
 delicate. 
 
 Leggio (It.) (led-je-6.) A chorister's 
 desk, in a church-choir. 
 
 I^gno (It.) (lan-yo.) IVood. See Coi 
 
 Ligno. 
 Lehrer (Ger.) (/a-rer.) Teacher, master. 
 Lehrerin (Ger.) (/a-rer-in.) Instructress, 
 
 mistress. 
 Leichen-gedicht (Ger.) (/i^kh'n-ghe- 
 
 dikht.) Funeral ; poem elegy. 
 
 Leichen-gesang (Ger.) (/f-kh'n ghe- 
 
 sdng.) Dirge ; funeral song. 
 Lei:hen-musik (Ger.) (/f-kh'n-»zw-zik.) 
 
 Funeral music. 
 Xeicht (Ger.) (likht.) Light, easy, facile. 
 Leichtfertig (Ger.)(/fM^far-tig.) Lightly, 
 
 carelessly. 
 Leichtheit (Ger.) {Kkki-hli.) \ Light- 
 Leichtigkeit (Ger.) {ltkh-t\g- \ ness, 
 
 kit.) ■ ) facility. 
 
 Leidenschaft (Ger.) (/f-d'n-shaft.) Pas- 
 sion. 
 
 Leidenschaftlich (Ger.) {lid-ea-shMi- 
 likh.) Impassioned, passionate. 
 
 Leier (Ger.) (/f-er.) A lyre; a hurdy- 
 gurdy. 
 
 Leiermann (Ger.) (/f-er-man.) A player 
 on a hurdy-gurdy. 
 
 Zeise (Ger.) (Ji-ze.) Low, soft, gentle. 
 
 Leit-accord (Ger.) {lii-iik-kdrd.) A 
 chord or harmony leading instinctively 
 to another, as the chord of the domi- 
 nant leading to the tonic. 
 
 Letter (Ger.) (/f-ter.) Leader; also the 
 scale of any key. 
 
 Leitereigen (Ger.) (li-ter-t-g'n.) Such 
 tones as belong to the scale of any 
 key ; the notes forming the scale. 
 
 Leiter-fremd (Ger.) (/rter-fremd.) Ac- 
 cidental sharps or flats which do not 
 belong to the key. 
 
 Leitmotif (Ger.) (^Lii-mo-Ue/.) In 
 modern music a new 'style of figure- 
 
 a as in ^^ y a as" in hate ; a as in at ; e as in 
 
 treatment has been introduced. This 
 is the use of the leitmotif, or guiding 
 figure, a muMcal figure to which some 
 definite meaning is attached. It repre- 
 sents some person, thing, or dramatic 
 event. This idea is found in Mozart's 
 " Don Giovanni," composed more than 
 a century ago, but it is used by Wagner 
 so prominently and so constantly that 
 it assumes o. new significance, causing 
 the orchestra to speak an intelligible 
 language. The /«i««o/«/" must be char- 
 acteristic of the person or thing it is 
 intended to represent, and must always 
 remain very clearly recognizable. It 
 is, therefore, not so freely developed as 
 the ordinary musical figure. It is most 
 frequently treated by transposition, 
 with constant changes of harmony and 
 modulation. 
 
 Leit-ton (Ger.) (A'-ton.) The leading 
 tone. 
 
 L^no (It.) (/<y/-no.) Weak, feeble, faint. 
 
 Lent (Fr.) (lanh.) Slow. 
 
 Lent^m^nte (It.) (len-ta-»«^«-te.) Slowly. 
 
 Lentdndo (It.) (len-tan-do.) With in- 
 creased slowness. 
 
 Lentement (Fr.) {ldnht-mi.vA\^ > Slow- 
 
 Lentemtote (It.) {\en-te-men-te.) ^ 'Xi 
 leisurely. 
 
 Lentement, tres. (Fr.) (lanht-m'anh tra.) 
 Very slow. 
 
 Lenteur (Fr.) (lanh-tiir.) Slowness, 
 delay. 
 
 Lenteur avec (Fr.) (lanh-tur ii-vek.) ; 
 
 Lent^zza, con (It.) (len-/£vf-tsa kon.) ) 
 With slowness and delay. 
 
 Lentissimam^nte (It.) (len-tis-se-ma- i 
 men-te. > 
 
 Lentissimo (It.) (len-^w-se-mo.) ) 
 
 Extremely slow. 
 
 L6nto (It.) (len-to.) Slow. 
 
 L^nto assai (It.) (len-to as-sa-e.) 1 
 
 L^ntO di mfllto (It.) (len-to de m51- ( 
 to.) ) 
 
 Very slowly. 
 
 Lesser appoggiatura. The short appog- 
 giatura. 
 
 Lesser sixth. A minor sixth. 
 
 Lesser third. A minor third. 
 
 Lesson. Formerly applied to exercises 
 or pieces consisting of two or three 
 movements for the harpsichord, or 
 pianoforte, forming a short suite. 
 
 tree ; e as in if/4 ; i as in pine ; i as in j/iix; 
 
 158 
 
XESTAM^NTE 
 
 LILT 
 
 lestamtote (It.) (les-tsi-meH-te.) Quick- 
 ly, lively. 
 
 Xest^zza (It.) (les-/^/-tsa.) Agility, quick- 
 ness. 
 
 Xestissimam^nte (It.) (les-tes-se-ma- 
 men-te.) Very quickly. 
 
 Xestissimo (It.) (les-fe>-se-mo.) Very 
 quick. 
 
 L^stO (It.) (les-to.) Lively, nimble, quick. 
 
 Xetter-names. The first seven letters of 
 the alphabet, A, B,C,D, E, F,G, are used 
 to form the letters of the scale, and are 
 repeated in every octave. These letters 
 serve to distinguish the notes and deter- 
 mine their pitch. 
 
 Letters, doubled. Capital letters doubled 
 indicating that the tone is an octave 
 lower than when the letters stand single. 
 
 Lettura di mtisica (It.) {let-iao-ii. de mao- 
 ze-ka.) A musical lecture. 
 
 Leuto (It.) (loo-to.) A lute. 
 
 Lev6 (Fr.) (le-va.) The up-stroke of the 
 bdton. 
 
 Lev&za (It.) (le-vdt-tsa..) Lightness. 
 
 Xevier pneumatique (Fr.) (lev-I-a noo- 
 msL-tei.) The pneumatic lever; a 
 series of small bellows, or levers, placed 
 on the wind-chest of an organ, contain- 
 ing air at a high pressure ; by means of 
 this the touch of a large organ may be 
 made very light. 
 
 Xezzioni (It. pi.) (let-tse-c-ne.) Lessons. 
 
 X. H. Initials indicating the use of the 
 left hand in pianoforte music. Linke 
 Hand. 
 
 Liaison (Fr.) (Ie-a-z6nh.) Smoothness of 
 connection ; also a bind or tie. 
 
 Liaison de chant (Fr.) (le-a zonh duh 
 shanht.) The sosteniito style of sing- 
 ing. 
 
 Xiberam^nte (It.)(le-be-ra-OT^K-te.) ) Free- 
 Xlbrement (Fr.) (labr-manh.) ) 'Xi 
 
 easily, plainly, 
 
 Xibero (It.) (/i?-be-ro.) Free, unrestrained. 
 
 Xlbr^ttO (It.) (le-*ra^to.) The text of an 
 opera or other extended piece of music, 
 literally a little book. It generally 
 means the book or words of an opera 
 or oratorio. The librettist is the author 
 of such a book. 
 
 Xi6(Fr.) (li-<f.) 
 Legdto. 
 
 Smoothly ; the same as 
 
 Xiebes-lied (Ger.) (/«-bes-led.) Love- 
 song. 
 
 Liebhaber (Ger.) (/«Ma-ber.) Amateur ; 
 a lover of music. 
 
 Xieblich (Ger.) (/^i-likh.) Lovely, charm- 
 ing. 
 
 Llebllch-geaacht (Ger.) (/^*-likh ghe- 
 diikht.) A stopped diapason organ- 
 register of sweet tone. 
 
 L16, coulant (Fr.) (li-a koo-lanh.) Slurred, 
 flowing. 
 
 Lied (Ger.) (leed.) A song ; a ballad ; a 
 lay. 
 
 Lledchen (Ger.) (/^■rf-kh'n.) A short 
 
 song or melody. 
 Lleder (Ger.) (/^«-der.) Songs. 
 Lieder-buch (Ger.) (/^-der-bookh.) A 
 
 song-book. 
 
 Lleder-bund (Ger.) (/^i?-der-boond.) A 
 society of song-singers. 
 
 Lleder-dlchter (Ger.) {lee-ier-dikU-ter.) 
 A lyrical poet ; a song-writer. 
 
 Lleder ohne worte (Ger.) {lee-dei o-ne 
 vor-te.) Songs without words. 
 
 Lleder-sammlung (Ger.) {lee-dei-sam- 
 loong.) Collection of songs. 
 
 Lieder-sanger (Ger.) {lee-der sang--er.) A 
 song-singer, a ballad-singer. 
 
 Lieder-spiel (Ger.) (lee-der-speel.) An 
 operetta, consisting of dialogue and 
 music of a light, lively character. 
 
 Lieder-tafel (Ger.) (lee-der-td-i'l.) Song- 
 table; German glee club, generally con- 
 sisting of male voices alone. 
 
 Lieder-tanz (Ger.) (/^^-der-tants.) A 
 dance intermingled with songs. 
 
 Lied ohne worte (Ger.) (leed o-ne vor- 
 te.) See Lieder ohne Worte. 
 
 Lied singen (Ger.) (leed-.rfe^-'n.) To 
 sing a song. 
 
 Ligare (It.) (li-^a-re.) To bind ; to tie ; 
 
 to join together. 
 Ligato (It.) (Ie-.ja-t6.) See Legdto. 
 Ligatur (Ger.) (li-ga-/«<j?-.) j a slur ; an 
 Ligatura (It.) (li-ga-^w-ri.) S old name 
 Ligature. ' for a tie or 
 
 bind. 
 Ligne (Fr.) {Idnh.) A line of the staff. 
 Llgnes additionnelles (Fr.) {lanAs ad-de- 
 
 si-6n-«a/.) Leger lines. 
 Lilt (Scotch.) (lilt.) To sing or play 
 
 merrily. 
 
 as in tone ; 6 as in dove ; 8 as in not j fi as in «/; ii the French sound of u. 
 
 1 59 
 
LIMMA 
 
 LONG 
 
 Limma (Gr.) {/irn-vaa..) An interval used 
 in tiie ancient Greek music, less by a 
 comma than a major semi-tone. 
 
 Linea (It.) (le-ne-a.) A. line of the staff. 
 
 Lines, added. Leger lines; lines added 
 above and below the staff. 
 
 Lines, bar. Lines drawn perpendicularly 
 across the staff, dividing it into meas- 
 ures. 
 
 Lines, horizontal. Lines placed after 
 figures to signify that the same har- 
 mony is to be continued. 
 Lines, ledger. ) Lines added above or 
 Lines, leger. S below the staff for the 
 reception of such notes as are too high 
 or too low to be placed upon or with- 
 in it. 
 
 Lingua (It.) (/^«-gua.) The tongue in 
 
 organ-stop reeds. 
 Lingual. Pertaining to the tongue ; a 
 
 letter or sound pronounced chiefly by 
 
 the tongue. 
 Linie (Ger.) (lin-e.) A line of the staff. 
 Linien (Ger. pi.) {/in-i en.) Lines of the 
 
 staff. 
 
 Linien-system (Ger.) (/zV-i-en sis-idm.) 
 A scale ; the lines of the staff. 
 
 Lining. A term applied to a practice of 
 reading one or two lines of a hymn be- 
 fore singing them, alternating reading 
 and singing. Also called lining-out. 
 
 Link (Ger.) (link.) ) j^^^^ 
 
 (/ire-ke hand.) The 
 
 Links (links.) 
 
 ' Linke hand (Ger.) 
 left hand. 
 
 Lip. I . The lips of a flue-pipe are the 
 flat surfaces above and below the 
 mouth, called the upper and lower lip. 
 2. (Ger., Ansatz; Fr., embouchure; It., 
 imboccatura^ The art or faculty of so 
 adjusting the lips to the mouth-piece of 
 a wind-instrument as to produce artis- 
 tic effects of tone. Also lipping. 
 
 Lira (It.) (Jee-xi.) A lyre. 
 
 Lira doppia (It.) {lee-ra dop-pe-a.) Double 
 lyre. 
 
 Lira grande (It.) (lee-fa gran-de.) The 
 viol di gamba, a viol with six strings 
 formerly much used in Germany. 
 
 Lira riistica (It.) (fe-ra roos-te-ka.) A 
 species of lyre, formerly in use among 
 the Italian peasants. 
 
 -so \ 
 
 po.)J 
 
 Lira tedesca (It.) {lee-fi. ta-des-ka.) The 
 
 German lyre. 
 Lire (Fr.) (leer.) To read. 
 Lirica (It.) (&-re-ka.) ) Lyric; lyric 
 Lirico (It.) (lee-ie-\ib.) ) poetry ; poetry 
 
 adapted for music. 
 
 Lir6ne (It.) (lee-r^-ne.) A large lyre, or 
 harp. 
 
 Liscio (It.) (/^^-she-o.) Simple, un- 
 adorned, smooth. 
 
 LispeInd (Ger.) (/ii-pelnd.) Lisping, 
 whispering. 
 
 L'ist^sso (It.) (yes-tes-so.) The same. 
 
 L'istfeso movimento (It.) (Ves-tes-so 
 rao-ve-men-tb.) 
 
 L'ist^sso tempo (It.) {Vis-tes-sb tem-pb.) . 
 In the same time as the previous move- 
 ment. 
 
 Litania (Lat.) (li-^a-nl-a.) \ 
 
 Litanie (Fr.) (\\-Xa-nee.) [ A litany. 
 
 Litanei (Ger.) (Wt-a-m.) i 
 
 Litany. A solemn form of supplication 
 
 used in public worship. 
 Liturgia (It.) (le-toor-je-a.) Liturgy. 
 Liturgy. The ritual for public worship 
 
 in tliose churches which use written 
 
 forms. 
 Lituus (Lat.) (/zK-u-us.) An instrument 
 
 of martial music ; a kind of trumpet 
 
 making a shrill sound. 
 Liiito (It.) (le-oo-to.) A lute. 
 Livre (Fr.) (levr.) A book. 
 Lob-gesang (Ger.) {lob-^e-zUng.) ) A 
 
 j hymn, 
 
 Lob-lied (Ger.) {lob-\e&.) 
 
 or song of praise. 
 Lobpsalm (Ger.) (/Ji5-psalm.) A psalm 
 
 of praise. 
 
 Lobsingen (Ger.) (/oU^ing-'n.) To sing 
 praises. 
 
 Lobsinger (Ger.) {leb-smg-hr.) One who 
 sings praises. 
 
 L6co (It.) (/J-ko.) Place ; a word used 
 in opposition to Sva-alia, signifying that 
 the notes over which it is placed are 
 not to be played an octave higher, but 
 just as they are written. It is little 
 used at present, the end of the dotted 
 line signifying the end of the octave 
 transposition. 
 
 Lombdrda (It.) (Lom-Wr-da.) A species 
 of dance used in Lombardy. 
 
 Long. A note formerly in use equal to 
 a asin a^y a as in hate ; a as in a/; easin tree; 6 as in ^^; las in pine ; \ asm pin; 
 
 1 60 
 
LONGA 
 
 LUTE 
 
 four semibreves, or half the length of 
 the large. 
 
 Longa (Lat.) (/<5«-ga.) A long. 
 
 Long appoggiatura. An appogglatura 
 consisting of a single note forming a 
 part of the melody. It borrows half 
 the length of the next note, or more, 
 and is accented. See Appoggiatura. 
 
 Long, double. An old character equal 
 in duration to four breves. 
 
 Long drum. The large drum used in 
 military bands, carried horizontally 
 before the performer ; the bass drum. 
 
 Long metre. A stanza of four lines in 
 iambic measure, each line containing 
 eight syllables. Written. Played. 
 
 Long mordent. /vVv 
 
 A mordent 
 formed of fourE 
 notes. 
 
 Long particular meter. A stanza of six 
 lines in iambic measure, each line con- 
 taining eight syllables. 
 
 Long roll. A drum-beat calling the sol- 
 diers to arms. 
 
 Long spiel. An ancient Icelandic instru- 
 ment, long and narrow, and played upon 
 with a bow. 
 
 Longue pause (Fr.) (lonh poz.) Make a 
 long rest, or pause. 
 
 Lontanissimo (It.) (lon-ta-«««-see-mo.) 
 Very far away; equivalent to piano 
 possibile, 
 
 Lontino (It.) (lon-/a-no.) Distant ; re- 
 mote ; a great way off. 
 
 Lontino, da (It.) (16n-^iii-n5 da.) At a 
 distance. 
 
 Lorgnette (Fr.) (lom-j///.) An opera- 
 
 Lo stesso (It.) (15 stes-so.) The same. 
 
 Loure (Fr.) (loor.) A dance of slow time 
 and dignified character. It has some- 
 times three and sometimes four 
 quarters in a bar, with the peculiarity 
 of the second quarter of every bar being 
 dotted. 
 
 Low. A word of relative signification 
 and applied to any part, passage, or 
 note, situated beneath, or lower in pitch 
 than some other part, passage, or note; 
 depressed in the scale of sounds ; 
 grave. 
 
 5 as in ione ; 5 as in dove ; 8 as in noi 
 
 Low bass. Second bass. 
 
 Lugubre (It.) (loo-^w-bre.) Lugubrious, 
 sad, mournful. 
 
 Lullaby. A song to quiet infants ; a soft, 
 gentle song. 
 
 Liinga piusa (It.) (loon-ga pa-oo-za.) A 
 long pause, or rest. Sometimes written 
 Lunga alone. 
 
 Lu6g6 (It.) (loo-o-go.) See L6co. 
 
 Lusing. An abbreviation of Lusingdto. 
 
 Lusingdndo (It.) (loo-zen-^ow-d .) 
 
 Lusinginte (It.) (loo-zen-^a«-te.) 
 
 Lusingito (It.) (loo-zen-^a-to.) 
 
 LusinghSvole (It.) (loo-zen-^«-vo-le.) , 
 Soothing; coaxing; persuasively; in- 
 sinuatingly; in a playful, persuasive 
 style. 
 
 Lusinghevolm^nte (It.) (loo-zen-ga-v61- 
 /«?«-te.) Soothingly, persuasively. 
 
 Lusinghl^re (It.) (loo-zen-ghe-a-re.) i 
 
 Lusinghi^ro (It.)'(loo-zen-ghe-a-r6.) ) 
 Flattering, fawning, coaxing. 
 
 Lustig (Ger.) (/ow-tig.) Merrily, cheer- 
 fully, gayly. 
 
 Lutenist. A performer upon the lute. 
 
 L'ut de poitrine (Fr.) (I'oot duh pwa- 
 tren.) High C with chest tone. 
 
 Lute. A very ancient stringed instru- 
 ment, formerly much used, and con- 
 taining at first, only five strings, but to 
 which more were afterward added. 
 The lute consists of four parts, viz., 
 the table ; the body which has nine or 
 ten sides and is pear-shaped ; the neck 
 which has as many stops, or divisions ; 
 and the head or cross, in which the 
 screws for tuning it are inserted. In 
 playing this instrument, the performer 
 strikes the strings with the fingers of 
 the right hand, and regulates the sbunds 
 with those of the left. The strings, 
 attached to a bridge fixed on the face 
 of the instrument, and passing over or 
 beside the fretted finger-board, were 
 plucked by the fingers, and varied 
 in number from six to thirteen, 
 the highest or melody-string being 
 single, and the others in pairs of 
 unisons. Bass strings off the fin- 
 ger-board, similar to the bass strings 
 of a zither, each yielding but one tone, 
 were generally attached to a second 
 neck. These bass strings were intro- 
 duced in the sixteenth century, and led 
 
 ,• fi as in up ; ii the French sound of «. 
 6i 
 
LUTH 
 
 MADRIGAL 
 
 to divers modifications in the build of 
 the instrument; the various forms of 
 large double-necked lutes then evolved 
 (theorbo, archiliuto, chitarrone) being 
 general favorites. The lute came from 
 the Orient, and its name is derived from 
 an Arabic word Elood or L'Eudo, 
 meaning The Wood. 
 
 Luth (Fr.) (loot.) A lute. 
 
 Luthier (Fr.) (lii-ti-a.) Formerly a 
 maker of lutes ; at present a maker of 
 stringed instruments. 
 
 Lutherie (Fr.) (lu-the-?-^«.) The making 
 of lutes, violins, etc. 
 
 Luttuosam^nte (It.) (loot-too-5-za-««if«- 
 te.) Sadly, sorrowfully. 
 
 Luttu6so (It.) (loot-too-o^z5.) Sorrow- 
 ful, mournful. 
 
 Lydian. See Greek modes. 
 
 Lydian chant. A chant of a sorrowful, 
 melancholy style. 
 
 Lyra (It.) (&-ra.) i 
 
 Lyra(Ger.) (/i>--a.) ( ^"^^lyre. 
 
 Lyra barbarina (It.) (le-x'i. bar-ba-r^^-na. 
 An old instrument, resembling in shape 
 the Spanish guitar, having three double 
 niches. 
 
 Lyra doppia (It.) {lee-xii dop-^e-'i..) 
 Double lyre, not at present used, but 
 supposed to be a kind of viol da gamba. 
 
 Lyra bexachordis (Gr.) (lir-i. hex-a-kiSr- 
 dis.) A lyre with six strings. 
 
 Lyra mendicorum (Lat.) (/??--a men di- 
 ko-rara.) A hurdy-gurdy. 
 
 Lyrasanger (Ger.) {lir-'i-sdnff-er.) ) A 
 
 Lyraspieler (Ger.) {l{r-3.-sfe-\tr.) ) per- 
 former on the lyre. 
 
 Lyra-viol. An old instrument of the 
 lyre or harp species ; it had six strings 
 and seven frets. 
 
 Lyre. One of the most ancient of 
 stringed instruments said to have been 
 invented by Mercury, about the year 
 zooo A. M., and formed of a tortoise 
 shell; a species of harp. 
 
 Lyre .Xolian. The jEolian harp. 
 
 Lyre, double. The lyra doppia ; an in- 
 strument of the viol kind. 
 
 Lyre, Grecian. A lyre of the ancient 
 Greeks, quite small, and having but 
 seven strings, and held in the hand 
 while being played upon. 
 
 a as in ah ; a as in hate ; S as in at ; e as in tree 
 
 162 
 
 Lyric. 1 Poetry adapted for singing. 
 
 Lyrical. ) The word is borrowed from 
 the lyre, and was originally confined 
 to poetry meant to be accompanied by 
 that instrument. 
 
 Lyric comedy. A comedy in which vocal 
 music forms a principal part ; comic 
 opera. 
 
 Lyric drama. Opera ; acting accompan- 
 ied by singing. 
 
 Lyric tragedy. Tragic opera. 
 
 Lyricus (Lat.) (/ir-i-kiis.) Pertaining 
 to the lyre. 
 
 Lyriker (Ger.) (/r?--i-ker.) ) Lyric, lyri- 
 
 Lyrisch (Ger.) (/zV-ish.) ) cal. 
 
 M 
 
 M. This letter is used as an abbreviation 
 of mezzo, also of various other words, 
 as metronome, mano, main, and also 
 in connection with other letters ; as 
 M. F. ior mezzo forte; M. P., mezzo 
 piano; M. V., mezzo voce, etc. 
 
 M. M. The abbreviation for Maelzel's 
 Metronome. It is often misinterpreted 
 as " metronome mark." 
 
 Ma (It.) (ma.) Kut, as AlUgro ma non 
 trSppo, quick, but not too much so. 
 
 Machalath (Heb.) (ma-ka-lath.) A kind 
 of lute or guitar used by the Hebrews. 
 
 Machine-head. A mechanical device 
 substituted for the ordinary tuning- 
 pegs of the double-bass, the guitar, 
 and of the melody-strings of the zither. 
 
 Mach-werk (Ger.) {mdkh-^s.x\^ Made 
 work; music made up ; merely the re- 
 sult of labor and study without any 
 musical inspiration. 
 
 Madridle (It.) (ma-dre-a-le.) A madri- 
 gal ; the name formerly given by the 
 Italians to the intermezzi, or pieces 
 performed between the acts of a play 
 or an opera. 
 
 MadriaUttO (It.) (ma-dre-a-to-to.) A 
 short madrigal. 
 
 Madrigal. An elaborate vocal composi- 
 tion, in three, four, five, or six parts, 
 without accompaniment, in the strict 
 or ancient style, with imitation ; the 
 parts or melodies moving in that con- 
 versational manner peculiar to the 
 music of the sixteenth and seventeenth 
 centuries. The madrigal is generally 
 sung in chorus. The origin of the word 
 
 6 as in «.4 ; i as in pi^e y i as in pin ; 
 
MADRIGAL, ACCOMPANIED 
 
 MAJOR INTERVALS 
 
 is doubtful. The form probably had 
 its beginning in the Netherlands. It 
 was the earliest form of skilful secular 
 composition, spite of one or two canons 
 which bear earlier date. One charac- 
 teristic of the madrigal was that the 
 melody never appeared entire in any 
 one voice. It was generally unaccom- 
 panied. See Grove's Dictionary. 
 Madrigal, accompanied. A madrigal in 
 which the voices are sustained by a 
 pianoforte, or organ. 
 
 Madrigdle (It.) (ma-dre-^a-le.) A madri- 
 gal. 
 
 Madrigal^sco (It.) (ma-dre-ga-/fl-sk5.) 
 Of, or belonging to, a madrigal 
 
 Maesta (It.) (mii-es-io.) ^ Majesty, 
 
 Maestade (It.) (ma-es-^a-de.; [ dignity, 
 
 Maestite (It.) ^ma-es■^o-te.) ) grandeur. 
 
 Maest^vole (It.) (ma-es-/lf-vo-le.) Ma- 
 jestic, majestical. 
 
 Maestevolissimo (It.) (ma-es-ta-vo-/«- 
 se-m5.) Most majestically. 
 
 Maestevolm^nte (It.) (ma-es-ta-vol- "| 
 
 Maestosam^nte (It.) (ma-es-to-za->«««- f 
 te.) J 
 
 Majestically, nobly. 
 
 Maestosissimo (It.) (m'a-es-to-z«-se-mo.) 
 Exceedingly majestic. 
 
 Maest6so (It.) (ma-es-/»-z6.) Majestic, 
 stately, dignified. 
 
 Maestrale (It.) ima.-es-trai-\e.) The 
 term for the stretto of a fugue, when in 
 canon-form. 
 
 Maestr6voIe (It.) (ma-as-/«-vo-le.) Mas- 
 terly ; highly finished. 
 
 Maestri (It.) (ma-«j-tre.) Masters. 
 
 Maestria (It.) (ma-es-/?-^-a.) Mastery, 
 skill, art, ability. 
 
 Maestro (It.) (ma-«j-tro.) Master, com- 
 poser ; an experienced, skilful artist. 
 
 Ma&tro di camera (It.) (ma-«j-tr6 de 
 /ia-me-ra.) Leader or conductor of 
 chamber-music. 
 
 Maestro di canto (It.) (ma-«-tro de ian- 
 to.) A singing-master. 
 
 Maestro di cappSlla (It ) (ma-«-tro de 
 kap /^/ la.) Chapel-master ; composer ; 
 director of the musical performances in 
 a church or chapel. See Kapellmeister. 
 
 Magadis ''Gr.) (ma-^a-dis.) The name 
 of an ancient Greek treble instrument. 
 
 furnished with double strings tuned in 
 octaves, like those of a three-stop 
 harpsichord. 
 MaggioUta (It.) (mad-je-6-/a-ta.) A 
 hymn or song in praise of the month of 
 May. 
 
 Maggidre (It.) (mad-je-o-re.) The major 
 key. 
 
 Magisc6ro (It.) (ma-jes-/SJ-ro.) The 
 chief of a choir. 
 
 Magnificat (Lat.) (mag-wiji'i-kat.) A part 
 of the vespers, or evening service of the 
 Roman Catholic Church. 
 
 Maidmarian. The lady of the May games 
 in a morris dance ; an old dance. 
 
 Main (Fr.) (manh.) The hand. 
 
 Main droite (Fr.) (manh drwat.) Right 
 hand. 
 
 Main gauche (manh gosh.) The left 
 hand. 
 
 Maitre (Fr.) (matr.) A master; a direc- 
 tor. 
 
 Maitre de chapelle (Fr.) (matr dvih sha- 
 pell.) Chapel-master ; director of the 
 choir. 
 
 Maitre de musique (Fr.) (matr duh mii- 
 zek.) Musical director ; a music 
 teacher. 
 
 Maitre, des menetriers (Fr.) (matr de 
 manh-a-tri-ar.) Master of the min- 
 strels. 
 
 Majesta (It.) (ma-yes-ta.) 
 
 Majesty (Fr.) (ma-zhes-ta.) '. 
 
 Majestueuz (Fr.) (ma-zhes-tii-ay.) Ma- 
 jestic. 
 
 Majeur (Fr.) (ma-zhiir.) Major; major 
 key. 
 
 Major. Greater, in respect to intervals, 
 scales, etc. 
 
 Major, bob. A full peal upon eight bells. 
 
 Major diatonic scale. The scale in which 
 the semi-tones fall between the third 
 and fourth, and seventh and .eighth 
 tones, both in ascending and descend- 
 ing. 
 
 Major, drum. The chief drummer of a 
 regiment. 
 
 Major fourth. Properly 2. perfect fourth; 
 an interval containing two whole tones, 
 and one semi-tone. 
 
 Major intervals. Those intervals con- 
 taining the greatest number of semi- 
 tones under the same denomination. 
 
 ) Majesty, 
 J dignity. 
 
 o as in tone ; 6 as in dove ; b as in not; ii as in up; ii the French sound of u. 
 
 163 
 
MAJOR KEY 
 
 MARCATiSSIMO 
 
 ) That mode or scale in 
 ( which the third from the 
 
 (md-joi-mo-dvis.) 
 
 ■A 
 
 Major key. 
 Major mode, 
 tonic is major. 
 
 Major-modus (Lat.) 
 
 Major mode. 
 Major seventh. An interval consisting 
 
 of five tones and a semi-tone. 
 Major sixth. A sixth composed of four 
 
 tones and a semi-tone. 
 Major third. An interval containing two 
 
 whole tones or steps. 
 
 Major tonic. A major scale. 
 
 Major triad. A union of any sound with 
 its major third and perfect fifth. 
 
 Malanconia (It.) (ma-lan-ko-ne-a.) 
 Malencdnico (It.) (ma-len-/4o-ne-ko. 
 Melancholy, sadness. 
 
 Malinc61ico(It.)(ma-len-.4»-le-ko.) ) Mel- 
 Malinconia (It.) (ma-len-i^-ni-a.) ) ^"- 
 choly. 
 
 Malinconicam^nte (It.) (ma-len-ko-ne- 
 ka-OT«»-te.) In a melancholy style. 
 
 Malinc6nico (It.) (ma-len-.*o-ne-go.) j 
 Malinconidso (It.)(ma-len-k6-ne-o-zo.) > 
 Malincondso (It.) (ma-len-ko-«o-z6.) ^■ 
 In a melancholy style. 
 
 Mancdndo (It.) (raan-idn-do.) Decreas- 
 ing ; dying away. 
 
 Manche (Fr.) (manh-sh.) The neck of 
 a violin or other instrument. 
 
 Mandola (It.) (man-d5-la.) A mandoline 
 or cithern, of the size of a large lute. 
 
 Mandoline. A Spanish instrument of 
 guitar species, with frets like a guitar and 
 four pairs of strings, tuned like the 
 violin, and put in vibration with a pick, 
 or plectrum. There is a difference in 
 stringing and tuning, between the 
 Neapolitan and the ^ 
 
 Milanese. Compass 
 about three octaves : 
 
 1^ 
 
 =t 
 
 Mandolino 
 mandolin. 
 
 (It.) (man-d6-&-no.) A 
 
 Mandora. I a small kind of lute or gui- 
 Mandore. ' tar, with frets and seven gut- 
 strings, three of which are duplicates. 
 
 Manico (It.) (md-ne-ko.) The neck of 
 the violin, guitar, etc. 
 
 a. as in a^ ; a. as in kate ; a as in at ; e as in tree ; e as in ^^ ; i as in /ime ; i as in //?/; 
 
 164 
 
 1 Originally, an instru- 
 ( ment with but one 
 
 Manichord. 
 Manichordon. 
 
 string; subsequently a stringed instru- 
 ment resembling a spinet or harpsi- 
 chord. 
 
 Mani^ra (It.) (ma-ne-a-ra.) |^ Manner, 
 
 Maniere (Fr.) (man-e-<z?-.) ) style. 
 
 Manieren (Ger. pi.) (ma-ne-r'n.) Graces, 
 embellishments, ornaments. 
 
 Manifold fugue. A fugue in which more 
 than one theme is elaborated. 
 
 Mannerchor (Ger.) (men-ner- ) ,, , 
 chor.) I Men'^^ 
 
 Mannergesangs-verein (Ger.) 1 society. 
 {men-neT-ghe-zdftgs ie-rin.) J 
 
 Mannliche stimme (Ger.) (»?<f«-likh-e 
 
 stlm-me.) A male voice. 
 Mdno (It.) (ma-n5.) The hand. 
 Mino destra (It.) (ma-no des-tvi.) -s 
 Mdno diritta (It.) (ma-no de-ret- I '^^^^ 
 
 '^■) I hand, 
 
 Mano dritta (It.) (ma-no drit-tii.) J 
 
 Mano sinistra (It.) (ma-n5 se-»M-tra.) 
 
 The left hand. 
 Manual. The key-board ; in organ music 
 
 it means that the passage is to be 
 
 played by the hands alone without 
 
 using the pedals. 
 
 Manual (Ger.) (ma-noo-a/.) ^ 
 Manuale (Lat.) (ma-nii-a-le.) > Manual. 
 Manudle (It.) (ma-noo-a-le.) ' 
 
 Manualiter (Ger.) (ma-noo-a-li-ter.) 
 Organ pieces to be played by the 
 fingers alone without the pedals. 
 
 Manual-untersatz (Ger.) (ma-noo-a/ ooti- 
 ter-satz.) An organ-stop of 32-foot 
 tone, with stopped pipes ; the su6 
 bourdon. 
 
 Maniibrio (It.) (ma-^zDo-bre-o.) \ The 
 Manubrium (Lat.) (ma-»«-bri- \ handle 
 lim.) ) or 
 
 knob by which a stop is drawn in an 
 organ. 
 
 Manuscriptum (Lat.) (man-u-j-/J?-iJ>-tum.) 
 Manuscript. 
 
 Marcindo (It.) {xaix-kdn-do^) ) Marked ; 
 Marcdto (It.) (mar-,f<i-to.) ) accented; 
 well-pronounced. 
 
 Marcatissimo (It.) (mar-ka-&-se-m6.) 
 Veiy strongly marked. 
 
MARCAXA LA MELODIA 
 
 MASS 
 
 Marcdta la melodia (It.) (mar-/Ja-ta la 
 mel-o-de-a.) Accent the melody. 
 
 Harch. A military air or movement es- 
 pecially adapted to martial instru- 
 ments; it is generally written in | rhytlim. 
 
 March, dead. A funeral march. 
 
 Marche (Fr.) (marsh.) A march. 
 
 Marche harmonique (Fr.) (marsh har- 
 mo-ne^.) Harmonic progression. 
 
 Marche redouble (Fr.) (marsh re-doob- 
 /d.) A double quick march. 
 
 Marche triomphale (Fr.) (marsh tre-onh- 
 fal.) A triumphal march. 
 
 March, funeral. A slow, mournful 
 march, adapted to the movement of 
 a funeral procession. Also called 
 " Dead March." 
 
 Mircia (It.) (waV-tshe-a.) A march. 
 Marcia_, con m(5to (It.) (mdr-tshe-a. kon 
 
 ma-to.) A spirited martial movement. 
 Marcia funebre (It.) (mdr-tshe-a. foo-nd- 
 
 bre.) Funeral march. 
 
 Marcidle (It.) (miir-tshe-a'-le.) See Mar- 
 zidle. 
 
 Marciata (It.) (mar-tshe-o-ta.) A march. 
 
 Marine band. A band employed on 
 vessels of war. 
 
 Marked. Accented. 
 
 Mark, harmonic. A sign (O) used in 
 music for the violin, violoncello, and 
 harp, to indicate that the notes over 
 which it is placed are to be produced 
 on such parts of the open strings as 
 will give the harmonic sounds. 
 
 Markiren (Ger.) (mar-,4^-r'n.) \ ^po mark; 
 
 Markirt. > to em- 
 
 Marquer (Fr.) (mar-ka.) ) phasize. 
 
 Marks, abbreviation. Signs of abbre- 
 viation. 
 
 Marks, cadence. Short perpendicular 
 lines which indicate the cadence notes 
 in chanting. 
 
 Marks, division. Figures with a curved 
 line above them showing the number of 
 equal parts into which the notes are 
 divided, when instead of 2, 4, or 8, they 
 are divided into 3, 5, 7, 9, etc., T, T, 
 T, etc. See Notation. 
 
 Marks, metronomic. Figures appended 
 to music, referring to M.M.r =120 
 corresponding, figures M.M.^=8o 
 on a metronome. See M.M. 
 
 5 as in tone y 6 as in dove ; 8 as in not , 
 
 A Span- 
 Martial ; 
 
 Music 
 com- 
 
 Marks, staccato. Dots or small dashes 
 placed over notes to indicate that they 
 are to be played short and detached. 
 
 Marsch (Ger.) (marsh.) A march. 
 
 Marschartig (Ger.) (wa>j^-ar-tig.) In 
 the style of a march. 
 
 Marsche (Ger. pi.) (mar-she.) Marches. 
 
 Marseillaise (Fr.) (mar-sal-yaz.) The 
 Marseilles hymn ; a French national 
 air. See Elson's " Our National 
 Music." 
 
 MartelMndo (It.) (mar-tel-/a«-do.) ffam- 
 mering ; strongly marking the tones as 
 if hammered. 
 
 Martelldre (It.) (mar-tel-ffi-re.) To 
 hammer, to strike the notes forcibly 
 like a hammer. 
 
 Martell&to (It.) (mar-tel-/a-to.) Ham- 
 mered, strongly marked. 
 
 Martrdza (It.) (mar-^-o-tsa.j 
 ish dance. 
 
 Marzidle (It.) (mar-tse-a le.) 
 in the style of a march. 
 
 Mascharada (It.) (ma-ska- 1 
 ra-da.) I 
 
 Mascherdta (It.) (ma-ske-ra- f nos^'dfor 
 ta.) J ^ 
 
 grotesque characters ; masquerade 
 music. 
 
 Maschera (It.) (wa-ske-ra.) A mask. 
 
 Mask. . . . c 
 
 } A species of 
 Maske (Ger.) (/«oj-ke.) C musical 
 
 Masque (Fr.) (mask.) ) drama, or 
 operetta, including singing and danc- 
 ing, performed by characters in masks. 
 The masque was the predecessor of the 
 opera. 
 
 Mass. A vocal composition performed 
 during the celebration of High Mass, 
 in the Roman Catholic Church, and 
 generally accompanied by instruments. 
 The Mass contains the following num- 
 bers : " Kyrie," " Gloria " (containing 
 also the "Qui Tollis," "Gratias," 
 " Quoniam," and " Cum Sancto 
 Spirito"), "Credo" (with "Et Incar- 
 natus," " Et Resurrexit," and " Amen," 
 as subdivisions), " Sanctus," " Bene- 
 dictus," " Agnus Dei," and " Dona 
 . Nobis." These are in beautiful con- 
 trast in the emotions they express, and, 
 therefore, the Mass has always been a 
 favorite form of composition. The 
 Requiem Mass, generally shorter, omits 
 
 ii as in «/ / ii the French sound of u. 
 
 16.S 
 
MASS 
 
 MEASURE 
 
 the " Gloria," and contains a" Requiem 
 Aeternam," "Lux Aeterna," and 
 " Dies Irae " (a mediaeval poem pictur- 
 ing the Day of Judgment) as well as 
 the other numbers. As the " Day of 
 Wrath " is a most dramatic subject, 
 the Requiem Mass is sometimes the 
 most fiery of sacred compositions. See 
 Dickinson's "Music in the . History of 
 the Western Church." 
 
 Mass (Ger.) (mass.) Measure, time. 
 
 Mass bell. A small bell used in the ser- 
 vice of the Roman Catholic Church to 
 direct attention to the more solemn 
 parts of the Mass. 
 
 Mass book. The missal, or Roman 
 Catholic service-book. 
 
 Mass, canonical. A Mass in which the 
 various parts of the musical service 
 of the church are followed in their 
 regular course, or in strict canonical 
 order. 
 
 Mass, high. The Mass celebrated in the 
 Catholic churches by the singing of 
 the choristers ; distinguished from the 
 low Mass, in which prayers are read 
 without singing. 
 
 Massig (Ger.) (mds-sig.) Moderate, 
 moderately. 
 
 Massig geschwind (Ger.) (mds-sig ghe- 
 shvlnd.) Moderately quick. 
 
 Missig langsam (Ger.) {mds-Agldng- 
 sam.) Moderately slow. 
 
 Missig schnell (Ger.) (/waj-sig schnell.) 
 Moderately fast and animated. 
 
 Missima (It.) (wzaV-se-ma.) A whole note. 
 
 Master, ballet. One who superintends the 
 rehearsals and performances of the 
 ballet. 
 
 Master, choir. A chorister ; a choir-leader. 
 
 Mister of music. A musical degree. 
 See article " Degrees " in Grove's Dic- 
 tioiiiry. 
 
 Mistersingers. A class of poet -musicians 
 who succeeded the minnesingers in 
 Garmany, The minnesingers were 
 geierally of the nobility, the master- 
 singers of the burgher class. They 
 began in the fifteenth century. See 
 Elson's " History of German Song." 
 
 Masure (Ger.) (ma-0«<>-re.) ^ ^ ,5^^,^ 
 
 Misureck (Ger.) rma-z«o-rek.) ' Polish 
 Misurek (Ger) (ma-jfjo-rek.) (.dance, 
 Misurka (Ger) fma-zacr-ka.l J '" t°i' i 
 
 time, quicker than the Polonaise, and 
 has an emphasis on one of the un- 
 accented parts of the bar ; the Mazurka, 
 
 Matelotte (Fr.) (/Ka-te-16t.) A French 
 sailor's dance in | time. 
 
 Matinare (It.) {ma-te-«o-re.) To sing 
 matins. 
 
 Matinata (It.) (ma-te-«a-ta.) A song 
 for the morning. See Aubade. 
 
 Matinee (Fr.) (ma-ti-«d'.) An entertain- 
 ment given in the daytime. 
 
 Matinee musicale (Fr.) (xdi.-'S.-nS. mii- 
 z^-kdl.) A musical performance given 
 in the daytime. 
 
 Matines (Fr.) (ma-ten.) Matins; morning 
 worship. 
 
 Matins. The name of the first morning 
 service in the Roman Catholic Church. 
 
 Mattutino dalle tenebre (It.) (mat-too- 
 te-no dal-le te-«<f-bre.) The service of 
 the Tenebrae. 
 
 Maul-trommel (Ger.) (moul-trom-mel.) 
 A Jews'-harp. 
 
 Maxima (Lat.) {mSx-i-rna..) The name 
 of the longest note used in the four- 
 teenth and fifteenth centuries ; equal to 
 eight whole notes. 
 
 Maximus bob. A full peal upon twelve 
 bells. 
 
 Mazourk (Ger.) (rca-tsoork.) 
 
 Mazourka (Ger.) (ma-A('i7?--ka.) 
 
 Mazur (Ger.) (rtidi-tsoor.) 
 
 Mazurca (Ger.) (ma-^.fo(7r-ka.) 
 
 Mazurka (Ger.) {msL-tsoorAaJi.) 
 
 Mazurke (Ger.) (ma-^j-oor-ke.) 
 
 A 
 lively 
 Polish- 
 > dance 
 of a 
 skip- 
 ping 
 character in f or J time, of a pecu- 
 liar rhythmic construction, quicker 
 than the Polonaise or Polacca. See 
 Masurka. 
 M. D. The initals of Main Droit, the 
 
 right hand. 
 Mean. A term formerly applied to the 
 tenor or medium part in compositions 
 for several parts, male and female. 
 
 Mean clef. Tenor clef. 
 
 m 
 
 n 
 
 Mean, harmonical 
 
 harmonic triad. 
 
 The third in the 
 
 Middle parts. 
 
 Mean parts. 
 
 Measure. That division of time by which 
 the air and movement of music are 
 regulated ; the space between two bar 
 
 a as in a/5/ a as in kate ; a as iaat; e asm tree ; easmeh; las m pine ; las 'vafin; 
 
 166 
 
MEASURE ACCENT 
 
 MELODIOUS 
 
 lines on the staff. The measure is 
 often called a bar by teachers and 
 musicians. 
 
 Measure accent. The regular alternation 
 
 of strong and weak part in a measure. 
 
 Measure, common. A measure having 
 
 an even number of parts in a bar. 
 Med6simo (It.) (me-</3-ze-m6.) l The 
 Med6smo (It.) (me-i^aj-mo.) ) same. 
 Medfcmo mdto (It.) {xahdes-momd-to.) j 
 MedSsmo Wmpo (It.) {me-des-mb tim- > 
 
 po.) ; 
 
 In the same timeor movement as before. 
 
 Mediant (Lat.) (»j(J-di-ant.) i xhe third 
 
 M^diante (Fr.) (ma-di-d«,4/.) \ note of 
 the scale ; the middle note between the 
 tonic and the dominant . 
 
 Meditatio (Lat.) (med-i-/a-shi-6.) A word 
 formerly used to signify the middle of 
 a chant, or the sound which terminates 
 the first part of the verse in the psalms. 
 
 Medius harmonicus (Lat.) (ma-di-ils har- 
 mSn-\-\MS,^ The third or middle note 
 of the fundamental common chord. 
 
 Medley. A mixture; an assemblage of 
 detached parts or passages of well- 
 known songs or pieces so arranged that 
 the end of one connects with the 
 beginning of another. A Potpourri. 
 
 Meer-trompete (Ger.) (mar-trom-/a-te.) 1 
 
 Meer-horn (Ger.) (mar-horn.) ) 
 
 Sea-trumpet. 
 
 Mehr (Ger.) (mar.) More. 
 
 Mehr-stimmig (Ger.) (mar-j/iire-mig.) 
 For several voices. 
 
 Mehr stimmiger gesang (Ger.) {jaaxsiim- 
 
 mi-gher ghe-aoK^.) A glee or part song. 
 
 Meister (Ger.) (/«w-ter.) Master, teacher. 
 
 Meister-gesang (Ger.) [mis-Xcx ghe-zo«^.) 
 Master's song ; minstrel's song. 
 
 Meister-sanger (Ger.) {mts-xer-sSng-eT.) 
 Mastersinger ; minstrel. See Master- 
 singer. 
 
 Meister-stiick (Ger.) ('wfy-ter-stuk.) Mas- 
 terpiece. 
 
 M^Iancolie (Fr.) (OTa-lanh-ko-le.) Mel- 
 ancholy ; in a mournful style. 
 
 Melange (Fr.) (ma-ldnz/i.) A medley; a 
 composition founded upon several 
 popular airs. 
 
 Mellsma (Gr.) (me-/&-ma.) A vocal grace 
 
 or embellishment; several notes sung 
 
 to one syllable. 
 Melismatik (Ger.) (mel-is-««a-tik.) i 
 Melismatisch (Ger.) (meUis-/»a-tish.) ) 
 
 Florid vocalization. See Me/isma. 
 Mellifluous (mel-/iy-lu-ous.) Smoothly 
 
 flowing ; very melodious. 
 Mel6de (It.) (ma-/»-de.) Melody, tune. 
 Melodeon. A reed-instrument having a 
 
 key board like the pianoforte. It is 
 
 supplied with wind by a bellows worked 
 
 with the feet of the performer. 
 Melodeon, double reed. A melodeon with 
 
 two sets of reeds. 
 Melodeon, organ. A melodeon having a 
 
 register of stops similar to those of an 
 
 organ. 
 Melodfa (It.) (ma-lo-dea.) Melody, tune. 
 Melodic (me-li/d-ik.) Relating to melody. 
 Melodic language. The language of mel- 
 ody or song; ideas expressed by a 
 
 melodious combination of sounds. 
 Melodic modulation. A change from one 
 
 key into another. 
 Melodies. That department of vocal 
 
 elementary instruction which relates to 
 
 the pitcA of tones. 
 Melodic step. The movement of a voice 
 
 or part from one tone to the foUovring 
 
 one. 
 Mel6dico (It.) (ma-15-de-k6.) Melodious, 
 
 tuneful. 
 Melodicon. An instrument invented by 
 
 Riffel, in Copenhagen, the tones of 
 
 which are produced from bent metal 
 
 bars. 
 M^Iodie (Fr.) (ma-lo-dee.) Melody, tune. 
 
 Mflodieuse(Fr.) (ma-16-di-iiz.) Melodious, 
 smooth. 
 
 Mflodieusement (Fr.) (ma-16-di-Us- 
 
 manh.) 
 Melodiosam^nte (It.) (ma-lo-de-o-za- 
 
 men-te.) J 
 
 Melodiously, sweetly. 
 
 Melodieux (Fr.) (ma-lo-di-iiz.) ) Melodi- 
 Melodik (Ger.) (me-Zs-dik.) ) ous, 
 
 tuneful. 
 Melodi6so (It.) (ma-lo-de«-zo.) ) Melodi- 
 Melodisch (Ger.) (me-/J-dTsh.) ) ous, 
 
 musical, tuneful. 
 Melodious. Having melody, musical; a 
 
 o as in tone; 6 as in dove; 8 as in not; fi as in up; u the French sound of a. 
 
 167 
 
MELODIOUS, BASS 
 
 MENO PRESTO 
 
 term applied to a succession of pleasing 
 sounds. 
 Melodious, bass. Tlie bass chantante; 
 the singing bass. 
 
 Melodrama, i a modern species of 
 Melodrama. ) drama with music inter- 
 spersed, both vocal and instrumental, 
 the latter of a descriptive kind, serving 
 to elucidate the action and heighten the 
 passion of the piece. It is generally of a 
 highly romantic or sensational character. 
 In modern music the term is applied to 
 a declamation, recited (not sung) to a 
 musical accompaniment. Schumann's 
 Manfred affords some good examples 
 of such melodrame. It is sometimes 
 called Cantillation. 
 
 Melodram (Ger.) (me-lo-fl'rfl!>«.) -s 
 
 Melodrame (Fr.) {m^-Xo-drdm ) \ 
 
 Melodrimma (It.) (ma-lo-^^ra-ma.) ) 
 Melodrama. 
 
 Melodrammdtico (It.) (ma-lo-dra-wzo-te- 
 ko.) Melodramatic. 
 
 Melody. A succession of simple sounds 
 so arranged as to produce a pleasing 
 effect upon the ear ; distinguished from 
 harmony by not necessarily including 
 a combination of parts. By the melody 
 the leading part in a harmonized com- 
 position is meant. 
 
 A melody consis- 
 tones moving by 
 
 Melody, chromatic. 
 
 ting of a series of 
 chromatic intervals. 
 
 Melody, diatonic. A melody whose 
 tones move by diatonic intervals. 
 
 Melody, leading. The principal part of 
 a composition containing several parts. 
 
 Melograph. A piano first invented in 
 1827, connected with which was ma- 
 chinery which recorded in notes what- 
 ever was improvised on the piano. The 
 invention was not a complete success, 
 but since that time many efforts have 
 been made to achieve the same result 
 more practically, and an electric melo- 
 graph by an Englishman, named Fenby, 
 promises success. 
 
 Melologue. A combination of recitative 
 and music. See Melodrama. 
 
 Meloman (Ger.) (w/a-16-man.) ) A pas- 
 
 M^lomane (Fr.) (wa-Io-man.) ) sionate 
 
 lover of music. 
 
 rapid. 
 
 a as in ah ; 3. -as in hate ; a as in a// e as in tree ; easing 
 
 168 
 
 Melomanie (Fr.) (ma-lo-ma-ne ) | Exces- 
 Melomany (me-Z^w-a-ny.) ) s i v e 
 
 love of music ; music mania. 
 Melop^a (It.) (ma-15-pa-a.) 1 Poetical or 
 M^lop^e (Fr.) (ma-lo-pa.) ) rhetorical 
 
 melody ; words and music combined ; 
 
 the vocal declamation, or chant of the 
 
 drama. 
 Melopiano. A pianoforte invented by 
 
 Caldera, of Turin, in 1870, in which the 
 
 tone is sustained by rapidly repeated 
 
 blows of small hammers attached to a 
 
 bar passing over and at right angles to 
 
 the strings. 
 Melopoea (Gr.) (me-lo-/^-a.) A term in 
 
 ancient music signifying the art of rules 
 
 of composition in melody ; melody. 
 Melopomenos (Gr.) (mel-o-/(yz»-e-nos.) 
 
 Vocal melody. 
 Melos (Gr.) (?«/2-16s.) Song. MelosSs'd^^ 
 
 name which Wagner applies to the 
 
 vocal progressions of his laler operas, 
 
 which have not the form or symmetry 
 
 of regular tunes. 
 Melpomene (Lat.) (mel-/iJi>«-e-ne.) One 
 
 of the nine muses. The muse of 
 
 tragedy. 
 M€me (Fr.) (mam.) The same. 
 Meme mouvement (Fr.) (mam moov- 
 
 manh.) In the same movement. 
 M6me mouvement que pr^c^dement 
 
 (Fr.) (mam moov-manh kiih pre-jfln'- 
 
 manh.) In the same movement as the 
 
 preceding. 
 M6n (It.) (man.) Less ; an abbreviation 
 
 of mino, 
 
 M^n allegro (It.) (men aI-/a'-gro.) Less 
 quick. 
 
 Men&trels (Fr.) (me-nas-trel.) Min- 
 strels. 
 
 M^ntoier(Fr.)(me-na-tr5-(J.) A minstrel ; 
 a rustic musician. 
 
 M^no (It.) (ma-Txo.) Less. 
 
 M^no allegro (It.) {meh-nb al-leh-gro.) 
 Less quick. 
 
 M^no f6rte (It.) (meh-no for-te.) Less 
 loud. 
 
 M£nom6ssO (It.) {meh-no mas-so.) Less 
 movement, slower. 
 
 M^no pidno (It.) {meh-no pe-a-no.) Not 
 so softly. 
 
 M^no presto (It.) {meh-no prds-to.) Less 
 
 ' 1 as in pine / i as in /2« ; 
 
MENO VIVO 
 
 METRE, LONG 
 
 M^novivo (It.) {meh-no ue-vo.) Not so 
 fast. 
 
 Menschen-stimme (Ger.) {mSn-sVn-stim- 
 
 me.) Human voice. 
 MensuT (Ger.) {men-soor) Time ; tune ; 
 
 measurement of intervals ; also, the 
 
 diameter or scale of organ-pipes. 
 Mensural-gesang (Ger.) (men-soo->-a7 
 
 ^e-zdng.) Measured music. 
 
 Mensural-noten (Ger.) (men-soo-raZ-KO- 
 t'n.) Musical notation ; measured notes ; 
 notes of a definite length. 
 
 Mensural signature. Fractions placed 
 at the beginning of a composition, in- 
 dicating the tirne, rhythm, or measure. 
 
 Menuet (Fr.) (ma-noo-e.) ) A min- 
 
 Menuetto (It.) (me-noo-iW-to.) (net; a 
 a slow dance in J time. See Minuet, 
 
 M6n vivo (It.) (man z/^-vo.) Less spirit. 
 
 M^ssa (It.) {mes-%&>j A Mass. 
 
 M^ssa bissa (It.) (mes-ssL bassa.) A 
 silent Mass whispered by the priest dur- 
 ing a musical performance. 
 
 M^ssa concertita (It.) {mes-ssi kon-tsher- 
 id-ta.) A Mass consisting of concerted 
 music. 
 
 M6ssa di v6ce (It.) The gradual swell- 
 ing and diminishing of the 
 voice generally written thus :B 
 
 The Mhsa di Voce appears ^ 
 in some vocal exercises (Concone's, etc.) 
 in the first lesson, but most vocal 
 teachers reserve its study for a much 
 later period, as it requires thorough 
 control of the breath. 
 
 Messe (Fr.) (mass.)^ I A Mass. 
 
 Masse (Ger.) (OTft-se.) ) 
 
 Messe brevi (It.) {mes-se breh-ve.) A 
 short Mass. 
 
 Messe concertati (It.) (««-se kon-tsher- 
 id-te.) Masses in which the recitation 
 is intermixed with choruses. 
 
 Messa di cappella (It.) (mes-ssL de kap- 
 J>el-\i..) Masses sung by the grand 
 chorus. 
 
 Messe, haute (Fr.) (mas-s'o.) Grand 
 Mass ; high Mass. 
 
 M^sto (It.) (mes-to.) Sad, mournful, 
 melancholy. 
 
 Mest6so (It.) (mes-/o-zo.) Sadly, mourn- 
 fully. 
 
 Mesure (Fr.) {ma.-zur.) The bar, or 
 the species of time. 
 
 Mesure a deux temps (Fr.) {m&-zilr a 
 duh tanh.) Common time of two beats 
 in a measure. 
 
 Mesure a trois temps (Fr.) (ma-za?- a 
 trwa tanh.) Triple time of M?-«« beats 
 in a measure. 
 
 Mesure demi (Fr.) {ma.-ziir de-me.) Half 
 measure. 
 
 Met. An abbreviation of Metronome. 
 
 Metal, organ. The material of which 
 some organ-pipes are made, composed 
 of a mixture of tin and lead in certain 
 proportions. 
 
 Metdllico (It.) (ma-^'oZ-le-ko.) l Metallic ; 
 
 MetdllO (It.) (ma-^a7-15.) ) clear in' 
 
 tone ; bel metdllo di voce means a voice 
 clear, full, and brilliant. 
 
 Meter. See Metre. 
 
 Method. A course of instruction ; classi- 
 fication ; system. 
 
 Mtthode (Fr.) (ma-tod.) > a method ; 
 
 M^todo (It.) (me-^o-do.) j system ; style ; 
 a treatise, or book of instruction. 
 
 Metre. Measure ; verse ; arrangement 
 of poetical feet, or of long and short 
 syllables in verse. The succession of 
 accents in music. Metre is the rhythm 
 of \h& phrase, not of the measure. 
 
 Metre, common. A stanza of four lines 
 in iambic measure, the syllables of 
 each being in number and order as fol- 
 lows : 8, 6, 8, 6. 
 
 Metre, common hallelujah. A stanza of 
 six lines in iambic measure, the sylla- 
 bles in each being in number and order 
 as follows : 8, 8, 6, 8, 8, 6. 
 
 Metre, eights. A stanza of four lines in 
 anapestic measure, each line contain- 
 ing eight syllables and marked thus, 8s. 
 
 Metre, eights and sevens. Consists of 
 four lines in trochaic measure, desig- 
 nated thus, 8s and ^s, the syllables as 
 follows : 8, 7, 8, 7. 
 
 Metre, elevens. Designated thus, iis, 
 and consisting of a stanza of four lines 
 in anapestic or dactyllic measure, each 
 line containing eleven syllables. 
 
 Metre, hallelujah. A stanza of six lines 
 in iambic measure, the syllables of 
 each being in number and order as fol- 
 lows : 6, 6, 6, 6, 8, 8. 
 
 Metre, long. Four lines in iambic 
 measure, each line containing eight 
 syllables. 
 
 measure 
 
 as in tone ; 6 as in dove ; 6 as in not ; fi as in «// ii the French sound of a. 
 
 169 
 
METRE, LONG PARTICULAR 
 
 WEZZX MANICA 
 
 Metre, long particular. Six lines in 
 iambic measure, each line containing 
 eiglit syllables. 
 
 Metre, particular. This means that the 
 poem has peculiarities or irregularities 
 which prevent its being classified. 
 Such poems generally require their own 
 especial tunes. 
 
 Metre, sevens . Consists of four lines in 
 trochaic measure, each hne containing 
 seven syllables. 
 
 Metre, short. Consists of four hues in 
 iambic measure, the syllables in num- 
 ber and order as follows : 6, 6, 8, 6. 
 
 Metre, short particular. Consists of six 
 lines in iambic measure, the syllables in 
 number and order as follows : 6, 6, 8, 
 6, 6, 8. 
 
 Metre, tens and Elevens. A metre des- 
 ignated thus, los and iis, generally 
 consisting of a stanza of four lines in 
 anapestic measure, the syllables in 
 number and order thus : lo, ro, ii, n ; 
 or of six lines in iambic measure, as 
 follows: lo, 10, 10, lo, li, II. 
 
 Metre, twelves. A metre designated 
 thus, I2s, consisting of a stanza of four 
 lines in anapestic measure, each line 
 containing twelve syllables. 
 
 Metrical. Pertaining to measure, or due 
 arrangement and combination of long 
 and short syllables. 
 
 Metrically. In a metrical manner; ac- 
 cording to poetic measure. 
 
 Metrik (Ger.) {mei-rik.) Metrical art. 
 
 Metrisch (Ger.) {met-rish.) Metrical. 
 
 Metro (It.) (ma-tro.) Metre, verse. 
 
 Metrometer (Ger.) (me-trom-e-Xer.) \ 
 
 Metrometro (It.) (ma-tro-ma-tro.) ) 
 A metronome. 
 
 Metronome (Gr.) (met-xo-no-me.) 
 
 A 
 ma- 
 
 1815), for measuring the timeor dura 
 tion of notes by means of a graduated 
 scale and pendulum, which may be 
 shortened or lengthened at pleasure. 
 It is a pendulum with a movable coun- 
 terweight which can be set at any des- 
 ignated figure and which will then 
 swing to and fro that number of times 
 per minute, an audible click accom- 
 panying each oscillation. When made 
 with a bell, the sound of this appliance 
 
 s.as\rL ak ; 3l as in hate ; a as in at ; e as in tree ; e as in 1! 
 
 170 
 
 denotes the beginning of each measure. 
 The words of tempo on the metro- 
 nome, such as Andante, Largo,.etc., are 
 entirely misleading ; the teacher must 
 be guided by the numerals only. Bee- 
 thoven and Czerny were the first 
 composers to use the metronome. 
 Metronome, bell. A metronome with 
 the addition of a small bell, which 
 strikes at the commencement of each 
 bar. 
 
 Metronomic marks. Figures appended 
 to pieces of music, referring to cor- 
 responding figures on a metronome : 
 The " M. M." employed in this con- 
 nection means " Maelzel's Metro- 
 nome," not " Metronome Maik." The 
 following are examples of netro- 
 nome marks: i. M. M. I = 112. 2. 
 M. M.p' = 60. These would mean : 
 I. That the counterweight of the 
 metroiiome is to be set at 112, and that 
 each click is to represent the speed of 
 a quarter-note, or in other words, that 
 the speed is to be at the rate of 112 
 quarter-notes a minute. 2. This sig- 
 nifies that the metronome is to be set 
 at sixty, and each click is to represent 
 a dotted quarter. 
 
 Mette (Ger.) (met-te.) Matins. 
 
 Mettez (Fr.) (met-te.) Draw, add (refer- 
 ring to organ-stops.) 
 
 Mettere in musica (It.) (met-te-re en 
 moo-ze-ka.) To set to music. 
 
 Mettre d'accord (Fr.) (matr d'ak-kSr.) 
 To tune. 
 
 Mettre en musique (Fr.) (matr anh mii- 
 
 zei.) To set to music. 
 Mettre en repitition (Fr.) (matr anh ra- 
 
 pe-te-si-6nh.) To put in rehearsal. 
 Mez. An abbreviation of Mezzo. 
 Mez. F. An abbreviation oi Mezzo Forte. 
 
 Mez. Pia. An abbreviation of Mezzo 
 Piano. 
 
 M&za (It.) (met-tsa..) 
 M^zzo (It.) (met-tso.) 
 
 M^zza bravlira (It.) (met-ts'i bra-fw-ra.) 
 A moderately embellished song. 
 
 Mfoza forza fit.) {met-tsa fdr-XsA.) Mod- 
 erately loud. 
 
 M6zza minica fit ) {met-tsa. jraa-ne-ka.) 
 The half-shift, in playing the violin. 
 
 Medium, half. 
 
 / i as in pine ; 1 as in pini 
 
mezzAna 
 
 MINACCEVOLM^NTE 
 
 $ 
 
 Mezz&na (It.) (met-^ja-na.) The middle 
 string of a lute. 
 
 M^zza orchestra (It.) (met-tsa or-kas-tra.) 
 Half the orchestra. 
 
 M^zza v6ce (It.) (met-tsa vo-tshe.) Half 
 the power of the voice ; softly. 
 
 M£zzo cardttere (It.) (met-tso ka-raMa- 
 re.) A moderate degree of expression 
 and execution; music of a medium 
 character. 
 
 II^zzo f6rte (It.) (met-tso /or-te.) Mod- 
 erately loud. 
 
 M&zo pidno (It.) (met-tso pe-a-no.) 
 Rather soft. 
 
 M^zzo soprano (It.) (met-tso s6-/ra-n6.) 
 A femsde voice of lower pitch than the 
 soprano, or treble, but 
 higher than the con- 
 tralto. The general 
 compass is 
 See Voice. 
 
 M&zo-soprino clef. The C clef when 
 placed on the second line of the staff, 
 occurring in old church music or mad- 
 rigals. The treble or soprano clef now 
 supplies its place. 
 
 M^zzo staccdto (It.) (met-tso st'ak-kd-ib.) 
 
 A little detached 
 M^zzo tenore (It.) (met-tso te-»o-re.) A 
 
 half-tenor voice, nearly the same as a 
 
 baritone. 
 Mdzzo tu6no (It.) (met-tso two-no.') A 
 
 semi-tone ; a half-tone. 
 
 Mfezo v6ce (It.) (met-tso vo-tshe.) In a 
 subdued voice. 
 
 M. F. The initials of Mezzo Forte. 
 
 M.6. The initials of Main Gauche. 
 
 Mi (It.) (me.) A syllable used in solfaing 
 to designate E, or the third note of the 
 major scale. 
 
 Mib^mol (Fr.) (me ba-mol.) The note 
 E flat. 
 
 Mi b^mol majeur (Fr.) (me ^(f-mol ma- 
 zhtir.) The key of E flat major. 
 
 Mi b^mol mineur (Fr.) (me bd-moX mi- 
 niir.) The key of E flat minor. 
 
 Slicrophone. (»«f-kr6-f6n.) Instrument 
 for the augmentation of small sounds. 
 
 Microphonics. The science, or art of in- 
 creasing the intensity of sounds. 
 
 Middle C. That C which is between 
 
 6 as in tone ; d as in dove ; 8 as in not 
 
 the bass and treble staves. 
 
 f 
 
 ^ 
 
 Middle part. Any parts that lie between 
 
 the outside voices. 
 Middle voices. Tenor and alto voices. 
 Mi diese (Fr.) (me di-<fe.) The note E 
 
 sharp. 
 
 Mignon (Fr.) (men-yonh.) Dainty, charm- 
 ing. 
 
 Militairement (Fr.) (mil-e-^iJ?--manh.) j 
 
 Militdre (It.) (me-le-ifa-re.) > 
 
 Militarm^nte (It.) (me-le-tar-»z«K-te.) ' 
 
 Military ; in a warlike, martial style. 
 
 Military music. Music intended for 
 military bands, marches, quicksteps, etc. 
 Baker's Dictionary gives the composi- 
 tion of the New Y6rk Twenty-second 
 Regiment band as 
 
 2 piccolos 
 2 flutes 
 
 2 oboes 
 I A b piccolo clarinet 
 
 3 E|j clarinets 
 
 8 ist Bi' clarinets 
 4 2nd " " 
 4 3rd " " 
 I alto " 
 
 I bass " 
 
 I sopr. saxophone 
 I alto " 
 
 I tenor " 
 
 1 bass " 
 
 2 bassoons 
 
 contrafagotto 
 EI7 cometto 
 rst Bb comets 
 2nd " " 
 trumpets 
 fliigelhorns 
 French horns 
 Eb alto horns 
 BI? tenor horns 
 
 2 euphoniums 
 
 3 trombones 
 
 5 bombardons 
 
 3 drums 
 
 I pair cymbals 
 
 The military band is composed, there- 
 fore, of the orchestral wind-instruments 
 plus saxophones, cornets, and drums. 
 The oboe is often omitted. The clari- 
 nets are made very prominent, taking 
 the place of the strings. There are 
 instruments of high pitch used, such as 
 the E flat clarinet, the A flat clarinet, 
 the tierce flute, and others, that would 
 be too shrill for orchestral use. A 
 military band has sometimes as many 
 performers as a full orchestra. 
 
 Mi majeur (Fr.) (mee raa.-zhiir.) The 
 key of E major. 
 
 Mi mineur (Fr.) (mee mi-nilr.) The 
 key of E minor. 
 
 Minaccevolm^nte (It.) (me-nat-tshe-v61- 
 men-le.) In a threatening, menacing 
 manner. 
 
 y fi as in »/; ii the French sound of u. 
 
 71 
 
minacciAndo 
 
 MINUET 
 
 MinaccUndo (It.) (me-nat-tshe-a»-do.) \ 
 Minacci^VOle (It.) (ine-nat-tshe-^/4-v6- > 
 
 le.) _ ■ ) 
 
 Threatening, menacing. 
 Minacciosamtote (It.) (me-nat-tshe-o- 
 
 za-iw^«-te.) Threatening; menacing; 
 
 in a menacing manner. 
 
 E[inacci6so (It.) (me-nat-tshe-^-z6.) 
 Threatening ; menacing ; in a menac- 
 ing manner. 
 
 Minder (Ger.) («fe-der.) Less; not 
 so much. 
 
 Mineur (Fr.) (mi-niir.) Minor. 
 Minim. A half-note; a note equal to 
 one-half of a semibreve. 
 
 Minima (It.) (»z^-ne-ma.) , , 
 
 \, _ J A mmim ; 
 
 Minima (Spa.) (»;^-ne-ma.) ( literally, 
 
 Minima (Lat.) (min-i-ma.) ) the /east, 
 because formerly the minim was the 
 shortest note. 
 
 Minime (Fr.) (mm-em.) A minim. 
 
 Minim rest. A mark of silence equal in 
 
 duration to'a half-rest, made thus, — -• 
 Minnedichter (Ger.) {mm-ne-aii/i-teT.) j 
 Minnesanger (Ger.) {mtn-ne-sdng-er.) > 
 Minnesinger (Ger.) {mm-ne-sing-ex.) ) 
 Minstrels of the twelfth and thirteenth 
 centuries, who wandered from place to 
 place singing a great variety of songs 
 and melodies. They were love-sing- 
 ers (the word Minne meaning homage 
 to woman) and generally of high rank. 
 Wagner's opera Tannhduser is founded 
 upon the epoch of the minnesingers. 
 The minnesingers were the troubadours 
 of Germany. 
 
 Minor. Less ; smaller; in speaking of in- 
 tervals, etc. 
 
 Minor canons. Those clergymen of a 
 cathedral or chapel, who occasionally 
 assist at the performance of the service 
 and anthem. 
 
 Minor diatonic scale. There are two 
 kinds ; one where the semi-tones fall 
 between the second and third and 
 seventh and eighth, both in ascending 
 and descending ; in the other the semi- 
 tone falls between the second and third 
 and seventh and eighth ascending, and 
 descending, between the fifth and sixth 
 and second and third. The former is 
 the harmonic, the latter the melodic 
 fonn. 
 
 Minor Scales; 
 Pure (or Historic). 
 
 f ^^ 
 
 Harmonic. 
 
 :i 
 
 =F=l= 
 
 -I- 
 
 i?^ 
 
 ^ 
 
 Melodic, or Combination Minor Scales: 
 
 ^p^ 
 
 ^E^ 
 
 i 
 
 i^ 
 
 
 ifl^' 
 
 t=it= 
 
 =t=f 
 
 m 
 
 The last is most generally called the 
 melodic minor scale. 
 
 Min6re (It.) {me-no-re.) Minor. 
 
 Minor key. ) One of the modem 
 
 Minor mode. S modes, or scales, in 
 which the third note is a minor third 
 from the tonic. 
 
 Minor second. The smallest interval in, 
 practicable use, consisting of five com- 
 mas, a semi-tone. 
 
 Minor semi-tone. A semi-tone vphicb 
 retains its place, or letter on the staff; 
 thus C, C * ; A A I, etc. 
 
 Minor seventh. An interval consisting 
 of four tones and two semi-tones. 
 
 Minor sixth. An interval composed of 
 three tones and two semi-tones. 
 
 Minor third. A diatonic interval con- 
 taining three semi-tones. 
 
 Minor triad. A union of any tone with 
 its minor third and perfect fifth. 
 
 Minstrels. The wandering poets or 
 musicians of the tenth and following 
 centuries. 
 
 Minstrels, Ethiopian. Negro minstrels. 
 
 Minstrel, squire. A title formerly given 
 to a professional minstrel, a character 
 combining the offices of poet, singer, 
 and musician. 
 
 Minstrelsy. The art, or profession of a 
 minstrel. 
 
 Minue {Spa.) (?«l-nooa,) A minuet. 
 
 Minuet. The minuet is always in triple 
 rhythm, and of slow tempo as a dance,, 
 but it has been so freely treated by 
 the classical composers that its tempo 
 is very often rapid. Tempo di Min- 
 
 uetto has come to mean an allegretto, or 
 a, as in aA J a as in Aate; a as in at; e as in tree; e as in «/5 ; i as in pine ; i as in/2»; 
 
 172 
 
MINUETTO 
 
 MODE 
 
 even a qviicker speed. The name comes 
 from the Latin vUnimus (the small- 
 est), since it was danced with dainty 
 steps. The minuet is the most impor- 
 tant of the dance forms, since it was 
 the only dance regularly admitted into 
 the modern sonata and symphony, and 
 was also frequently used in the suite, 
 while from its contrasts is derived a 
 musical form iised almost constantly in 
 modern music, and called the minuet- 
 form or Song form with Trio, in 
 which a great deal of drawing-room, as 
 well as some classical, music is written. 
 See Form. 
 
 MinuStto (It.) (me-noo-f^to.) A min- 
 uet. 
 
 Minu6tto, alternativo (It.) (me-noo- 
 et-tQ al-ter-na-/,?-vo.) Alternately per- 
 form the minuet and trio. 
 
 Minuge (It.) (me-«oo-je.) Strings of 
 instruments ; catgut. 
 
 Mirliton (Fr.) (mer-li-tonh.) A small 
 pan reed. 
 
 Mise de voix (Fr.) (mez diih vwa.) See 
 MSzza Voce. 
 
 Mise en scfene (Fr. meez-anh-sayn ; 
 It. missa in scena ; Ger. Inszenier- 
 ung.) Setting of a play on the stage ; 
 stage-setting ; mounting. 
 
 Miserere (Lat.) (mi-se-nf-re.) Have 
 mercy ; a. psalm of supplication, es- 
 pecially used during Holy Week. 
 
 Misericordia (Lat.) (mi-se-n-i^r-di-a,.) 
 
 A miserere. 
 Missa (Lat.) (mis-si.) A Mass. 
 Missa brevis (Lat.) (missa. bra-vis.) A 
 
 short Mass. 
 Missa canonica (Lat.) {mis-si. ]s.i-nSn-\- 
 
 ka.) A canonical Mass. 
 Missal. The Mass-book. 
 Missa pro defunctis (Lat.) {mis-sa. pro 
 
 de-f&nk tis.) A Requiem ; a Mass for 
 
 departed souls. 
 Missa, solennis (Lat.) {mis-sa. so len- 
 
 nis.) A solemn Mass, for high festi- 
 vals. 
 
 Missel (Fr.) (mis-s'l.) Missal ; the Mass- 
 book. 
 
 Misshallig (Ger.) («rj-j-hal-lig.) Dis- 
 sonant, discordant. 
 
 Misshalligkeit (Ger.) («fo-hal-lig-kit.) 
 Dissonance, discordance. 
 
 6 as in tone ; d as in dove ; as in not 
 
 Missklang (Ger.) (wfc-klang.) Disso- 
 nance, discordance. 
 Misteriosamente (It.) (mes-ter-e-o- \ 
 
 zsL-men-te.) 
 Misteridso (It.) (mis-ter-e-^-zo.) 
 
 Mysteriously ; in a mysterious manner. 
 Mistero con (It.) (mis-ta-ro.) With 
 
 mystery. 
 Misura (It.) (mi-soo-r'a.) A bar; a 
 
 measure ; time. 
 Misurdto (It.) (mi-soo-ra-to.) Measured; 
 
 in strict, measured time. 
 Mit (Ger.) (mit.) With, by. 
 Mit begleitung (Ger.) (mit be-^/f-toong.) 
 
 With an accompaniment. 
 Mit bewegung (Ger.) (mit he-vd- 
 
 goong.) Synonymous with con mito. 
 Mitlaut (Ger.) (wrMout.) i Con- 
 
 Mitlauter (Ger.) (mit-\ov.-ter.) ] cord, 
 
 consonance. 
 Mitlauten (Ger.) (ffjjif-lou-t'n.) To sound 
 
 at the same time, or in common with. 
 
 Mitleidsvoll (Ger.) (mit-\i&s-io\.) Com- 
 passionate. 
 
 Mittel-massig (Ger.) (mfZ-t'l-mas-sig.) 
 Middling, moderately. 
 
 Mittel-stimme (Ger.) (»zz?-t'l-stim-me.) 
 The mean, or middle voice, or part ; the 
 tenor. 
 
 Mittel-stimmen (Ger. //.) ( mtt-\.'\- 
 stim-m'n.) The middle voices, or 
 parts. 
 
 Mittel-ton (Ger.) (mS-t'l-ton.) The 
 mediant. See that word. 
 
 Mit voller orgel (Ger.) (mit fol-ler or- 
 g'l.) With full organ. 
 
 Mixed canon. A canon of many parts, 
 in which the parts begin at different 
 intervals. 
 
 Mixolydian. See Greek modes. 
 
 Mixture stop. An organ-stop consisting 
 of three or more ranks of pipes. These 
 are not intended to sound alone. They 
 are voiced an octave, a fifth, a twelfth, 
 etc., above the regular stops and they 
 add the harmonics to the diapasons. 
 See Acoustics and Harmonics. 
 
 M. M. The initials of Maelzel's Metro- 
 nome. See Metronomic marks. 
 
 M6bile (It.) (wc-be-le.) Moveable, 
 changeable. 
 
 Mode. A particular system or constitu- 
 
 : fi as in a/ / ii the French sound of u. 
 
 73 
 
MODE, DORIC 
 
 MODDXATION, TRANSIENT 
 
 (It.) (mod-e-ra-ta- ) 
 
 (mod-e ra-to.) J 
 
 ; in moderate time. 
 (It.) (mod-e-ra-tse-ff-ne.) 
 
 tion of sounds, by which the octave is 
 divided into certain intervals, according 
 to the genus. The arrangement of 
 notes in a scale, — major, minor, doric, 
 etc. Consult Creei Music in 
 Stainer & Barrett, 
 
 Mode, doric. The first of the authentic 
 modes in the system of the ancient 
 Greeks employed on martial and relig- 
 ious occasions. 
 
 Mode, major. That in which the third 
 from the key-note is major. 
 
 Mode, minor. That which is the third 
 degree from the tonic forms the inter- 
 val of a minor third. 
 
 Mode, orthian. One of the ancient 
 Greek modes. 
 
 Moderatamente 
 men-te.) 
 
 Moderito (It.) 
 Moderately 
 
 Moderazi6ne 
 
 Moderation. 
 Modere (Fr.) (mo-ddr.) Moderate. 
 Mode, relative. A relative key. 
 Moderna, alia (It.) (mo-dar-na al-la.) 
 
 In the modern style. 
 Modes, ancient. The modes or scales 
 
 of the ancient Greeks and Romans. 
 
 Modes, authentic. Church modes, the 
 melody of which was confined within 
 the tonic and its octave. 
 
 Modes, church. The ancient modes 
 called by the following names : Dorian, 
 Phrygian, Lydian, Mixo-Lydian, /Eo- 
 Uan, Ionian, or lastian. The Gre- 
 gorian tones. See Ritter's "History of 
 Music," William's " Story of Notation," 
 and the " Oxford History of Music." 
 
 Modes, ecclesiastical. The ancient 
 church modes. The Gregorian tones. 
 
 Modes, plagal. Those modes in the 
 Greek system whose tones lay between 
 the dominant, and octave and twelfth. 
 Modestamente (It.) (mo-des-ta men-te.) ) 
 Modesto (It.) (mo-dds-to.) ) 
 
 Modestly, quietly, moderately. 
 
 Modification. A term applied to the 
 temperament of the sounds of those in- 
 struments whose tones are fixed, which 
 gives a greater degree of perfection to 
 one key than to another ; as in organs, 
 pianofortes, and the like. 
 
 3 as in a^ / a as in hate ; S as in at ; e as in tree 
 
 174 
 
 Modlficazidni (It. pi.) (mo-de-fe-ka-tse- 
 Mie.) Modifications, light and shade 
 of intonation ; slight alterations. 
 
 M6do (It.) (OTo-do.) A mode ; a scale. 
 
 Mddo maggidre (It.) (««o-domad-je-«-re.) 
 The major mode. 
 
 M6domin6re (It.) (»2j-d6me-«ff-re.) The 
 minor mode. 
 
 Mod'to. An abbreviation of Moderate. 
 
 Modoldre (It.) (mo-do-/o-re.) I Tomod- 
 
 ModuUre (It.) (m6-doo-/a-re.) ) ulate; to 
 accommodate the voice or instrument 
 to a certain intonation. 
 
 Moduldnte (It.) (m6-doo/a«-te.) Modu- 
 lating. 
 
 Modulate. To move from one key to 
 another in a manner agreeable to the ear. 
 
 Modulation. A transition of key ; going 
 from one key to another, by a certain 
 succession of chords, either in a natural 
 and flowing manner, or sometimes in a 
 sudden and uiiexpected manner. As 
 applied to the voice, modulation means 
 to accommodate the tone to a certain 
 degree of intensity, or light and shade. 
 
 Modulation, abrupt. Sudden modula- 
 tion into keys which are not closely 
 related to the original key. 
 
 Modulation, deceptive. Any modula- 
 tion by which the ear is deceived and 
 led to an unexpected harmony. 
 
 Modulation, enharmonic. A modulation 
 effected by altering the notation of one 
 or more intervals belonging to some 
 characteristic chord, and thus changing 
 the key and the harmony into which it 
 would naturally have resolved. The 
 chords which best admit of these altera- 
 tions are, first, the diminished seventh 
 and its inversions; secoiidly, the domi- 
 nant seventh not inverted, and the 
 chord of the superfluous sixth and per- 
 fect fifth. 
 
 Modulation, extraneous. A modulation 
 into some other than the original key 
 and its relatives. 
 
 Modulation, note of. A note introducing 
 a new key ; usually the leading-note or 
 major seventh of the key introduced. 
 
 Modulation, passing. ) A form of 
 Modulation, transient, (modulation 
 
 which leaves a key nearly as soon as 
 
 entered upon. 
 
 S as in *^ ; 1 as in pine ; i as in pin ; 
 
MODULAZIONE 
 
 MORDENT 
 
 (It.) (mo-doo-la-tse-J-ne.) 
 (mo-doo-/^-r'n.) To 
 
 Modulazidne 
 
 Modulation 
 
 Moduliren (Ger.) 
 modulate. 
 
 Modulo (Lat.) (/»o-du-16.) To modulate; 
 to compose. 
 
 Modus (Lat.) (mo-dns.) ■ A key ; mode ; 
 scale. 
 
 Mohrentanz (Ger.) (mo-r'n-tants.) Mo- 
 risco; morris dance. 
 
 Moins (Fr.) (mwa.) Less. 
 
 Moll (Ger.) (moll.) Minor. 
 
 MoUe (Fr.) (mol.) Soft, mellow, deli- 
 cate. 
 
 MoUem^nte (It.) (m6l-le-»j/»-te.) Softly, 
 gently, delicately. 
 
 Mollis (Lat.) {mgais.) Soft. 
 
 MoU-tonart (Ger.) (woZ-ton-art.) Minor 
 
 key, or scale. 
 Molossus (Gr.) (mo-/(Jf-siis.) In Greek 
 
 and Latin verse, a. foot of three long 
 
 syllables. 
 M61ta (It.) {maUa..) 1 Much; very 
 M61t0 (It.) {moUo.) ) much ; extremely ;. 
 
 a great deal. 
 
 Moltisondnte (It.) (m6l-te-z6-«o«-te.) 
 
 Resounding ; very sonorous. 
 Monac6rdo (It.)(m6n-a-^o/--do.) ) An 
 Monochord (mUn-b-kord.) ) instru- 
 
 ment with one string for measuring 
 musical intervals, or sounds. The 
 ancient monochord (before looo) had 
 a movable bridge which shortened or 
 lengthened the string (wire did not ex- 
 ist) and thus gave different tones ; after- 
 wards other strings were added, and 
 the monochord became the predeces- 
 sor of the clavichord. 
 Monocorde (Fr.) (mon-6-^<J?-</.) i On 
 Monocdrdo (It.) {mon-o-idr-do.) ) one 
 string only. See also Monochord. 
 
 Monodia (It.) (mo-no-de-a.) \ ^ zorci- 
 Monodie (Fr.) (mon-o-^«.) \ position 
 Monody (Eng.) (mUn-o-dy.) ) forasingle 
 voice. The term originally applied to 
 those solos which were used in the 
 earliest operas and oratorios, a.d. 1600 
 (circa.) ; for before that time solos did 
 not exist in any large work. Monody, 
 was homophony, as opposed to coun- 
 terpoint or polyphony. 
 
 Itlonodic. For one voice ; a solo. 
 
 Monodist. One who writes a monody. 
 Monodram (Ger.) {mon-o-dram.) ) A 
 Monodrama (It.) mon-o-c/ra-m'i) ) mu- 
 sical drama in which only one actor 
 appears ; a monodrame. 
 
 Monodrame (Fr.) (mon-o-iirdm.) A 
 drama performed by a single individual. 
 
 Monologue. A soliloquy ; a poem, song, 
 or scene written and composed for a 
 single performer. 
 
 Monorhyme (Gr.) {mSn-o-re-me.) Where 
 all the lines of a verse end in the same 
 rhyme. 
 
 Monostich (Gr.) (mon-o-stik.) A com- 
 position consisting of one verse only. 
 
 Monostrophe (Gr.) (man-6-stro-ie.) 
 Having one strophe only ; not varied 
 in measure. 
 
 Monotone. Uniformity of sound; one 
 
 and the same sound. 
 Monotonia (Spa.) (m6n-5-^^-ni-a.) \ jjq. 
 Monotonie (Fr.) (mon-o-to-ne.) > not- 
 Monotonie (Ger.) (mon-6-t5-nee.) ) °"y I 
 
 sameness of sound. 
 Montant(Fr.) (monh-tanh.) Ascending. 
 Montant de cloche (Fr.) (monh-tanh diih 
 
 klosh.) A belfry. 
 Montr^ (Fr.) (monh-irSy.) Shown or 
 
 mounted ; in front ; a term applied to 
 
 pipes which are placed in front of the 
 
 case. 
 Montr^ d'orgue (Fr.) (monh-tray d'org.) 
 
 The range of pipes in the front of an 
 
 organ. 
 Moorish drum. A tambourine. 
 
 Morbidezza con (It.) (mor-be-o'^^-sa.) 
 Morbidly. 
 
 Morceau (Fr.) (mor-j-o.) A choice and 
 select musical piece, or composition ; a 
 fine phrase, or passage. 
 
 Morceau d'ensemble (Fr.) (mor-jJ d'anh- 
 sanhbl.) A piece harmonized for 
 several voices. 
 
 Mordants (It.) (mor-aKK-te.) See Mor- 
 dent. 
 
 Mordant (It.) (m6r-(/fl?«-te.) Transient 
 shake or beat ; an embellishment 
 formed by two or more notes, preced- 
 ing the principal note. An embellish- 
 ment consisting of the note over which 
 the sign is placed and the note below 
 it : thus 
 
 5 as in totie ; 6 as in dove ; 8 as in not ; ii as in up; ii the French sound of u. 
 
 175 
 
MORDANT 
 
 MORESQUE 
 
 'SV 
 
 Written. Played. 
 
 There is, unfortunately, considerable 
 confusion in the nomenclature of the 
 mordent. Some apply the word to an 
 embellishment with the upper note as 
 auxiliary, while others call this the 
 inverted mordent, and others again the 
 Prallery or Prall-trill. The most-used 
 system of nomenclature is as follows : 
 
 Frailer or Inverted Mordent. 
 
 Written. Played. 
 
 fm 1^ 
 
 If there should be any accompanying 
 note to that over which the praller is 
 written, it is to be struck simultaneously 
 with the first note of the praller. 
 
 Written. Played. Written. Played. 
 
 PS^^Ei^ 
 
 s= 
 
 pp 
 
 The accent is sometimes upon the first 
 note of the group, and sometimes upon 
 the last or principal note. The 
 Germans sometimes distinguish these 
 two kinds by different names, calling 
 the first Praller-i the second Schneller. 
 Mordents, or prallers, over short notes, 
 and in rapid passages, are generally 
 accented upon the first note of the 
 group. 
 
 /sis' 
 
 f 
 
 Single Mordent. 
 Written. 
 
 Double Mordent, 
 /vsjv- 
 
 Played. 
 
 =1= 
 
 The rule regarding chord-playing (given 
 above) is also applied to the mordent 
 and double mordente. 
 
 The word mordent is derived from the 
 French verb mordre (to bite) and 
 the mordent is really a fragment bitten 
 out of a trill. The sign itself shows 
 this, for in ancient days the trill was 
 written thus ■^.t^t-.^-f^ , while the mor- 
 dent, written thus^w, represents a 
 single beat of it. 
 
 The intervals of the praller, unless 
 altered by accidentals, are according 
 to the scale, that is, a praller on the 
 third or seventh degree would have a 
 semi-tone interval, and all others would 
 have whole tones, unless accidentals 
 were combined with the sign. The 
 interval of the mordent /sjvis generally 
 a semi-tone. The great haziness of 
 nomenclature in this subject, the fact 
 that the mordent is very rarely met 
 with in modern music, and the additional 
 fact that the vertical line drawn through 
 any sign is usually an indication of 
 inversion, leads one to hope that the 
 following simple nomenclature may yet 
 be adopted by teachers : 
 
 Mordent. Inverted Mordent. 
 
 ^^^P ^^^^ 
 
 or that the former may be called an 
 "upward mordent" and the latter a 
 " downward mordent." 
 
 Mordente (It.) (mor-rf^«-teh.) See Mor- 
 dent. 
 
 Mor^ndo (It.) (mo-?-^«-do.) ) Dying 
 Mori^nte (It.) (m6-re-««-te.) ) away; ex- 
 piring ; gradually diminishing the tone 
 and the time. 
 Mor^sca (It.) (mo-?-«-ka.) i Moorish; 
 Moresque (It.) {mo-resk.)\ morris 
 S as in ah ; 3^ as, in hate ; a as in at ; e as in tree ; e as in eh ;\a& vcipine ; i as in pin; 
 
 176 
 
MORGEN GESANG 
 
 MOUTH 
 
 dance, in which bells are jingled at the 
 ankles, and swords clashed. 
 
 Uorgen gesang (Ger.) (mor-g'n ghe- j 
 zdfig.) \ 
 
 Morgen-lied (Ger.) (OTor-g'n-led.) ) 
 
 Morning song, or hymn. 
 
 Morgen-standchen (Ger.) {mdr-g'n-sidnd- 
 kh'n.) Morning serenade, or Aubade. 
 
 Morisco (It.) (m5-r?j-ko.) In the Moorish 
 style. See Morisca. 
 
 Morisk (mo-risk.) The morris dance. 
 
 Mormoramente (It.) (mor-mo-ra-ff?««-t6.) 
 A murmur, warbling, buzzing, purling. 
 
 Hormoidndo (It.) (mor-mo-ra«-d5.) \ 
 
 Mormor^vole (It.) (mor-mo-r^-vo-le.) > 
 
 Mormor6so (It.) (mor-mo-ro-zS.) ) 
 
 With a gentle, murmuring sound. 
 
 Morrice dance. ^ p^^^,j^^ ^^^^ ^^ 
 
 Morris dance. ( dance practised in the 
 
 Morriske dance. ) middle ages. It is sup- 
 posed to have been introduced into 
 England by Edward III. In the 
 morris dance bells were fastened to the 
 feet of the performer. It is in \ time. 
 See Elson's " Shakespeare in Music." 
 
 Mort. A tune sounded at the death of 
 game. 
 
 M6sso (It.) (wzftT-so.) Moved, movement, 
 motion. Meno Mosso, less movement, 
 slower. Piu Mosso, more movement ; 
 quicker. 
 
 Ul6sso, molto (It.)(»2«j-so mol-to.) Qmck; 
 with much motion. 
 
 Iffi6stra (It.) {mos-tra.) A direct .w 
 
 Mot (Fr.) (m5.) Literally, a word; a note 
 or brief strain on a bugle. 
 
 IVIotet. ) A sacred composition of the 
 
 Itlotett. ) anthem style, for several 
 
 voices. The words are taken from the 
 Scriptures. The motet is generally 
 contrapuntal, and it is possible that 
 the word is derived from moto (motion), 
 because of the constant motion of all 
 the parts. 
 
 Motette (Ger.) (mo-iet.) j 
 
 Motet (Fr.) (mo-(d.) > A motet. 
 
 MotatO (It.) (mo-tdi-to.) ) 
 
 Motetten (Ger.) (mo-iet-fn.) ] 
 
 Motetti (It.) (mo-tet-te.) ) 
 
 Hotetus (Lat.) (mo-^^Z-iis.) A motet. 
 
 Motif (Fr.) (mo-tee/.) A motive, or figure. 
 The term Leit-motif (which see) was 
 used by Wagner for his guiding-figures. 
 
 Motets. 
 
 Motion. The progression of a melody,, 
 or part. 
 
 Motion, contrary. The movement of one 
 part in an opposite direction to another. 
 
 Motion, direct. The movement of two 
 or more parts in the same direction. 
 
 Motion, oblique. When one part ascends, 
 or descends, while the other remains 
 stationary, it is called oblique motion. 
 
 Motion, similar. When two or more parts 
 ascend or descend at the same time. 
 
 Motive. The characteristic and pre- 
 dominant passage of an air ; the theme 
 or subject of a composition ; a figure. 
 See Motif. 
 
 Motivi (It.) (mo-^?^-ve.) Motives, or 
 figures. 
 
 Motivo (It.) (m6-/««-vo.) Motive ; the 
 theme or subject of a musical composi- 
 tion. 
 
 M(5t0 (It.) (mo-to.) Motion, movement; 
 con mdto; with motion ; rather quick. 
 
 M6to accelerate (It.) {mo-to at-tsha-le-?-a- 
 to.) Accelerated motion. 
 
 M6to contrdrio (It.) {mo-to k6n-trd- 
 re-6.) Contrary motion. 
 
 M6to obliquo (It.) (mo-to 6b-/^-quo.) 
 Oblique motion. 
 
 M6to Perpetuo (It.) (moto per-pet-oo- 
 oh.) Perpetual motion ; a study in 
 rapidity of execution. 
 
 M6t0 prfmo (It.) The same time as the 
 first. 
 
 M6to r^tto (It.) (mo-to ret-to.) Direct, 
 or similar motion. 
 
 Motteggiindo (It.) (mot-ted-je-3»-do.) 
 Jeeringly, mockingly, jocosely. 
 
 Mott^ttO (It.) (mot-tei-to.) A motet. 
 
 Motus (Lat.) (mo-tus.) Motion, move- 
 ment. 
 
 Motus contrarius (Lat.) (md-tus kon-trd- 
 ri-iis.) Contrary motion. 
 
 Motus obliquus (Lat.) (mo-tus oh-le- 
 quus.) Oblique motion. 
 
 Motus rectus (Lat.) (mo-tus rek-tus.) 
 Direct, or similar motion. 
 
 Mounted cornet. An organ-stop, usually 
 consisting of five ranks of pipes, of large 
 scale, and loudly voiced, placed upon a 
 raised soundboard of their own (hence 
 the name.) It is only to be met with 
 in old organs. 
 
 Mouth. The opening on the front of an 
 organ-pipe. 
 
 as in tatie ; 6 as in dove; 8 as in not; u as in up; ii the French sound cif «. 
 
 177 
 
MOUTH-HARMONICA 
 
 M^SICA ECCLESIASTICA 
 
 Mouth-harmonica. A set of gradu- 
 ated metal reeds mounted in a narrow 
 frame, blown by the mouth, and pro- 
 ducing different tones on expiration 
 and inspiration. 
 
 Mouth-piece. That part of a trumpet, 
 horn, etc. which is applied to the lips. 
 
 Mouvement (Fr.) (moov-manh.) i 
 
 Movimento (It.) (mo-ve-men-to.) \ 
 Motion ; movement ; impulse ; the time 
 of a piece. 
 
 Mouvement de I'archet (Fr.) (moov- 
 manh duh I'ar-sha.) Bowing; the 
 movement of the bow. 
 
 Movement. The name given to any por- 
 tion of a composition comprehended 
 under the same measure or time; a 
 composition consists of as many move- 
 ments as there are positive changes in 
 time. 
 
 Movement, organ. A system of levers 
 with their appendages, called trackers, 
 rollers, etc., in an organ, which serves 
 to transmit the action of the keys to 
 the wind-chest, pallets, and sound- 
 board. 
 
 Movimento contrario (It.) {mo-ve-men- 
 to kon-ira-re-o.) Contrary movement. 
 
 M. P. The initials of M^zzo Piano. 
 
 M.S. The initials of Mdno Sinistra. Left 
 
 hand. 
 Muance (Fr.) (mu-a»/4j-.) A change, or 
 
 variation of notes ; a division. 
 Muet (Fr.) (mii-a.) Mute. 
 Multisonous (Lat.) (wzJAti-jo-nus.) Many 
 
 sounding, loud-sounding. 
 Mund (Ger.) (moond.) The mouth. 
 
 Mund-harmonica (Ger.) (moond-har-««J- 
 ni-ka.) The Jews'-harp; or, a mouth- 
 harmonica. 
 
 Mund stiick (Ger.) (moond stiik.) Mouth- 
 piece. 
 
 Miinster (Ger.) (mUn-ster.) Minster, 
 cathedral. 
 
 Munter (Ger.) (moon-tei.) Lively, 
 sprightly. 
 
 Munteirkeit (Ger.) {moon-teT-)i.it.) Liveli- 
 ness, briskness, vivacity. 
 
 Murmeln (Ger.) {moor-me\n.) To mur- 
 
 mer. 
 
 Murmelnd (Ger.) (moor-mBnd.) Mur- Musica ecclesiastica 
 muring. ek-kla-zi-&-te-ka.) 
 
 a as in 3,^; a as in Aafe ; a as in at; e as in tree; 6 as in ^/5; ias in pine; ias in pin; 
 
 17S 
 
 Musa (Lat.) [mu-sa..) A song. 
 
 Mus Bac. An abbreviation of Bachelor 
 of Music. (Little used.) 
 
 Mus. Doc. An abbreviation of Doctor of 
 Music. 
 
 Muse. Name originally given to the 
 muzzle or tube of the bagpipe. 
 
 Muses. In mythology, the nine sister 
 goddesses who presided over the fine 
 arts. 
 
 Musetta (It.) (moo-zet-ta.) 1 a species of 
 Musette (Fr.) {mu-set.) ) small bag- 
 pipes inflated by means of bellows 
 placed under the arm of the performer ; 
 an air or dance composed for the mu- 
 sette. A primitive oboe. A composi- 
 tion, or movement in a composition, 
 with a drone-bass. The trios, of many 
 gavottes and other old dances having 
 such a drone-bass, are called Musettes. 
 
 Musica (It.) (»2(7o-ze-ka.) Music. 
 
 Musica antiqua (Lat.) (mu-si-ka an-ti- 
 qua.) Ancient music. 
 
 Musica arrabbiMa (It.) (mii-si-ka ar-rab- 
 be-o-ta.) Burlesque mu.sic. 
 
 Mdsica di gdtti (It.) (mu-se-ka de gat- 
 te.) Burlesque music ; caterwauling. 
 
 Mlisica choralis (Lat.) (mu-si-ka Vo-rd- 
 ITs.) The music of a chorus, or chant. 
 
 Musica chromatica (Lat.) (mu-si-ka kr5- 
 mdt-\-Ya.) Music in which there are 
 many chromatic signs. 
 
 Mdsica colorata (Lat.) (mii-si-ka ko-lo- 
 
 ?-«-ta.) 
 Musica Acta (Lat.) (mu-si-kay^/5-ta.) 
 
 An old name for music which deviated 
 
 from the church modes by means of 
 
 accidentals. 
 
 Musica da cdmera (It.) (moo-ze-ka da 
 /Jo-ma-ra.) Music for the chamber. 
 
 Mlisica da chi^sa (It.) (moo-ze-ka da ke- 
 dy-zi..) Church music. 
 
 Mlisica da 
 
 te-o-tro.) 
 
 tedtro (It.) (moo-ze-ka da 
 Theatrical music. 
 
 Musica dramatica (Lat.) (mu-si-ka dra- 
 ZBii-ti-ka.) Dramatic music. 
 
 (Lat.) (mu-si-ka 
 Church music. 
 
MXrsiCAtEMENT 
 
 NABLA 
 
 Musicalement (Fr.) (mii-ze-kal-manh.) J 
 
 Musicalm^nte (It.) (moo-ze-kal-man- ( 
 te.) ) 
 
 Musically, harmoniously. 
 
 Musical glasses. Drinking glasses so 
 tuned in regard to each other, that a 
 wet finger being passed round their 
 brims, they produce the notes of the 
 diatonic scale, and are capable of giv- 
 ing the successive sounds of regular 
 tunes, or melodies. 
 
 Musical grammar. The rules of musical 
 composition. 
 
 Musical nomenclature. The vocabulary 
 of names and technical terms in music. 
 
 Musical pantomine. A dramatic per- 
 formance, the ideas and sentiments of 
 which are expressed by music and ges- 
 tures. 
 
 Musical science. The theory of music, 
 in contradistinction from the practice, 
 which is an art; the general principles 
 and laws of harmonic relations. 
 
 Musical soiree. An evening musical en- 
 tertainment, public or private. 
 
 Musical terms. Words and phrases 
 appended to passages of music, indica- 
 ting the manner in which they should be 
 performed. 
 
 Music, Bachelor of. The first music de- 
 gree conferred at the universities. 
 
 Music, Doctor of. A degree conferred by 
 the universities. See Grove's Diction- 
 ary, article " Degrees in Music." 
 
 Musiker (Ger.) {moo--a.-V&x^ A musi- 
 cian. 
 
 Musikfest (Ger.) (w?c«-zrk-fest.) A mu- 
 sical festival. 
 
 A little 
 
 Musikino (Ger.) (moo-zI-,J^-n5.) 
 musician. 
 
 Musik-lehrer (Ger.) (moo-z!ik-/<f-rer.) 
 Teacher of music. 
 
 Musikkenner (Ger.) (moo-zik-,5if«-ner.) \ 
 Musikliebhaber (Ger.) {raoa-zSSa-leeb- \ 
 ha-ber.) ' 
 
 A lover of music ; an amateur. 
 
 Musikmeister (Ger.) (moo-zik-»2/j-ter.) 
 A music-master. 
 
 Musik-saal (Ger.) (moo-zik-sal.) ^ 
 
 Musik-zimmer (Ger.) (moo-zik-^rfw- f 
 
 mer.) ' 
 
 Music-hall, music-room. 
 
 Musik stunde (Ger.) fmoo-zik j/oo»-de.) 
 A music-lesson. 
 
 Musikunterricht (Ger.) (moo-zflc-oDB-t'r- 
 rikht.) Instruction in music. 
 
 Musik-verein (Ger.) (moo-zik fe-?-f».) A 
 musical society. 
 
 Musik-zeitung (Ger.) (moo-zik-^jf-toong.) 
 A musical journal. 
 
 Musique (Fr.) (mii-zek.) Music. 
 
 Musique d'eglise (Fr.) (mii-zek d'a-glez.) 
 Church music. 
 
 Mutation. Change, transition ; the trans- 
 formation of the voice occurring at the 
 age of puberty. 
 
 Mutation (Fr.) (mii-/<i'-si-6nh.) ) 
 
 Mutazi6ne (It.) (moo-ta-tse-^-ne.) ) 
 Mutation. 
 
 Mutation, or filling up stops, are those 
 which do not give a tone correspon- 
 ding to the key pressed down ; such as 
 the quint, tierce, twelfth, etc. 
 
 Mute. A small clamp of brass, ivory, or 
 wood, sometimes placed on the bridge 
 of a violin, viola, or violoncello, to 
 diminish the tone of the instrument by 
 damping or checking its vibrations. 
 The direction for using it is Con Sor- 
 dino, for removing it Senza Sor- 
 dino. In brass instruments the mute 
 is a pear-shaped, leather-covered pad 
 introduced into the bell of the horn or 
 trumpet to modify the tone. 
 
 Muthig (Ger.) {moo-tig.) Courageous, 
 spirited, 
 
 Muthwillig (Ger.) {moot-vi\-Xig.) Mis- 
 chievous, lively. 
 
 Mutiren (Ger.) (moo-^^-r'n.) The change 
 of voice from soprano to tenor, bari- 
 tone, or bass. 
 
 Mysteres (Fr.) (mis-tar.) i a species of 
 Mysteries. ) sacred drama 
 
 with music, which was practiced in 
 many of the European churches before 
 the Reformation. Still presented, at 
 intervals, in Oberammergau, in Ba- 
 varia, Germany. The mysteries were 
 the predecessors of the oratorio. 
 
 N 
 
 Nabla (Heb.) (na-bla.) The nebel, a. 
 ten-stringed instrument of the ancient 
 Hebrews ; the harp of the Jews, some- 
 times written Nebel Nasar. 
 
 as in tone ; 6 as in dove ; 8 as in not ; & as in up ; ii the French sound of u. 
 
 179 
 
NACAIRE 
 
 NATURALMENTE 
 
 Wacaire (Fr.) {ni-kdr.) . ^ ^^^^ 
 Wacara (It.) (na-zC-a-ra.) ( drum with 
 Nacarre (It. pi.) (na.-M-Te.) ) a loud me- 
 tallic tone, formerly much used in 
 France and Italy. 
 Wicchera (It.) (nak-ka-ra.) Kettle- 
 drums. 
 Kaccherfitta (It.) (nak-ke-?-aif-ta.) A 
 
 small kettledrum. 
 Naccherino (It.) (nak-ka-^^-no.) A ket- 
 tle-drummer. 
 
 Kaccherdne (It.) (nak-kar»-ne.) A 
 large pair of kettledrums. 
 
 Nachahmung (Ger.) (n'a-ka-moong.) 
 Imitation. 
 
 Nach der reihe (Ger.) (nakh der n-e.) 
 In succession. 
 
 Nachdruck (Ger.) (ndkA-drook.) Em- 
 phasis, accent. 
 
 Nachdriicklich (Ger.) (Ka/^,4-drijk-likh.) 
 
 Nachdrucksvoll (Ger.) {ndM-drooks- 
 fol.) 
 Energetic, emphatic, forcible. 
 
 Wachfolge (Ger.) (Kd/eA-io\-ghe.) Imita- 
 tion. 
 
 Nachklang (Ger.) {ndM-kVang.) Reson- 
 ance, echo. 
 
 Tfachklingen (Ger.) («aM-kling-en.) ) 
 
 Nachschallen (Ger.) ( tidi A -sh'al-Vn.) ) 
 To ring ; to echo ; to resound. 
 
 Nachschlag (Ger.) («(i7<'/4-shlag.) Addi- 
 tional, or after-note. 
 
 Wachsingen (Ger.) (ndi^-sing-en.) To 
 repeat a song; to sing after. 
 
 Nachspiel (Ger.) (ndi/i-spe\.) After- 
 play ; a postlude, or concluding piece. 
 
 Nacht-glocke (Ger.) (nakht-^/J-ke.) 
 Night-bell; curfew. 
 
 Tfacht-horn (Ger.) {ndkht-hbm.') Night- 
 horn; an organ -stop of 8-foot tone, 
 nearly identical with the Quintaton but 
 of larger scale and more horn-like tone. 
 
 Nacht-musik (Ger.) {ndkht-moo-zik.) 
 Night-music ; serenade. 
 
 Nacht-sanger (Ger.) ( ndkht-sdng-er.) A 
 night-singer ; a serenader. 
 
 Wacht-schlager (Ger.) {ndkht-shla-ger.) \ 
 XTachtigall (Ger.) (««/i-ti-gall.) ) 
 
 Nightingale. 
 
 Xfachtstandchen (Ger.) (K»/J'y^^stand- 
 kh'n.) A serenade. 
 
 Wachstiick (Ger.) (nakht-stiick.) A ser- 
 enade ; a nocturne. 
 
 Wach und nach (Ger.) (nakh oond nakh.) 
 little by little ; by degrees. 
 
 Naif (Fr.) (na-ef.) 1 
 
 Naiy (Ger.) (na-c/:) I ^'^^^^l^^^^''^ 
 
 Naive (Fr.) (na-ev.) J 
 
 Naivement (Fr.) (na-ev-manh.) Sim- 
 ply, naturally. 
 
 Naked. A term significantly applied by 
 modern theorists to fifths when unac- 
 companied, and without their thirds, 
 also called bare and empty. 
 
 Nanien (Ger.) («a-ni-en.) Dirges ; an 
 
 elegy. 
 Narrdnte (It.) (nar-?-o»-te.) In a narra- 
 tive style. 
 Narrator. A name given to the charac- 
 ter which gives Scriptural story, gener- 
 ally in recitative, in an oratorio, or 
 Passion-music. 
 Nasard. 
 
 An old name for an organ- 
 stop, tuned a twelfth above 
 the diapasons. 
 
 Nasat. 
 
 Nassat. 
 
 Nazard. 
 
 Nason. A very quiet, and sweet-toned 
 flute-stop, of 4-foot scale, sometimes 
 found in old organs. 
 
 National-lied (Ger.) (na-tsi-o-KaZ-led.) 
 National song 
 
 National music. ) Music identified with 
 National song. ) the history of a nation, 
 or the manners and customs of its 
 people, either by means of the senti- 
 ment it expresses, or by long use. 
 
 Natural. A character marked I], used to 
 contradict a sharp, or flat. See Flat. 
 
 Natural Horn. The old horn, called also, 
 Waldhorn,. without any keys. Such 
 an instrument could produce only the 
 natural tones. See Harmonics. A 
 tube of wide bore will give the low 
 and medium tones of the series, 
 including the fundamental ; a tube 
 comparatively narrow, the medium 
 and higher tones, omitting the funda- 
 mental. 
 
 Natural keys. Those which have no 
 sharp or flat at the signature as C ma- 
 jor, and A minor. 
 
 Naturalm^nte 
 
 Naturally. 
 
 a. as in ah ; a as in hate; a as in a/; e as in tree ; hasineh ; ias inline; las in pin; 
 
 1 80 
 
 (It.) (na-too-ral-OT^«-te.) 
 
NEAPOLITAN SIXTH 
 
 hODES 
 
 Neapolitan sixth. A chord composed 
 of a minor third and minor sixth, and 
 
 occurring on the sub- r-y—^^ 1 
 
 dominant, or fourth degree \(m<> g^ ^^ 
 of the scale. In the Icey «/ 
 of C (major or minor) this chord is 
 really the same as the first inversion of 
 the triad of D b. 
 
 Neben-gedanken (Ger.) («^-b'n-ghe- 
 ddnk-n.) Accessory and subordinate 
 ideas. 
 
 Neben-note (Ger.) {ndy-h'n-no-ie.) Auxi- 
 liary note. 
 
 Neben-register (Ger.) (ndv-h'n-re-ghls- 
 ter.) 
 
 Neben-zuge (Ger.) {ndy b'n-^j»-ghe.) 
 Secondary, or accessory stops in an 
 organ, such as couplers, tremulant, bells, 
 etc. 
 
 Neben-stitnmen (Ger.) ( «^-b'n stim- 
 men.) Sabordinate harmonic parts; 
 also, secondary or mutation stops, such 
 as the quint, twilfths, etc. 
 
 Necessario (It.) (ne-tshes-ja-re-o.) A 
 term indicating that the passage re- 
 ferred to must not be omitted. Obbli- 
 
 gato. 
 
 Neck. That part of a violin, guitar, or 
 similar instrument, extending from the 
 head to the body, and on which the 
 fingerboard is fixed. 
 
 Negligfinte (It) (nal-ye/^«-te.) Negli- 
 gent, unconstrained. 
 
 Negligentemfinte (It.) (nal-ye-jen-te- 
 »»««-te.) Negligently. 
 
 Neglig^nza (It.) (nal-ye:;>«-tsa.) Neg- 
 ligence, carelessness. 
 
 Negli (It. pi.) {ndl-ye.) 
 
 Nei (It. pi.) (na-e.) 
 
 Nel (It.) (nel.) 
 
 Nella (It.) (nel-la.) 
 
 Nelle (It. pi.) (nel-le.) 
 
 Nello (It.) (nel-16.) 
 
 Well' (It.) (nel'l.) 
 
 Nenia (Lat.) (nen-i-a.) 
 
 Nenien (Ger.) («/»-i-en.) ( song; an elegy. 
 
 Net (Fr.) (na.) 
 
 Nett (Ger.) (net.) 
 
 Nettam^nte (It.) (net-ta-»i^«- 
 
 te.) 
 Nette (Fr.) (ndt.) 
 
 6 as in tonej d as in dove ; 8 as in not ; 
 
 iS 
 
 V" 
 
 the, at the. 
 
 » In the ; at the. 
 
 A. 
 
 A funeral 
 
 Nea'ly, 
 clearly, 
 plainly, 
 
 Neat- 
 ness, 
 
 Nettete (Fr.) (nat-ta-ta.) 
 Nettheit (Ger.) (w^Z-hit.) 
 Nettigkeit (Ger.) (?2^/-tig-kit.) 
 
 clearness, plainness. 
 N^ttO (It.) (««/-t6.) Neat, clear, quick, 
 
 nimble, 
 Neu (Ger.) (noi.) New. 
 
 Neumae (Lat.) (nii-me.) The earliest 
 attempts at notation in the dark ages. 
 They merely indicated the inflections 
 of the voice but had no definite pilch. 
 See Notation. 
 
 Neun (Ger.) (noin.) Nine. 
 
 Neunte (Ger.) (noin-te.) A ninth. 
 
 Neutralizing sign. The sign of a natu- 
 ral, tl. 
 
 Neuvifeme (Fr.) (n\ih-vi-a«».) The inter- 
 val of a ninth. 
 Nicht (Ger.) (nikht.) Not. 
 Nicht zu geschwind (Ger.) (nikht tsoo 
 
 g}iesh-vlhd.) Not too quick. 
 Nieder-schlag (Ger.) (K«-der-shlag.) The 
 
 down beat or accented part of the bar. 
 Niedrlg (Ger.) (ne-diig.) Low, or deep 
 
 in voice. 
 Nineteenth. An interval comprising two 
 
 octaves and a fifth; also, an organ-stop, 
 
 tuned a nineteenth above the diapasons. 
 
 See Larigot. 
 Ninnare (It.) (nen-»a-re.) To sing 
 
 children to sleep. 
 Ninth. An interval consisting of an 
 
 octave and a second. 
 Ndbile (It.) («^-be-le.) Noble, grand, 
 
 impressive. 
 Nobilita, con (It.) (n6-*^-le-ta kon.) 
 
 With nobility ; dignified. 
 
 Nobilm^nte (It.) (no-bel-/«ra- ) 
 
 te.) Nobly, 
 
 Noblement(Fr.) (no-bl-manh.) 5 g^anaiy. 
 
 Nocturn. i a composition of a dreamy 
 Nocturne. J and romantic character suit- 
 able for evening recreat'on ; also, a 
 piece resembling a serenade to be 
 played at night in the open air. 
 
 Nocturne (Fr.) (nok-tiirn.) ) A 
 Nocturno (It.) (n6k-toor-n5.) I nocturne. 
 
 Nodal points. i in music, the fixed 
 
 Nodes. ) points of a sonorous 
 
 chord, at which it divides itself, when it 
 
 vibrates, by aliquot parts, and produces 
 
 ii as in up; ii the French sound of u. 
 
NOEL 
 
 NOTATION 
 
 the harmonic sounds. See Acoustics 
 and Harmonics. 
 Noel (Fr.) (n5 el.) A Christmas carol, or 
 hymn. The word had its origin in 
 Aouvelles or Aews — i.e. good tid- 
 ings. 
 
 Noire (Fr.) (nwar.) Black note; a 
 
 crotchet, or quarter-note. 
 Nomenclature, musical. A vocabulary 
 
 of names and technical terms employed 
 
 in music. 
 
 Nomes (Gr.) («^-mes.) Certain airs 
 in the ancient music sung to Cybele, 
 the mother of the gods, to Bacchus, to 
 Pan, and other divinities. The name 
 nome was also given to every air, the 
 composition of which was regulated by 
 certain determined and inviolable rules. 
 
 Nome (It.) (Ko-mo.) Nome. See 
 Nomes. 
 
 Nomos (Gr.) («J-m6s.) I A tune ; a mel- 
 Nomus (Lat.) (K^-miis.) ) ody ; melodic 
 
 sequence. 
 Non (It.) (non.) Not, no. 
 
 Kona (It.) (no-na.) The interval of a 
 ninth. 
 
 Non^tto (It.) (n5-««/-to.) A compo- 
 sition for nine voices or instruments. 
 
 Non m61to (It.) (non mol-to.) Not 
 much, 
 
 Non m61to allegro (It.) (non m61-t5 al- 
 
 iajr gro.) Not very quick. 
 Non t&nto (It.) (non tdn-lo.) Not so 
 
 much, not too much. 
 
 Non tinto allegro (It.) (non tdn-to 'aX-lSy- 
 gi5.) Not so quick ; not too quick. 
 
 Non tropp6 (It.) (non trop-po.) Not too 
 much ; moderately. 
 
 Non troppo allegro (It.) (non trop-po ^ 
 
 al-Zajz-gio.) I 
 
 Non troppo pr&to (It.) (non trop-po [ 
 pres-tb.) Not too quick. J 
 
 Normal-ton (Ger.) (n6r-»?a7-ton.) The 
 nonnal tone, the note A, the sound to 
 which instruments are tuned in an 
 orchestra. 
 
 Normal-tonleiter (Ger.) (nor-mal-^oK-lT- 
 ter.) The natural scale ; the scale of C ; 
 the open key, 
 
 N6ta (It.) (n5-ta.) 
 
 Nota (Lat.) (no-ta 
 
 Notation. The art of representing tones 
 
 a as in a.^ y a as in hate ; S as in at; e as in 
 
 182 
 
 '■], [a 
 
 ■ta.) .( 
 
 note. 
 
 by written or printed characters. The 
 earliest fixed system was that of the 
 Greeks (600 B. C), which used the 
 letters of the alphabet, both complete 
 and fragmentary, to indicate different 
 pitches and intervals. This system, 
 with various changes, existed well into 
 the middle ages. In the earliest part 
 of the dark ages another system existed 
 contemporaneously with the employ- 
 ment of letters — the neume notation. 
 In the neumes, we find the beginnings 
 of an effort to appeal to the eye as well 
 as to the thought. The chief elements 
 of this mode of notation were the ver- 
 tical line I (called virga), the dot . , 
 and the horizontal line — (called 
 jacens ) ; and after these, came the up- 
 ward loop ^', called {plica ascendens), 
 and the downward loop ^-^ (called 
 plica descendens) , besides a host of 
 other similar characters. These marks 
 were placed directly over each syllable ; 
 and while they could not give the exact 
 pitch to the singer, they served very 
 well to show the direction in which the 
 voice should go, and also indicated 
 roughly the length of th". note. They 
 were, in short, merely a leminder to the 
 singer of the progressions of a melody 
 which he had learned orally ; a species 
 of musical mnemonics. The letters now 
 underwent a modification. A major 
 scale, corresponding to the diatonic 
 scale, which we begin on C, was repre- 
 sented by the letters ABCDEFGA. 
 This was afterwards changed to repre- 
 sent a minor scale, in an effort to bring 
 it more in consonance with the old 
 Greek theory. Odo, of Cluny, is cred- 
 ited with making this reform during the 
 tenth century — our present letter sys- 
 tem 1 The next improvement was an 
 endeavor to give actual and definite 
 pitch to the neumes, by drawing a red, 
 line across the manuscript. This line 
 which, represented F, was the very 
 beginning of modem staff notation. 
 Another line, this time of yellow color, 
 was soon added above the red one ; and 
 this later line was to represent C. 
 Soon, the colors of the two lines were 
 omitted, and the letters F and C were 
 placed at the beginning of each of 
 them. From this arose our F and C 
 clefs, which preceded the G clef by 
 some centuries. Hucbald, a monk of 
 St. Amand, in Flanders, is said to have 
 
 tree / e as in ^/5 ; i as in pine ; i as in pin; 
 
NOTATION 
 
 NOTATION 
 
 been the inventor of the foundation of 
 modern notation, the line system. He 
 died about 932. Without digressing 
 to a description of the many experi- 
 ments which followed, we can state 
 that the next important step forward 
 was the establishment of the vocal 
 syllable system (see Aretinian Syllables), 
 by Guide, of Arezzo. In addition to 
 this great invention (which was practi- 
 cally the beginning of reading at sight), 
 Guido threw his power against the 
 vagueness of the neumce, and worked 
 with might and main for the line (or 
 staff) system. Taking the yellow, c 
 line, and red, f line, he drew a black 
 line between, to represent a. The staff 
 was now represented thus : 
 
 c Yellow. 
 
 a Black. 
 
 / Red. 
 
 And, most important improvement of all, 
 Guido used the spaces to represent notes 
 as well. It was practically the begin- 
 ning of the modern staff. Besides this, 
 there is evidence that Guido did hot 
 always confine himself to the three 
 * lines, but sometimes added a line above 
 the yellow one to represent e, or below 
 the red one to represent d. Guido's 
 notes were still borrowed from the 
 neumes, but he altered their shape 
 somewhat, so that, even in these, we 
 perceive the predecessors of modem 
 notes. The next forward movement 
 was in the establishment of notes of 
 definite length. The honor of this im- 
 provement is claimed by Walter Oding- 
 ton, an Englishman, and Franco, of 
 Cologne, probably a Netherlander. 
 Both of these monks existed in the 
 thirteenth century. Franco seems not 
 to have invented much, but to have 
 practically applied the invention of 
 others. In the Ars Cantus Mensura- 
 bilis of this writer (the first practical 
 treatise on notes of definite length) , we 
 come upon the true system of modern 
 notation, although in a crude state. 
 He presents to us these notes : 
 
 Large. Longa. Brevis. Semibrevis. 
 
 The semibrevis was the shortest note in 
 Franco's system. Rests began at this 
 time also, and were not vastly different 
 from the longest rests of the present 
 
 time. Early in the fifteenth century 
 the above notes were written open (in 
 outline) somewhat as at present. The 
 change to the round shape, from the 
 diamond and square, came about in the 
 seventeenth century, for greater ease in 
 manuscript work. Meanwhile, the acci- 
 dental marks had come into existence. 
 See Sharp, Flat, Natural, Accidentals. 
 The time-signs, or rhythm-marks, of this 
 epoch, before the invention of the bar 
 and the division of music into measures, 
 were fearfully complicated and vague. 
 It is beyond the province of this book 
 to explain this obsolete system. Only 
 one vestige of it is left in modern 
 music. The sign g comes to us from 
 the middle ages when the triple pulsa- 
 tion of music was held to be the only 
 perfect rhythm, as the monks held that 
 it represented the Trinity, It was 
 written with the following sign Qi and 
 was called Perfectum : when the monks 
 admitted an even rhythm, they called it 
 Imperfectum and broke the circle in 
 writing the sign thus: g, which we still 
 use to represent J rhythm. With the 
 beginning of opera (about 1600) the 
 signs of tempo and expression begin to 
 appear, and music was divided into 
 measures I Peri (in 1600) is said to 
 have been the first practically to use the 
 bar line in the modern style. 
 
 Grouping of notes together, a great aid 
 in the representation of rhythm, was 
 not adopted until near the beginning of 
 the eighteenth century. Until that 
 time, a passage like the following 
 
 ^^ 
 
 31 
 
 3= 
 
 would have been written thus : 
 
 ^^^^^^^ 
 
 The gradual introduction of changes in 
 the system of notation, and the addi- 
 tion of various signs can be traced by 
 consulting the following, rather rare 
 musical dictionaries : Tinctor's " Ter- 
 minorum Musicae Diffinitorium " (first 
 printed in 1475), Brossard's "Musical 
 Dictionary" (1702), Grassineau's " Mu- 
 sical Dictionary" (1740), Callcott's 
 " Explanation of Musical Terms, etc." 
 (1792), Zarlino's Theoretical Works 
 
 as in tone ; ^ as in dove ; 8 as in not ; ii as in »/; ii the French sound of u. 
 
 • 183 
 
NOTATION 
 
 NOTES 
 
 (1562), Playford's "Skill of Musick" 
 (1662), etc. At the beginning of the 
 eighteenth century, the notation of the 
 best printed works in England was not 
 very different from that of the present. 
 
 Notes. Ger., Note («(7-teh); Fr., Note 
 (noht) \ It. Noia (»o-tah). The notes 
 which are in general use to-day to ex- 
 press the duration of tone are as 
 follows : 
 
 AMERICAN 
 
 J r 
 
 J r 
 
 J* 5 
 
 Double note 
 
 Whole note 
 Half-note 
 
 Quarter-note 
 
 Eighth-note 
 
 Sixteenth-note 
 
 ( Thirty-second- 
 \ note 
 
 ( Sixty-fourth- 
 \ note 
 
 Breve 
 
 Semibreve 
 Minim 
 
 Crochet 
 
 Quaver 
 
 Semiquaver 
 
 Demisemiquaver 
 
 Hemidemi- 
 semiquaver, or 
 Semidemisemi- 
 
 Brevis 
 
 Ganzenote 
 I Halbnote, or 
 ( halbe note 
 I Viertel, or 
 \ Viertelnote 
 
 t Achtel, or 
 \ Achtelnote 
 
 iSechzehntel, 
 or Sehzechntel 
 note 
 ( Zweiund-dreis- 
 \ sigstel (note) 
 
 I Vierundsech- 
 l zigstel (note) 
 
 Breve, or Carrie 
 
 ( Serai-brfeve, or 
 1 Ronde 
 
 Blanche 
 Noire 
 
 Croche 
 Double-croche 
 
 Triple-croche 
 
 \ Quadruple- 
 [ croche 
 
 Breve 
 Semibreve 
 
 i Minima, or 
 ( Bianca 
 Nera 
 
 Croma 
 
 Semicroma 
 Semibiscroma 
 
 Quattricroma 
 
 group generally occupies a regular rhyth- 
 mic division of the music ; a single beat, 
 a half measure, etc. The mode of writ- 
 ing such groups can be thus stated : 
 In compound rhythm (f, |, -y, etc.), 
 and in triple rhythms, two or four arti- 
 ficial notes equal three normal ones of 
 the same denomination 
 
 Occasionally, in old editions of Pales- 
 trina or Di Lasso, one may find 
 the longap^i equalling four whole notes. 
 In Beethoven's " Sonata Pathetique " 
 (introduction), and in many other 
 -works, one hundred and twenty-eighth 
 notes j^ are to be found, and there 
 are 1 1? ) very rare instances of the use 
 of even two hundred and fifty-sixth 
 notes /JN, but these are generally al- 
 tered 1 1? I into cadenza nolation (small 
 notes')\>S/ in recent editions. Artificial 
 ^ouping of notes can produce notes of 
 any length, such, for example, as three, 
 five, six, seven, nine, etc., to a whole 
 note. These are produced by group- 
 ing several notes together (by flags, or 
 slurs, or both) and adding a numeral. 
 The following rules are observed in 
 such groupings: I. Never add a num- 
 eral to a group which is to consist of 
 normal notes. The numeral always 
 gives the notes an abnormal value. 2. 
 Any artificial group which is divided in 
 
 half by the rhythm or the accompani - ^^^ ^^^^_ 
 
 ment, ,s incorrectly numbered. Thus : ^.^^^ ^^^^j ^^^^^ ^^^^^^ ^^^ J ^^ ^^^ 
 
 frequently written to take the value of 
 
 12. 
 
 In all rhythms three artificial notes 
 the sextoletis incorrect, and should be equal two normals ones of the same de- 
 written as two triplets. 3. The artificial nomination. 
 
 .a as in a/5 ; a as in hate ; a as in a; ; e as in tree ; e as in ^,4 ; i as in pine ; 1 as in J>m; 
 
 184 ■ 
 
 more rarely seven may equal four. 
 Eight equal six 
 
NOTE, CHARACTERISTIC 
 
 NOTE, RADDOPPUTE 
 
 Five or six equal four 
 
 Ineven rhythms seven also equal four, 
 and from 9 to 15 equal eight of their 
 own denomination. When small notes 
 are written, the time values are not 
 necessarily adhered to, the group being 
 played with the freedom of a cadenza. 
 
 Many errors of notation have been 
 made, even by Mozart and Beethoven, 
 in writing sextolets, groups of six, 
 where double triplets were intended. 
 An artificial group of two notes is called 
 a doublet, of three a triplet, four a quat- 
 trolel, five a quintolet, six a sextolet, etc. 
 The triplet is the artificial group most 
 used, and its three notes have the value 
 of two normal notes of their own de- 
 nomination. Triplets of two notes can 
 sometimes be used, one of the notes 
 having two-thirds, the - •! 
 other one-third, of the 
 total value. , 
 
 For further study of origin 
 of notation consult Grove's Dictionary, 
 article " Notation," Elson's "Realm of 
 Music," article, "The Rise of Notation," 
 and Williams' " Story of Notation." 
 See also Rests, Signs, Time, Rhythm, 
 Flat, etc. 
 
 Note, characteristic. A leading-note. 
 Note, clef. The note upon which the 
 clef is placed. 
 
 Note, connecting. A note held in common 
 by two chords. 
 
 Note, crowned. A note marked 
 with a hold. 
 
 f^ 
 
 ^ 
 
 Note d'agrement (Fr.) (not-d'a-gra- 
 manh.) An ornamental note. 
 
 Note de passage (Fr.) (not duh pas- 
 sazh.) A passing-note ; a note of regu- 
 lar transition. 
 
 Note di^s^e (Fr.) (not di-a-za.) Note 
 marked with a sharp. 
 
 as in tone ; 6 as in dove ; 8 as in not ; ii 
 
 Note, double. The ancient breve, r .. .. n 
 
 Note, double dotted. A note b-^^ 
 
 whose length is increased three- 
 fourths of its original value, by 
 two dots placed alter it. 
 
 Note, double stemmed. A note p=j=^ 
 having two stems, one upward E^E3 
 and the other downward, the ' 
 one showing the length of its duration 
 and the other its relative value towards 
 other notes in the measure, or indicating 
 that two parts, or voices, unite in giv- 
 ing the note. 
 
 Note, eighth. A quaver. 
 
 Note, fundamental. The lowest note of 
 
 a chord. 
 Note, grace. A note of embellishment. 
 Note, half. A minim. 
 Note, key. A note to which all the other 
 
 notes of a piece bear a distinct and 
 
 subordinate relation, and with which 
 
 it generally closes. 
 
 Note, leading. The major seventh of 
 any scale ; the semi-tone below the key- 
 note ; the major third of the dominant. 
 
 Noten-pult (Ger.) («o-t'n poolt.) A music- 
 desk. 
 
 Noten-schreiber (Ger.) {no-'Cyx-shri-yxx.) 
 Music -copyist. 
 
 Noten-schwanz (Ger.) (Bc-t'n-shvants.) 
 The stem of a note. 
 
 Noten-stecher (Ger.) (nd-t'n-stSkh-ex^ 
 An engraver of music. 
 
 Noten-system (Ger.) (w-t'n-sis-^,JOT.) 
 The staff. 
 
 Note of modulation. A note which in- 
 troduces a new key, usually applied to 
 the leading-note, or sharp seventh. 
 
 Note of prolation. A note, the original 
 and nominal duration of which is ex- 
 tended by the addition of a dot, or 
 hold. 
 
 Note, open. A note produced on strings 
 of a violin, guitar, etc., when not 
 pressed by the finger. 
 
 Note, pedal. A note held by the pedal, 
 or in the bass part, while the harmony 
 forming the remaining parts is allowed 
 to proceed. 
 
 Note, quarter. A crotchet. 
 
 Noter (Fr.) (no-ta.) To write out a tune, 
 or air. 
 
 Note raddoppiate (It.) («o-te rad-dop-pe- 
 a-te.) Repeated notes. 
 
 ii as in K/ ; u the French sound of «. 
 
 85 
 
NOTE, RECITING 
 
 OD 
 
 Note, reciting. The note in a chord 
 upon which the voice dwells in chant- 
 ing until it comes to a cadence. See 
 Dickinson's " Music in the History of 
 the Western Church." 
 
 Notes, accented. Notes upon which 
 emphasis is placed ; m common time 
 the first and third notes, and in triple 
 time the first note. 
 
 Notes, accessory. Notes situated one 
 degree above and one degree below the 
 prmcipal note of a turn. 
 
 Notes, accidental. Chromatic tones that 
 do not belong to the harmony ; pzissing- 
 tones. 
 
 Notes, added. Notes written upon 
 ledger, or added lines. 
 
 Note, scolte (It-) (no-te skol-te.) Stac- 
 cato note. 
 Notes coulees (Fr.) (not koo-la.) Slurred 
 
 notes. 
 Notes de gout (Fr.) (not duh goo.) Notes 
 
 of embellishment. 
 Notes, essential. The notes of a chord 
 
 which constitutes its real component 
 
 parts in distinction from accidental and 
 
 ornamental notes. 
 Notes, passing. When one or more 
 
 notes of a harmonic chord move to a 
 
 tone foreign to the harmony, the chord 
 
 otherwise remaining unchanged, these 
 
 notes are called passing notes. 
 
 Note sensible (Fr.) (n5t sanh-sebl.) The 
 leading-note of the scale ; the seventh 
 of the scale. 
 
 Note, sixteenth. A semi-quaver J. 
 Note sixty-fourth. A hemidemisemi- g 
 quaver. 15 
 
 Notes liees (Fr.) (not le-a.) Tied notes. 
 
 Notes, ornamental. Appoggiaturas, 
 grace-notes, all notes of embellishment, 
 not forming an essential part of the 
 harmony. 
 
 Notes, stopped. In music for the violin, 
 violoncello, and similar instruments, 
 those notes that are sounded while the 
 string is pressed. 
 
 Notes, subsidiary. Accessory notes. 
 
 Notes, tied. Notes having a tie over 
 them denoting they are to be bound 
 together. If on the same degree of 
 the staff the tone must be sustained 
 throughout. 
 
 a as in a.4y a as in hate.- a as mat ; e as in tree; easin.; 
 
 i86 
 
 Note, thirty-second. A demisemi- p 
 quaver. fi 
 
 Note, tonic. The first note of any scale, 
 
 the key-note. 
 Noteur (Fr.) (nd-iiir.) Music -copyist. 
 Note, whole. A semibreve, <s. 
 Notturni (It.) {not-ioor-ne.) Nocturnes, 
 Hotturno (It.) (nol-toer-no.) A noc- 
 turne; a composition suitable for an 
 evening performance ; a serenade. 
 
 Kovellette. A name bestowed by Schu- 
 mann (Op. 21 ) on instrumental com- 
 positions free in form, romantic in 
 character, and characterized by a va- 
 riety of contrasting themes. 
 
 Nowel (Fr.) (No-el.) A Christmas carol. 
 See Noel. 
 
 Nuances (Fr. pi.) (nii anh-j.) lights and 
 shades of expression ; variety of intona- 
 tion. 
 
 Numerical notation. A system of nota- 
 tion first introduced by Rousseau, in 
 which the first eight of the numerals 
 are substituted for the eight notes, and 
 points, ciphers, etc., for such other 
 characters as represent pauses, time, 
 etc. 
 
 Numero (It.) (noo-ma lo.) ) Number, 
 
 Numerus (Lat.) {nil me-ius.) ) "^ed to 
 
 denote musical time, ihyihm, harmony. 
 
 Nu6v0 (It.) (noo-»-vo.) New ; di nuSvo, 
 newly, again. 
 
 Nuptial songs. Wedding-songs ; marriage- 
 songs. 
 
 Nut. The small bridge at the upper end 
 of the fingerboard of a guitar or violin, 
 over which the strings pass to the pegs, 
 or screws. 
 
 0. This letter, forming a circle or double 
 Cjwas used by the mediaeval monks as 
 the sign of triple time from the idea 
 that the ternary, or number three, being 
 the most perfect of all numbers, and 
 representing the 'Trinity, would be best 
 expressed by a circle the most perfect of 
 all figures. The imperfect, or common 
 time, was designated by a C, or semi- 
 circle — a broken circle. 
 
 0, before a consonant (It.) (6.) ) Or, as, 
 Od, before a vowel (It.) (od.) ) either. 
 
 \; iasinpine; las inpin; 
 
obbligAto 
 
 OCTAVE, DOUBLE 
 
 ObbligitO (It.) (ob-ble-^a-to.) "j Indis- 
 Obbligiti (It. pi.) (6b-ble ,fB-te.) I P^"- 
 Oblig6 (Fr.) (ob.li-^>i«.) \\^^l['^\ 
 
 Obligat (Ger.) (6b-li-^aV.) J sary; 
 
 a part, or parts which cannot be omit- 
 ted, being indispensably necessary to a 
 proper performance; a temporary solo 
 in a concerted work, often misspelled 
 Obligato. 
 
 Obbligato accompaniment. An accom- 
 paniment that must be used. 
 
 Ober. (Ger.) (^-ber.) Upper, higher. 
 
 Ober manual (Ger.) (o^ber ma-noo-a7.) 
 The upper manual. 
 
 Ober-stimme (Ger.) (o-ber-j-tfiw-me.) 
 
 Treble, upper voice part. 
 Ober-tasten (Ger.) (J-ber-/aj--t'n.) The 
 
 black keys. 
 Ober-theil (Ger.) (^-ber-^r/.) The upper 
 
 part. 
 
 Ober-werk (Ger.) (^-ber-vark.) Upper 
 
 work ; highest row of keys. 
 Oblique motion. When one part ascends, 
 
 or descends, whilst the others remain 
 
 stationary. 
 
 Oblique (It.) (6b-/*-quo.) Oblique. 
 Oboe (Ger.) (J-bo-e.) > a hautboy; also, 
 Obo^ (It.) (o-bo-a.) ) the name of an 
 organ-stop ; a double reed-instrument of 
 much antiquity. It was a prominent 
 instrument in the earliest orchestras. 
 The double reed used gives to the tone 
 a number of thehigher harmonics with 
 considerable prominence, the tone-color 
 becoming thin, penetrating, and some- 
 what nasal. The oboe can depict 
 •direct pathos, as in the funeral march 
 of the Heroic symphony; innocence 
 and simplicity; and above all, rustic 
 gayety, it being the pastoral instrument 
 of the orchestra, and used in this man- 
 ner in Beethoven's sixth symphony, 
 and numerous other works. The 
 compass of the in- 
 strument is about. 
 
 4 
 
 but the lower notes are E; 
 somewhat hoarse and 
 the highest ones a trifle forced and 
 screaming in quality, the best effects 
 being attained in the middle register. 
 The nearer we keep to the key of C, 
 the easier and the more natural the 
 oboe part will be. Because of its very 
 characteristic color the oboe should not 
 
 5 as in tone ; $ as in dove; 8 as in not ; u as in up ; ii the French sound of u. 
 
 187 
 
 be too freely used in prominent pas- 
 sages. The orchestra usually receives 
 its pitch from the oboe, that instrument 
 giving " A" at the beginning r -g -. 
 of each concert or composition Effl^^i 
 The oboe requires great tT 
 steadiness of blowing, the player be- 
 coming exhausted hy holding in, not by 
 exhaling, his breath. Consult A. El- 
 son's " Orchestral Instruments," and 
 Front's "Orchestra." 
 
 Obofi da caccia (It.) (o-bo-ada kdt-tshe-a..) 
 A larger species of oboe with the music 
 written in the alto clef. Its place is 
 taken, in the modern orchestra, by the 
 English horn. Bach calls for this oboe 
 and the oboe d'amore in his Passion 
 music and his Christmas oratorio. 
 The oboe d'amore, which was also 
 called oboe lungo, produced a delicate 
 and sweet tone, while the oboe da caccia 
 corresponded to the tenoroon oboe, or 
 corno inglese. The latter though not 
 in common use, is occasionally intro- 
 duced into the scores of modern 
 operas, as in Halevy's "Jewess"; 
 Meyerbeer's "Huguenots," etc. 
 Oboe d'amore (It.) (o-bo-a d' a-wzo-re.) 1 
 Obo^Wngo (It.) (o-bo-a /oo«-g5.) ( 
 
 A species of oboe, longer than the ordi- 
 nary oboe, with a thinner bore and lower 
 pitch. 
 
 Octava (Lat.) (6k-/4-va.) Octave ; ap- 
 plied to 4-foot organ-stops. 
 
 Octava acuta (Lat.) (6k-/o-va a-/5«-ta.) 
 The octave raised by transposition. 
 
 Octava alta (It.) (ok-^a-va a7-ta.) Play 
 the passage an octave higher. 
 
 Octava gravis (Lat.) (ok-<a-va ^ra-vis.) 
 The octave lowered by transposition. 
 
 Octave. An interval of eight diatonic 
 sounds, or degrees ; also the name of 
 an organ-stop. 
 
 Octave augmented. An interval con- 
 sisting of thirteen half-steps or semi- 
 tones. 
 
 Octave clarion. A 2-foot reed-stop in 
 an organ. 
 
 Octave, Contra. See Tablature. 
 
 Octave, diminished. An interval con- 
 sisting of eleven half-steps or semi- 
 tones. 
 
 Octave, double. An interval of two 
 octaves, or fifteen notes in diatonic 
 progression. 
 
OCTAVE FIFTEENTH 
 
 OFFICIUM MATUTINUM. 
 
 Octave fifteenth. An organ-stop of 
 bright, sharp tone, sounding an octave 
 above the fifteenth. 
 
 Octave flute. A small flute an octave 
 higher than the German, or ordinary 
 flute i a piccolo. 
 
 Octave hautboy. A 4-foot organ reed- 
 stop ; the pipes are of the hautboy 
 species. 
 
 Octave, large. The third octave, indi- 
 cated in the German tablature by cap- 
 ital letters. See Tablature. 
 
 Octaves, short. Those lower octaves of 
 old organs the extreme keys of which, 
 on account of the omission of some of 
 the intermediate notes, lie nearer to 
 each other than those of the full 
 octave. 
 
 Octave-stop. An organ-stop an octave 
 above corresponding stops. 
 
 Octave trumpet stop. An organ-stop 
 an octave higher than the ordinary 
 trumpet stop. 
 
 Octave twelfth stop. An organ-stop 
 the scale of which is an octave above 
 the twelfth. 
 
 Octavflotchen (Ger.) (ok-taf-flot-kh'n.) 
 An octave flule ; a flageolet. 
 
 Octavflote (Ger.) (oMaf-_/?^-te.) Octave 
 flute, flageolet j also an organ-stop of 
 4-foot scale. 
 
 Octavflotlein (Ger.) {dk-\:iS.-flSt-"RTi.) An 
 octave flute. 
 
 Octavina (Lat.) (pkXii-vie-yxi..) An old 
 stringed instrument resembling a spinet, 
 about three octaves in compass, and 
 tuned an octave higher than the spinet 
 and harpsichord. 
 
 Octavine (Fr.) (6k-ta-z/^^«.) The small 
 spinet. 
 
 Octet. ) A composition for eight parts, 
 Octett. ) or for eight voices. 
 
 Octo-bass. A stringed instrument in- 
 vented by M. Vuillaume, of Paris ■ — • 
 the low octave of the violoncello. It 
 is of colossal size, with three strings, 
 and for the left hand there are movable 
 keys, by which the string is pressed on 
 the frets placed on the finger-board, 
 with seven other pedal keys for the 
 foot of the player. The sounds are full 
 and strong, of great power without 
 roughness. 
 
 Octochord (Lat.) (W-to-kord.) An in- 
 strument like a lute, with eight strings. 
 
 Octuor (Fr.) {ok.-twdr.) A piece in 
 eight parts, or for eight voices, or in- 
 struments. An Octette. 
 
 Ode. A Greek word signifying an air, or 
 song ; a lyrical composition, of greater 
 length and variety than a song ; re- 
 sembling the cantata. 
 
 Odelet. A short ode. 
 
 Od^on (Ger.) (o-da-6n.) i ^ circular 
 
 Odeum (Lat.) (o-de-um.) ) building in 
 
 which the ancierit Greeks and Romans 
 
 held their festivals ; a concert-room or 
 
 hall for musical performance. 
 Oder (Ger.) (^-der.) Or, or else; fur 
 
 ein oder zwei claviere, for one or two 
 
 manuals. 
 
 Odische musik (Ger.) (^-di-she moo-z\W.) 
 Vocal music. 
 
 CEuvre (Fr.) (iivr.) Work, composition, 
 piece — a terra used in numbering a 
 composer's published works in the 
 order of their publication. 
 
 (Elivre Chef (Fr.) (iivr sheh.) A prin- 
 cipal work ; a masterpiece. 
 
 CEuvre premier (Fr.) (iivr pre-mi-a.) 
 The first work. 
 
 Off. In organ music, a direction to push 
 in a stop, or coupler ; as choir to Gt. off. 
 
 Offen-flote (Ger.) {of-i'njlo-ie.) An open 
 flute ; organ stop. See also Clarabilla. 
 
 Off^rtoire (Fr.) (of-fer-fte/ar.) 
 Offert(5rio (It.) (6f-fer-/J-ri-o.) 
 Offertorium (Lat.) (of-fer-^^-ri-iim.) 
 Offertory (Eng.) (^-fer-to-ry.) 
 
 A hymn, prayer, anthem, or instru- 
 mental piece sung or played during 
 the collection of the offertory. It fol- 
 lows the Credo in the Mass. 
 
 Offlcium (Lat.) (6f-/^-shi-um.) The 
 Mass. 
 
 Offlcium defunctorum (Lat.) (6f-/^-shi- 
 um de-funk-^o-rilm.) A requiem or 
 Mass for the dead. 
 
 Offlcium diurnum (Lat.) (ofy^-shi-um 
 di-2??--num.) The hora, the day ser- 
 vice in the Catholic Church. 
 
 Offlcium divinum (Lat.) (6f;/"^-shi-um 
 di-w^-niim.) High Mass. 
 
 Offlcium matutinum (Lat.) (of-/^-shi- 
 um ma-/«-ti-niim.) Early Mass. 
 
 a as in a,4 / a as in hate / a as in a^y e as in tree ; i sis inch ; i as in pine ; i as in pin; 
 
OFFICIUM NOCTURNUM 
 
 OPHICLEIDE 
 
 Offlcium nocturnum (Lat.) (6f-/^-shi-um 
 n6k-/2l!?--num.) The hora sung at 
 night. 
 
 Offlcium vespertinum (Lat.) (6f-/«-shi- 
 um ves-per-^^-num.) Vespers ; even- 
 ing service. 
 
 Oficleida (It.) (6-fe-kla-da.) ) The 
 Oficleide (It.) (6-fe-kla-de). ) opW- 
 cleide. 
 
 Ohne (Ger.) (o-ne.) Without. 
 Ohne begleitung (Ger.) (tf-ne he-^li- 
 toong.) Without accompaniment. 
 
 Ohne pedale (Ger.) (J-ne pe-(/o-le.) With- 
 out the pedals. 
 
 Oktave (Ger.) (5k-^a-fe.) Octave, eighth. 
 
 Olio. A miscellaneous collection of mu- 
 sical pieces. 
 
 Olivettes (Fr.) {o\i-vei.) The dances of 
 the peasants after the olives are gath- 
 ered. 
 
 OUapodrida (Spa.) {5[-Ya-po-tire-da.) An 
 olio ; a medley. 
 
 Omnes (Lat.) (i>m-nes.) ) All. See 
 
 Omnia (Lat.) {^m-m-i..) ) ^«^'- 
 
 Ondeggiam^nto (It.) (5n-ded-ie-a-ffz^«- 
 to.) Waving ; an undulating, or trem- 
 ulous motion of the sound; also a 
 close shake on the violin. 
 
 Ondeggidnte (It.) (on-ded-je-a«-te.) 
 Waving, undulating, trembling. 
 
 Ondeggiare (It.) (on-ded-je-a-re.) Wave 
 the voice. 
 
 Ondul^ (Fr.) (onh-dii-/,?.) Waving, 
 trembling. 
 
 Onduliren (Ger.) (on-doo-/^^-r'n.) A 
 tremulous tone in singing, or in playing 
 the violin, etc. 
 
 One-lined Octave. See Tablaiure. 
 
 Ongarese (It.) (on-ga-ra-ze.) ) Hun- 
 
 Ongherese (It.) (on-ghe->-(J-ze.) f garian. 
 
 Onzieme (Fr.) (onh zhi-a/«.) Eleventh. 
 
 Open diapason. An organ-stop, gener- 
 ally made of metal, and thus called be- 
 cause the pipes are open at the top. 
 It commands the whole scale, and is 
 the most important stop of the instru- 
 ment. 
 
 Open harmony. See Dispersed Har- 
 mony. 
 
 Open note. A note on the open string 
 of a violin, etc. 
 
 Open pedal. The right-hand pedal of a 
 as in tone ; 4 as in dove; 8 as in not; 
 
 i! 
 
 pianoforte ; that which raises the dam- 
 pers and allows the vibrations of the 
 strings to continue. 
 
 Open stop. That which regulates the 
 
 open pipes. 
 Open string. The string of a violin, 
 
 etc., when not pressed by the finger. 
 
 Open tone. A tone produced on an 
 open string. 
 
 Open unison stop. The open diapason 
 
 stop. 
 Oper (Ger.) (»-per.) 1 A drama set to 
 Opera (It.) (o-pe-ra.) ) music, for voices 
 and instruments, and with scenery, 
 decorations, and action. The term is 
 also applied to any work, or publication 
 of a composer. (See also 0/«j-.) Opera, 
 more fully opera di musica, was a 
 form of musical composition evolved 
 shortly before i6oo, by some enthusias- 
 tic Florentine amateurs who sought to 
 bring back the Greek plays to the mod- 
 ern stage. But they achieved much 
 more than this, for they led the way 
 from polyphony to homophony, from 
 counterpoint to monody. The chief 
 parts of the opera, apart from the over- 
 ture, are the recitative, aria, chorus, and 
 the various kinds of ensemble — duet, 
 trio, quartet, quintet, sextet, etc. — of 
 which the finale is the most important. 
 The finale is generally of a complex 
 form ; duets, trios, etc., are mostly, and 
 choruses sometimes, modelled on the 
 aria form, or, rather, forms. {See Aria, 
 Recitative.) In France operas are clas- 
 sified as follows : Grand Opera, in 
 which the plot is throughout earnest,, 
 and' there are no spoken passages. 
 Op]6ra Bouffe. a comic opera, but 
 one of a much lighter character than 
 an opera comique. Op^ra Comique. 
 An opera with spoken dialogue, as 
 distinguished from the grand opera, 
 which has no spoken dialogue. Op^ra 
 Lyrique. a lyric opera. Thus 
 " Carmen " would be classed as an 
 Opira Comique. In America the term 
 comic opera has a much lower applica- 
 tion and is applied to the opira bouffe. 
 Consult A. Elson's " Critical History 
 of Opera," and Grove's Dictionary. 
 
 Operetta. A little opera, generally in a. 
 light and playful vein. 
 
 Ophicleide (^-i-klld.) A large bass wind- 
 
 ii as in up ; ii the French sound of a. 
 
OPHICLEIDE STOP 
 
 ORCHESTRE 
 
 instrument of brass, sometimes used 
 in large orcliestras, but chiefly in mili- 
 tary music. It has a compass of three 
 octaves, and the tone is loud and of 
 deep pitch. This instrument is now 
 obsolete in Germany and America, 
 although still employed in France and 
 England. It has about the compass of 
 the bass-tuba, but has a more rasping 
 and rough tone. Mendelssohn used 
 the ophicleide very successfully in his 
 " Elijah," and in his overture to " Mid 
 summer Night's Dream " comically 
 expresses the snoring of the drunken 
 weaver, Bottom, by means of it. The 
 bass-tuba takes the place of the ophi- 
 cleide in almost all modem works, but 
 does not reproduce its peculiarly rau- 
 cous tone. 
 
 Ophicleide stop. The most powerful 
 manual reed-stop known, in an organ, 
 of 8 or 4-foot scale, and is usually 
 placed upon a separate sound-board, 
 with a great pressure of wind. 
 
 Ophicleidist. 
 
 cleide. 
 
 A perfo^rmer on the ophi- 
 
 Opus (Lat.) (o-piis.) 1 Work, compo- 
 Opus (Ger.) (o-poos.) J sition ; as, Op. 
 I, the first work, or publication of 
 a composer. The numeration of 
 musical works by opus numbers began 
 in the last part of the eighteen th century. 
 Mozart was the first great composer 
 whose works have an occasional opus 
 number, but Beethoven was the first to 
 use this mode of numeration regularly. 
 Properly, the number of an opus refers 
 to the order of publication, not of com- 
 position. An opus may include sev- 
 eral numbers or may consist of a single 
 piece. 
 
 Orage (Fr.) (o-raz/5.) A storm; the 
 name of an organ-stop intended to 
 imitate the noise of a storm. 
 
 Oratoire (Fr.) (fir-i-twdr) Oratorio. 
 
 Orat6rio (It.) (6r-a-z'o-ri-5.) , „ 
 
 Oratorium. (Lat.) {Sr-'i-to-H-ooxa.) i torio. 
 Oratorium(Ger.) (o?--'a-^o-ri-oom.) ) A 
 species of musical drama consisting of 
 airs, recitatives, trios, choruses, etc. It 
 is founded upon some Sciiptural narra- 
 tive, and performed without the aid of 
 scenery and action. The oratorio re- 
 ceived its name 
 
 the church where it was at first peT, 
 formed. It was originally given wiih 
 costumes and scenery, like an opera. 
 It was founded by St. Philip Neri (d. 
 1595), and Emiho del Cavaliere whose 
 first great oratorio was performed in 
 1 600. The opera and oratorio went 
 hand in hand for some decades, until 
 Carissimi abolished dramatic action and 
 made oratorio a concert, without oper- 
 atic adjuncts. The oratorio gradually, 
 became the contrapuntal form that 
 called forth the highest efforts of Bach 
 and Handel. Consult Naumann's" His- 
 tory of Music," Ritter's " Students' 
 History of Music," Dickinson's "Music 
 in the History of the Western Church," 
 and Upton's " Standard Oratorios." 
 
 Orchestra. That portion of a theatre or 
 concert-room where the musicians play ; 
 the term is also applied to the perform- 
 ers themselves, collectively. 
 
 The or- 
 chestra. 
 The or- 
 
 Orchester (Ger.) {ox-khesA.e.x.) 
 
 Orchestra (It.) (or-/fflj-tra.) 
 
 Orchestre (Fr.) (or-/^eJtr.) 
 
 chestras of Bach or Handel were small 
 compared with the modern Grand 
 Orchestra. The first composers who 
 had some semblance of the modern or- 
 chestra in their works, were Haydn and 
 Mozart. Beethoven was, however, the 
 true founder of the orchestra. The 
 different parts of the orchestra can be 
 classified as follows : The string band, 
 or the Strings — first violins (so- 
 prano), second violins (alto), violas 
 (tenor), and 'cellos and contra-basses 
 (bass). The harp, which has become 
 a member of most modern orchestras, 
 is not to be classed with the strings, but 
 stands by itself. The wooden wind- 
 instruments, or the wood-wind, — 
 flutes, oboes, clarinets, and bassoons, 
 being respectively soprano, alto, tenor, 
 and bass, of the quartette (for four- 
 part writing is the foundation of almost 
 all orchestral work), and an English 
 horn, a piccolo, a contra-bassoon, and 
 a bass-clarinet, are admitted to the 
 ranks of this division. In the brass 
 * band we find the French horns, trum- 
 pets (generally replaced in American 
 orchestras by cornets — a poor substi- 
 tution), tubas, and trombones. The 
 percussion is counted with the brasses, 
 and consists of kettledrums, and occa- 
 
 from the oratory of 
 a as in a/5 ; a as" in hate ; a as in at; e as in tree ; 5 as vcieh; 1 as mpine ; i as in/2«j 
 
 190 
 
ORCHESTRATION 
 
 ORGAN 
 
 sionally bass drum, side-drum, cymbals, 
 triangle, gong, and other less important 
 instruments. In the large modern 
 works, by Wagner, the orchestra has 
 numbered 1 16 men ; and other compo- 
 sers, such as Richard Strauss, who may 
 be called the chief orchestral colorist 
 of the present, use instruments not 
 numerated, in the above list. Con- 
 sult Prout's "The Orchestra," or A. 
 Elson's " Orchestral Instruments and 
 their Use." 
 
 Orchestration. The performance of an 
 orchestra; the arranging of music for 
 an orchestra ; scoring ; instrumenta- 
 tion. 
 
 Orchestrer (Fr.) (pr-]ces-trd.) To score. 
 
 Oichestrina (or-kes-^r^-na.) ) An instru- 
 
 Orchestrion. (6r-,J/j-tri-6n.) ) ""ent com- 
 bining the power and variety of a full 
 orchestra. 
 
 Organ. The largest and most harmo- 
 nious of wind-instruments of music, of 
 very ancient origin, used in churches 
 and large concert halls. It contains 
 numerous pipes of various kinds and 
 diinensions and of multifarious tones 
 and powers; in solemnity, grandeur, 
 and rich volume of tone it stands pre- 
 eminent over every other instrument. 
 The pipes are made to sound by means 
 of compressed air provided by bellows ; 
 it contains several sets (ranks), several 
 or many pipes to each key on a sound- 
 
 board above the wind-chest, whither 
 the air is conveyed from the bellows 
 through a wind-trunk. Two obstacles 
 have to be removed before the air in 
 the wind-chest can reach the pipes. 
 Pallets closing grooves have to be 
 pulled down, and slides below the 
 mouths of the pipes have to be shifted. 
 Each key is, by a complex mechanism 
 {sticker, roller, tracker, etc.), in com- 
 munication with a pallet. As soon as 
 a key is pressed down the correspond- 
 ing pallet gives the air access to a 
 groove, above which are placed all the 
 pipes belonging to the key. Still, no 
 sound is produced, as the air is inter- 
 cepted by the slides, each of which 
 runs below the mouths of a whole rank 
 of pipes (a complete rank of pipes be- 
 ing equal in number to the keys of the 
 keyboard). Now, by pulling out a 
 stop, one of the slides — which are flat 
 boards with holes in them — is shifted 
 in such a way as to bring the holes just 
 below the mouths of the pipes. On 
 drawing out one stop we can, by play- 
 ing on the keyboard, make one of the 
 ranks of pi{)es speak ; on drawing out 
 two stops, two ranks of pipes ; and so 
 on. The organ may vary greatly in 
 size. A small organ may have but a 
 single manual, while a very large one 
 may have four or even five manuals, in 
 addition to the pedals. These man- 
 uals are thus named : 
 
 ENGLISH 
 
 Gt. org. manual 
 Choir manual 
 Swell manual 
 Solo manual 
 Echo manual 
 
 GERMAN 
 
 FRENCH 
 
 Hauptwerk (Man. I.) Grand orgue (ir clavier) 
 
 Unterwerk (Man. II.) Posiiif (2e clavier) 
 
 Schwellwerk (Man. III.) Clav. de recit (3= clavier) 
 
 Soloklavier (Man. IV.) Clav. des bombardes (46 clav.) 
 
 Echoklavier (Man. V.) Clav. d'echo (56 clavier) 
 
 ITALIAN 
 
 Principales 
 Organo di coro. 
 Organo d^espressione 
 Organo d'assolo 
 Organo d'eco 
 
 There are numerous stops on the man- 
 uals, as, for example — open diapason, 
 double-diapason, stopped diapason, 
 principal, fifteenth, flute, dulciana, 
 gamba, bassoon. Mixture, sesquialtera, 
 and some others are stops consisting of 
 several ranks of pipes, sounding the 
 fifth, third, etc., of the fundamental note 
 
 in a higher octave, these last being in- 
 tended to add the harmonics which are 
 deficient in some of the pipes, especially 
 
 in the stopped diapasons (see Harmon- 
 ies and Acotistics). The pipes can be 
 either of wood or metal. There are 
 two distinct kinds of pipes : flue-pipes 
 
 or reed-pipes. In flue-pipes the air is 
 set in vibration by striking a. sharp 
 edge, in reed-pipes by a free reed of 
 metal. See Zahm's " Sound and 
 Music " for a full explanation of vibra- 
 tion of air in pipes. There are also 
 stopped pipes and open pipes, the 
 stopped ones sounding an octave lower 
 than open ones of the same length, and 
 having a much hollower tone. We use 
 the term 8-foot, 4-foot, 16-foot, etc., in 
 connection with organ-stops. 8-foot 
 pipes give the pitch that we would get 
 from a piano key ; 4-foot, an octave 
 higher, 2-foot, two octaves higher, 16- 
 
 5 as intone ; 6 as in dove ; 8 as in not; fi as in «/; ii the French sound of a, 
 
 191 
 
ORGAN, BARREL 
 
 ORGANUM 
 
 foot an octave lower, etc. Thus, if we 
 play the following note on different 
 stops it would sound the following dif- 
 ferent pitches : 
 
 $ 
 
 8£t. 
 
 4ft, 2ft. 
 
 i6£t. 
 
 The pedals have also various stops and 
 present a keyboard for the feet. By 
 couplers the different manuals and the 
 pedals can be combined with one an- 
 other. Consult Gates' " Pipe and 
 Strings," Hopkins and Rimbault's "The 
 Organ," Wm. H. Clarke's "An Outline 
 of the Structure of the Pipe-organ." 
 See also Stops and Pipes. 
 
 Organ, barrel. A hand-organ. 
 
 Organ-bellows. A machine for supply- 
 ing the pipes of an organ with wind. 
 
 Organ-blower. One who works the bel- 
 lows of an organ. 
 
 Organ-buffet. A very small organ. 
 
 Organ, cabinet. An improvement on 
 the reed-organ, designed "for the parlor 
 and for small churches. 
 
 Organ, choir. In an organ with three 
 rows of keys, the first or lower row 
 used to accompany the choir, solos, 
 duets, etc. 
 
 Organe (Fr.) (ox-gan.) An organ. 
 
 Organ, full. An organ performance with 
 all the registers or stops in use. 
 
 Organ, great. In an organ with three rows 
 of keys, usually the middle row so- 
 called, because it contains the great- 
 est number of stops, and the most im- 
 portant ones, and the pipes are voiced 
 louder than those in the swell, or choir 
 organ. 
 
 Organ, hand. A common wind-instru- 
 mentcarried about the street, consisting 
 of a cylinder, turned by hand, the revo- 
 lution of which causing the machinery 
 to act upon the keys, produces a 
 number of well-known airs and tunes. 
 
 Organ-harmonium. A reed-instrument, 
 
 the reeds of which are voiced to imitate 
 
 organ-stops. 
 
 Organical. Relating to the organ. 
 
 Organique (Fr ) (6r-gan-^/f.) Relating to 
 the organ 
 
 a as in 0/5 ; a as in hate ; S as in at ; e as in tree ; § as in eh ;\as Sxipine ; I as in/2'«; 
 
 192 
 
 Organist. A player on the organ. 
 Organista (It.).(6r-gan-«j-ta.) i An or- 
 Organista (Spa.) (or-gan-^jta.) ) ganist. 
 Organo pi^no (It.) (6r-^a-no pe-<siy-n6.) ) 
 Organo pl^no (Lat.) (6r-^o-n6//^-no.) ) 
 The full organ with all the stops drawn. 
 
 Organ-point. A long pedal note, or sta- 
 tionary bass, upon which is formed a 
 series of chords, or harmonic progres- 
 sions. 
 
 Organ-reed. An organ of small size, the 
 keys of which open valves that allow 
 the wind from the bellows to act upon 
 reeds. 
 
 Organ-stop. A collection of pipes of 
 like tone and quality, passing through 
 the whole or a part of the compass of 
 an organ ; a register. 
 
 Organ, swell. In an organ with three 
 rows of keys, usually the upper row, 
 controlling one or more sets of pipes 
 enclosed by a set of sliding shutters, 
 the opening or closing of which by the 
 swell pedal increases or diminishes the 
 tone by degrees, at the pleasure of the 
 performer. 
 
 Organum. A word used in various senses 
 by the ancient composers. Sometimes 
 it meant the organ itself; at other 
 times it meant that kind of choral 
 accompaniment which comprehended 
 the whole harmony then known, a 
 constant succession of fourths and 
 fifths. It probably existed even in the 
 sixth or seventh century, but it was 
 first arranged as a system by Hucbald, 
 a monk of St. Amands, about A.D. 
 900. Examples : 
 
 Sit glo ri - a Do-mi-ni in sx-cu-la, etc. 
 
 There were also examples of Organum 
 in which the lowest voice gave a drone- 
 bass. 
 
ORGEL 
 
 OVERTURE 
 
 Orgel (Ger.) (or-ghe\.) An organ. 
 
 Orgel-balge (Ger.) (Sr-ghB-idi-ghe.) Or- 
 gan-bellows. 
 
 Orgel-bank (Ger.) (ffr-ghel-bank.) Or- 
 ganist's seat. 
 
 Orgel-kunst (Ger.) {or-ghel-ioomi.) The 
 art of organ-playing ; art of construct- 
 ing an organ. 
 
 Orgel-musik (Ger.) (5r-gh'l moo-zik.) 
 Organ-music. 
 
 Orgeln (Ger.) (or-geln.) To play on the 
 organ. 
 
 Orgel-pfeife (Ger.) (o?--gel-//r-fe.) Or- 
 gan-pipe. 
 
 Orgel-platz (Ger.) (o>--ghel-//aVj.) Organ- 
 loft. 
 
 Orgel-punkt (Ger.) (pr-^\-poonkt.') Or- 
 gan-point. 
 
 Orgel-schule (Ger.) {dr-^\-shoo\^^ 
 School, or method for the organ. 
 
 Orgue de salon (Fr.) (org diih sa-16nh.) i 
 
 Orgue ezpressif (Fr.) (6rg-egz-pra-sef.) J 
 The harmonium. 
 
 Oigue hydraulique (Fr.) (Brg M-di 6-lek.) 
 Hydraulic-organ; water-brgan. 
 
 Orgue plein (Fr.) (org planh.) Full organ ; 
 all the stops drawn. 
 
 Ornamental counterpoint. A kind of 
 counterpoint admitting the use and 
 mixture of every kind of note. 
 
 Ornamental notes. Appoggiaturas, grace- 
 notes ; all notes not forming an essen- 
 tial part of the harmony, but introduced 
 as embellishments. See Trill, Turn, 
 Grace-notes, Appoggiatdra, Acciacca- 
 tiira. 
 
 Ornam^nti (It. pi.) (or-na-/«^«-te.) Or- 
 naments, graces, embellishments, as 
 the appoggiatiira, turn, trill, etc. 
 
 Ornatam^nte (It.) (or-na-ta-wifw-te.) 
 
 OrndtO (It.) (or-»o-to.) 
 
 Ornamented, adorned, embellished. 
 
 Orph^on (Fr.) (tf>--fay-on.) In France, 
 a singing-society composed of men. 
 Orphioniste,- a. member of such a 
 society. 
 
 Osinna (It.) (o-zan-na.) Hosanna. 
 
 Osannare (It.) (o-zan-«a-re.) To sing 
 hosannas. 
 
 Oscillation. The vibration of tones in 
 organ-tuning, etc. 
 
 Oscuro (It.) (os-iaa-ro.) Obscure. 
 
 6 as in tone; 6 as in dove; Q as in not, 
 
 Osservdnza (It.) (os-sei-van-tsa.) Ob- 
 servation ; attention ; strictness in 
 
 keeping time. 
 Ossia (It.) (os-se-a.) Or ; otherwise ; or 
 
 else. Indicating another way of play- 
 ing a passage. 
 Ossia piu f&cile (It.) (os-se-a pe-oo/a- 
 
 tshe-le.) Or else in this more easy 
 
 manner. 
 Ostinato (It.) (os-tee-«a^-to.) Obstinate, 
 
 continuous, unceasing; adhering to 
 
 some peculiar melodial figure, or group 
 
 of notes. 
 Otez les anches (Fr.) (o-ta le sanhsh.) 
 
 Remove, or push in the reeds. 
 Otium (Lat.) (o-shi-um.) Adagio ; slowly ; 
 
 with grace and ease. 
 Ottiva (It.) (ot-td-v'i.) An octave; an 
 
 eighth. 
 Ottdva Alta (It.) (ot-^a-va al-ta.) The 
 
 octave above, an octave higher ; marked 
 
 thus, 8va. 
 Ottdva bdssa (It.) (6t-/ii-va bas-sa.) The 
 
 octave below, marked thus, 8va bassa. 
 Ottava supra (It.) (ot-ta-va soo-pra.) The 
 
 octave above. 
 Ottavina (It.) (ot-ta-z'^-na.) The higher 
 
 octave. 
 Ottavino (It.) (6t-ta-w^-no.) The flduto 
 
 piccolo, or small octave flute. 
 Ottemole. A group of eight notes, marked 
 
 with the figure 8. 
 Ott^ttO (It.) (ot-fe/-t6.) A composition 
 
 in eight parts, or for eight voices or 
 
 instruments. 
 Ou (Fr.) (oo.) Or. 
 Outer voices. The highest and lowest 
 
 voices. 
 
 Ouvert (Fr.) {oo-vdr^ Open. 
 Ouverture (Fr.) (oo-var-tUr.) ^ ^^ ■^^^^^_ 
 Overtiira (It.) (o-ver-^(>ff-ra.) I ductory 
 Overture (Ger.) (5-fer-too-re.) fpart to an 
 Overture (Eng.) (o-ver-tshur.) J oratorio, 
 opera, etc. ; also an independent piece 
 for a full band or orchestra, in which 
 case it is called a concert overture. 
 Lulu first gave shape to the overture 
 in the seventeenth century. The over- 
 tures of Bach and Handel follow his 
 style. These had a short and simple 
 slow movement and then a quicker and 
 longer fugal or contrapuntal one. 
 Mozart founded the classical overture 
 
 ,• ii as in up; ii the French sound of u. 
 
 93 
 
PARTIE 
 
 in the sonata-allegro form (which see). 
 Mendelssohn was the chief founder of 
 the concert overture, while Beethoven 
 established the freer dramatic style. 
 The medley overture, which began in 
 England, is a succession of tunes from 
 an opera, placed in contrast. Most 
 light operas, and many of the operas 
 of Rossini have the medley form. 
 See also Prelude, Vor spiel. 
 
 P. Abbr. of Pedal (P. or Fed.); piano 
 
 (/) > PP-i pianissimo ; ppp, pianississi- 
 
 mo ; Verdi and Tschaikowsky have 
 
 employed ppppp several times. P. 
 
 F., pianoforte ; piii forte (louder) ; 
 
 poco forte (rather loud) ; fp, fortepiano 
 
 (i.e. loud, instantly diminishing to 
 
 soft) ; mp, mezzo-piano (half -soft) ; and 
 
 in Fr. organ-music, /"stands for Posiiif 
 
 (choir-organ). 
 Padiglione (It.) (pa-dil-j/^-neh.) Bell of 
 
 horn, etc. 
 
 Pacatam^nte (It.) (pa-ka-ta-w^w-te.) 
 Placidly, quietly, calmly. 
 
 Paean, i Among the ancients a song of 
 Pean. j rejoicing in honor of Apollo ; a 
 
 loud and joyous song; a song of 
 
 triumph. 
 Pagina (It.) (/a-je-na.) A page or folio ; 
 
 Pagina d' Album,. See Album-leaf. 
 Palco (It.) (pal-ko.) The stage of a 
 
 theatre. 
 Pallet. A spring-valve in- the wind-chest 
 
 of an organ covering a channel leading 
 
 to a pipe, or pipes. 
 
 Pan. One of the deities in Grecian 
 mythology, so-called because he exhila- 
 rated the minds of all the gods with 
 the music of his pipe which he invented, 
 and with the cithern, which he played 
 skilfully as soon as he was born. 
 
 Pandean. An epithet formed from the 
 name of Pan, and applied to any 
 music adapted to the Fistula Panis, 
 or pipes of Pan. 
 
 Pandean pipes. > One of the most an- 
 Pan's pipes. ) cient and simple of 
 
 musical instruments ; it was made of 
 
 reeds or tubes of different lengths 
 
 fastened together and tuned to each 
 
 other, stopped at the bottom and blown 
 
 into by the mouth at the top. 
 
 a as in a/5 J- a as in hate ; a as in at ; e as in tree ; e as in ^,4 ; i as in pine ; i as in pin, 
 
 194 
 
 Pantalonnade (Fr.) (panh-ta-16nh-«o<f.) 
 A pantaloon dance ; a merry dance of 
 buffoons. 
 
 Pantomima (It.) (/a«-t5-me-ma.) Pan- 
 tomime. 
 
 Pantomime. An entertainment in which 
 not a word is spoken or sung, but the 
 sentiments are expressed by mimicry 
 and gesticulation accompanied by 
 instrumental music. 
 
 Parallel intervals. In intervals passing 
 in two parallel parts in the same direc- 
 tion ; consecutive intervals. 
 
 Parallel motion. When the parts con- 
 tinue on the same degree, and only, 
 repeat the same sounds ; also, two 
 parts continuing their course and still 
 remaining at exactly the same distance 
 from each other. 
 
 Paraphrase. A transcription or re- 
 arrangement of a vocal or ' instrumen- 
 tal composition, for some other 
 instrument or instruments, with more 
 or less brilliant variations. 
 
 Parfait (Fr.) {I>ahr-i7>.y.) Perfect (as to 
 intervals), complete (as to cadences), 
 pure (as to intonation). 
 
 Parlando (It.) (par-/o«-do.) 1 Accented; 
 
 Parldnte (It.) (par-/a»-te.) ) in a de- 
 clamatory style ; in a recitative, or 
 speaking style. 
 
 Parlor-organ. A small organ suited to a 
 private dwelling. 
 
 Parodla (It.) (pa-roV^-a.) A parody; 
 music, or words comically altered, and 
 adapted to some new purpose. 
 
 Parodiare (It.) (pa-ro-de-o-re.) To par- 
 ody ; to burlesque. 
 
 Paroles (Fr.) (pah-?-^;//.) The words. 
 
 Part. The music for each separate voice 
 
 or instrument. 
 Part, complementary. That part of a 
 
 fugue additional to the subject and 
 
 counter-subject. 
 
 Pdrte (It.) (par-te.) A part, or portion 
 of a composition ; a part or r61e in an 
 opera. 
 
 PArte cant4nte (It.) (par-te kan-tan-te.) 
 The singing, or vocal part ; the princi- 
 pal vocal part, having the melody. 
 
 Parte clarino (It.) (kla-?-^<f-n5.) The 
 highest, or first trumpet part. 
 
 Partie (Fr.) (par-^f.) See Pdrte. 
 
PARTIAL TURN 
 
 passionAto 
 
 Partial turn. A turn con- 
 sisting of the chief note 
 and three small notes, 
 the leading note of which may be 
 either a large or small second above 
 the principal. 
 
 Participating tones. Accessory tones. 
 
 Parti d'accompagnamento (It.) (par- 
 te d'ak-k6m-pan-ya-/»^«-t5.) Accom- 
 panying voices. 
 
 Parti di ripieno (It.) (par-te de re-pe-^y- 
 no.) Parts not obbligato ; supplemen- 
 tary parts. 
 
 Partie du violon (Fr.) (par-te dii ve-o- 
 lonh.) A violin part. 
 
 Parties de remplissage (Fr.) (par-te 
 duh ranh-ple-sazh.) Parts which fill up 
 the middle harmony between the bass 
 and upper part. 
 
 Partimteti (It. pi.) (par-te-«*K-te.) 
 Exercises for the study of harmony 
 and accompaniment. 
 
 PartimSnto (It.) (piLr-te-men-to.) An 
 exercise, figured bass. See PartimetUi. 
 
 Partita (It.) (par-<«-ta.) The earliest 
 form of the instrumental suite. The 
 partita had often fewer movements 
 than the suite and was treated in a 
 freer manner. 
 
 Partition (Fr.) (par-te-si-onh.) 
 
 Partitur (Ger.) (par-ti-^oor.) 
 
 Partitiira (It.) (par-te-^«o-ra.) 
 
 Partizi6ne (It.) (par-te-tse-J-ne.) 
 or entire draft of a composition 
 
 A 
 
 score; 
 a. full 
 score, 
 
 for 
 
 voices, or instruTients, or both. 
 
 Partito (It.") (par-^^-to.) Scored, divided 
 into parts. 
 
 Partitur-spiel (Ger.) (par-te-toor-spel.) 
 Playing from the score. 
 
 Part-songs. Songs for voices in parts, 
 an unaccompanied choral composition 
 for at least three parts ; a melody 
 harmonized by other parts more or 
 less freely, but from which counter- 
 point is for the most part excluded. 
 The part-song owes its origin to the 
 habit prevalent among the Germans of 
 adding simple harmonies to their folk- 
 songs. The part-song is always sim- 
 pler in construction than the glee, and 
 is intended for chorus. 
 
 Pas 'Fr.) {pah.) A step, or a dance in a 
 ballet. Pas de deux, a. dance per- 
 formed by two dancers. Pas seul, a 
 
 as in tont ! 6 as in dove ; 8 as in not; 
 
 I 
 
 A 
 species 
 
 solo dance. Also, not ; aspas trop lent, 
 
 not loo slow. 
 Pas redouble (Fr.) (pa re-doo-bla.) A 
 
 quick-step; an increased, redoubled 
 
 step. 
 Passacdglia (It.) (pas-sa-/^a/- 
 
 ye-a.) 
 
 Passacaille (Fr.) (pas-sa-kal.) 
 
 of chaconne, a slow dance with divisions 
 on a ground-bass in triple rhythm. 
 Rather bombastic in character. It 
 very closely resembles the chaconne, 
 but is more generally minor than the 
 latter. The word is generally derived 
 from Pasar Calle (Spa.), going along 
 the streets, but its inflated character 
 and slow tempo lead us to imagine 
 that the Passacaglia came from Passo 
 Callo — the rooster-step I Brahms has 
 used the Passacaglia as finale in his 
 fourth symphony. 
 
 Passage. Any phrase, or short portion 
 of an air, or other composition. Every 
 member of a strain, or movement, is a 
 passage. 
 
 Passages, pedal. Those parts of a com- 
 position in which the pedals are used. 
 
 Passdggio (It.) (pas-sad-je-o.) A passage, 
 or series of notes. 
 
 Passam^zzo (It.) fpas-^a-JM^^-so.) An 
 old slow^ dance. Utile differing from the 
 Pavane, but somewhat more rapid. 
 Generally in f rhythm. 
 
 Passepied (Fr.) (pass-pi-<y/.) A sort of 
 jig; a lively old French dance in \, |, 
 or I time ; a kind of quick minuet, with 
 three or more strains, or reprises. A 
 Paspy. 
 
 Pas seul (Fr.) (pa sul.) A dance by one 
 performer. 
 
 Passing modulation, 
 lation. 
 
 A transient modu- 
 
 Passlng-notes. Notes which do not 
 belong to the harmony, but which 
 serve to connect those which are essen- 
 tial, and carry the ear more smoothly 
 from one harmony to another. 
 
 Passiondta (It.) (pas-se-o-«a-ta ) 
 Passionatam^nte (It.) (pas-se-6-na-ta- 
 
 men te.) 
 Passiondte (It.) (pas-se-o-«a-te.) 
 Passionito (It.) (pas-se-o-wato ) 
 
 Passionate ; impassioned ; with fervor 
 
 and pathos. 
 
 fi as in up; ii the French sound of «. 
 9S 
 
passi6ne 
 
 PAUSE, GENERAL 
 
 Passidne (It.) (pas-se-«^ne.) Passion, 
 feeling. 
 
 Passi6ne (It.) (pas-se-«-ne.) The Pas- 
 sion, or seven last words of the Saviour 
 on the cross, set to solemn and devo- 
 tional music. 
 
 Passiones (Lat.) (pas-si-o-nes.) Passion 
 music. 
 
 Passion music. ^ Music picturing 
 
 Fassions-musik (Ger.) V the sufferings 
 (pas-si-onsmoo-zik.) ) of the Saviour, 
 and his death. Although originally 
 used in the Catholic Church, the sub- 
 ject became a favorite one with the 
 Protestant German composers. Bach 
 set the subject several times, and his 
 " Passion Music, according to St. 
 Matthew," is one of the great master- 
 pieces of music. 
 
 Passo (It.) A step. See I'as. 
 Pasticcio (It.) (pas-ftV-tshe-o.) ) A med- 
 Pastiche (Fr.) (pas-iisA.) ) ley; an 
 
 opera made up of songs, etc., by various 
 composers; the poetry being written to 
 the music, instead of the music to the 
 poetry. 
 
 Pastoral. A musical drama, the person- 
 ages and scenery of which are chiefly 
 rural. K pastoral is also any lyrical 
 production, the subject of which is 
 taken from rural life ; and the Italians 
 give the same name to an instrumental 
 composition written in the pastoral 
 style. 
 
 PastorAle (It.) (pas-to ra-le.) ) Pastoral ; 
 
 Pastorelle (Fr.) (pas-to-r//.) ) rural ; 
 belonging to a shepherd ; a soft move- 
 ment in a pastoral and rural style. 
 
 Pastorello (It.) (pas-tS-rflf-lo.) A pas- 
 toral. 
 
 Pastourelle (Fr.) (pas-too-r///.) One of 
 the movements of a quadrille. 
 
 Pat^tica (It.) (pa-^a-te-ka.) Pathetic. 
 
 Pateticam^nte (It.) (pa-ta-te-ka-wz^K-te.) 
 Pathetically. 
 
 Pat^tico (It.) (p"a-/^-te-ko.) ^ 
 Path^tique (Fr.) (pa-te-teek.) > Pathetic. 
 Pathetish (Ger.) (pa-jf^-ish.) ) 
 
 Pathetic. Applied to music when it 
 excites emotions of sorrow, pity, sym- 
 pathy, etc. 
 
 Pathetica (Lat.) (pa-//5/^i-ka.) Pathetic. 
 
 a as in uh ; a as in hate ; a as in at 
 
 1 
 
 Y 
 
 e as in tree 
 196 
 
 Patim^nto (pa-te-»2^«-to.) Affliction, 
 grief, suffering. 
 
 Patriotic. Songs having for their theme 
 love of country. 
 
 Pauke (Ger.) (/oa-ke.) A kettledrum. 
 
 Pauken (Ger. pi.) (/oa-k'n.) Kettle- 
 drums ; also, to thump. 
 
 Pauken-fell (Ger.) (/»«-k'n-fell.) The 
 leather, or skin of the kettledrum. 
 
 Pauken-klang (Ger.) {pou-Vn-klang^ 
 The clang of kettledrums. 
 
 Pauken-kldpfel (Ger.) {fou k'n-A/op 
 fel.) 
 
 Pauken-schlagel (Ger.) (pou-k'n- 
 s/iid}i-g'\.) 
 
 Pauken-stock (Ger.) (pou-k'n-stffA.) 
 Kettledrum-stick. 
 
 Pauken-schlager {Ger.) (jouk'n-sAldy- 
 
 ger-) 
 Pauker (Ger.) (pou-ker.) 
 
 Kettle drummer. 
 
 Faulatinam^nte (It.) {pou-la-te-na-men- 
 te.) Gently, slowly. 
 
 Pausa (It.) (pou-za.) \ 
 
 Pausa (Spa.) (pou-za.) } A pause. 
 
 Pausa (Lat.) (paw-za.) ) 
 
 Pdusa generdle (It.) (pou-za ja-ne-r<i- ) 
 le.) [ 
 
 Pause g6n^rale (Fr.) (poz zha-nara-le.) ) 
 A pause, or rest for a// the performers. 
 
 Pause (Fr.) (poz.) A semibreve rest ; 
 also a whole bar's rest in any species of 
 time. 
 
 Pause (Ger.) (pou-ze.) A rest. 
 
 Pause (Eng.) A character (/tv) which 
 lengthens the duration of a note or 
 rest over which it is placed, beyond its 
 natural value, or at the pleasure of the 
 performer. When placed over a double 
 bar, it shows the termination of the 
 movement or piece. See Hold, Fer- 
 maia. 
 
 Pause, demi (Fr.) (poz de-me.) A half- 
 rest. 
 
 Fausen (Ger.) (pou-z'n.) ^ -po 
 
 Pauser (Fr.) (po-za.) > pause ; 
 
 Pausiren (Ger.) (pou-z^-ren.) ) to rest ; 
 to keep silence. 
 
 Pause, general. A general cessation or 
 silence of all the parts. 
 
 e as in ^.4 ; i as in pine ; i as in pm ; 
 
PAVAN 
 
 PEDAL 
 
 Pavan (Eng.) ^ a grave, 
 
 Pavdna (It.) (pa-wa-na.) > stately dance, 
 
 Pavane (Fr.) (pa-z/aK/4.) ) which took its 
 name from /awowo, a peacock. It was 
 danced by princes in their mantles and 
 ladies in gowns with long trains, whose 
 motions resembled those of a pea- 
 cock's tail. It is in quadruple rhythm, 
 and is among the even rhythms 
 what the Saraband is among the 
 triple. 
 
 Paventdto (It.) (pa-ven-?a-to.) ) Fear- 
 
 Pavent6so (It.) (pa-ven-/J-zo.) ) ful ; 
 timorous ; with anxiety and embarrass- 
 ment. 
 
 Pavilion (Fr.) (pa-ve-yonh.) The bell 
 of a horn or other wind-instrument. 
 
 Pavilion chinois (Fr.) (/a-ve-yonh sAe- 
 nwa.) An instrument with numerous 
 little bells, which impart brilliancy to 
 lively pieces, and pompous military 
 marches. 
 
 Peal. A set of bells tuned to each other ; 
 the changes rung upon a set of bells. 
 
 Pean. A paean ; a song of praise. 
 
 Peanna (It.) (pe-<i'-na.) A psean ; a hymn, 
 or song of praise. 
 
 Ped. An abbreviation of pedal. 
 
 Pedal. This word is used in many differ- 
 ent ways in music, but always has 
 reference to some mechanism moved 
 by the foot. The most general usage 
 of the word applies to theptano pedals. 
 The object of the right-hand piano- 
 pedal is to raise the dampers from the 
 wires, so that the sound may be pro- 
 longed after the finger of the player has 
 left the key. This device existed upon 
 the old harpsichords in the shape of a 
 knee-stop. John Broadwood, in Lon- 
 don, first introduced the pedal on his 
 pianos in 1783. The marking of this 
 pedal is generally Ped. for its applica- 
 tion and *-or ^ for its discontinuance. 
 Con pedale, or con ped., indicates the 
 employment of the damper -pedal, with- 
 out explicit directions as to when to 
 apply and to release it. The German 
 terms senza sordine (without dam- 
 pers), also means to employ the damper- 
 pedal, and con sordine to cease using it. 
 Another system which has found vogue 
 in America is the following mark U -| 
 indicating exactly when to put down 
 and when to release the damper pedal. 
 
 as in tone ; 6 as in dove 
 
 As it is the bass notes which are gener- 
 ally sustained in piano-playing, it was 
 desirable to have a damper-pedal whicii 
 should sustain the lower tones without 
 blurring the upper ones. This has been 
 introduced in the bass damper-pedal 
 (often the centre pfedal when there are 
 three upon the piano) which lifts the 
 dampers from the lowest strings only. 
 A still greater improvement has been 
 made in the sostenuto pedal, which, on 
 being pressed down, raises only those 
 dampers which belong to the notes 
 which are being held down by the 
 player at the time of its application. 
 By this means we can sustain any note, 
 or notes, at will. The damper-pedal 
 has no effect upon the highest notes of 
 the piano since these are not provided 
 with dampers. This is done that the 
 high tones may furnish overtones (see 
 Acoustics and Harmonics) when the 
 lower tones are sounded. The pedal 
 at the left hand is called the soft pedal. 
 It is to decrease the tone of the strings. 
 The majority of the notes on a modern 
 piano have three strings to each key or 
 tone. On the grand piano, and on 
 some uprights, the soft pedal pushes 
 the entire action, keys, hammers, etc., 
 to one side, so that the hammer, when 
 the soft pedal is depressed, strikes but 
 one of these three wires. Therefore, the 
 soft pedal is marked una corda (one 
 string), and the sign for releasing it is 
 tre corde (three strings). (See also a 
 due corde.) The Germans also use 
 the words m-it Verschiebung (push- 
 ing aside) for the soft pedal, and ohne 
 Verschiebung for its release. The 
 soft-pedal mechanism on the majority 
 of upright pianos simply brings the 
 hammer nearer the wire, so that it can- 
 not deliver as strong a blow. On the 
 old square pianos the soft pedal placed 
 a piece of felt between the hammer and 
 the wire, thus muting the sound, but 
 also altering its quality. This device 
 is still applied to some pianos as a 
 practice-pedal, so that the pianist need 
 not disturb the neighborhood with her 
 exercises. Sometimes this practice- 
 pedal is set permanently by a stop, 
 which is drawn out when it is desired 
 to mute the instrument, and pushed 
 back when the normal tone is desired. 
 On the organ the pedals are a set of 
 keys played with the feet, and present- 
 
 8 as in tiot ; u as in up; ii the French sound of a. 
 
 197 
 
PEDAL, DAMPER 
 
 percussi6ne 
 
 ing different tone-qualities according to 
 the stops used, exactly as with the man- 
 uals. Sometimes these pedals are built in 
 a fan-like radiation from the player, for 
 greater convenience. Pianos are some- 
 times built with a pedal-keyboard to 
 assist organists in practising their feet 
 without the necessity of going to the 
 organ. There are also mechanical 
 pedals upon the organ, such as the 
 swell pedal, which auLomatically opens 
 the blinds which surround the swell 
 organ and thus increases the volume 
 of its tone There are also pedals 
 which draw all the stops, pedals which 
 act as couplers, etc. The piano damper- 
 pedal is often miscalled the loud pedal, 
 but it should be used for its sustaining 
 effect and not for loudness. Pianos are 
 generally provided with three pedals, 
 the right-hand one being the damper- 
 pedal ; the middle one the bass damper- 
 pedal, or the sostenuto pedal (some- 
 times also the praciice-pedaV), and the 
 left-hand pedal always the soft pedal. 
 There is generally no distinguishing 
 sign for the bass damper or the soste- 
 nuto, the sign of the damper-pedalheing 
 used for all three. The soft pedal is 
 sometimes called harp pedal, and in 
 France, petite pedale. 
 
 Pedal, damper. See Pedal. 
 
 Pedal-claves (Ger.) (ped-a/-/5/a-fes.) J 
 
 Pedal-claviatur (Ger.) {-pei-dl-kld- \ 
 vi-a.-toor.) ) 
 
 The pedal keyboard, in an organ. 
 
 Peddle (It.) {j>e-dd-]e.) A pedal bass, or a 
 stationary bass. See Pedal point. 
 
 Pedale (Ger. pi.) (pe-(/o-le.) The pedals 
 are that set of keys in an organ which 
 are played by the feet ; in organ-music, 
 it means that the notes or passage 
 must be played by the feet . 
 
 Pedale doppelt (Ger.) (pe-(/a-le dop- ") 
 pelt.) ^ I 
 
 Peddle d6ppio (It.) (pa-oW-le dop-pe-o.) ' 
 Double pedals, in organ-playing ; play- 
 ing the pedals with both feet at once. 
 
 Pjdale d'organo (It.) (pa.-dd-\e d'or-ga.- 
 no.) The pedals in an organ. 
 
 P^dales (Fr. pi.) (pi-ddl.) The pedals. 
 
 P^dales de combinaison (Fr.) Combina- 
 tion pedals. 
 
 Pedal extension. The loud pedal of a 
 
 pianoforte ; that by which the sound is 
 
 increased and extended. 
 Pedal-harfe (Ger.) (ped-<i7-/i<i>-fe.) I A 
 Pedal-harp (Eng.) (/«V-al-harp.) ) harp 
 
 with pedals, to produce the semi-tones. 
 
 See Harp. 
 Peddli (It. pi.) (pe-aTa-le.) The pedals. 
 Pedali^ra (It.) (pe-da-le-(f-ra.) The pedal 
 
 keys of an organ. 
 Pedal keys. That set of keys belonging 
 
 to an organ or similar instrument, which 
 
 is played by the feet. 
 Pedal note. A note held by the pedal 
 
 while the harmony formed by the other 
 
 parts proceeds independently. 
 Pedal open or loud pedal. That which 
 
 raises the dampers and allows the full 
 
 vibration of the strings to continue. 
 Pedal pianoforte. A pianoforte having 
 
 pedals suitable for organ-practice. " 
 Pedal pipes. Pipes in an organ which 
 
 sound only when the pedals are 
 
 pressed. 
 Pedal point. A sustained bass, or pedal 
 ■ note, held on or sustained for several 
 
 bars, while a variety of chords are 
 
 introduced. 
 Peg (Ger., wirbel ; Fr., cheville ; It., 
 
 bischero.) In the violin, etc., one of 
 
 the movable wooden pins set in the 
 
 head, and used to tighten or loosen the 
 
 tension of the strings; a tuning-pin. 
 Pentameter. In poetry, a verse of five 
 
 feet, the first two of which may be 
 
 either dactyls, or spondees, the third 
 
 always a spondee, and the last two 
 
 anapests. 
 
 Pentametro (It.) (pen-ta-ma-tro.) Pen- 
 tameter; verse of five feet. 
 
 Pentatonic scale. A scale of five notes, 
 sometimes called the Scotch scale, and 
 similar to the modern diatonic major 
 scales, with the fourth and seventh de- 
 grees omitted. The Chinese also use 
 this scale. See Scales. 
 
 ?^ 
 
 =1= 
 
 Per (It.) {pair.) For, by, from, in, 
 through ; per Vorgano, for the organ ; 
 per il Jlauto solo, for solo flute. 
 
 Percussion (Eng.) (per-kush-6n.) \ 
 
 Percussi6ne (It.) (par-koos-se-J-ne.) j 
 as in ah ; a as in hate ; a as in a# ; e as in tree ; e as in if/4 y i as in pine / 1 as in pin ; 
 
PERD^NDO 
 
 PETITS VIOLINS 
 
 Striking, as applied to instniments, 
 notes, or chords ; or the touch on the 
 pianoforte. A general name for all 
 instruments that are struck, as a gong, 
 drum, bell, cymbals, triangle, tam- 
 bourine, all of which are used in the 
 orchestra. 
 
 Perd^ndo (It.) (par-rfi?«-d6.) ) Grad- 
 
 Perdend6si (It.) (par-den-i/J-ze.) i ually 
 decreasing the tone and the time ; 
 dying away, becoming extinct. 
 
 Perfect. A term applied to certain inter- 
 vals and chords. ' 
 
 Perfect cadence. Dominant harmony 
 followed by that of the tonic ; a close 
 upon the key-note preceded by the 
 dominant. 
 
 Perfect close. A perfect cadence. 
 
 Perfect concords. ) These are the 
 
 Perfect consonances. S unison, the perfect 
 fourth, perfect fifth, and the octave. 
 
 Perfect fifth . An interval containing three 
 whole tones and one semi-tone. 
 
 Perfect fourth. An interval containing 
 two whole tones and one semi-tone. 
 
 Perfect octave. An interval containing 
 five whole tones and two semi-tones. 
 
 Perfect period. A complete termination 
 satisfactory and agreeable to the ear. 
 
 Perfect time. Among the ancients a 
 measure consisting of three beats in a 
 measure and designated by the circle 
 
 o 
 
 Perfect triad. A fundamental note with 
 its major third and perfect fifth. 
 
 Perfttto (It.) (pery3/-to.) Perfect, com- 
 plete. 
 
 Pergolo (It.) '(per-g5-lo.) A box in a 
 theatre ; a stage for operatic perform- 
 ance. 
 
 Perigourdine (per-i-goor-den.) A French 
 dance in | rhythm. 
 
 Period (Eng.) ^ ^ a complete 
 
 P^riode (Fr.) (pa ri-od.) V and perfect 
 
 Periode (It.) (pa-re-o-de.) ) musical sen- 
 tence, containing at least two phrases 
 and bringing the ear to a perfect con- 
 clusion or state of rest. See Form. 
 
 Periode musicale (Fr.) (pa-ri-od mii-ze- 
 kal.) A musical period. 
 
 Periodenbau (Ger.) (pe-rl-od'nbou.) Com- 
 position ; the construction of musical 
 periods. 
 
 as in tone y 6 as in dove / 8 as in not y u as in «/ / ii the French sound of u. 
 
 199 
 
 Period, imperfect. A close not satisfac- 
 tory to the ear. 
 
 Period, perfect. A termination agreeable 
 to the ear. 
 
 PerM (Fr.) (per-la.) Pearled, brUliant; 
 cadence perlie, brilliant cadence. 
 
 Per ogni tempi (It.) {parm-ye tem-pe.) 
 A term sometimes introduced in a 
 motet, signifying that it is suited to any 
 time and occasion. 
 
 Perpetual canon. A canon so constructed 
 that its termination leads to its begin- 
 ning, and hence may be perpetually 
 repeated. 
 
 Per recte et retro (Lat.) (per rek-te et rd- 
 tro.) Forward, then backward; the 
 melody or subject reversed, note for 
 note. 
 
 Personae dramatis (La.t.){per-so-ne dr&m- 
 a-tis.) The characters of an opera or 
 play. 
 
 Personaggio (It.) (per-son-aJi^-je-o.) One 
 of the characters of a play. 
 
 Pes (Lat.) (pes.) Foot, measure, species 
 of verse ; rhythm, time ; also a kind of 
 ground, or burden, the basis for the 
 harmony in old English music. 
 
 Pesiinte (It.) (pe-2a«-te.) Heavy, ponder- 
 ous ; with importance and weight, im- 
 pressively. 
 
 Pesantem^nte (It.) (pe-zan-te-»2^»-te.) 
 Heavily, forcibly, impressively. 
 
 Pestalozzian system. A system of induc- 
 tion, presenting the rudiments of study 
 in their natural progressive order. It 
 was first applied to music by a wealthy 
 Swiss gentleman by the name of 
 Pestalozzi. 
 
 Petit (Fr.) (pe-tf.) Little, small. 
 
 Petit choeur(Fr.) (pe-;;#kiir.) Little choir. 
 
 Petite flute-a-bec (Fr.) (pe7^if fliit-a-bek.) 
 A flageolet. 
 
 Petite flute (Fr.) (pe-/^?flut.) The small 
 flute; the octave or piccolo flute. 
 
 Petits morceaux (Fr.) {p^-te mor-jJ.) 
 Short pieces. 
 
 Petits pieces (Fr.) (pe-<^ p\-ds.) Little 
 pieces, short and easy compositions. 
 
 Petits riens (Fr.) {p^-te ri-anh.) Light, 
 trifling compositions. 
 
 Petits violins (Fr.) (pe-/^ ve-o-lanh.) 
 Small violins. The kit. 
 
PlfelTO 
 
 PIAGNi;VOLE 
 
 P^tto (It.) The chest, the breast ; v6ce di 
 petto, the chest voice. 
 
 Peu (Fr.) (puh.) Little, a little. 
 
 Peu a peu (Fr.) (piih a piih.) Little by 
 little, by degrees. 
 
 P^zzi (It. pi.) (/("/-si.) Fragments, scraps ; 
 select, detached pieces. 
 
 P^zzi concertanti (It. pi.) (pet-si kon- 
 tsher-/a«-te.) Concerted pieces, in 
 which each instrument has occasional 
 solos. 
 
 P^zzi di bravura (It.) (pet-si di br'a-wofl- 
 ra.) Compositions for the display of 
 dexterity or rapid execution 
 
 Pezzo (It.) (/i?/-so.) A fragment ; a de- 
 tached piece of music. 
 
 Pfeife (Ger.) (//f-fe.) Pipe, fife, flute. 
 
 Pfeifen (Ger.) {p/i-i'n.) To play on a 
 
 fife or flute. 
 Pfeifen-deckel (Ger.) { pfi-t'n-dek-e\.) 
 
 The stopper, or covering of an organ 
 
 pipe. 
 Pfeifer (Ger.) (^f-fer.) A fifer, a piper. 
 
 Phantasie (Ger.) (fan-ta-z^.) See Fan- 
 tasia. 
 
 Phantasiren (Ger.) (fan-ta-zl-r'n.) Im- 
 provising. 
 
 Phantasirte (Ger.) (fan-ta-2^?--te.) Impro- 
 vised. 
 
 Phantasy. A fantasia. 
 
 Philharmonic (Ger.) (fil-har-»/*^-ik.) 
 
 Music-loving. 
 Phone (Ger.) (fo-ne.) A sound or tone. 
 Phonetic. Vocal, representing sounds. 
 
 Phonetik (Ger.) (f6-««(-ik.) System of 
 singing, or of notation and harmony. 
 
 Phonetics. ) The doctrine or science of 
 Phonics. ) sounds, especially those 
 of the human voice. 
 
 Phonograph. An instrument invented 
 in 1877, ^y Thomas A. Edison, by 
 means of which sounds, either vocal or 
 instrumental, the tones of the speaking 
 voice, and even noises, can be recorded 
 and reproduced. The records are 
 made by a steel point working upon 
 tubes of wax. In the improved phon- 
 ograph (1895), wax was first substi- 
 tuted for tin-foil, which had been 
 employed in the earlier phonographs. 
 Still further improvements led to the 
 employment of gutta percha. There 
 
 a as in a/4 / a as in hate ; S as in at; e as in tree ; S as in ek ; i as in pine 
 
 200 
 
 are constant improvements being made 
 upon this instrument, and it seenjs 
 probable that what a generation ago 
 seemed only a plaything, is to develop 
 into a most important discovery. At 
 present, in the improved instruments 
 one can hear reproductions of orchestral 
 works, of military band pieces, of songs 
 executed by the greatest prime donne, 
 in which the timbre is wonderfully pre- 
 served, of speeches and songs in many 
 different languages, etc., etc. It is 
 probable that the phonograph will be 
 gradually perfected and its scope 
 greatly widened. To-day it achieves 
 results that would have been deemed 
 impossible ten years ago. The phono- 
 graph appears under many different 
 titles at present, the Talking Machine, 
 the Graphophone, etc. 
 Phrase. A short musical sentence ; a 
 
 musical thought or idea. 
 Phrase, extended. | Any variation of 
 Phrase, irregular, f a melody by which 
 an unequal number of measures are 
 used. The phrase in music liiay be 
 regarded as a dependent division, like 
 a single line in a poem. In simple 
 music the phrases balance each other. 
 
 Phraser (Fr.) (fra-za.) ) Dividing the 
 Phrasing. S musical sen- 
 tences into rhythmical sections. The 
 punctuation of music. 
 
 Physharmonica (Gr.) (fis-har-w2^«-i-ka.) 
 An instrument, the tone of which re- 
 sembles that of the reed-pipes in an 
 organ, and is produced by the vibration 
 of thin metal tongues, of a similar 
 construction to those of the harmonium ; 
 the name is also applied to a. stop in 
 the organ with free reeds, and with 
 tubes of half the usual length. 
 
 Piac^re (It.) (pe-a-^j/4az-re.) Pleasure, 
 inclination, fancy ; apiacire, at pleasure. 
 
 Piac^vole (It.) (pe-a-^j/5«-vo-le.) Pleasing, 
 graceful, agreeable. 
 
 PiacevoWzza (It.) (pe-'a-tshe-vo-/«/-za.) 
 Gracefulness, sweetness.' 
 
 Piacevolni^nte (It.) (pe-a-tshe-v61-»«^«- 
 te.) Gracefully, delicately. 
 
 Placim^ntO (It.) (pe-a-tshe-»;^H-15.) See 
 Piacere. 
 
 PiagnSvole (It.) (pe-an-j/if-vo-le.) Mourn- 
 ful, doleful, lamentable. 
 
 i as ill pin; 
 
PIANAM^HTE 
 
 PIANOFORTE 
 
 Pianam^nte (It.) (pe-a-na-»«^«-te.) 
 Softly, gently, quietly. 
 
 Pian^ttO (It.) {pe-a-nei-to.) Very low, 
 very soft. 
 
 Piang^ndo (It.) (pe-an-^««-d6.) Plain- 
 tively, sorrowfully. 
 
 Piang^VOle (It.) (pe-an-^^-vo-le.) Lamen- 
 table, doleful. 
 
 Piangevolm^nte (It,) (pe-an-ge-vol-»«i?«- 
 te.) Lamenting, dolefully. 
 
 Pianino (It.) (pe-a-«^-n6.) A small 
 pianoforte. 
 
 Pianissimo (It.) (pe-an-w-se-mo.) Ex- 
 tremely soft. 
 
 Piano (It.) (pee-a-no.) Soft. 
 
 Pianoforte or Piano. The piano comes 
 from the combination of the two instru- 
 ments of antiquity, the Dulcimer, and 
 the Monochord. The immediate prede- 
 cessors of the piano were the Clavi- 
 chord, the Harpsichord, and the Spinet 
 (see these words). The principle of 
 striking the wires of the instrument 
 with hammers was invented by Cristo- 
 fori, a native of Padua, Italy, about 
 1710. The invention seems to have 
 sprung up simultaneously in various 
 countries, for very soon after (without 
 knowing of the Cristofori invention) 
 a Frenchman named Marius, a German 
 named Schroeter, and an English monk 
 at Rome, Father Wood, all brought 
 forth the hammer action, but Cristo- 
 fori was probably the first inventor of 
 it, and his instruments, of which two 
 still exist, were much the best. The 
 name of the instrument came from the 
 fact that the Harpsichord, called in 
 Italy Clavicembalo, could not shade. 
 Therefore Cristofori's instrument, 
 which could alter the power of the tones, 
 was called Clavicembalo con piano e 
 forte, i.e., a harpsichord which could 
 play soft and loud. The name has 
 been shortened since that time. There 
 are some extreme purists who attack 
 the use of the word Piano and insist 
 upon the full term Pianoforte, forget- 
 ting that if the former term is incorrect 
 the -fioxA. pianist \s equally so, and the 
 artist must be called a pianofortist. 
 The piano at first made but slow head- 
 way. Bach thought it only fit for play- 
 ing rondos and light music. It was 
 only when Beethoven threw his influ- 
 ence on the side of the piano that the 
 instrument began to outstrip its weak 
 
 toned or monotonous predecessors. 
 (See Technique.) Great improvements 
 were made in the piano in Germany, 
 Silbermann manufacturing very sweet- 
 toned instruments, and Stein inventing 
 the soft pedal. But the best pianos at 
 the beginning of the nineteenth century 
 were made in England, where an Al- 
 satian, named Erhardt, aftenvards 
 changed into Erard, and a Scotchman 
 named Broadwood, made many im- 
 provements in the instrument, the 
 latter inventing the damper-pedal. 
 (See Pedal.) Cramer, Clementi, and 
 Czemy developed the technique of the 
 instrument, and the invention of the full 
 grand piano caused Beethoven to pro- 
 duce his greatest sonata, in B flat, Op. 
 106. To describe the mechanism of the 
 piano, its various shapes, etc., would 
 scarcely be within the scope of a volume 
 of this kind, but the student will find 
 the following useful works of reference 
 for details, Weitzmaun's " History of 
 Pianoforte Playing," Rimbault's " The 
 Pianoforte," Hopkins' " Description 
 and History of the Pianoforte," Bie's 
 "Pianoforte " and Gates' " Pipe and 
 Strings " (a short description of Piano, 
 Violin and Organ). America soon be- 
 gan to outstrip the European coun- 
 tries in the manufacture of pianos. 
 Probably the first piano made in 
 this country was manufactured by 
 John Behrent, in Philadelphia, in 
 1774. Boston at one time achieved 
 preeminence in this branch of manu- 
 facture, through the invention of the 
 iron bed-plate, by Jonas Chickering in 
 1843. In 1853, the house of Steinway 
 was founded in New York, and since 
 that time America has made as many 
 and as good pianos as any country in 
 the world. For details of the early 
 stages of the piano industry in the 
 United States, see Elson's " History of 
 Music in America." The piano is 
 g^ven the following names in foreign 
 countries : Germany, Klavier ; France, 
 Piano; Italy, Piano, or Pianoforte. 
 The frame of the piano is now gener- 
 ally cast in a single piece, with cross- 
 bars and bracings made to resist an 
 enormous tension, for the total strain 
 upon a concert-grand piano (called 
 Plugelm Germany, and Piano a queueva. 
 France) is not far from thirty tons. 
 Below this frame is the soundboard, of 
 
 5 as in tone ; 6 as in dove ; 8 as in twt ; fi as in up; iithe French sound of «. 
 
PIANO ASSAI 
 
 PIANO-PLAYER 
 
 As 
 
 An 
 
 almost the entire length and breadth of 
 the instrument. Upon the soundboard 
 is a bridge which supports the strings, 
 and transmits their vibrations to the 
 soundboard. The strings of the upper 
 five octaves of the piano are three to 
 each single tone (called a unison), the 
 lowest octaves having two strings or 
 one to a unison. The lowest strings 
 are woven around with copper or soft 
 iron to cause them to vibrate more 
 slowly. The action of the piano con- 
 sists of its mechanism for striking, and 
 consists of the key, the hopper or 
 escapement (which throws the hammer 
 against the vnre), and the hammer. 
 
 Piano assai (It.) (pe-a-no as-jo-e.) 
 soft as possible. 
 
 Piano carr6 (Fr.) (pe-o-no kar-ra.) 
 square pianoforte. 
 
 Piano droit (Fr.) (pe-o-no drwa.) 
 upright pianoforte. 
 
 Pianoforte action. The mechanism of 3- 
 pianoforte. 
 
 Pianoforte, .^olian. A pianoforte so 
 united with a reed instrument that the 
 same set of keys serve for both, or for 
 either singly at the pleasure of the 
 player. 
 
 Pianoforte, concert grand. The largest 
 sized grand pianoforte. 
 
 Pianoforte, cottage. An upright piano- 
 forte. 
 
 Pianoforte, dumb. A keyboard arranged 
 for the practice of pupils without pro- 
 ducing sound. 
 
 Pianoforte, electric. A pianoforte, the 
 wires of which are vibrated by electro- 
 magnetism. 
 
 Pianoforte, grand. A wing-shaped 
 pianoforte in which most of the octaves 
 have for each note, three strings tuned 
 in unison and struck at once by the 
 same hammer. 
 
 Pianoforte hammer. That part of the 
 mechanism of a pianoforte which strikes 
 the vrires. 
 
 Pianoforte melographic. A piano con- 
 nected with which was an automatic 
 movement, by which the improvisation 
 of a composer was recorded. 
 
 Pianoforte, overstrung. An arrange- 
 ment by which the strings of at least 
 two of the lowest octaves are raised. 
 
 running in respect to the other strings, 
 diagonally above them. Almost all 
 pianos are now overstrung. 
 
 Pianoforte, parlor grand. A grand piano- 
 forte of the second size. 
 
 Pianoforte, piccolo. A small upright 
 pianoforte. 
 
 Pianoforte school. A book of instruc- 
 tion for the pianoforte. 
 
 Pianoforte score. A score in which every 
 part has been so arranged that it may 
 be played on a pianoforte. 
 
 Pianoforte, upright. A pianoforte 
 whose strings run obliquely or verti- 
 cally upward. 
 
 Piano-player. An invention for playing 
 the piano mechanically, which was first 
 perfected in 1897. There are many 
 devices for such playing which are 
 marketed at present. The principle of 
 almost all of them is a motive power 
 of two pedals, like those of a cabinet- 
 organ, which revolve a roll of heavy 
 paper on which there are perforations 
 which give the value of the notes and 
 their pitch. There are also stops which 
 regulate the expression, speed, and 
 dynamic force of the strokes. There 
 are more than sixty automatic fingers 
 which are moved by the mechanism. 
 The apparatus is not generally attached 
 to the piano, but is quite separate, and 
 set in front of it, with its fingers in 
 proper position. Some pianos are now 
 built to contain the piano-player as part 
 of the mechanism of the instrument. 
 These pianos may be played by the 
 fingers in the usual way or automati- 
 cally as desired. In addition to the 
 numerous automatic piano-players 
 there are similar devices made for the 
 organ, by which it can be played auto- 
 matically, although it is also furnished 
 with a keyboard for manual playing. 
 For the several inventions of this char- 
 acter, there is now an overwhelming 
 repertoire of perforated rolls represent- 
 ing every branch of music, even to the 
 most classical. By means of these in- 
 ventions a person without any techni- 
 cal knowledge of the instruments can 
 become familiar with their chief master- 
 pieces, playing them himself. 
 
 Piano, mezzo (It.) (pe-a-no met-zo.) 
 Moderately soft. 
 
 Piano-piano (pe-'a-no-pe-a-no.) Very soft. 
 
 a as in «/5 / a as in hate ; a as ino^y e asm free ; e asinif,4/ i as inline; ias in pin; 
 
 202 
 
PIANO SOLO 
 
 PIPE 
 
 Piano solo. For the pianoforte only. 
 Piano-violino (It.) (pe-o-no-ve-6-S-n6.) 
 
 Small; 
 little. 
 
 A curious instrument invented in 
 1837. It is a common piano con- 
 taining a violin arrangement inside of 
 it, which is set in motion by a pedal. 
 "When this instrument is played upon 
 it gives the sound of both violin and 
 piano. 
 
 Pidn-pi&no (It.) (pe-an-pe-o-no.) Very 
 softly ; vfith a low voice. (See Piano- 
 piano.) 
 
 Pian-pianis^mo (It.) (pe-an-pe-a.n-«-se- 
 mo.) Exceedingly soft and gentle. 
 
 Pidtti (It. pi.) (pe-at-te.) Cymbals. 
 
 Pibroch. (/«-br6k.) A wild, irregular 
 species of music peculiar to the 
 Highlands of Scotland, performed on 
 the bagpipe. 
 
 Picchiettito (It.) (pe-ke-et-<<i-to.) Scat- 
 tered, detached; in violin-playing, it 
 means that sort of staccato indicated 
 by dots under a slur. 
 
 Picciolo (It.) (pet-tshe-o-lo.) 
 
 Piccolino (It.) (pe-k6-/?-n5.) 
 
 Piccolo (It.) {pe-Vo-\o.) 
 
 Piccolo. A 2-foot organ-stop, of wood 
 pipes, producing a bright and clear 
 tone in unison with the fifteenth. 
 
 Piccolo flute. A small flute. See Flute. 
 
 PicchetUto (It.) (pe-ket-te-to.) See 
 Picchiettdto. 
 
 Pifece (Fr.) (pi-dj.) A compo.sition or 
 piece of music ; an opera or drama. 
 
 Pieces, fugitive. Short compositions of 
 no permanent value. 
 
 Pieds (Fr.pl.) (pi-<?.) The ioot; avec 
 les pieds, vfith the feet, in organ-play- 
 ing. 
 
 Pitea (It.) (pe-a-na.) 
 
 Piteo (It.) (pe-a-no.) 
 
 Pienam^nte (It.) (pe-a-na-w?i'«-te.) 
 Fully. 
 
 Pi^no c6ro (It.) (pe-^-no ko-xa^j A full 
 chorus. 
 
 Pi^no organo (It.) (pe-<?-no 6r-^a-no.) 
 With the full organ. 
 
 Pierced gamba. An organ-stop of the 
 gamba species. 
 
 Pieta (It.) (pe-a-ta.) \ 
 
 Pietosamfinte (It.) (pe-a-t5-za-«««»-te.) > 
 
 Piet6so (It.) (pe-a-^»-zo.) > 
 
 as in tone / 6 as in dove ; 8 as in not ; fi as in up. 
 
 203 
 
 Full. 
 
 Compassionately ; tenderly ; implying 
 also a rather slow and sustained move- 
 ment. 
 
 Pifferdre (It.) (pef-fe-ra:re.) To play 
 upon the fife ; also a piper, such as in 
 Italy play pastoral airs in the streets 
 at Christmas. 
 
 PifferAri (It. pi.) (pef-fe-ra-re.) Pipers. 
 See Pifferdre. 
 
 PifEerina (It.) (pef-fe-r«-na.) A little 
 
 - fife. 
 
 Piffero (It.) (/^A-fe-ro.) A fife, or small 
 flute ; also an organ-stop of 4-foot tone. 
 
 PifEer6ne (It.) (pef-fe-?-o-ne.) A large fife. 
 
 Pinc6 (Fr.) (pdnA-sa.) Pinched. See 
 Pizzicdto. 
 
 Pincer (Fr.) {pdnh-sa^) To pluck a 
 stringed instrument. 
 
 Pinc^s (Fr.) {panh-sa..) A general name 
 for stringed instruments which are 
 played by plucking. 
 
 Pipe. Any tube formed of a reed, or of 
 metal, or of wood, which, being inflated 
 at one end, produces a musical sound. 
 The /2^«, which was originally no more 
 than a simple oaten straw, was one of 
 the earliest instruments by which musi- 
 cal sounds were attempted. (See Horn, 
 Stop, and Organ.) Organ-pipes divide 
 into two classes, the reed and the 
 flue-pipe. The reed-pipe has its 
 column of air set in vibration by means 
 of a reed which is set in a box or reser- 
 voir. The air being forced into this 
 box can only enter the pipe by pushing 
 aside the reed, which is called the 
 tongue. When this is lifted up, the 
 air passes through the fissure ; when 
 the tongue springs back by its own 
 elasticity, it closes the passage. The 
 vibration of the tongue induces a rapid 
 opening and closing of this fissure ; the 
 air penetrates at intervals, in regular 
 puffs, and thus a sound is obtained. 
 The flue-pipe is caused to sound by 
 directing the wind against a thin edge 
 in the mouth of the pipe, only a slight 
 portion of the current of air entering 
 the pipe, but this causes the column of 
 air within to vibrate. Flue-pipes may 
 be stopped or open (see Organ). For 
 description of the method or vibration 
 of various kinds of pipes, see Blas- 
 erna's " Sound and Music," Zahm's 
 " Sound and Music," and Pole's " Phi- 
 
 ii the French sound of u. 
 
PIPEAU 
 
 PITCH 
 
 losophy of Music." A single pipe can, 
 if desired, produce not only a single 
 tone, but an entire series of tones. 
 
 Pipeau (Fr.) (pee-po.) A pipe. 
 
 Piper. A performer on the pipe ; pipers 
 were formerly one of the class of itiner- 
 ant musicians, and performed on a 
 variety of wind-instruments, as the bag- 
 pipe, musette, etc. 
 
 Pipes of pan. A wind-instrument con- 
 sisting of a range of pipes bound 
 together, side by side, and gradually 
 lessening with respect to each other in 
 length and diameter ; Pandean pipes. 
 
 Pipes, pandean. Pan's pipes. 
 
 Piqufi (Fr.) (pi-M) ) To play on a vio- 
 
 Piquer (Fr.) (pi-M.) ) 'in. etc., a series 
 of notes a little staccato, and with a 
 light pressure of the bow to each note. 
 
 Pitch. The acuteness or gravity of any 
 particular sound, or of the tuning of 
 any instrument. Pitch can most scien- 
 tifically be defined as the raie of vibra- 
 tion. Rapid vibrations mean a high 
 tone, slow vibrations a deep one. It 
 seems strange that one cannot repre- 
 sent a fixed tone, as, for example, middle 
 C, to the mind by a set number of vi- 
 brations, but the standard of pitch has 
 always been a variable one and the note 
 in question might consist of more or 
 less vibrations according as it belonged 
 to a higher or lower standard of pitch. 
 Thus the note A, which in Paris at pres- 
 ent has 435 vibrations, in 1858 was 
 given 448, and in 1699 had only 404, 
 while Handel's -tuning-f orlc, dated 1740, 
 gives the same note 4 1 6 vibrations. The 
 standard of pitch has been gradually 
 rising since the days of Bach and Han- 
 del, in whose time it was about two- 
 thirds of a tone deeper than at present. 
 Concert-pitch does not mean any defi- 
 nite pitch, but merely the pitch which 
 this or that manufacturer chose as best 
 suited to his instruments. It was, how- 
 ever, always a high pitch. In 1859, the 
 French government reformed the 
 matter of the varying and acute concert- 
 fitches by establishing the pitch of one- 
 lined A (the scientists' A ^) 
 
 nz 
 
 at 435 vibrations persecond 
 Prof. Charles R. Cross, ir 
 his "Historical Notes Relat- 
 ing to Musical Pitch in the United 
 
 ^ 
 
 States," says : " In 1889, the National 
 Music Teachers' Association at its 
 Philadelphia meeting adopted the 
 French pitch, and the National League 
 of Musicians, at Milwaukee, in March, 
 1891, also urgently recommended the 
 adoption of this standard. For several 
 years prior to this date, the question of 
 bringing the standard pitch used for 
 pianos and organs into unison with the 
 low pitch which had come to be the 
 generally accepted pitch for orchestral 
 use, had been agitated by a number of 
 persons engaged in the manufacture of 
 pianos and organs, and especially by 
 the late Gov. Levi K. Fuller, of the 
 Estey Organ Co., of Bvattleboro, and 
 Mr. Wilham T. Miller, of Boston. Fi- 
 nally, at a meeting of the Piano Manu- 
 facturers' Association, held in New 
 York, March 3*1, 1891, it was unani- 
 mously decided that it was desirable 
 that a uniform pitch should be adopted 
 in the United States, and a committee 
 was appointed, of which Mr. William 
 Steinway was chairman, and Gov. Levi 
 K. Fuller, secretary, to consider what 
 standard should be adopted. This 
 committee collected much evidence 
 relating to the subject, and in response 
 to a request therefor, received expres- 
 sions of opinion from a large number 
 of manufacturers and others interested 
 in the determination of a standard, 
 together with sample tuning-forks giv- 
 ing the pitch then in use by those send- 
 ing them. The committee reported in 
 favor of the adoption of the A of 435 
 double vibrations per second as a stan- 
 dard of pitch, and their recommenda- 
 tion was adopted by the association. 
 It was also decided to call the newly 
 adopted standard the International 
 Pitch. The International pitch is, of 
 course, identical with the French pitch, 
 each having an A' of 435 double vibra- 
 tions." Germany uses a pitch slightly 
 higher than this. The relative pitch of 
 two tones in proportion to each otherhas 
 been determined, even in ancient times, 
 by the measurement of the segments of 
 a vibrating string, or of a tube, the 
 proportion of length agreeing with the 
 proportion of vibrations. The propor- 
 tions of pitch in true intervals, accord- 
 ing to scientific law, would be as fol- 
 lows: 
 
 a as in 3/5 y a as in hate ; a as in at ; e as in tree ; e as in ^,4 ; i as in pine ; 1 as in pin; 
 
 204 
 
PIU 
 
 PLAISANT 
 
 Octave. 
 
 Major seventh. 
 
 8 
 Minor sixth. 
 
 Minor seventh. 
 
 16 
 
 9 
 Perfect fifth. 
 
 3 
 
 Major sixth. 
 
 S = 
 
 3 5 
 
 Diminished fifth.Perfect fourth, 
 
 36 4 
 
 25 3 
 
 Minor third. Major second. 
 6 9 
 
 5 8 
 
 The logarithms of these ratios would be as fol- 
 lows : 
 Octave. Major seventh. 
 
 30I 2''3 
 
 Major sixth. Minor sixth. 
 
 222 204 
 
 Diminished fifth. Augmented 
 
 158 fourth 
 
 Major third. 143 
 
 97 Minor third. 
 
 79 
 Minor second. 
 28. 
 Thus, if middle, or one 
 lined C 
 
 Major third. 
 5 
 4 
 Minor second. 
 lb 
 '5 
 
 Minor seventh. 
 
 250 
 Perfect fifth. 
 
 176 
 Perfect fourth. 
 
 125 
 Major second. 
 SI 
 
 f 
 
 has 260 vibrations per second, this 
 ^0^^ F- T^ "1 being a perfect fifth 
 above r tS— g-^ it would have the 
 
 proportion of three to two, «>., three- 
 halves of 260=390; this note 
 an octave above the last 
 
 would have 
 
 78c 
 
 Ep 
 
 'O ; this note f^ 
 love middle Effi 
 'e-fourths of •-' 
 
 above 
 five 
 
 twice its vibrations, i. e., 
 a major third 
 C would have 
 260= 325; 
 and in the table of logarithms a fifth 
 added to a fourth, a. minor third to a 
 major sixth, a minor second to a major 
 seventh, etc., will give the logarithm of 
 the octave. The above would be the 
 proportion if any musical interval were 
 given in true intonation, but in our 
 system, only the octave intervals are 
 thus given. See Tempered Scale. Con- 
 sult Pole's " Philosophy of Music " for 
 full tables of relative pitch of intervals. 
 For names of notes on different pitches 
 (octaves) see Tablature. 
 
 Piu (It.) (pe-oo.) More. 
 
 Piu allegro (It.) (pee-00 al -Idy-^o.') A 
 little quicker, more lively. 
 
 Piu f6rte (It.) (pee-oo yw--te.) Louder. 
 
 Piu l^nto (It.) (pee-00 len-to.) More 
 slowly. 
 
 Piu m6sso (It.) (pee-00 mSs-so.) ) More 
 
 Piu m6to (It.) (pee-00 ma-to.) ) mo- 
 tion, quicker. 
 
 Piu piino (It.) (pee-00 pe-o-no.) Softer. 
 
 Piu pid (It.) (pee-00 pee-00.) -Somewhat 
 more. 
 
 Piu presto i It.) {pee-00 ^res-to.) Quicker, 
 more rapidly. 
 
 Piu vivo (It.) (pee-00 ve-vo.) More lively, 
 more animated. 
 
 Piva (It.) (pee-Va.) A pipe, a bagpipe. 
 
 Pizzicdndo (It.) ( pit-se-X-a«-do.) j 
 
 Pizzicato (It.) (pit-se-/4o-to.; ) 
 
 Finched; meaning that the strings of 
 the violin, violoncello, etc., are not to 
 be played with the bow, but pinched, 
 or snapped with the fingers, piodjicing 
 a staccato effect. 
 
 Placebo (Lat.) (//a-se-bo.) In the Roman 
 Catholic church, the vesper hymn for 
 the dead, commencing " Placebo Dom- 
 ino." 
 
 Placenteraminte (It.) (pla-tshen-ter-a- 
 men-te.) Joyfully. 
 
 Placidam^nte (It.) (pla-ij.4/e-da-men-te.) 
 Calmly, placidly, quietly. 
 
 Pldcido (It.) (//a-tshee-do.) Placid, tran- 
 quil, calm. 
 
 Plagal. Those ancient modes, in which 
 the melody was confined within the 
 limits of the dominant and its octave. 
 
 P 
 
 m=sz 
 
 Written. Played. 
 
 Plagal cadence. A ca- 
 dence in which the final 
 chord on the tonic is pre- 
 ceded by the harmony of 
 the sub-dominant. 
 
 Plagalisch (Ger.) (pla-^o lish.) Plagal. 
 
 Plain chant (Fr.) (planh-shanh.) The 
 plain-song. See Cdnto Firmo. 
 
 Plain counterpoint. 1 Simple counter- 
 Plain descant. ( point. 
 Plain trill. A trill 
 ending without 
 a turn, also 
 called incom- 
 plete trill. 
 
 Plain-song. The name given to the old 
 ecclesiastical chant when in its most 
 simple state and without those har- 
 monic appendages with which it has 
 since been enriched. See Stainer 
 & Barrett, Dickinson's " Music in the 
 History of the Western Church," or 
 Helmore's " Plain-Song." 
 
 Plainte (Fr.) (planht.) A complaint, a 
 lament. 
 
 Plaintif (Fr.) (planh-tef.) Plaintive, dole- 
 ful. 
 
 1^ 
 
 ^m=m= 
 
 Plaisant (Fr.) (pla-zanh.) Pleasing. 
 
 as in tone ; 6 as in dove ; 8 as in not ; il as in «// ii the French sound of «. 
 
 205 
 
PLAISANTERIES 
 
 POINT FINAL 
 
 Plaisanteries (Fr.) (pla-zanh-t're.) Amus- 
 ing, iigiit compositions. 
 
 Planxty. Old harp music of a lively, 
 tuiieial kind. 
 
 Plac^u^ (Pi') (pla-^a.) Struck at once, 
 wiinout any arpeggio, or embellishment. 
 
 Plaquer (Fr.) ^pia-ka.) To strike at 
 
 once, speaking ol chords. 
 Plectrum (.Lat.; \ plek-trnva..) A quill, or 
 
 piece of ivoiy or hard wood used to 
 
 twitch the strings of the mandolin, 
 
 lyre, etc. (It.) Fenna. 
 
 Plein jeu (Fr.) (planh zhii.) Full organ; 
 the term is also applied to a mixture- 
 stop of several ranks of pipes. 
 
 Plein jeu harmonique (Fr.) (planh zhii 
 
 har-m6nhn-^/4.) A mixture-stop in an 
 
 organ. 
 Pleno organo (Lat.) (pla-no br-gii-nb,) 
 
 Full organ. 
 Plus (Fr.) (plii.) More. 
 Plus anim^ (Fr.) (plii sa-ne-ma.) With 
 
 more animation. 
 Plus lentement (Fr.) (plU ldnht-mi.xih..) 
 
 Slower, more slowly. 
 Pneumatic (nu-wzaZ-ik.) Relating to the 
 
 air or wind. 
 Pneumatic action. ) Mechanism 
 Pneumatic lever, t intended to lighten 
 
 the touch, etc., in large organs. 
 Pneumatic organ. An organ moved by 
 
 wind, so named by the ancients to 
 
 distinguish it from the hydraulic organ, 
 
 moved by water. 
 
 Pocetta (It.) (po-tshat-ta.) 
 Poche (Fr.) (posh.) 
 Pochette (Fr.) (po-shet.) 
 by dancing masters. 
 
 Pochettino (It.) (po-ket-;?-no.) 
 PochfttO (It.) (.^o-kei-ib.) 
 Pochino (It.) (po--5^-no.) 
 
 Pochissimo (It.) (p5-,J^j--se-mo.) A very 
 little, as little as possible. 
 
 P6co (It.) (/o-ko.) Little. 
 
 P6co adigio (It.) {fdAi.b a-da-je-o.) A 
 little slower. 
 
 P6c0 allegro (It.) (/o-ko al-lay-gro.) A 
 little faster. 
 
 P6co animdto (It.) (/o-ko an-e-ma-to.) 
 A little more animated. 
 
 Very 
 
 little 
 
 slower. 
 
 By 
 
 P6co a p6co (It.) (p6-ko a po-ko.) 
 degrees, little by little. 
 
 P6co a p6co crescendo (It.) (po-ko a po- 
 ko Vxe-shen-Ab.) Gradually louder and 
 louder. 
 
 P6co a_p6co diminuendo (It.) (p6-ko a 
 po-ko de-me-noo-ra-do.) Gradually 
 diminishing. 
 
 P6co f(5rte (It.) {po-kbfSr-te.) Moder- 
 ately loud, a little loud. 
 
 P6co Idrgo (It.) {fo-kb Idr-gb.) 
 ~ 5co 1& 
 slow. 
 
 P6c0 WntO (It.) (/o-ko len-tb.) 
 
 Mod- 
 erately 
 
 P6co m^no (It.) (/o-ko may-nb.) A Uttle 
 less, somewhat less. 
 
 P6co pidno (It.) (/j-ko pe-a-no.) Some- 
 what soft. 
 
 P6co piu (It.) (po-kb peeoo.) A little 
 more, somewhat more. 
 
 P6co piu allegro (It.) (po-kb pee-oo al- 
 Id-grb.) A little quicker. 
 
 P6co piu forte (It.) (po-ko i;ee-ooyB>--te.) 
 A little louder. 
 
 P6co piu Mrgo (It.) (po-ko pee-oo Idr- i 
 go) [ 
 
 P<5co piu Wnto (It.) (p5-ko pee-oo &«- ) 
 to.) A little slower. 
 
 P6co piu m6sso (It.) (p6-k5 pee-oo mos- 
 s6.) A little faster. 
 
 P6co piu pidno (It.) (p5-k6 pee-oo pe-a- 
 no.) A little softer. 
 
 P6co presto (It.) ipo-kbpres-tb.) Rather 
 quick. 
 
 Poggiito (It.) (pod-je-o-to.) Dwelt upon, 
 leaned upon. 
 
 P6i (It.) ipo-e.) Then, after, afterwards ; 
 pidno p6i fSrie, soft, then loud. 
 
 P6iap6i(It.) (po-e a p6-e.) By degrees. 
 
 P6i a p(5i tiittele c6rde (It.) (p6-e a p6-e 
 too-te le kor-de.) AH the strings one 
 after another. Lift the soft pedal grad- 
 ually. See Pedal. 
 
 Point (Fr.) (pwanh.) A dot. 
 
 Point de repos (Fr.) (pwanh duh re-po.) 
 A pause. 
 
 Point d'orgue (Fr.) (pwanh d'org.) See 
 Organ point. 
 
 Point^e (Fr.) (pwanh-ta.) Dotted : blanche 
 poinile, a dotted half-note. 
 
 Point final (Fr.) (pwanh fi-ndl.) A final 
 or concluding cadence. 
 
 a as in ak; a as in hate ; a as in «/ ; e as in tree ; Has in eh; i as in pine ; i as in pinj 
 
 206 
 
POINT OF REPOSE 
 
 PORTAMENTO 
 
 Point of repose. A pause ; a cadence. 
 
 Point, organ. A long or stationary bass 
 note, upon which various passages of 
 melody and harmony are introduced. 
 
 P6i sSgue (It.) (p5-e j-a-gwe.) ) 
 
 P6i seguSnte (It.) (po-e sa.-guin-te.) ) 
 Then follows, here follows. 
 
 Polacca (It.) (po-/a,4-ka.) A Polish 
 national dance in J time. See Polonaise. 
 
 Polacca alia (It.) (p6-/a7i-ka al-la.) In 
 the style of a Polacca. 
 
 Polka. A lively Boherilian dance in | 
 
 time. 
 Polka mazurka (/oZ-ka ma-zur-ka.) A 
 
 dance in triple time, played slow, and 
 
 having its accent on the last part of 
 
 the measure. 
 
 Polka redowa (/»/-ka red-o-a..) A dance 
 tune in triple time, played faster than 
 the polka mazurka, and having its 
 accent on the first part of the measure. 
 P611ice (It.) f^^/-li-tshe.) The thumb. 
 Polonaise (pol-5-«J..) ^ p^j.^^ ^^^^^ 
 Polonese. L written in f 
 
 Polonoise. J rhythm, and con- 
 
 taining every contrast possible. The 
 melody contains runs, skips, and many 
 artificial groupings, and syncopation 
 occurs freely both in the melody and the 
 accompaniment. The accompaniment 
 has many rhythmic changes in its con- 
 struction, but this rhythm predominates: 
 
 The melody is often completed with 
 the third beat of the measure. The 
 polonaise, as its name indicates, is a 
 Polish dance, and was as much of a 
 processional as a dance, the former 
 characteristic being clearly perceptible 
 in some of the polonaises of Chopin 
 and Liszt. The bolero is similar to the 
 polonaise, but has not its dignity and 
 loftiness. The bolero is of Spanish 
 origin. 
 
 Polyphonic. Polyphonic music is many 
 voiced or plural-voiced music, and 
 is where the music is formed of two or 
 more different melodies going on sim- 
 ultaneously. This is contrapuntal 
 
 music, which had its origin about the 
 year 1200, and was developed into a 
 science by the early Flemish com- 
 posers, in the fourteenth, fifteenth, and 
 sixteenth centuries.- It preceded homo- 
 phonic music by many centuries, for 
 the first attempt at a method of har- 
 monic construction was printed in 1722, 
 (by Rameau), and the first practical 
 method of Harmony, by Catel, was 
 published as late as 1 790. Homophonic 
 Music is united soundings that is, 
 music of different parts, which, how- 
 ever, are blended into a single mass. 
 Such music, represented by the modern 
 harmonic progressions, is not two- 
 hundred years old. Some writers 
 make no distinction between the 
 words monophonic and homophonic, 
 but the definition above given will 
 nevertheless be clearly grasped by (he 
 student, and the necessity of a dis- 
 tinction between the two schools under- 
 stood. Monophonic music is single 
 sounding, that is, melody, or passages 
 given in unison. For countless ages 
 the world was satisfied with this species 
 of music, the division of music into 
 parts being scarcely more than seven 
 hundred years old. It is probable that 
 all the music of the ancient world was 
 monophonic, although there are some 
 indications that the ancient Greeks 
 employed a drone bass occasionally, 
 and called it Sumphojiia. 
 
 Pompos (Ger.) {^om-pSs.) Pompous, 
 majestic. 
 
 Pomposam^nte (It.) (p6m-po-za.-men- 
 
 te.) Pompously, stately. 
 Pomp6so (It.) (p6m-po-zo.) Pompous, 
 
 stately, grand. 
 
 Ponder6sO (It.) (pon-de-ro-zo.) Ponder- 
 ously, massively, heavily. 
 
 Ponticfllo (It.) {pon-te-ishel-lo.) The 
 bridge of a violin, guitar, etc. The 
 direction to bow near the bridge is sull 
 ponticello, and the result is a thin, 
 squeaky, but incisive tone. 
 
 Pont-neuf (Fr.) (ponh-nuf.) A street 
 ballad ; a vulgar song. 
 
 Portamento (It.) (p6r-ta-»2«K-to.) A 
 term applied by the Italians to the 
 manner or habit of sustaining and con- 
 ducting the voice. It is also used to 
 connect two notes separated by an in- 
 
 O as in totie ; 6 as in dove ; 8 as in not ; fi as in up; ii the French sound of ». 
 
 207 
 
PORTAMiirrO DI VOCE 
 
 POUR 
 
 terval, by gliding tlie voice from one 
 note to tlie otlier, and by this means 
 anticipating tlie latter p " 
 in regard to intonation. F frtf-4 - 
 Unfortunately there is 
 another, totally different use of the 
 term, in piano music ; in this latter 
 poi-tamento is applied to a pressing 
 accent, with some degree of separa- 
 tion, written thus : 
 
 i 
 
 ^^^=3= 
 
 The word portamento is decidedly 
 misapplied in this case, for It means 
 carried over, which is by no means 
 the effect desired when the above sign 
 is written. The fact that the singer 
 uses the word in another, and its true 
 sense, would seem to make a change 
 desirable, and we suggest that the term 
 Demimarcato be applied to this mode 
 of execution. 
 
 Portamento di voce (It.) (por-ta-»z<'«-to 
 de z/J-tshe.) Carrying the voice; the 
 blending of one tone into another. 
 
 Portdndo la v6ce (It.) (por-/a»-do la vo- 
 tshe.) Carrying the voice from one 
 note to another. 
 
 Portir la battiita (It.) (por-tar la bat-too- 
 ta.) To beat the time. 
 
 Portdre la v6ce (It.) (por-ta-re la v5- 
 tshe.) To carry the voice. 
 
 Portative. A portable organ. 
 
 Portato (It.) (por-/(i-to.) Sustained ; 
 drawn out. 
 
 Porte de voix (Fr.) (p5rt diih vwa.) An 
 appoggiatura, or beat. 
 
 Port6e (Fr.) (por-ta.) The staff. 
 
 Porter la voix (Fr.) (p6r-ta la vwa.) To 
 carry the voice. 
 
 Porte-vent (Fr.) (port-vanh.) The pipe 
 which conveys the wind from the bel- 
 lows into the soundboard of an organ. 
 
 Porte-volx (Fr.) (por-vwa.) A speaking- 
 trumpet. 
 
 Portez la voix (Fr.) (por-ta la vwa.) See 
 Portdndo la Voce. 
 
 Portunal-fflaut (Ger.) (por-too-nal.) An 
 organ-stop of the clarabella species, the 
 pipes of which are larger at the top 
 than at the bottom, and produce a tone 
 of clarionet quality. 
 
 Posito (It.) (po-za-to.) Quietly, steadily. 
 Posaune (Ger.) (po-ziw-ne.) A trombone ; 
 
 also, an organ-stop. See Trombone, 
 Posaunen (Ger.) (p6-z«<-nen.) To sound 
 
 on the trombone. 
 
 Posaunen-blaser (Ger.) (po-2o«-nen- j 
 Wa-zar.) ( 
 
 Posauner (Ger.) (po-zJa-ner.) ) 
 
 A trombone-player. 
 Pos^ment (Fr.) (po-«(?-manh.) Without 
 
 hurry ; moderately ; gravely ; slowly. 
 
 Positif (Fr.) (po-ze-i^c/".) ) Thechoir- 
 Positiv (Ger.) (po-zi-/iy:) ) organ, or 
 lowest row of keys with soft-toned 
 stops in a large organ ; also, a small 
 fixed organ, thus named in opposition 
 to z. portative organ. 
 
 Position. A shift on the violin, viola, or 
 violoncello ; the arrangement, or order, 
 of the several members of a chord. 
 
 Position, close. A term given to a chord 
 when its tones are near together. 
 
 Position, dispersed. A terra given to a 
 chord when its tones are remote from 
 each other. 
 
 Position, fundamental. A term applied 
 to an uninverted chord, its root forming 
 the lowest note of the chord. 
 
 Positive. An appellation formerly given 
 to the little organ placed in front of the 
 full, or great organ. 
 
 Possibile (It.) (p6s-«-be-le.) Possible ; 
 il piu f6rte possibile, as loud as pos- 
 sible. 
 
 Post-horn (Ger.) (post-horn.) A species 
 of bugle, but in straight form. It has 
 no keys. 
 
 Postlude (Lat.) (/ojMiide.) i 
 
 Postludium (Lat.) (post-/«-di-iim.) J 
 
 After-piece, concluding voluntary. 
 
 Post, sound. A small post within a. 
 violin, nearly under the bridge. 
 
 Pot-pourri (p6t-poor-re. ) A medley ; a 
 capriccio, ox fantdsia in which favorite 
 airs and fragments of musical pieces 
 are strung together and contrasted. 
 
 Pouce (Fr.) (pooss.) The thumb ; a 
 term used in guitar-music, indicating 
 that the thumb of the right hand must 
 be passed lightly over all the strings. 
 
 Pour (Fr.) (poor.) For. 
 
 a, aa'va. ah ; a. as in hate ; a as in at; e as in tree; 6 as in eh ; i as in pine; "i as vapin; 
 
 208 
 
POUR FINIR 
 
 PRELUDiO 
 
 Pour finfr (Fr.) (poor H-ner.) To finish ; 
 indicating a chord or bar which is to 
 terminate the piece. 
 
 Pour la premiere fois (Fr.) (poor la 
 prem-i-Jr fwa.) For the first time, 
 meaning that on the repetition of the 
 strain this passage is to be omitted. 
 
 Pouss6 (Fr.) (poos-sa.) Pushed ; mean- 
 ing the up-bcrui. 
 Praeambulam (Lat.) (pre-(^ff«-bu-lam.) ) 
 
 Praecentio (Lat.) (pre-j&-shi-o.) S 
 
 A prelude. 
 
 Praecentor (Lat.) (pre-ji?»-tor.) Pre- 
 centor ; leader of the choir. 
 
 Praefectus chori (Lat.) (pre-j^/S-tus ko 
 re.) Master of the choristers. 
 
 Prall-triller (Ger.) {prSl-irn-\ex.) See 
 Mordent. 
 
 Praludien (Ger. pi.) (pra-Zau-di-en.) Pre- 
 ludes. 
 
 Praludiren (Ger.) (pra-loo-(S-r'n.) To 
 prelude; to play a prelude. 
 
 Praludium (Ger.) (pra-/oo-di-oom.) A 
 prelude ; an introduction. 
 
 Preambule. (Ger.) (pre-am-^W-e.) A 
 preamble ; a prelude. 
 
 Precenteur (Fr.) (pre-sanh-tur.) A 
 precentor. 
 
 Precentor. The appellation given to the 
 master of the choir. 
 
 Precentors (It.) (pra-tsheri-to-re.) A 
 precentor. 
 
 Precipitam^nte (It.) (pra-tshe-pe-ta- \ 
 men-te.) > 
 
 PrecipitdtO (It.) (pray-tshe-pe-^ai-to.) ) 
 In a precipitate manner ; hurriedly. 
 
 Precipitdndo (It.) (pray-tshe-pe-^a«-do.) 
 Hurrying. 
 
 Precipitazifine (It.) (pray-tshg-pe-tat-se- 
 ^-ne.) Precipitation, baste, hurry. 
 
 Pr^cipit^ (Fr.) (pray-se-pi-ta.) Hurried, 
 accelerated. 
 
 Precipit6so (It.) (pray-tshe-pe-<J-s5.) 
 Hurrying, precipitous. 
 
 Precisi6ne (It.) (pray-tshe-ze-^-ne.) Pre- 
 cision, exactness. 
 
 Preciso (It.) (pray -is Ai-zo.) Precise, 
 exact, exactly. 
 
 Prefazi6ne (It.) (pray-fa-tse-^-ne.) Pref- 
 ace, introduction. 
 
 Preghi^ra (It.) (pray-ghe-o-ra.) Prayer, 
 supplication. 
 
 Prelude. A short introductory composi- 
 tion, or extempore performance, to 
 prepare the ear for the succeeding 
 movements. The word prelude has 
 been applied to compositions of a free 
 and improvised character. Chopin's 
 preludes are not introductory to any 
 other movements. Bach's forty-eight 
 preludes, in the " Well-tempered 
 Clavichord," are introductions to the 
 fugues which follow them, yet they are 
 also quite independent pieces. In 
 opera the distinction between pre- 
 lude (or vorspieV) and overture lies in 
 the fact that the overture is an inde- 
 pendent piece while the vorspiel leads 
 directly into the opera. Gluck was the 
 first to use the prelude before the 
 opera in this manner. His preludes 
 lead into the first scene of the opera, 
 and in some degree prepare for it. 
 Wagner, when he promulgated his 
 views regarding the continuity of the 
 music in an opera, was bound to sacri- 
 fice the overture (a distinct and separate 
 number), and substitute the prelude. 
 Therefore, while Wagner's early operas, 
 " Rienzi," " The Flying Dutchman," 
 and " Tannhauser " have overtures, all 
 the later ones, beginning with " Lohen- 
 grin "have preludes. Even "Tann- 
 hauser" finally had its overture dis- 
 carded by the composer, and a long 
 prelude substituted. The Wagner 
 vorspiel has no definite shape, but 
 always presents some clear guiding 
 motives (see guiding-figure^ and de- 
 velops them with much beauty. Thus 
 the " Lohengrin " prelude is founded 
 chiefly upon the Monsalvat figure, and 
 the " Parsifal " prelude presents the 
 Communion, Holy Grail, and Faith, 
 figures in remarkable development. 
 The vorspiel to " The Mastersingers 
 of Nuremberg" is one of the finest 
 examples of the modern operatic pre- 
 lude. The prelude to the suite ap- 
 pears under many different names in 
 the old compositions, and intrada, pre- 
 ambule, fantasia, overture, toccata, and 
 sinfonia, are among the names used. 
 
 Preludiare (It.) (pre-loo-de-a-re.) To 
 perform a prelude. 
 
 Preludio (Spa.) (pre-/otf-de-o.) j a pre- 
 Preludium(Lat.) (pre-/«-di-\jm.) > lude, 
 Preludio (It.) (pre-loo-de-6.) ) o"^ '"" 
 troduction. 
 
 5 as in tone ; 6 as in dove ; 8 as in not ,■ ii as in up ; ii the French sound of u. 
 
 209 
 
PREMIER 
 
 PRINCIPAL, OR OCTAVE 
 
 • First. 
 
 Premier (Fr.) (prem-I-a.) 
 
 Premiere (Fr.) (prem-i-ar.) 
 
 Premiere dessus (Fr.) {piem-i-3r das-sii.) 
 First treble ; first soprano. 
 
 Premiere fois (Fr.) (prem-i-^r fwa.) 
 First time. 
 
 Premi&e partie (Fr.) (prem-i-arr par-te.) 
 First part. 
 
 Preparation. That disposition of the 
 harmony by which discords are lawfully 
 introduced. A discord is said to be 
 prepared, when the discordant note is 
 heard in the preceding chord, and in 
 the same part as a consonance. 
 
 Preparative notes. Appoggiaturas, or 
 leaning-notes. 
 
 Preparazione (It.) (pre-pa ra-tse-ff-ne.) 
 Preparation. 
 
 Prepared discord. That discord, the 
 discordant notes of which have been 
 heard in concord. 
 
 Prepared Intervals. Intervals changed 
 from large to small, and from small to 
 large, by the aid of intermediate tones. 
 
 Prepared trill. A B3^ ir 
 trill preceded by two l ■^,jjr^^~j r - 
 or more introductory ~ 
 
 notes. 
 
 Pressante (Fr.) (pies-ianAt.) Pressing 
 on ; hurrying. 
 
 Pressure-tone. An accented tone. 
 
 ^m 
 
 Prestam6nte (It.) (pres-ta-OT^K-te.) 
 
 Hurriedly, rapidly. 
 Prestant (Fr.) (pres-tanh.) The open 
 
 diapason stop in an organ, of 4-foot 
 
 scale. 
 Prestfeza (It.) (pres-^«<-sa.) Quickness, 
 
 rapidity. 
 
 PrestissimimSnte (It.) (pres-/;j-se- j 
 msL men-te.) \ 
 
 Prestissimo (It.) (pres-/2>-se-mo.) ; 
 
 Very quickly ; as fast as possible. 
 
 Pr&to (It.) (pres-to.) Quickly, rapidly. 
 
 Presto assdi (It.) {pres-to 'is-sa-e.) Very 
 quick ; with the utmost rapidity. 
 
 Presto, ma nontr6ppo (It.) (pres-to ma 
 non irqfi-po.) Quick, but not too much 
 so. 
 
 Priere (Fr.) (pre-^r.) A prayer ; suppli- 
 cation. 
 
 Priests, chantry. Stipendiary priests 
 whose particular object it is to sing 
 Mass in the chantries. 
 
 Prima (It.) (pree-ma.) First, chief, prin- 
 cipal. 
 
 Prima bMa (It.) (pree-ma boof-fa.) The 
 principal female singer in a comic 
 opera. 
 
 Prima d6nna (It.) (pree-ma don-na.) 
 Principal female singer in a serious 
 opera. 
 
 Prima d6nna assoluta (It.) First female 
 singer in an operatic establishment ; 
 the only one who can claim that title. 
 
 Prima opera (It.) (pree-ma op-e-ra.) 
 First work. 
 
 Prima pirte (It.) (pree-ma /aV-te.) 
 First part. 
 
 Prima pirte repetita (pree-ma par-te 
 
 ra-pe-te-ta.) Repeat the first part. 
 Primary chord. The common chord ; 
 
 the first chord. 
 Prima vista (It.) {pree-ma. ves-ta..) At 
 
 first sight. 
 Prima v(51ta (It.) (pree-xaa. vo/-la..) The 
 
 first time. 
 Prime (Ger.) (preem.) First note, or 
 
 tone of a scale. 
 Prime donne (It. pi.) (pree-me ddn-ne.) 
 
 The plural of prima donna. 
 Primes. Two notes placed on the same 
 
 degree of the staff, and having the 
 
 same pitch of sound. 
 Primes, perfect. Primes uninfluenced 
 
 in their tones by sharps, or flats. 
 
 Prime, superfluous. An interval arising 
 from the flatting or sharping of one of 
 the two notes denominated primes. 
 
 Prime (It.) (pree-mo.) Principal, first. 
 
 Primo buffo (It.) (pree-mo boof-fo.) 
 First male singer in a comic opera. 
 
 Primo t£mpo (It.) (pree-m5 tem-^o.) 
 
 The first, or original time. 
 Primo ten6re (It.) (pree-mo te-«o-re.) ) 
 Primo u6mo (It.) (pree-mo wo-mo.) ) 
 The first tenor singer. 
 
 Primo violino (It.) (pree-m5 ve-o-lee-no.) 
 
 The first violin. 
 
 Prim-tiine (Ger. pi.) {prrm-tS-ne.) Fun- 
 damental tones, or notes. 
 
 Principal, or octave. An important 
 organ-stop, tuned an octave above the 
 
 a as in a^ ; a as in hate ; a. as va. at ; e as in tree ; has'raek ; las in piine; ias in pin; 
 
 210 
 
PRINCIPAL BASS 
 
 PROSODIA 
 
 (Uapasons, and therefore of 4-foot 
 pitch on the manual, and 8-foot on 
 the pedals. In German organs the 
 term principal is also applied to all the 
 open diapasons. 
 
 Principal bass. An organ-stop of the 
 open diapason species on the pedals. 
 
 Principal close. The usual cadence in 
 the principal key, so-called because 
 generally occurring at the close of a 
 piece. 
 
 PrincipiUe (It.) (pren-tshe-/o-le.) Prin- 
 cipal, chief : violino priticipdle, the 
 principal violin. 
 
 PrincipalmSnte (It.) (pren-tshe-pal-»»e^«- 
 te.) Principally, chiefly. 
 
 Principal octave. An organ-stop. See 
 
 Prificipal. 
 
 Procflla (It.) (^xo-iskel-Xa..) A storm ; 
 musical delineation of a storm. 
 
 Professeur de chant (Fr.) (pro-fes-siir 
 diih shanh.) A professor of vocal mu- 
 sic ; a singing-master. 
 
 Professeur de musique (Fr.) (pro-fes- "] 
 sur duh mii-2^^.) I 
 
 Profess6re di musica (It.) (pr5-fes-jo- \ 
 re de moo-ze-ka.) J 
 
 Professor of music. In the universi- 
 ties, the professor of music enjoys 
 academical rank, confers musical de- 
 grees, lectures on harmonic science, 
 etc. In America, Harvard University 
 and the University of Pennsylvania 
 were the first to establish professional 
 chairs of music. At present, Yale, Co- 
 lumbia, Michigan, and many other great 
 colleges have such chairs. 
 
 ProgrAmme (It.) (pro-^oOT-me.) A 
 program. 
 
 Program. An order of exercises for 
 musical, or other entertainments. 
 
 Program-music. Instrumental music 
 which either by its title, or by descrip- 
 tion printed upon the composition, 
 gives a definite picture of events or ob- 
 jects. Although Bach, Rameau, and 
 other old composers wrote a few small 
 works of this description, Beethoven 
 was really the founder of the school 
 with his "Pastoral Symphony." Ber- 
 lioz in his " Symphonie Fantastique " 
 and "Childe Harold," and Richard 
 Strauss in his " Heldenleben " have 
 given the largest examples of pro- 
 gram music. Instrumental music 
 
 which attempts no such definite effects, 
 as Beethoven's " Sonata, Op. 106, " or 
 Brahm's " C Minor Symphony," are 
 called Pure Music or Absolute Music. 
 See Hadow's " Studies in Modern 
 Music," W eingartner's " Symphony 
 Since Beethoven," and Hanslick's 
 " Beautiful in Music." 
 
 Progression. Melodic progression is the 
 advance from one tone to another. 
 Harmonic progression is the advance 
 from chord to chord. 
 
 Prolatio (Lat.) (pro-/o-shJ-6.) Adding a 
 dot, to increase, or lengthen, the value 
 of a note. 
 
 Prolation. A method used in old music 
 of determining the value of semibreves 
 and minims. 
 
 Prolazifine (It.) (pro-la-tse-J-ne.) Pro- 
 lation. 
 
 Prologh^tto (It.) (pr6-l6-^rf-t6.) A 
 short prologue. 
 
 Prologue, musical. The preface, orintro- 
 duction to a musical composition, or 
 performance ; a prelude. 
 
 Promenade concert. A vocal, or instru- 
 mental concert, during which the audi- 
 ence promenade the hall instead of 
 being seated. 
 
 Promptement (Fr.) (pronht-manh.) ) 
 
 Prontam^nte (It.) (pr6n-ta-OTi'«-te.) J 
 Readily, quickly, promptly. 
 
 Pr6nto (It.) ipron-ib.) Ready, quick. 
 
 PronunziAre (It.) (pro-noon-tse-a-re.) To 
 pronounce ; to enunciate. 
 
 Pronunziato (It.) (pr5-noon-tse-a-to.) 
 Pronounced. 
 
 Prop6sta (It.) (-pro-posXa..) Subject, or 
 theme of a fugue. 
 
 Proscenio (It.) (pros-j-y^s-ne-o.) ) 
 Proscenio (Spa.) {pros-tkd-m-b.) ) 
 scenium. 
 
 Proscenium (pr6s-j«i i-um.) The front 
 part of the stage where the drop scene 
 separates the stage from the audience. 
 
 Proslambanomenos (Gr.) (pros-lam-ba' 
 nSm-e-nos..) The lowest note in the 
 Greek system, equivalent to A on the 
 first space in the bass of modern music. 
 
 Prosodia (Gr.) (pro-j^'-di-a.) A sacred 
 song, or hymn, sung by the ancients in 
 honor of the gods. 
 
 Pro- 
 
 as in ione ,■ 6 as in dove ; 8 as in not ; u as in up ; ii the French sound of a. 
 
PROSODY 
 
 QUADRUPLE 
 
 Prosody. A term, partly grammatical 
 and partly musical, relating to the ac- 
 cent and metrical quantity of syllables, 
 in lyrical composition. 
 
 Protagonista (It.) (pr6-ta-g6-»«j-ta.) 
 
 The principal character of a drama, or 
 
 opera. 
 Prothalamion (Gr.) (pro-tha-/<2-mi-6n.) 
 
 A nuptial song. 
 Pri5va (It.) iprd-v'i..) Rehearsal. 
 Pr6va generate (It.) {pro-vsi jen-e-ra-le.) 
 
 The last rehearsal previous to a public 
 
 performance. 
 Psalm. A sacred song or hymn. 
 Psalm-buch (Ger.) {psalm bookh.) A 
 
 psalter, a book of psalms. 
 Psalmen (Ger.) {psdl-men.) To sing, to 
 
 chant psalms. 
 
 Psalm-gesang (Ger.) (psalm ghe-zang.) 
 
 Psalmody. 
 Psalmist. A composer, writer, or singer 
 
 of psalms or sacred songs. "The 
 
 Psalmist " — King David. 
 Psalm-lied (Ger.) (psalm led.) Psalm, 
 
 sacred song or hymn. 
 Psalmodie (Fr.) (psal-mo-dee.) Psalmody. 
 Psalmodier (Fr.) (psal-mo-di-a.) To 
 
 chant psalms. 
 Psalmody. The practice or art of singing 
 
 psalms ; a style or collection of music 
 
 designed for church service. 
 Psalmsammlung (Ger.) (salm-sam- 
 
 loong.) Collection of psalms. 
 Psalm-sanger (Ger.) (psalm sang-er.) 
 
 Psalmodist, psalm singer. 
 Psalm-singen (Ger.) (psalm sing-en.) 
 
 Psalmody. 
 
 Psalter. The book of Psalms. 
 
 Psalter (Ger.) (/j-«7-ter.) Psaltery.. 
 
 Psalterion (Fr.) (psal-ta-ri-onh.) 
 
 Psalterium (Lat.) (sal-^a-ri-um.) 
 
 Psaltery (Eng.) 
 
 A stringed instrument much used by 
 the Hebrews, supposed to be a species 
 of lyre, harp, or dulcimer. 
 
 Psaume (Fr.) (psom.) A psalm. 
 
 Psaume des morts (Fr.) (psom de mor.) 
 Death psalm, funeral hymn. 
 
 Punctum contra punctum (Lat.) {punk- 
 liim kon-tra. pUnk-txmi.) Point against 
 point ; see Cortnterpoint. 
 
 Punctus (Lat.) {pAnk-tvs,.) A dot, a point. 
 
 Originally a note. 
 Punkt (Ger.) (poonkt.) A dot. 
 Punkte (Ger.) {poonk-th.) Dots. 
 Punktirt (Ger.) (poonk-tor/.) Dotted. 
 Punktirte noten (Ger.) {^oonk-teer-lh 
 
 no-i'u.) Dotted notes. ' 
 Piinta (It.) {poon-ii.) The point, the 
 
 top ; also, a thrust, or push. 
 Piinta d'arco (It.) {poon-ta. d'ar-ko.) j^ 
 Piinta del'arco (It.) {poon-Vi. del ar-ko.) i 
 
 The point or tip of the bow. 
 Puntdto (It.) (poon-tt-to.) Pointed, 
 
 detached, marked. 
 Piinto (It.) (poon-to.) A dot, a point. 
 Punto d'organo (It.) (poon-t5 d'5r-ga-n6.) 
 
 Organ point. 
 Piinto per piinto (It.) (poon-to per- 
 
 poon-to.) Note for note. 
 
 Pupitre (Fr.) (pii-petr.) A music desk. 
 
 Pyramidal flute. An 8-foot organ-stop 
 of wood. 
 
 Pyramidon (Gr.) {yi-rdm-i-Aon.) An 
 organ-stop of i6-or 32-foot tone, on 
 the pedals, invented by the Rev. F. A. 
 G. Ouseley. The pipes are four times 
 larger at the top than at the mouth, 
 and the tone of remarkable gravity, 
 resembling that of a stopped pipe in 
 quality. 
 
 Quadrat (Ger.) (quad-ra<.) The mark 
 called a natural, tl. See Flat. 
 
 Quadrato (It.) fquad-ra-to.) The note B 
 in the natural or diatonic scale. 
 
 Quadricinium (Lat.) (quad-ri-rfw-i-um.) ) 
 
 Quadripartite (Fr.) (kad-ri-par-«.) ) 
 
 A quartet ; a composition in four parts. 
 
 Quadriglio (It.) (quad-r^/-ye-o.) Quad- 
 rille. 
 
 Quadrille (Fr.) (ka drel.) A French 
 dance, or set of five consecutive dance 
 movements, called La Pantalon, La 
 Poule, L'Ete, La Trenise (or La 
 Pastourelle), and La Finale. Gener- 
 
 ally in f or J rhythm. 
 
 Quddro (It.) (qua-dro.) 
 a natural, J. 
 
 Quadruple. Fourfold. 
 
 The mark called 
 
 a as in a/^; a as in hate ; a as in at ; e as in tree ; easin^/4 ; las in pine ; 1 as in pi-i; 
 
QUADRUPLE COUNTERPOINT 
 
 QUER-FLOTE 
 
 Quadruple counterpoint. Counterpoint 
 in four parts, all of which may be 
 inverted, and each of them taken as a 
 bass, middle, or high part. 
 
 Quadruple croche (Fr.) (kad-riipl 
 krosh.) 
 
 Quadruple quaver (Eng.) {iwdd-iu-pi- 
 
 ffud-ver.) b 
 
 Four-hooked; asixty-fourth note. J? 
 Quidruplo.(It.) (^aa<^-roo-pl6.) ) In 
 Quadruplo (Lat.j ^jaoa?-roo-pl6.) J four 
 
 parts. 
 Quantity. The relative duration of notes 
 
 or syllables. 
 QuArta (It.j {qudr-'Cs.:) i A fourth ; also 
 QuArtO (It.) l^qudrAo.) \ the fourth 
 
 voice, or instrumental part. 
 Qu&rta mddi (It.) (yaaV-ta wo-de.) ) 
 Quarta t6ni (It.) {qudr-t'i. /o-ne.) ) 
 
 The subdominant, or fourth note of 
 
 the scale. 
 Quart de son (Fr.) (kar diih sonh.) ) . 
 Quart de ton (Fr.) (kar duh tonh.) ) 
 
 quarter tone. 
 Quart de soupir (Fr.) (kar diih soo-per.) 
 
 A sixteenth rest. ^ 
 
 A fourth. 
 
 Quarte (Fr.) (kart.) 
 Quarts (Fr.) (gudr-te.) 
 
 Quarte augmentee (Fr.) (kart og-manh- 
 /d.) Sharp fourth. 
 
 Quarte diminuee (Fr.) (kart di-me-noo-J.) 
 Minor fourth. 
 
 Quarte de nazard (Fr.) (kart diih na- 
 zdrd.) Fourth above the nazard, an 
 organ-stop identical with the fifteenth. 
 
 Quarte du ton (Fr.) (kart dii t5nh.) The 
 fourth note of the scale. 
 
 Quarter note. A crotchet. J 
 
 Quarter rest. A pause equal in duration 
 to a quarter note. See Rests. 
 
 Quarter tone. A small interval, or devi- 
 ation in pitch, .which, in the mathemat- 
 ical theory of music is found to exist, 
 approximately, between Df and Eir, G# 
 and Ab, etc. 
 
 Quartes (Fr.) (kart.) Fourths. 
 
 Quartet, string. A quartet, or composi- 
 tion arranged for four stringed instru- 
 ments, consisting of first and second 
 violins, viola, and violoncello. 
 
 Quartet (Eng.) (quar-^/i.) ^ ^ ^om- 
 
 Quartett (Ger.) i^ix-tHl.) \ position 
 
 Quartette (It.) (quar-tet-to.) ) for four 
 voices or instruments. 
 
 Quartettino (It.) (quar-tet-^?-no.) A 
 short quartet. 
 
 Quartet, wood. A quartet consisting of 
 
 the flute, oboe, clarinet, and bassoon. 
 Quart-fagott (Ger.) {gudrt £i.-got.) \ 
 Quart-fag6tto (It.) quart fa-^o7-t6.) ) 
 
 An old sort of bassoon, formerly used 
 
 as a tenor to the oboe ; called also, 
 
 Dulcino and Dulzain. 
 Quart-flbte (Ger.) {quart fd-te.) A flute 
 
 sounding a fourth above. 
 Qudrto (It.) (quar-to.) The fourth; the 
 
 quarter-note. 
 Qudrto d'asp6tto (It.) (quar-to d'as-pet- 
 
 t5.) A sixteenth rest. 
 QuArto di tu6no.(It.) (quar-t5 de two-no.) 
 
 Quarter tone. 
 QudrtO vioUno (It.) (quar-to ve-6-/^-no.) 
 
 The fourth violin. 
 Qudsi (It.) (qud-zi.) In the manner of, 
 
 in the style of. 
 Qudsi allegretto (It.) {qud-zi aX-Vs-gret- 
 
 to.) Like an AllegrStto. 
 Qudsi anddnte (It.) {qud-z\ an-aSw-te.) 
 
 In the style of an Andante. 
 Qudsi presto (It.) {qud-zi prSs-to.) Like 
 
 a Pristo. 
 Qudsi recitative (It.) {qud-zi ra-tshe-ta- 
 
 ^«-vo.) Resembling a recitative. 
 
 Qudsi una fantasia (It.) {qud-A oo-na 
 
 fan-ta-«^-a.) As if it were a fantasia. 
 Quatrain. A stanza of four lines rhyminf^ 
 
 alternately. 
 Quatre (Fr.) (katr.) ) Four ; a 
 
 Qudttro (It.) (quat-tro.) ) quatre mains, 
 
 or, a qu&ttro mdni, for four hands ; a 
 
 pianoforte duet. 
 Quattric6ma (It.) (quat-tre-,fff-ma.) A 
 
 thirty-second note. 
 Quituor (Lat.) (?«a-tii-or.) A quartet. 
 Quaver. An eighth-note. 
 
 Quaver rest. A mark of silence equal in 
 value to a quaver.. 
 
 Qnerstriche (Ger.) {qudr-strl-Xshe.) Led- 
 ger lines. 
 
 Quer-flote (Ger.) {qudrfl6-te.) German 
 flute. See Flduto Travirso. 
 
 5 as in tone / 6 as in dove / 8 as in not ; fi as in «/ ; ii the French sound of ». 
 
 213 
 
QUER-PFEIFE 
 
 RADICAL BASS 
 
 Quer-pfeife (Ger.) [guar ffi-ie.) A fife. 
 Quer-stand (Ger.) (qnSr stand.) False 
 relation ; in harmony. 
 
 Qu^sta (It.) {qiies-i&.) ) 
 Qu£stO (It.) (gues-ib.) ) 
 Queue (Fr.) (kiih.) The tail, or stem, of 
 
 a note ; also, the tail-pjece of a violin, 
 
 etc. 
 Quickstep. A lively march, generally in 
 
 This, or that. 
 
 Quifto (It.) 
 serene. 
 
 (que-a-to.) Quiet, calm. 
 
 Quint (Lat.) (quint.) 
 Quinta (It.) (quen-ta.) 
 Quinte (Fr.) (kanht.) 
 
 ' A fifth ; also 
 the name of 
 ►an organ-stop 
 sounding 
 
 Quinte (Ger.) (qu!n-te.) J a fifth (or 
 twelfth) above the foundation stops. 
 Quinta acuta (Lat.) {guin-ta. a-iu-t's..) 
 Fifth above. 
 
 Quinta d^cima (It.) (quen-ta da-tshe-1 
 ma.) I 
 
 Quintus decimus (Lat.) (^afc-tus des-l- [ 
 mils.) J 
 
 'Y\\s fifth above the tenth, an organ-stop 
 identical with the fifteenth ; also Quin- 
 decima (It.), and Quindezime (Ger.). 
 Quintadena. ) An organ-stop. See 
 Quinta-ed-una. ) Quintaton. 
 
 Quinta m6di (It.) {quen-ta. mo-de.) I The 
 Quinta t6ni fit.) (gueii-ta. to-ne.) ) dom- 
 inant or fifth from the tonic. 
 Quintaton (Ger.) (quin-ta-/^«.) A man- 
 ual organ-stop of eight-foot tone ; a 
 stopped diapason of rather small scale 
 producing the twelfth, as well as the 
 ground tone ; it also occurs as a pedal- 
 stop of thirty-two and sixteen-foot tone. 
 Quint-bass. An organ pedal-stop. See 
 Quint. 
 
 Quinte (Fr.) (kanht.) Interval of a fifth. 
 
 Quinte cachee (Fr.) (kanht ka-sha.) Hid- 
 den fifths. 
 
 Quinte de viole (Fr.) (kanht diih ve-ol.) 
 The viola. 
 
 Quinte octaviante (Fr.) (kanht 6k-ta-vi- 
 dnht.) Octave quint ; the twelfth. 
 
 Quintes (Fr.) (kanht.) Fifths. 
 
 Quintet. A composition for five voices 
 or instruments. 
 
 A quin- 
 tet. 
 
 Quintette (It.) (quen-tat-to.) ) 
 Quintette (Fr.) (kanh-tet.) ) 
 
 a as in a,5 y a as in hate ; a as in at 
 
 Quint-figott (It.) (quent-fagot.) The 
 small bassoon, or fagottlna, sounding a 
 fifth higher than the common bassoon. 
 
 Qnint-gedacht (Ger.) (quint ghe-dakht.) 
 An organ-stop of the stopped diapason 
 species, sounding the fifth above. 
 
 Quinto (It.)(quen-t6.) A fifth. 
 
 Quintoire (Fr.) (kanh-twar.) An old 
 French term applied to a species of 
 descant consisting, chiefly of fifths. 
 
 Quintole (Lat.) (^afe-to-le.) A group 
 of five notes, having the same value as 
 four of the same species; quintolet. 
 See Azotes. 
 
 Quint-saite (Ger.) (quint si-te.) Treble 
 string. 
 
 Quire. A choir, a body of singers ; that 
 part of a church where the choristers 
 sit. See Choir. 
 
 Qui tollis (Lat.) (que tUl-lis.) A part of 
 the Gloria in the Mass. 
 
 Quodlibet (Lat.) (^aiJi^-li-bet.) A medley 
 of airs, etc., out of different works, or 
 by various composers ; a musical pot- 
 pourri. 
 
 Quoniam tu solus (Lat.) (qu6-ni-am tii 
 jj-liis.) Part of the Gloria in the Mass. 
 
 R 
 
 R for right (Ger. rechte) ; r. ^.= right 
 hand {Rechte Hand); for ripieno; 
 stands in Catholic church music for 
 Responsorium; R in French organ- 
 music, stands for clavier de ricit (swell 
 manual). 
 Rabbia (It.) (>-a^-be-'a.) Rage, fury, 
 madness. 
 
 Raccourcir (Fr.) (ra-coor-ser. ) To 
 abridge. 
 
 Raddolc^ndo (It.) (rad-dol-/j-,4^«-do.) | 
 
 Raddolc^nte (It.) (rad-d61-/j/4i?«-te.) ) 
 With increasing softness ; becoming 
 softer by degrees ; gentler and calmer. 
 
 Raddoppiam^nto (It.) (rad-dop-pe-a- 
 men-to.) Augmentation ; reduplica- 
 tion ; the doubling of an interval. 
 
 Raddoppidte n6te (It.) (rad-dop-pe-a-te 
 no-te.) Repeated, or reiterated notes. 
 
 Raddoppidto (It.) (rad-d6p-pe-a-t5.) 
 Doubled, increased, augmented. 
 
 Radical bass. The fundamental bass, 
 the roots of the various chords. 
 
 e as in tree ; e as in eA ; i as in pine ; i as in pin; 
 214 
 
raggi6ne 
 
 RECITATIVE ACCOMPANIED 
 
 Raggi6ne (It.) (rad-je-o-ne.) Ratio ; pro- 
 portion. 
 
 Rallentam^nto(It.) (ral-len-ta-/«^»-to.) ^ 
 Rallentindo (It.) (ral-len-^a»-do.) > 
 Rallentdto (It.) (ral-len-^<J-to.) ) 
 
 The time gradually slower. 
 
 Rallentdndo assai (It.) (ral-len-tt'«-do 
 as-ja-e ) Much slackening of the 
 time. 
 
 Ranz des vaches (Fr.) (ranh de vash.) 
 Pastoral airs played by the Swiss herds- 
 men, to assemble their cattle together 
 for the return home. 
 
 Rapidam^nte (It.) (ra-pe-da-ff«?»-te.) 
 Rapidly. 
 
 Rapidam^nte e brillante (It.) (ra-pe-da- 
 men-te a brel-/a«-te.) Rapidly and 
 brilliantly. 
 
 Rapidita (It.) (ra-pe-de-/o.) Rapidity. 
 
 Rdpido (It.) (ra-pe-do.) Rapid. 
 
 Rapsodie (Fr.) (rap-so-<i?«.) A capriccio, 
 a fragmentary piece ; a wild, uncon- 
 nected composition. 
 
 Rasch (Ger.) (rash.) Swift, spirited. 
 Rase-gesang (Ger.) (ra-ze ghe-zang.) \ 
 Rase-lied (Ger.) (rd-ze-leed.) > 
 
 A wild song ; a dithyrambic. 
 Ratten^ndo (It.) (rat-te-«^K-do.) ) Hold- 
 Ratteniito (It.) (rat-te-«w-to.) ) i"g 
 
 back ; restraining the time. 
 
 Rauco (It.) (ra-oo-ko.) Hoarse, harsh. 
 Rauh (Ger.) (ra-ooh.) ) j^^^ . 
 Hauque (Fr.) (rok.) S ^ ' 
 Rausch-pfeife (Ger.) (roush-pfi-fe.) ) 
 Rausch-quint (Ger.) (roush-quint.) ) 
 A mixture-stop in German organs, the 
 twelfth and fifteenth on one slide, 
 
 Ravanastron. A very simple form of 
 bow instrument among the Hindoos of 
 ancient origin. Possibly the progeni- 
 tor of the violin. 
 
 Rawivindo (It.) (rav-ve-e'i?K-do.) Reviv- 
 ing, quickening, accelerating. 
 
 Rawivindo 11 t^mpo (It.) (isLV-ve-van- 
 do el tem-^o.) Accelerating the time. 
 
 Re (ra.) A syllable applied in solfaing, 
 to the note D. In. France and Italy 
 D is called Re. 
 
 O as in tone ; 6 as in dove ; 5 as in not ; 
 
 2 
 
 A Moorish word signifying 
 
 Rebec. i 
 
 Rebecca. J an instrument with two 
 strings played on with a bow. The 
 Moors brought the rebec into Spain, 
 whence it passed into Italy, and after 
 the addition of a third string obtained 
 the name of rebecca, whence the old 
 English rebec, or fiddle with three 
 strings. 
 
 Rebecchino (It.) (re-be-;J^-n6.) Small 
 rebec guitar. 
 
 Re b^mol (Fr.) (ra-ba-m5I.) The note 
 
 Re b^mol majeur (Fr.) (ra ba-mol ma- 
 zhur.) The key of D I' major. 
 
 Rechanter (Fr.) (ra-shanh-^a.) To sing 
 again. 
 
 Recherche (Fr.) {x'i-shdrsh.') Research ; 
 name formerly given by the French to 
 an extemporaneous prelude introducing 
 a piece. 
 
 Recherche (Fr.) (re-sher-j.4il.) Rare,, 
 affected, formal. 
 
 Recht (Ger.) (rekht.) Right. 
 
 Rechte hand (Ger.) (rekht hand.) Right 
 hand. 
 
 Recitdndo (It.) (re-tshe-/a«-d6.) ) De- 
 Recitdnte (It.) (re-tshe-/o«-te.) ) clam- 
 atory, in the style of a recitative. 
 
 Recitative. (re-si-ta-«?«'.) A species of 
 musical declamation in which the per- 
 former rejects the rigorous rules of 
 time and endeavors to imitate the in- 
 flections, accent, and emphasis of nat- 
 ural speech. There are two chief kinds 
 of recitative, the free {secco) and the 
 measured {misurato or stromentaio) . 
 The free is without tempo mark and 
 with only a few chords for accompani- 
 ment to sustain the intonation. The 
 modulations are always very bold and 
 free. Even in orchestral works the 
 free recitative is often accompanied 
 merely by piano. The measured recita- 
 tive has tempo, and full accompani- 
 ment, and is like a fragment of a song. 
 
 Recitatif (Fr.) (re-se-ta-<^) \ 
 
 Recitativ (Ger.) (ret-si-ta-tif.) > 
 
 Recitativo (It.) (re-tshe-ta-Z^if-vS.) * 
 Recitative. 
 
 Recitative accompanied. A recitative 
 is said to be accompanied when, be- 
 
 fl as in ufi ; ii the French sound of u. 
 
 IS 
 
RECITAXfvO INSTROMENTAtO 
 
 REED-PIPE 
 
 sides the bass, there ase partsior other 
 instruments, as violins, flutes, etc. 
 
 Recitativo instromentdto (It.) (re-tshi- 
 ti.-iee-vb en-stro-men-ta-tS.) Accom- 
 panied recitative. 
 
 Recitativo parldnte (It.) (re-tsh!-ta-tee- ^ 
 vo par-/a«-te.) [ 
 
 Recitativo s^cco (It.) (re-tshi-ta-tee-v5 \ 
 sek-k.o.) > 
 
 Unaccompanied recitative; also when 
 accompanied only by the violoncello 
 and double bass, or the pianoforte or 
 organ. 
 
 Recitativo stromentdto (re-tshi-ta-tee- 
 vo stro-men-^a-to.) Recitative accom- 
 panied by the orchestra. See Recita- 
 tivo instromentdto. 
 
 Reciter (Fr.) (re-si-/<y/.) To recite. 
 
 Reciting-note. The note in a chant 
 upon which the voice dwells until it 
 comes to a cadence. 
 
 Recorders. An old wind-instrument 
 somewhat resembling a flageolet, but 
 of smaller bore and shriller tone. 
 Shakespeare alludes to the Recorders 
 in " Hamlet." 
 
 Recreation. A composition of attractive 
 style, designed to relieve the tedious- 
 ness of practice ; an amusement. 
 
 Recreations musicales (Fr.) (rek-ra-o- 
 si-6nh mii-zi kal.) Musical recrea- 
 tions. 
 
 Recte (Lat.) {rek-ie.) Right, straight- 
 forward. 
 
 Recte et retro (Lat.) (rek-te et re-trb.) 
 Forward, then backward ; the subject, 
 or melody, reversed, note for note. 
 
 Rector chori (Lat.) {rek-tor ko-n.) The 
 leader of choral performances. 
 
 Recueil d'hymnes (Fr.) (re-kii-e d'emn.) 
 Hymn-book. 
 
 Reddita (It.) {xeA-dee-ia..) \ Return to 
 Redita (It.) {re-dee-&.) ) the subject; 
 repetition of a melody. 
 
 Redoublement (Fr.) (re-</w*/-manh.) 
 See Raddoppiamento. 
 
 Redowa (red o-wa.) 
 R^dowak (?-«/-6-wak.) 
 Redowazka (r/(/-6-w'ats-ka.) 
 f and f time alternately. 
 
 Redublic4nte (It.) (re-doob-le--f<i«-te.) 
 Redoubling. 
 
 A 
 Bohemian 
 dance in 
 
 RedublicdtO (It.) (re-doob-le-/5a-t6.) 
 Redoubled. 
 
 Reduciren (Ger.) {re-Aoo-tseer-ha..) To 
 reduce, or arrange, a. full instrumental 
 score, for a smaller band, or for the 
 pianoforte, or organ. 
 
 Reductio (Lat.) (re-(/a.4-shi-o.) Redu- 
 cing, or bringing back augmented inter- 
 vals to their original value. See, also, 
 Reduciren. 
 
 Redundant chord. A chord which con- 
 tains a greater number of tones or 
 half-tones than it has in its natural 
 state, as from C to sharp G. 
 
 Redundant fourth. An augmented 
 fourth. 
 
 Redundant intervals. See Augmented 
 Intervals. 
 
 Reed. The flat piece of cane placed on 
 the beak or mouth-piece of the clarinet 
 or saxophone. This is called a single 
 reed. The double reed is the mouili- 
 piece of the oboe, English horn and 
 bassoon, formed of two pieces of cane 
 joined together. A reed, in musical 
 instruments, is a thin tongue of wood, 
 or metal, against which a current of 
 air is directed ; the reed, swaying 
 rapidly to and fro, breaks this current 
 into intermittent puffs, which form the 
 tone. Reed-vibrations generally pro- 
 duce many overtones, and therefore 
 a rather thin and penetrating quality 
 of sound. Cabinet-organs, oboes, 
 clarinets, bassoons, etc., are examples 
 of reed vibrations. 
 
 Reed fifth. l a stopped-guint regis- 
 
 Reed-nasat. ) ter in an organ, the stop- 
 per of which has a hole or tube in it. 
 
 Reed, free. When, in an organ reed- 
 pipe, the tongue vibrates in the middle 
 of the tube, without striking against 
 its sides, it is called a/r«^ reed. 
 
 Reed-instruments. Instruments whose 
 sounds are produced by the action of 
 air upon reeds formed of metal, or 
 wood. 
 
 Reed-organ. An organ of small sire in 
 which the keys open valves and allow 
 the wind from the bellows to act upon 
 reeds. 
 
 Reed-pipe. A pipe formed of reed, used 
 singly or in numbers, as the pipes of 
 Pan, in ancient times, or in connection 
 with other kinds of pipes, as in the 
 organ. 
 
 a as in a;4 y a as in hate ; a as in a/ ; e as in tree ; 6 as in eh ; i as in pine ; i as in pin; 
 
 2l5 
 
REED-STOPS 
 
 REPEAT 
 
 Reed-stops. Those stops in an organ, 
 the peculiar tone of which is produced 
 by the wind having to pass against a 
 reed placed at the bottom of the pipe 
 and putting the tongue into vibration. 
 
 Reed, striking. When in an organ reed- 
 pipe, the wind passing through causes 
 the tongue to strike against the tube, 
 it is called a striking reed. 
 Reel. A lively Scotch dance. Originally 
 the term Rhay, or Reel, was applied to 
 a very ancient English dance, called 
 the Hay. The reel is usually in \ or 
 f time. 
 Refrain. The burden of a song ; a ritor- 
 
 nel ; a repeat. See Burden. 
 Regal. A portable organ, used in former 
 
 times in religious processions. 
 Regens chori (Lat.) (ra-jens ko-yi^ The 
 
 choir-master in German churches. 
 Regimental band. A company of mu- 
 sicians attached to a regiment ; a mili- 
 tary band. 
 Regina coeli (Lat.) (ra-je-n'a j^-li.) 
 Queen of Heaven ; a hymn to the 
 Virgin. 
 Register. The stops, or rows of pipes 
 in an organ; also applied to the high, 
 low, or middle parts, or divisions, of 
 the voice ; also the compass of a voice, 
 or instrument. 
 Registering. ) The proper management 
 Registration. ) °f "^^ stops in an organ. 
 Registerstimme (Ger.) {x^-ghts-tet-stim- 
 me.) Tone produced by a register or 
 stop on the organ. 
 Registre (Fr.) (reg-esir.) ) Register ; 
 Registro (It.) (re-jes-tro.) S draw stop. 
 Regie (Fr.) (ragl.) 
 R^gola (It.) (ra-go-Ia.) 
 
 position, or performance. 
 Regula (Lat.) (reg-u-la..) A rule. 
 Rein (Ger.) (rin.) Pure, clear, perfect ; 
 
 iurz und rein, distinct and clear. 
 Reine stimme (Ger.) {ry-vx. st{m-me.) 
 
 Clear voice. 
 Reiselied (Ger.) {rt-zt-led.) A travelling 
 
 song ; a pilgrim's hymn, or song. 
 Related . A term applied to those chords, 
 modes or keys, which, by reason of 
 their affinity and close relation of some 
 of their component sound.s, admit of 
 an easy and natural transition from 
 one to the other. 
 
 1 Rule, or pre- 
 j cept, for com- 
 
 Relation. That connection which any 
 
 two sounds have with one another in 
 
 respect of the interval which they 
 
 form. 
 
 Relatio non harmonica (Lat.) (re-/<i-shi- 
 
 o non har-?»(y«-i-ka.) False relation. 
 Relation, false. That connection which 
 any two sounds have with one another 
 when the interval which they form is 
 either superfluous or diminislied. See 
 False Relation. 
 Relative keys. Keys which only differ 
 by one sharp or flat, or which have the 
 same signatures. 
 Religiosam^nte (It.) (re-le-je-o-za-OT««- ) 
 te.) [ 
 
 Religi6so (It.) (re-le-je-ijr-zo.) ) 
 
 Religiously ; solemnly ; in a devout 
 manner. 
 Relish, double. One of the old harpsi- 
 chord graces. 
 Re majeur (Fr.) (ra ma-zhiir.) D major. 
 Re mineur (Fr.) (ra me-niir.) D minor. 
 Reminiscenz (Ger.) (re-mi-nis-<j/«/j.) 
 
 Reminiscence. 
 Remote keys. Those keys whose scales 
 have few tones in common, as the key 
 of C and the key of D b. 
 Remplissage (Fr.) (ranh-pli-sazh.) Fill- 
 ing up ; the middle parts ; also, a term 
 applied to the decorative flourishes in- 
 troduced in concertos and bravura 
 airs. 
 Rentrte (Fr.) (ranh-tra.) Return; re- 
 entry of the subject, or theme. 
 Renverdie (Fr.) (ranh-ver-de.) Songs 
 celebrating the return of verdure and 
 springtime. 
 Renversement (Fr.) (ranh-z'/rj-manh.) 
 
 An iriversion. 
 Renverser (Fr.) (ranh-z'^r-sa.) To in- 
 vert. 
 Renvoi (Fr.) (ranh-vwa.) A repeat ; the 
 
 mark of repetition. 
 Reol (Dan.) (ra-ol.) A Danish peasant 
 
 dance very similar to the reel. 
 Repeat. A character indicating that cer- 
 tain measures or passages are to be 
 sung, or played twice. (Ger., H'ieder- 
 holungszeichen; Fr., b&ton de reprise ; 
 It., replica.) Written : 
 
 ^ 
 
 or 
 
 or 
 
 5 as in tone ; 6 as in dove; Q as in not; ii as in up; ii the French sound of «. 
 
 217 
 
REPEAT 8VA 
 
 resp6nso 
 
 See also Da Capo, and Dal Segno. 
 It is not imperative to observe every 
 repeat-mark. In the older composers 
 there is much more repetition than is 
 necessary, and the teacher may be per- 
 mitted to disregard some of the repeats 
 marked by Bach, Handel, Haydn, Mo- 
 zart and Schubert. The repeat-marks 
 of Beethoven, however, are generally 
 respected. In the first movement of 
 many of the older sonatas, there is a 
 repeat at the end which is almost 
 always disregarded. Per contra, the 
 first repeat in such a movement (son- 
 ata-allegro) is generally observed. 
 Sometimes the repeat-sign is made 
 clearer by the addition of side-lines 
 
 thus d 
 
 Repeat 8va. Repeat an octave higher, 
 Repercotimtoto (It.) (re-par-ko-te- 
 
 OT^/Z-tO.) 
 
 Repercussio (Lat.) (rep-er-/S2?j-si-o.) 
 Repercussion. 
 
 Repercussion. A frequent repetition of 
 the same sound. The regular reen- 
 trance, in a fugue, of the subject and 
 answer after the episodes immediately 
 following the exposition, when these do 
 not overlap each other. When they 
 overlap, the word stretto is applied. 
 
 Repertoire. (Fr.) (re-per-twah.) Those 
 pieces which can readily be performed 
 by an operatic company, or by a solo 
 performer, because of their familiarity 
 with them, or their constant practice of 
 them. A repertory. 
 
 R^p^ter (Fr.) (ra-pa-ta.) To repeat. 
 
 Repetim^nto (It.) (re-pa-te-?«i?«-to.) I 
 Repetizi6ne (It.) (re-pa-te-tse-o-ne.) ) 
 Repetition. 
 
 RfipStition (Fr.) (ra-pa-te-si-onh.) Re- 
 hearsal, repetition. 
 
 Repetit6re (It.) (rep-a-te-^o-re.) The 
 director of an opera chorus. 
 
 Repitatore (It.) (rep-e-ta-/^-re.) A pri- 
 vate teaclier ; the director of a rehearsal. 
 
 Replica (It.) (r^-ple-ka.) Reply, repeti- 
 tion. See also, Repercussio. 
 
 Replic&tO (It.) (rep-le-/J3-to.) Repeated 
 
 a as in ah ;a.zs, in hate ; a as in a/ 
 
 (It.) (rep-le-ka-tse^-ne.) 
 
 Replicazidne 
 
 Repetition. 
 
 R^pondre (Fr.) (ra-ponhdr.) To re- 
 spond ; to answer. 
 
 R^ponse (Fr.) (ra-ponhs.) The answer, 
 in a fugue. 
 
 Repos (Fr.) (ra-po.) A pause. 
 
 Reprise (Fr.) (ra-prez.) The burden of 
 a song ; a repetition, or return, to some 
 previous part ; in old music, when a 
 strain was repeated, it was called a re- 
 prise. 
 
 Requiem (Lat.) (ra-qui-em.) A Mass, 
 or musical service for the dead. Its 
 divisions are as follows : (i) Requiem, 
 Kyriej (2) Dies iras. Requiem; (3) 
 Domine Jesu Christe; (4) Sanctus, 
 Benedictus; (5) Agnus Dei, Lux 
 aetema. 
 
 Resolutio (Lat.) (rez-o-/«-shi-6.) Reso- 
 lution. 
 
 Resolution. Resolving a discord into a 
 concord according to the rules of har- 
 mony. 
 
 Resoluzione (It.) (res-o-loo-tse-o-ne.) 
 Resolution, decision, firmness ; also, the 
 progression from a discord to a concord. 
 
 Resolving a discord. Passing a disson- 
 ance into a concord, usually after it has 
 been heard in the preceding harmony. 
 
 Resonance. Sound, reverberation, echo. 
 
 Resonant. Resounding. 
 
 Resonanz-boden (Ger.) (re-sb-ndnts-io- 
 d'n.) The sounding-board of a 
 pianoforte, etc. 
 
 R6sonnement (Fr.) (r(?-sonh-manh.) 
 Resonance. 
 
 R^sonner (Fr.) (ra-s6nh-na.) To re- 
 sound; to echo. 
 
 Respiration (Eng.) (res-pi-ra-shiin.) 
 Respirazidne (It.) (res-pe-ra-tse-J-ne.) | 
 Respiro (It.) (res-/;-ro.) 
 Taking breath in singing. 
 
 Respiro (It.) (res-^^-ro.) A semi-quaver 
 rest. 
 
 Response. \ 
 
 Responsi6ne (It.) (re-sp5n-se-»-ne.) [ 
 Resp6nso {re-spSn-so.) ) 
 
 Response, or answer of the choir. The 
 name of a kind of anthem sung in the 
 Roman Catholic Church after the morn- 
 ing lesson . In a fugue the response is 
 
 e as in tree ; 6 as in eh ; i as iapine; I as in pin ; 
 218 
 
RESPONSORIEN 
 
 RHYTHMUS 
 
 the repetition of the given subject by 
 another part. 
 
 Responsorien (Lat.) (re-spon-jo-ri-en.) 
 
 Eesponsorium (Lat.) (re-spon-jo-ri- 
 iim.) 
 
 Responsum (Lat.) (re-sfUn-sum..) 
 See Respotise. 
 
 ENGLISH GERMAN 
 
 Responsive (It.) (re-sp6n-j^«-vo.) Re- 
 sponsive. 
 
 Resserrement (Fr.) (res-j-(f?--manh.) See 
 Stritto. 
 
 Rest. A character indicating silence. 
 The following are the signs and names 
 of the various rests : 
 
 "^ I. Whole rest. Taktpause. 
 
 ■~- 2. Half-rest. Halbe. 
 
 ^ 3. Quarter-rest. Viertelpause. 
 
 *1 4. Eighth-rest. Achtelpause. 
 
 •3 S* i6th-re5t. Sechzehntelpause, 
 
 •3 6. 32nd-rest. 
 
 n 7. 64th-rest. 
 
 FRENCH 
 
 Pause. 
 Demi-pause. 
 Soupir. 
 Demi-soupir. 
 Quart de soupir. 
 Zweiunddreissigstelp. Demi-quart de soupir, 
 
 Vierundsechzigstelp. Seizifeme de soupir. 
 
 ITALIAN 
 
 Pausa della semibreve. 
 " " minima. 
 " " semiminima {pr Quarto). 
 " " croma {or Mezzo-quarto). 
 " " semicroma (r Respiro). 
 " " biscroma. 
 
 " " semibiscroma. 
 
 In some music the quarter-rest is writ- 
 ten r but as this is apt to produce con- 
 fusion with the eighth rest — T — -it 
 has been altered into >{. The whole 
 rest is not a definite value, as the others 
 are. It means a whole measure rest, 
 in every rhythm except f or \. In 
 these two rhythms it is the exact equiv- 
 alent of a whole note, in value. All 
 smaller rests have a definite and un- 
 changing value. In | rhythm a dotted 
 whole rest would fill the measure, and 
 
 would be 
 
 double whole 
 required. 
 
 rest 
 
 Retardation. Slackening, or retarding 
 the time; also, a suspension, in har- 
 mony, prolonging some note of a pre- 
 vious chord into the succeeding one. 
 
 Retentir (Fr.) (ra-tanh-ter.) To resound. 
 
 Retentissement (Fr.) (ra-tanh-tess- 
 manh.) Peal ; loud sound ; re-echoing. 
 
 Retraite (Fr.) (re-trdt.) Retreat ; tattoo ; 
 in military music. 
 
 Retro (Lat.) (ri^-tro.) Backward; the 
 melody reversed, note for note. 
 
 Retrograde (r/^-ro-grade.) Going back- 
 ward. 
 
 Retrograde imitation. Where the an- 
 swer, or imitating part, takes the sub- 
 ject backward. 
 
 Retrograde inversion. An inversion 
 made by commencing on the last note 
 of the subject, and writing it backward 
 to the first note. 
 
 Retrogrddo (It.) (ra-tro-^;-o-d5.) Retro- 
 grade ; going backward. 
 
 Rfitto (It.) {rdi-io.) Right, straight, di- 
 rect. 
 Reveille (Fr.) (re-Wif-ye.) Awakening, a. 
 military morning-signal; also horn- 
 music played early in the morning, to 
 awake the hunter. 
 Reverberiren (Ger.) (ref-er-be-r^-r'n.) 
 
 To reverberate. 
 Reversed retrograde imitation. A form 
 of imitation in which the subject is 
 commenced backward in the answer, 
 and in contrary motion. 
 Reversed-motion. Imitation by contrary 
 motion, in which the ascentfing inter- 
 vals are changed into descending, and 
 vice versa. 
 Revoice. To repair an organ-pipe so 
 as to restore its proper quality of tone. 
 R. H. In pianoforte music used to indi- 
 cate the right hand. 
 Rhapsode (Gr.) (rap-so-de.) Persons 
 among the ancients whose profession 
 it was to sing or recite the verses of 
 Homer and other celebrated poets. 
 Rhapsodie (Ger.) (rap-so-a?.) ) See Rap- 
 Rhapsody (Eng.)(?-^/-so-(ly.) ) •f<"^''«- 
 Rhay. An old Anglo-Saxon name for 
 
 the dance called the ffay. See Reel. 
 Rhythm (Eng.) (rithm.) T The di- 
 
 Rhythmus (Gr.) {rttk-mus.) I of^^°s" 
 Rhythmus (Lat.) {rUh-nms.) j i ca 1 
 Rhythmus (Ger.) {rith-moos.) J ideas or 
 sentences into regular metrical por- 
 tions ; musical accent and cadence as 
 applied to melody. Rhythm represents 
 the regular pulsation of music. The 
 
 5 as in tone ; 5 as in dove ; B as in not ; fi as in up; ii the French sound of u. 
 
 219 
 
RHYTHM E 
 
 rikt6cco 
 
 word time is constantly applied where 
 rhythm is meant. Thus we have 
 common time, two-quarter time, etc., 
 which have nothing to do with the tempo 
 of the music. In this book we have 
 most frequently replaced the misuse of 
 the word time by the more correct 
 name rhythm. It is possible that the 
 word measure might also replace the 
 more faulty expression. Three-quarter 
 measure would express much more than 
 three-quarter time. While we deem 
 it impossible to change every misnomer 
 in music, we believe that a beneficial 
 change is possible in this instance. 
 See Time. 
 
 Rhythme (Fr.) (rithm.) Rhythm. 
 Rhjrthmique (Fr.) (rith-mei.) ) Rhyth- 
 Rhythmisch (Ger.) (?-r/-mish.) ) mical. 
 
 Ribattere (It.) {re-iat-ta.-re.) To rever- 
 berate. 
 
 Ribattitn^nto (It.) (re-bat-te-OT^»-to.) 
 
 Repercussion, reverberation. 
 Ribattiita (It.) (ie-ha.t-ioo-ti.) A beat ; 
 
 a passing-note. 
 Ribfiba (It.) (re-dd-hsL.) A Jew's-harp. 
 Rib^ca (It.) (re-*a-ka.) See Xeiec. 
 Ribecchino (It.) (re-bek-i^-no.) A 
 
 small rebec. 
 
 Ricantare (It.) (re-kan-^<i-re.) To sing 
 again. 
 
 Ricercdre (It.) (re-tsher-zfa-re.) 
 
 Ricercari (It. pi.) (re-tsher-;5a-re.) 
 
 Ricercita (It.) (re-tsher ,4a-ta.) 
 
 Ricercdto (It.) (re-tsher-/Ja-to.) 
 
 Sought after; this term is applied to 
 every kind of composition wherein re- 
 searches of musical design are employed. 
 It is suitable to certain figures replete 
 with contrapuntal artifices, also to 
 madrigals, and the term was formerly 
 applied to complex fugues, and also to 
 instrumental exercises, when of consid- 
 erable difliculty. 
 
 Ricordinza (It.) (re-kor-(/<iK-tsa.) Re- 
 membrance, recollection. 
 
 Riddone (It.) (red-(/J-ne.) A roundelay; 
 
 a village dance. 
 Rideau (Fr.) (re-do.) Curtain, in opera. 
 
 Ridevolm^nte (It.) (re-de-vol-»2^«-te.) 
 Ludicrously, pleasantly. 
 
 Ridicim^ntO (It.) (re-de-tshe-OT.?K-t6.) 
 Repetition, repeating. 
 
 a as in <z^y a as in hate ; a as in at ; e as in tree ; S as in 
 
 Ridicolosam^nte (It.) (re-de-ko-lo-za- 
 men-te.) Ridiculously. 
 
 Rid6ttO (It.) (re-d%-t6.) Reduced; ar- 
 ranged or adapted from a full score; 
 also, an entertainment consisting of 
 singing and dancing ; a species of 
 opera. 
 
 Rifacim^ntO (It.) (re-fa-tshe-»«^«-t6.) 
 Reconstruction of a work in order to 
 improve it. 
 
 Riflormenti (It. pi.) (re-fe-6r-OT^«-te.) 
 Ornaments, embellishments. 
 
 Rigaudon (Fr.) («^-o-don.) ) A Hvely 
 
 Rigodon. ) French 
 
 dance in |, sometimes in | rhythm. 
 The name is spelled in many different 
 ways, but the first is the correct spell- 
 ing, as it was first brought out in the 
 court of Louis XIII by a dancing- 
 master named Rigaud. It begins on 
 the third, or fourth beat, has a lively 
 character, and was sometimes sung as 
 well as danced. It is sometimes called 
 the Rigadoon or Rigadoons. 
 
 Rig6re (It.) (li-^u-re.) Rigor, strictness ; 
 al rigdre di timpo, with strictness as to 
 time. 
 
 Rigor6so (It.) (ri-g6->-«-z6.) Rigorous, 
 exact, strict. 
 
 Rilasciindo (It.) (ri-la-she-aw-do.) Re- 
 laxing the time ; giving way a little. 
 
 Rima (It.) (?-^«-ma.) Verse, poem, song. 
 
 Rimbombamento (It.) (rem-b6m-ba-»z««- 
 to.) Resounding, booming. 
 
 Rinforzdndo (It.) (rin-for-^ja«-d6.) , 
 Rinforzdre (It.) (rin-for-^j-a-re.) I 
 
 RinforzdtO (It.) (rin-for-Zj-o-to.) [ 
 
 Rinf6rzo (It.) (rin-/»>--ts6.) J 
 
 Strengthened ; reinforced ; a reinforce- 
 ment of tone, or expression ; indicating 
 that either a single note or chord, or 
 several notes, are to be played with 
 emphasis, although not with the 
 suddenness of a sforzando. 
 
 Ringelstiick (Ger.) {rm-g']-stuh.) Ron- 
 deau, roundelay. 
 
 Ringen (Ger.) {ring-ea.) To ring, or 
 sound. 
 
 Rintoccdre (It.) (rin-tok-/5a-re.) 
 a bell. 
 
 To toll 
 
 Rint6cco 
 
 knell. 
 
 (It.) (nn-toh-ko.) Tolling; a 
 i as in pine ; i as in pin ; 
 
rintronjCto 
 
 rivoltAre 
 
 RintrondtO (It.) (rin-tr6-«d-t6.) Re- 
 sounded ; reechoed. 
 Ripetitura (It.) {li-pe-te-too-ia..) ) 
 
 Ripetizi6ne (It.) (ri-pe-te-tse-»-ne.) ) 
 Repetition; the burden of a song; a 
 refrain. 
 
 Ripienist. A player of the ripiino or 
 tiitti parts, in an orchestra. 
 
 Ripi^ni (It. pi.) (ri-pe-a-ne.) ) The 
 
 Ripidno (It.) (ri-pe-iJ-no.) } tiitti, or 
 full parts which fill up and augment 
 the effect of the chorus of voices and 
 instruments. In a large orchestra all 
 the violins, violas, and basses, except 
 the principals, are sometimes called 
 ripiini. The word means literally, 
 Jilling-up, and is the opposite of solo, 
 or obbligato; i.e. a. supplementary part. 
 
 Ripiino di cinque (It.) (ri-pe-a-n5 de \ 
 tshen-que.) \ 
 
 Ripieur de cinque (Fr.) (xvp-X-Uhr duh ) 
 sanhk.) Mixture stop of five ranks in 
 Italian organs. 
 
 Ripiino di due (It.) (ri-pe-if-no dedoo e.) 
 Mixture stop of two ranks. 
 
 Ripiino di qu4ttro (It.) (ri-pe-(?-no de- 
 qudt-Uo.) Mixture stop of four ranks. 
 
 Ripiino di tre (It.) (ri-pe-J'-no de-tray.) 
 Mixture stop of three ranks. 
 
 Riposta (It.) (ri-/ftr-ta.) Repeat. 
 
 Ripr^sa (It.) {ri-pri-za.:) \ Repetition, 
 
 Ripr&e (It.) (ri-Z^-^-ze.) S reiteration; 
 also the sign %. used with D.S. 
 
 Risentitam^nte (It.) (ri-sen-te-ta-zKra 
 
 te.) 
 
 Risentito (It.) (ri-sen-/'J-to.) 
 
 Marked, distinct, forcibly, firmly. 
 
 Risolutamtote (It.) (ri-zo-loo-la-OT««-te.) 
 Resolutely, boldly. 
 
 Risolut^zza (It.) (ri-zo-loo-feif-sa.) Reso- 
 lution, boldness. 
 
 Risolutissimo (It.) (ri-z6-loo-to-se-mo.) 
 Very resolutely ; as boldly as possible. 
 
 RisoliitO (It.) (ri-zo-Zoi^-tS.) -Resolved, 
 resolute, bold. 
 
 Risoluzidne (It.) (ri-z6-loo-tse-ff-ne.) Res- 
 olution, determination ; also, the resolu- 
 tion of a discord. 
 
 Risondnte (It.) (ri-zo-«d«-te.) Resound- 
 ing, ringing, sounding. 
 
 Risondnza (It.) (ri-z5-«ii«-tsa.) Reso- 
 nance. 
 as in tone ; 8 as in dove ; 8 as in not , 
 
 2: 
 
 Risondre (It.) (ri-zo-«a-re.) To resound ; 
 to ring, or echo. 
 
 Risp6sta (It.) (ris-/ftr-ta.) The answer, 
 in a fugue. 
 
 Ristr^tto (It.) {A-stret-Vo:) The stritto, 
 the restriction, or contraction, of the 
 subject, in a fugue. 
 
 Risveglidre (It.) (ris-val-ye-<i'-re.) To 
 wake up ; to revive ; to reanimate. 
 
 RisvegliitO (It.) (ris-val-ye-a-to.) Awak- 
 ened, reanimated. 
 
 Rit ) 
 
 _ ■ . > Abbreviations of Ritardando. 
 Ritard. ) 
 
 Ritarddndo (It.) (ri-tar-(faK-do.) Retard- 
 ing ; delaying the time gradually. 
 
 RitarddtO (It.) (ri-tar-da-to.) Retarded, 
 delayed. 
 
 Ritirdo (It.) (ri-tar-do.) Retardation, 
 gradual delay ; in harmony, prolonging 
 some note of a previous chord into the 
 succeeding one. , 
 
 Ritdrdo un pochettino (It.) (ri-^y-do 
 oon p5-ket-^^-no.) Slacken the time a 
 very little. 
 
 Riten. An abbreviation of Ritenuto. 
 
 Riten^ndo (It.) (re-te-«^«-do.) ) Detain-* 
 
 Ritentete (It.) (re-te-«f«-te.) i ing ; 
 holding back the time. 
 
 Riten^nto (It.) (re-te-««?i-to.) | Detained; 
 
 Ritenlito (It.) (re-te-Koo-to.) J s 1 o we r ; 
 kept back. 
 
 Ritmo (It.) {rit-mo.) Rhythm, cadence, 
 measure. 
 
 Ritmo a tre battute (It.) (rit-mo a tray 
 bat-^w-te.) Rhythm in three beats. 
 
 Ritorn^l (It.) (ri-tor-«rf.) ^ The 
 
 Ritornfllo (It.) (ri-t6r-«^/-lo.) V burden 
 
 Ritournelle (Fr.) (ri-toor-«?/.) ) °f ^ 
 song; also, a short prelude or intro- 
 duction to an air; and the postlude 
 which follows an air; it is also applied 
 to ttitti parts, introductory to, and 
 between, or after, the solo passages in 
 a concerto. 
 
 Riverberam^ntO (It.) (ri-ver-be-ra-m^n- 
 to.) Reverberation. 
 
 Riv6rso (It.) (n-vdr-so.) ) See 
 
 Riv^rscio(It.) (ri-j/ar-she-o.) ) Rov^scio. 
 
 RivolgimtotO (It.) {ri-vd\-ye-men-io.) In- 
 version of the parts, in double counter- 
 point. 
 
 Rivoltdre (It.) (ri-vol-z'o-re.) To change. 
 
 li as in up; ii the French sound of u. 
 
RIVOLTATO 
 
 ROUND 
 
 ) 1" 
 
 nverted ; 
 counter- 
 
 Rivoltdto (It.) (ri-vol-^o-to.) 
 Riv61tO (It.) {li-vol-to.) 
 
 point. 
 
 Roccoco (ro-ko-ko.) 1 Old-fashioned ; 
 Rococo (r5-k5-ko.) S oddjquaint. 
 Roehr-quint (Ger.) (roh'r-quint.) ) JHeed- 
 Rohr-quint (Ger.) (ror-quint.) Sfift>>-; 
 
 an organ-stop, sounding the fifth above 
 
 the diapasons. 
 Rohr (Ger.) (r5r.) Reed, pipe. 
 Rohre (Ger. pi.) (ro-re.) Reeds. 
 Rohr-flijte (Ger.) {rSr-Jld-th.) Seed-flute; 
 
 a stopped diapason in an organ. 
 Rohr-nasat (Ger.) {ror-Tis,-sdt.) See 
 
 Keed-nasat. 
 Rohr-pfeife {Ger.)(rdr-p/i-ie.} Reed-pipe. 
 Rohr-werk (Ger.) (ror-varh.) Reed-work; 
 
 the reed-stops in an organ. 
 Role (Fr.) (roll.) A part, or character, 
 
 performed by an actor in a play, or 
 
 opera. 
 Rolling. A term applied to that rapid 
 
 pulsation of the drum by which the 
 
 sounds so closely succeed each other 
 
 as to beat upon the ear with a rumbling 
 
 continuity of effect. 
 
 Roll, long. A prolonged roll of drums 
 signalizing an attack by the enemy, 
 and for the troops to place themselves 
 in line of battle. 
 
 Romaika. A dance-tune of the modern 
 Greeks to accompany a dance of the 
 same name. 
 
 Romance (Fr.) {ro-mdnAs.) formerly 
 Rominza (It.) (lo-man-ts'a..) I the name 
 Romanze (Ger.) {ro-mdn-tse .) ) given to 
 the long lyric tales sung by the min- 
 strels ; now a term applied to an irreg- 
 ular, though delicate and romantic com- 
 position. 
 
 Roman^sca (It.) (r5-m'a-«^j-ka.) ) A 
 Romanesque (Fr.) (ro-man-esk.) (favor- 
 ite Roman, or Italian, dance of the 
 sixteenth century, resembling the 
 Galliard. 
 
 Romantique (Fr.) (ro-manh-teek.) ) 
 Romanzesco (It.) (ro-miin-tses-ko.) ) 
 Romantic, imaginative, fairy-like. 
 
 Romischer gesang (Ger.) (r6-mi-sher 
 ^e-sdng.') Gregorian plain-chant. 
 
 Ronde (Fr.) (rond.) A whole note. 
 
 Rondeau (Fr.) ( rUnh-dd.) | A composi- 
 
 R6ndO (It.) {ron-Ab.) S tion, vocal 
 
 or instrumental, consisting of one 
 prominent theme which reappears 
 again and again in alternation with 
 other contrasted themes. There are 
 various forms of the rondo, but the 
 above is the underlying principle of 
 them all. Ph. Em. Bach first 
 brought the rondo into a useful and 
 practical form. 
 
 Rondeau mignon (Fr.) (ronh-i/J men- 
 yonh.) A favorite rondo. 
 
 Rondeaux (Fr.) ixox&i-do.) Rondos. 
 
 Ronde pointee (Fr.) {torA^A pwdnh-K.'i.^ 
 Dotted whole note. 
 
 RondiWtta (It.) (r5n-de-/rf-ta.) n ^ 
 
 Rondinttto (It.) (r5n-de-«^M6.) i short 
 
 Rondino (It.) (ron-i/^-no.) | and 
 
 RondoWtto(It.) (r5n-do-/^^-to.) J ^^^^ 
 rondo. 
 
 Rondo form. In the style of a rondo. 
 
 Ronzam^nto (It.) (r5n-tsa-»z«»-to.) Hum- 
 ming, buzzing. 
 
 Root. The fundamental note of any 
 chord. 
 
 Rosalia (Lat.) (ro-JifZ-ya.) The repeti- 
 tion of a passage several times over, . 
 each time on a different degree of the 
 staff. 
 
 Rossignoler (Fr.) (ro-sen-yo-la.) To imi- 
 tate the song of the nightingale. 
 
 R6ta (It.) (?-o-ta.) A wheel; applied to 
 a canon, or a round. The name for- 
 merly applied to the hurdy-gurdy. 
 
 Rot6ndo (It.) (jo-ton-Ao^ Round, full. 
 
 R6tte (It.) (?-J/-te.) Broken, inter- 
 rupted. 
 
 Rotulx (Lat.) (?-5^tu-le.) Christmas 
 roundelays. 
 
 Roulade (Fr.) (roo-/dd.) A florid vocal 
 passage ; a division, or rapid series of 
 notes, using only one syllable. 
 
 Roulement (Fr.) (rwZ-manh.) A roll, or 
 shake, upon the drum or tambourine ; 
 prolonged reiterations of one note upon 
 the guitar, etc. 
 
 Round. A species of canon in the uni- 
 son, or octave ; also a vocal composition 
 in three or more parts, all written in 
 the same clef, the performers singing 
 each part in succession. They are 
 
 called rounds because the performers 
 /5 ; a as in Aate ; 'S. as in at ; e as in tree ; e as in ?.4 ; I as in pine ; \ as in piti; 
 
 222 
 
ROUNDEL 
 
 SALLE DE MUSIQUE 
 
 follow one another in a circulatory mo- 
 tion, and as they generally have no 
 cadence they move around without ces- 
 sation, like an infinite canon. 
 
 Roundel. ) From the French word 
 Roundelay. ) rondelet ; a species of an- 
 tique rustic song, or ballad, common in 
 the fourteenth century, and so-called on 
 account of form, by which it constantly 
 returned to the first verse and thus 
 went round; also a circular dance. See 
 Shakespeare's " Midsummer Night's 
 Dream." 
 
 Rovesciamento (It.) (ro-ve-she-a-ffz^«- \ 
 to.) ( 
 
 Rov^scio (It.) (ro-w^-she-o.) ) 
 
 Reverse motion; the subject back- 
 ward and often in double counterpoint. 
 
 Rubdto (It.) (Yoa-biihAo.) Robbed, 
 stolen ; taking a portion of the duration 
 from one note and giving it to another. 
 See Tempo Rubdto. 
 
 Riickung (Ger.) (ra/S-oong.) Syncopa- 
 tion. 
 
 Ruf (Ger.) (roof.) Call, cry, voice; to 
 wind a horn ; to sound a trumpet-call. 
 
 Ruhepunct (Ger.) {roo-he-foonkt.) \ 
 
 Ruhepunkt (Ger.) {roo-he-poonkt.') i 
 Pause ; point of rest, or repose ; a ca- 
 dence. 
 
 Ruhestelle (Ger.) {roo-he-siSl-\e.) i 
 
 Ruhezeichen (Ger.) {roo-h.e-ist-'\i.'n.) J 
 A pause ; a rest. 
 
 Rule of the octave. The art of accom- 
 panying the scale, either ascending or 
 descending, when taken in the bass, 
 with the proper chords, or harmony. 
 
 RuUdndo (It.) (rool-/o»-do.) ) Rolling 
 
 RuUdnte (It.) (rool-/<»K-te.) ) o" '^e 
 drum, or tambourine. 
 
 Run. A rapid flight of notes introduced 
 as an embellishment ; a roulade. 
 
 Rundgedicht (Ger.) (?-w«rf-ghe-dikht.) i 
 
 Rundgesang (Ger.) [rond-^he-sdng.) \ 
 Rondeau ; roundelay ; a convivial song. 
 
 Russe (Fr.) (riiss.) Russian ; a la Russe, 
 in the Russian style. 
 
 Rdstico (It.) (roos-te-ko.) Rural, rustic. 
 
 S 
 
 S . As an abbreviation " S " means Segno, 
 
 Sinistra, or Subito. 
 Saccade (Fr.) (sak-zJaV!) A firm pres- 
 
 as in tone ; 6 as in dove ; 8 as in not ; u as in 
 
 223 
 
 sure of the violin-bow against the 
 strings, enabling the player to produce 
 two, three, or four notes at one stroke. 
 
 Sackbut. An old bass wind-instrument, 
 resembling a trombone. 
 
 Sack-geige (Ger.) (sdk-ghi-^^:) A 
 pocket-fiddle ; a kit. 
 
 Sack-pfeife (Ger.) {sak p/i-ie.) A bag- 
 pipe. See Cornamusa. 
 
 Sack-pfeifer (Ger.) {sd&^fi-itr.) Player 
 on the bagpipe. 
 
 Sacrist. A person employed in a cathe- 
 dral, whose ofiice it is to copy out the 
 music for the use of the choir and take 
 care of the books. 
 
 Saengerfest (Ger.) {sdng-tr-flst.) A 
 festival among the Germans of a musi- 
 cal and social character in which the 
 Maennerchor plays an important part. 
 
 Saison (Fr.) (ja-s6hh.) The musical 
 season. 
 
 Saite (Ger.) (jy-te.) A string of a musi- 
 cal instrument. 
 
 Saiten (Ger.) (jy-t'n.) Strings of a vio- 
 lin, guitar, etc. 
 
 Saiten-draht (Ger.) {sy-'Cw-drdt>) Wire- 
 string. 
 
 Saiten-halter (Ger.) (.r)/-t'n-/5a7-ter.) The 
 tail-piece of a violin, etc. 
 
 Saiten-instrument (Ger.) (jy-t'n-in-stroo- 
 ment.) A stringed instrument. 
 
 Saiten-klang (Ger.) {sy-t'n-kldng.) The 
 sound, or vibration of a string. 
 
 Saiten-spiel (Ger.) (jy-t'n speel.) 
 Stringed instrument; music of a 
 stringed instrument. 
 
 Saiten-spieler (Ger.) {sy-t'n spee-ler.) 
 Player on a stringed instrument. 
 
 Saiten-ton (Ger.) (sy-t'n ton.) The tone 
 of a stringed instrument. 
 
 Saitig (Ger.) (sy-tig.) Stringed. 
 Salcional (Fr.) (sal-si-5-«a7.) ^ ^^ g 
 Salicet (Fr.) (sa-li-ja.) ( or 16- 
 
 Salicional (Fr.) (sa-le-si-o-«a7.) ) foot 
 
 organ-stop of small scale and reedy 
 
 tone. 
 
 Salle de concert (Fr.) (sail diih konh- 
 sdrt.) A concert-room. 
 
 Salle de musique (Fr.) (sail duh mii- 
 ze/i.) A music-room. 
 
 ii the French sound of u. 
 
SALM 
 
 SAX-HORNS 
 
 A psalm. 
 
 Salm (Ger.) (salm.) 
 
 Sdlmo (It.) (sal-mo.) 
 
 Saltdndo (It.) {s3.Uan-db.) Leaping, 
 proceeding by skips, or jumps ; arcosal- 
 tando, in violin music, means skipping 
 the bow upon the strings. 
 
 Saltar^lla (It.) (sal-ta-r^Z-la.) I A Ro- 
 
 Salterflla (It.) (sal-te-«/-la.) ) man, or 
 Italian dance, very quick, skipping in 
 character, and in f or f time. 
 
 Saltat6ri (It. pi.) (sal-ta-?i7-re.) Jumpers, 
 or da,ncers of very great agility. 
 
 Salter (Ger.) (j-aY-ter.) Psalter; book of 
 psalms. 
 
 Salter^tto (It.) (sal-te-/-«^to.) A musi- 
 cal figure in | time, the first and 
 fourth quavers being dotted ; very 
 usual in movements alia Siciliana. 
 
 Salterio (It.) (sal-ZaT-re-S.) ) Psalter, 
 
 Salt&o (It.) (sal-;5-ro.) 5 book of 
 psalms, 
 
 Salto (It.) (ja/-to.) A leap, or skip, 
 from one note to a distant one ; also a 
 dance. 
 
 Salve Segina (Lat.) {s&l-v'h m-je-na.) 
 Hail Queen ! a hymn to the Virgin 
 Mary. 
 
 Sambuque (Heb.) (sam-book.) An old 
 Hebrew instrument of the harp-kind. 
 
 Sammlung (Ger.) (jo»z-loong.) A collec- 
 tion. 
 
 Samp6gna (It.) (sam-/o«-ya.) A species 
 
 of pipe. See ZampSgiia. 
 Sanctus (Lat.) (ja«,4-tus.) Holy; a 
 
 principal movement of the Mass. 
 
 Sanft (Ger.) (sanf t.) Soft, mild, smooth ; 
 mit sanften stimmen ; with soft stops. 
 
 Sanft-flote (Ger.) (sanft fl6-te.) Soft- 
 toned flute. 
 
 Sanftheit (Ger.) {siinji-hlt.) Softness, 
 
 smoothness, gentleness. 
 Sanftig (Ger.) (j(f«/-tlg.) Soft, gentle. 
 Sanftmuth (Ger.) {saftft-moot.) 1 
 
 Sanftmiithigkeit (Ger.) (j<jiK/?-mu-tig- ( 
 kit.) ' ) 
 
 Softness, gentleness. 
 
 Sanftmiithig (Ger.) [sdnft-ma-ilg.) 
 Softly, gently. 
 
 Sang (Ger.) (sang.) Song. 
 Sanger (Ger.) {sSttg-er.) A singer. 
 Sangerbund (Ger.) {sang-et-boond.) A 
 S as in a^ y a as in hate / a as in at 
 
 league, or brotherhood of singers ; a 
 convention of singing societies. 
 
 Sangerinn (Ger.) (j-a«^-er-inn.) A 
 female singer; a songstress. 
 
 Sangerverein (Ger.) {sSng-er-is-rm.) 
 Singers' union. 
 
 Sang-meister (Ger.) (sdng-mts-ter.) Sing- 
 ing-master. 
 
 Sans (Fr.) (sanh.) Without. 
 
 Sans frappdr (Fr.) (sanh frap-/a.) Wii/i- 
 oui striking; play the notes without 
 striking them hard, or forcibly. 
 
 Sans p^dales (Fr.) (sanh pa-dal.) With- 
 out the pedals. 
 
 Saraband (Eng.) (j^;--a-band.) 
 Sarabdnda (It.) (sar-a-W«-da.) 
 Sarabande (Fr.) (sar-a-band.) 
 Sarabande (Ger.) (sar-a-ban-de.) 
 
 nally derived from the Saracens, and 
 
 A 
 dance 
 said 
 to be 
 origi- 
 
 f time, and characterized by the second 
 note of the measure being lengthened, 
 which gives gravity and majesty to the 
 movement. It is the statehest of the 
 dances in the suite, and became the 
 central movement, following the cou- 
 rante, and preceding the intermezzi. 
 See Suite. 
 Sarrusophone. A brass wind-instrument 
 named after the band-master Sarrus, of 
 Paris, with a double reed like the oboe 
 and bassoon. In its keying it resembles 
 the saxophone, the latter, however, 
 having a single reed. The sarruso- 
 phone is made in various pitches, — so- 
 prano, alto, tenor, bass, and contra-bass, 
 the last-named making an excellent 
 substitute for the contra-bassoon. 
 
 Sattel (Ger.) (jo^-t'l.) The nut of the 
 finger-board of the violin, etc. 
 
 Satz (Ger.) (satz.) Musical passage ; 
 theme, or movement. The word sazt 
 is very freely applied to any division of 
 a composition, especially in sonatas. 
 
 Saut (Fr.) (so.) A skip, or leap. See 
 Salto. 
 
 Sax-horns. Cylinder horns invented by 
 Antoine (usually called Adolph) Sax. 
 They have 3, 4, or 5 cylinders, so that 
 each horn is capable of playing all the 
 notes of its scale without difficulty. A 
 sax-horn band comprises seven instru- 
 ments, — a small high horn (sopranino), 
 a soprano, an alto, a tenor, a baritone, a 
 
 as in tree ; 8 as in eh ; i as in pine ; i as in pin ; 
 
 224 
 
SAXOPHONES 
 
 SCALE 
 
 the scales which we employ are better 
 than those used by other races or at 
 other epochs. Our musical system 
 makes use of the following scales : 
 
 i 
 
 ^S,_=2ZS^ ?^ZSE-Si_: 
 
 $ 
 
 Diatonic major scale. 
 
 Oldest form of minor mode. 
 
 $ 
 
 j -g^-g- 
 
 2^^5^t^£ 
 
 Form of minor mode sometimes used melodi- 
 
 cally. 
 
 $ 
 
 SElS 
 
 2^i<^5^|gfe^— 
 
 Se^ 
 
 Transition form of minor mode. 
 
 Modem or Harmonic minor mode. 
 
 ^^Og^^^^EfE^f 
 
 bass, and a double-bass. They are not 
 adapted for additional crooks. 
 
 Saxophones. A family of brass wind- 
 instruments invented by M. Sax about 
 1840. The body of these instruments 
 is a parabolic cone of brass, provided 
 with a set of keys ; their tones are soft 
 and penetrating in the higher part, and 
 full and rich in the lower part of their 
 compass. The saxophones are six in 
 number, — the sopranina^ the soprano, 
 the alto, the tenor, the baritone, and the 
 bass ; they are played with a single reed 
 and a clarinet mouth-piece. The finger- 
 ing is like the clarinet. Bizet used the 
 alto saxophone in the orchestra in his 
 Suite Arlesienne, and other composers 
 are beginning to follow his example. 
 
 Saxotromba. A brass instrument intro- 
 duced by M. Sax, with a wide mouth- 
 piece and 3, 4, or 5, cylinders ; the tone 
 is of a shrill character, partaking of the 
 quality both of the trumpet and the 
 bugle. It is made in various pitches. 
 
 Sax-tuba. A brass instrument intro- 
 duced by M. Sax, with a wide mouth- 
 piece and three cylinders ; the tone is 
 very sonorous. 
 
 Sb^lzo (It.) (j^a7-ts5.) Skip, or leap, in 
 melody. 
 
 Sbirra d6ppia (It.) (j*a>-ra dop-^gk-a..) A 
 double-bar. 
 
 Scagn^Uo (It.) (skan-^«'/-15.) The bridge 
 of the violin, etc. 
 
 Scila (It.) (j/fa-la.) A scale, or gamut. 
 ScAla cromitica (It.) (ska,-\i. kro-mii-te- 
 ka.) The chromatic scale. 
 
 Scald. The name given by the ancient 
 
 Scandinavians to their bards, whose 
 
 employment it was to compose odes 
 
 and songs which were chanted at their 
 
 public festivals. 
 Scale (Lat., Scala; Ger., Tonleiter; Fr., 
 
 Echelle; It., Scala.) The succession of 
 
 tones upon which any music is built. 
 
 The scales of different epochs and 
 
 nations differ quite as much as their 
 
 languages. It is impossible to demon- 
 strate scientifically (by any laws yet 
 
 discovered) . the reason of the subdi- 
 visions made in some scales. The scale 
 
 seems to have been, like the art of 
 
 music itself, an invention of man, which 
 
 did not always seek a, foundation in 
 
 scientific laws. We cannot prove that 
 
 as in tone ; 6 as in dove; 8 as in not; 2 as in up; ii the French sound of u. 
 
 225 
 
 ^^^SlS^^^E^sf 
 
 Chromatic scale. 
 
 iJ^iJaiiJiiiifepjpE^^^ " 
 
 (Enharmonic Scale, merely theoretical, not 
 used in practice.) 
 
 The Old Greeks had other scales which 
 have caused much dispute among theo- 
 rists. (For full essays upon these, see 
 Stainer and Barrett's and Baker's Dic- 
 tionaries of musical terms.) These 
 led finally to the Gregorian tones or 
 modes as follows : 
 
 AtJTHENTIC MODE. 
 
SCALE 
 
 SCANNETTO 
 
 Mode III. 
 
 Se 
 
 =p=i= 
 
 Mode VII. 
 
 m^ 
 
 ^^MS. 
 
 $ 
 
 =i= 
 
 ^^m 
 
 ^ 
 
 Leading to signatures (not comprehen- 
 sible to those who understand only 
 our own system) such as 
 in Hungary the gypsies use 
 the following scale : 
 
 PLAGA.L MODES. 
 Mode II. 
 
 and Paderewski used this very promi- 
 nently in his opera of " Manru." Mod- 
 em composers are beginning to enrich 
 the Materia Musica by the use of many 
 of these scales or modes. For fuller 
 study of this subject, see Parry's "Evo- 
 lution of the Art of Music," Hatherly's 
 " Byzantine Music," Elson's " Folk- 
 songs of Many Nations," Pole's "Phi- 
 losophy of Music," and Grove's Dic- 
 tionary. 
 
 Scale, accompaniment of the. The 
 
 harmony assigned to the series of notes 
 forming the diatonic scale, ascending 
 and descending. 
 
 Scale, German. A scale of the natural 
 notes formed of A, H, C, D, E, F, G, 
 the B being reserved to express B [j. 
 
 Scale, Guide's. The syllables ul, re, mi, 
 fa, sol, la, used by Guido d'Arezzo, 
 called also the ■ Aretinian scale ; the 
 syllable si was introduced afterwards. 
 See Aretinian^ 
 
 Scale, major diatonic. A scale in which 
 the semi-tones fall between the third 
 and fourth, and seventh and eighth 
 notes, both in ascending and descend- 
 ing." 
 
 Scale, natural. The scale of C, called 
 natural because it does not require the 
 aid of flats, or sharps. 
 
 Scalen-schule fGer.) hha-Vri-shooAt^, 
 School for scale-playing ; exercises on 
 the scales. 
 
 Scales, relative. A maior and minor 
 scale having the same signature ; as C 
 major and A minor. 
 
 Scampanare (It.) (skam-pa-«fl-re.) To 
 chime bells. 
 
 Scampanio (It.) Cskam-/a-ne-o.) Chimes. 
 
 Scannello flt.l (sk"an-«^/-lo ) ) The 
 
 Scannetto at.) (skan-«/^'-^o •) ) bridge 
 
 of a violin, violoncello, etc., also 
 
 Scdgttello. 
 
 a as in ah; a as in hate ■ 5 as in «^• e as in /-^^^ ; g as in «>5 ; las in//«^y ias in/^»; 
 
 226 
 
 Greek names are attached to these 
 Gregorian modes, but, because of the re- 
 arrangements of Glarean us (in the I 6th 
 century) we are not certain that these 
 names are applied as they were in an- 
 cient Hellenic days. The Hindoo scale 
 divides into third-tones and quarter- 
 tones, in a manner that defies notation 
 by our system, or performance upon 
 our keyed instruments. The chief 
 scale of China runs thus : 
 
 This is probably the most primitive 
 scale now extant. Many Scottish mel- 
 odies are written in this scale, as, for 
 example, " Bonnie Doon," "Auld Larg 
 Syne," and "The Campbells are 
 Comin'." There is a scale much used in 
 old folksongs running thus : 
 
 The melody of the favorite song of 
 " Loch Lomond " is in this mode. The 
 chief scale of the Byzantine music is as 
 follows : 
 
SCEMANDO 
 
 SCHERZO 
 
 Scemdndo (It.) {she-mdn-do.) Diminish- 
 ing ; decreasing in force. 
 
 Sc6na (It.) (s/idy-na..) A scene, or por- 
 tion of an opera, or play. The scena is 
 the largest and most brilliant vocal 
 solo form. It generally consists of 
 recitative, cavaUna and aria (see 
 these; displaying the vocalist in three 
 schools of work ; the recitative for 
 dramatic, declamatory style, the cava- 
 tina for smooth and expressive work 
 {Bel Canto), and the aria, generally an 
 aria lii bravura, for coloratur singing. 
 The scena is sometimes called scena 
 ed aria, recitative ed aria, cavatina 
 ed aria, etc. It generally forms part 
 of an opera, but it may be an indepen- 
 dent composition, as Mendelssohn's 
 " Infelice," Beethoven's " Ah Perfido," 
 etc. 
 
 Sc£na da camera (It.) {shdy-viiL da ^o-me- 
 ra.) Chamber-music; a scena not 
 designed for the church, or theatre. 
 
 Scenario (It.) (she-«o-re-o.) Actor's 
 guide-book ; a program ; scenes ; 
 decorations. The plot of a dramatic 
 work. A skeleton libretto of such a 
 work, sketching the plot, and giving 
 entrances and exits of leading person- 
 ages. 
 
 Scene. Part of an act ; portion of an 
 opera ; an act generally comprises sev- 
 eral scenes. See Scena, 
 
 Scenic music. Music adapted to dra- 
 matic performances. 
 
 Schafer-gedicht (Ger.) (j,5J-fer-ghe- 
 dikAi.) Idyl, eclogue, pastoral. 
 
 Schafer-lied fGer.) Uhd-i^r-led.) Pas- 
 toral song ; shepherd song. 
 
 Schafer-pfeife CGer.) {shdfSr-pftie.^) 
 Shepherd's pipe. 
 
 Schalkhaft fGer.) (j/5a//^-haft.) Ro- 
 guish, playful. 
 
 Schall (Ger.) ("shall.) Sound. 
 
 Schallen (Ger.) (shdl-Vn:) To sound ; to 
 echo. 
 
 Schall-becken (Ger.) {shdll-bSk-en.) 
 Cymbal. 
 
 Schall-bret (Ger.) {shdll-hret.) Sound- 
 board. 
 
 Sound- 
 
 Schall-lOCh (Ger.) (shdll-\&ih.) 
 
 hole. 
 Schall-rohr fGer.) {shdll-vor.) Speak- 
 ing-trumpet. 
 
 as in tone ; 6 as in dove; 8 as in not; ii as in up; ii the French sound of u. 
 
 227 
 
 Schall-stiick (Ger.) (j/4a7/-stuk.) The 
 bell of a trumpet, bugle, horn, etc. 
 
 Schalmay (Ger.) (shal-wjf.) 1 A shawm ; 
 
 Schalmei (Ger.) (shiill mi.) ) also-, an 
 8-foot reed organ-stop; the tone 
 resembles that of the cremona, or clari- 
 net. 
 
 Scharf (G'ct.) (sharf.) Sharp, acute ; a 
 shrill mixture stop, of several ranks of 
 pipes. 
 
 Schauspiel (Ger.) {skou-s^eX.) Drama; 
 dramatic piece. 
 
 Scbauspielhaus (Ger.) (shou-spel-hous.) 
 
 . A theatre. 
 
 Schelle (Ger.) {shil-\e.) A bell; a 
 jingle. 
 
 Schallen (Ger.) {shll-Vn.) To ring. 
 
 Schellentrommel (Ger.) {shel-Vxv-trSm- 
 mel.) A tambourine; a timbrel. 
 
 Scheme. A term used in ancient music 
 to express the varieties arising from 
 the different positions of tones and 
 semi-tones in a consonance. 
 
 Scherzandissimo (It.) (sker-tsan-fl'/j-se- 
 mo.) Exceedingly playful and lively. 
 
 ScherzindO (It.) (sker-<ra«-do.) ^ piay- 
 
 Scherzdnte (It.) (sker-/j3«-te.) I ful, 
 
 Scherz^vole (It.) (sker-to-v5-le.) [ lively, 
 
 Scherzhaft (Ger.) (sherts-haft.) -• ^P"""" 
 
 tive, merry. 
 Scherzevolminte (It.) (sker-tse-vol ot^tj- 
 
 te.) Playfully, merrily. 
 Scherzhaftigkeit (Ger.) (sherts-haf-tig- 
 kit.) Playfulness, sportiveness. 
 
 Scherz (Ger.) (sherts.) ) Play, sport, a 
 
 Scherzo (It.) (j/5/r-tso.) ) jest; apiece 
 of a lively, sportive character, and 
 marked, animated rhythm j also one of 
 the movements in a symphony. The 
 scherzo was established by Beethoven, 
 as a symphonic movement to take Ihe 
 place of the minuet which Haydn 
 and Mozart had worn threadbare. 
 The influence of the minuet upon the 
 scherzo form is not difficult to trace, 
 for, although a scherzo may be written 
 in any rhythm and in almost any form, 
 yet the great majority of scherzo 
 movements are in f rhythm, and pos- 
 sess a trio. (See Minuet.) All of 
 Beethoven's symphonic scherzos are in 
 triple rhythm, but in some of his other 
 works I rhythms appear in the scherzo 
 movement. The scherzo was very much 
 
SCHERZ6S0 
 
 SCHWACH 
 
 like the minuet ; but the dance-hke 
 character of the minuet-themes was 
 absent, the treatment was freer, and 
 development was possible. The con- 
 trast between the scherzo and its trio 
 is often more marked than would be the 
 case in a minuet, and the form is often 
 much more developed than the minuet. 
 It has become customary, with modern 
 composers, to introduce folk-music, and 
 especially folk -dances, into the scherzo. 
 Chopin first made the scherzo an 
 independent movement apart from the 
 sonata or symphony. 
 
 Scherz6so (It.) (skei-tso-zo.) Merry, 
 playful, jocose. 
 
 Schiettam^nte (It.) (ske-at-ta-/«OT-te.) 
 Simply, unadorned. Also written Con 
 Schieltezza. 
 
 Schi^ttO (It.) (ske-«/-t6.) Simple, plain, 
 neat. 
 
 Schisma (Ger.) (shis-ma.) A very mi- 
 nute difference between the sound of 
 intervals. In ancient music, a small 
 interval equal to the eighteenth part of 
 a tone. 
 
 Schlacht-gesang (Ger.) {shldkht-gh.t 
 sang.) 
 
 Schlacht-lied (Ger.) {shlakht-MA.) 
 War-song. 
 
 Schlag (Ger.) (shlag.) Stroke, blow; a 
 beat, as regards time. 
 
 Schlagen (Ger.) [shlii-g'n.') To strike; 
 to beat ; to warble, or trill. 
 
 Schleifen (Ger.) {shli-i'n.) To slide ; to 
 glide. 
 
 Schleifer (Ger.) (s/ilT-iei.) Slurred note ; 
 gliding-note. 
 
 Schleife-zeichen (Ger.) (s/ili-le-Zst-khen.) 
 A slur ; a mark of the legato style. 
 
 Schleppend (Ger.) (j/^/^-pend.) Drag- 
 ging, drawling. 
 
 Schluss (Ger.) (shlooss.) The end; con- 
 clusion. 
 
 Schliissel (Ger.) (j/5/«.f-s'l.) A clef. 
 
 Schluss-fall (Ger.) {shloos-ii&.) A ca- 
 dence. 
 
 Schluss-reim (Ger.) (skhos-rim.) The 
 burden, or refrain of a song. 
 
 Schluss-stiick (Ger.) [shloos-slcSe.^ Con- 
 cluding piece ; finale. 
 
 Schmachtend (Ger.) {shmdkh-t^nA^ 
 Languishing. 
 
 Schmelzend (Ger.) (j-;4»«^/-tsend.) Di- 
 minishing ; melting away. 
 
 Schmerz (Ger.) (shmerts;) Grief, sor- 
 row. 
 
 Schmerzhaft (Ger.) (shmerts-)ii.ii.) 
 Dolorous, sorrowful. 
 
 Schmerzhaftigkeit (Ger.) (shmerts 
 haf-tig-kit.) 
 
 Schtnerzlich (Ger.) (shmertsS!&!a..) 
 
 In a dolorous style. 
 Schnabel (Ger.) (schna-b'l.) Mouth- 
 piece of the clarinet, flute & bee, and 
 
 other similar instruments. 
 Schnarr-bass (Ger.) (shnarr-\>is&.) The 
 
 drone-bass. 
 Schnarr-pfeifen (Ger.) (shniirr pfi 
 
 f-n.) 
 Schnarr-werk (Ger.) {shnarr-v&ik.) 
 
 Reed-pipes, reed-work, or stops in an 
 
 organ. 
 Schnell (Ger.) (shnell.) Quickly, rapidly. 
 Schnelle (Ger.) {shnel-\h.) i 
 
 Schnelligkeit (Ger.) (j-,^«<"/-lig-kit;) ) 
 
 Quickness, swiftness, rapidity. 
 Schneller (Ger.) (shnel-Xex.) Quicker, 
 
 faster. 
 Schnell-waltzer (Ger.) {shnel-vdlt-tser.) 
 
 Quick waltzes. 
 Schottisch (Ger.) {sh8t-tis\i.) A modern 
 
 dance, rather slow, in | time. 
 Schreibart (Ger.) {skril>-i.n.) Style ; 
 
 manner of composing. 
 
 Schreiend (Ger.) (j-zirf-end.) Acute, 
 shrill, screaming. 
 
 Schreiwerk (Ger.) (j/4?-r-vark.) Shrill- 
 work; acute, or mixture stops. 
 
 Schrittmassig (Ger.) (skrit-mds-sig.) 
 Slow time ; andante. 
 
 Schule (Ger.) {shoo-\^^ A school, or 
 method for learning any instrument ; 
 also, a peculiar style of composition, the 
 manner or method, of an eminent com- 
 poser, performer, or teacher. 
 
 Schulgerecht (Ger.) (skool-^e-rekkt.) 
 Regular ; in due form ; written correctly 
 in accordance with the rules and prin- 
 ciples of musical art. 
 
 Schusterfleck (Ger.) {shoos-\er-/lek.) See 
 Rosdlia. 
 
 Schwach (Ger.) (shvakh.) Pidno, soft, 
 weak. 
 
 a as m < 
 
 S J- a as in hate / a as in a^ ; e as in tree ; S as in ^^ / i as in pine / i as in pin ; 
 
 228 
 
SCHWACHER 
 
 SDRUCCIOLATO 
 
 I 
 
 Schwacher (Ger.) (shva-ker.) Fainter; 
 softer; more fidno. 
 
 Schwebung (Ger.) {shvS-hoo-ag.) Wav- 
 ing; a lighter species of tremulant, for 
 the more delicate stops, such as the 
 vox kumana, etc. 
 
 Schweige (Ger.) (j^w-ghe.) A rest. 
 
 Schweigen (Ger.) {shvi-^hn.) Silence; 
 being silent. 
 
 Schweizer-flote (Ger.) (shvl-\.?,^x flS- 
 te.) 
 
 Schweizer-pfeiie (Ger.) (shvl-iiit- 
 pfl-i^.) i 
 
 Swiss flute, or pipe ; an organ-stop. 
 
 Schwer (Ger.) (shvar.) Heavily, ponder- 
 ously. 
 
 Schwermiithig (Ger.) (shvar-OT»-tig.) In 
 a pensive, melancholy style. 
 
 Schwiegel (Ger.) {shvee-^X.) An organ- 
 stop of the flute species, of metal, 
 pointed at the top. 
 
 Scbwingung (Ger.) (shving-ooT\%^ Vi- 
 bration of a string, etc. 
 
 Scialumo (Fr.) (se-a-/j<-mo.) A word 
 employed in clarinet music, signifying 
 that the notes are to be played an 
 octave lower than written. Chalumeau. 
 
 Scioltam^nte (It.) (she-ol-ta-OT««-te.) 
 With freedom, agility ; easily, the notes 
 being rather detached than legdto. 
 
 Sciolt^zza (It.) (she-6l-fe^sa.) Freedom, 
 ease, lightness. 
 
 Scifilto (It.) (she-J/-to.) Free, light. 
 See Scioltaminie. 
 
 Scorddre (It.) (skor-(/a-re.) To be out 
 of tune ; to grate upon the ear with 
 discordant notes. 
 
 Scordato (It.) (skor-^/oto.) Out of tune; 
 false ; untuned. 
 
 Scordatiira (It.) (skor-da-^«<J-ra.) Tun- 
 ing a violin differently, for the more 
 easily performing of certain peculiar 
 passages. 
 
 Score. The whole instrumental and vo- 
 cal parts of a composition, written on 
 separate staves, placed under each 
 other. (Ger., Partiiur ; Fr., Parti- 
 tion; It., Partitura.) 
 
 Score, full. A complete score of all the 
 parts of a composition, either vocal or 
 instrumental, or both. 
 
 Score, instnamental. A score in which 
 the instrumental parts are given in full. 
 
 6 as in tone ; 8 as in dove ; 5 as in not ; fi as in up 
 
 229 
 
 Score, piano. A score in which the or- 
 chestral accompaniments are com- 
 pressed into a pianoforte part ; an 
 arrangement of music for the piano. 
 
 Score, short. An abbreviated, or a 
 skeleton score. 
 
 Score, vocal, fhe notes of all the voice- 
 parts placed in their proper order under 
 each other for the use of the conduc- 
 tor. 
 
 Scoring. The forming of a score, by 
 collecting and properly arranging the 
 different parts of a composition. 
 
 Scorr^ndo (It.) (skor-r««-do.) Gliding 
 from one sound into another. 
 
 Scotch scale. A scale differing from that 
 of the other nations of Europe by its 
 omission of the fourth and seventh. 
 See Scale. 
 
 Scotch snap. A peculiarity in Scotch 
 tunes, and those written in imitation of 
 the Scotch character ; it is the lengthen- 
 ing the time of a second-note at the ex- 
 pense of the one before it ; placing a 
 sixteenth before a dotted ^~~m. • 
 eighth it gives emphasis and L f 
 spirit to dance-tunes, and, when well 
 applied, has a lively effect. 
 
 Scozz^se (It.) (skot-sd-ze.) In the 
 Scotch style. 
 
 Scriva (It.) (skre-va.) Written; si 
 scriva, as it is written, without any al- 
 teration or embellishment. 
 
 Scu61a (It.) (skoo-o-la.) A school; a 
 course of study. 
 
 Sdegn&nte (It.) (sden^a«-te.) Angry, 
 passionate. 
 
 Sd^gno (It.) {sden-yo.) Anger, wrath, 
 passion. 
 
 Sdegnosam^nte (It.) (sden-y6-za-»«^»- 
 te.) Scornfully, disdainfully. 
 
 Sdegn6so (It.) (sden-_j'J-z6.) Furious, 
 passionate, fiery. 
 
 Sdnicciol&ndo (It.) (sdroot-tshe-o-/a»- 
 do.) Sliding, slipping. 
 
 Sdrucciol&re (It.) (sdroot-tshe-o-/o-re.) 
 To slide the hand, by turning the finger 
 nails toward the keys of the pianoforte, 
 and drawing the hand lightly and rap- 
 idly, up or down. 
 
 Sdrucclolamtoto (It.) (sdroot-tshe-o- ^ 
 
 la menXQ.) > 
 
 fedrucciolAto (It.) (sdroot-tshe-o-/a-to.) ' 
 
 ii the French sound of u. 
 
SE 
 
 SEHR 
 
 Sliding the fingers along the strings or 
 the keys of an instrument. 
 
 Se (It.) (sa.) If; in case; provided; as. 
 
 Sea-trumpet. A marine-trumpet for- 
 merly much used on ship-board. 
 
 Se bisdgna (It.) (sa be-jJ«-ya.) If 
 necessary, if required. 
 
 Sec (Fr.) (sek.) i ^^y^ unoma- 
 
 Stoo (It.) (sak-ko.) ( mented, coldly; 
 the note, or chord, to be struck plainly, 
 without ornament, or arpigs^o. See 
 Recitative. 
 Sechs (Ger.) (sekhs.) Six. 
 
 Sechs-achteltact (Ger.) (sekhs-akh-t'l- 
 takt^ Measure in | time. 
 
 Sechs-saitig (Ger.) (sekhs-jf-tig.) In- 
 strument with six strings. 
 
 Sechs-theilig (Ger.) {seiAs-ti-Wg.) In six 
 parts. 
 
 Sechste (Ger.) (s^kAs-te.) A sixth. 
 
 Sechzehn (Ger.) (sekh-tsen.) Sixteen. 
 
 Sechzehnte (Ger.) (sekh-tsen-te.) Six- 
 teenth. 
 
 Sechzehntel (Ger.) (sekh-tsen-t'l.) Six- 
 teenth notes. 
 
 Sechzehntelpause (Ger.) (sekh-tsen-t'l- 
 pou-ze.) A sixteenth rest. 
 
 Second. An interval of one degree, as 
 from A to B, B to C, etc. 
 
 Sec6nda (It.) (sa-ion-dsi.) Second ; a 
 second. 
 
 Sec6iida ddnna (It.) (sa-/5J«-da don-na.) 
 Second female singer. 
 
 Second, augmented. An interval con- 
 taining three half -steps. 
 
 Sec6nda v61ta (It.) (se-^o«-da vol-ta..) 
 The second time. 
 
 Second-dessus (Fr.) (sa-konhd des-sii.) 
 The second treble. 
 
 Seconde (Fr.) (sa-konhd.) Second. 
 
 Seconde fois (Fr.) (sa-konhd fwa.) 
 Second time. 
 
 Second inversion. A term applied to a 
 chord when its fifth is the lowest 
 tone. 
 
 Second, major. An interval consisting of 
 two half-steps. 
 
 Second, minor. An interval measured by 
 one half- step. 
 
 Sec6ndo (It ) (sa-kon-do.) Second, a 
 second. ' 
 
 a as in a,^ y a as in /late ^ 
 
 :.,( 
 
 Secdndo partlto (It.) (sa-kon-do par-te- 
 t5.) The second part, or voice. 
 
 Second soprano. The low soprano. 
 
 Section. A complete, but not an inde- 
 pendent musical idea ; a part of a musi- 
 cal period. The word is very vaguely 
 used in music, differently by various 
 teachers. It is often applied to a 
 semi-phrase. 
 
 Secular music. Music which is com- 
 posed for the theatre, or chamber; an 
 expression used- in opposition to sacred 
 music, which is for the church, or wor- 
 ship. 
 
 Seculars. Unordained officiates of any 
 cathedral, or chapel, whose functions 
 are confined to the vocal department of 
 the choir. 
 
 Secunde (Ger.) {se-koon-dt.) Second. 
 
 Secundiren (Ger.) (se-koon-f/ii^-en.) To 
 play the second part. 
 
 Seelen-amt (Ger.) (sd-Vn-amt.) 
 
 Seelen-messe (Ger.) {sd-\'nmes-se. 
 Requiem, or Mass for departed souls. 
 
 S^gno (It.) (sen-yo.) A sigu, -S:: al signo, 
 return to the sign ; dal segno, repeat 
 from the sign. 
 
 Segue (It.) (j-J-gwe.) ) Follows; 
 
 Seguito (It.) (se-gwe-to.) ) now follows ; 
 as follows ; it also means, go on, in a 
 similar, or like manner, showing that a 
 passage is to be played like that which 
 precedes it. 
 
 Segue c6ro (It.) (sa-gue ko-xo.') \ 
 
 Segue il c6ro (It.) (sa-gue el ko-m^ { 
 The chorus follows; go on to the 
 chorus. 
 
 Segue la findle (It.) (sa-gue la fe-«a-le.) 
 The finale now follows. 
 
 Segu^ndo (It.) (se-guan-do.) 1 Following 
 
 Segu^nte (se-^^»-te.) ) next. 
 
 Segu^nza (It.) (se-^«i»«-tsa.) A se- 
 quence. 
 
 Seguidilla (Spa.) (sa-gue-a?/-ya.) A fa- 
 .vorite Spanish dance in f time. 
 
 Seguito (It.) (ssL-gue-to.) Followed, 
 imitated. 
 
 Sehnsucht (Ger.) (sdn-sookht.) Desire, 
 longing, ardor, fervor. 
 
 Sehnsiichtig (Ger.) (j-J«-siikh-tig.) Long- 
 ingly. 
 
 Sehr (Ger.) (sair.) Very, much, ex- 
 tremely, 
 
 3 as in a^ ; e as in tree ; 6 as in ^.4 ; i as in pine / i as in pin; 
 
 230 
 
SEHR LEBHAFT 
 
 SENSIBLE 
 
 Sehr lebhaft (Ger.) (sair/r/3-haft.) Very 
 lively ; extremely animated and vi- 
 vacious. 
 
 S6i (It.) (sa-e.) Six. 
 
 Seiten-bewegung (Ger.) (^sy-t'n-be-vaj;- 
 goong.) Oblique motion. 
 
 Seizieme de soupir (Fr.) {se-ze-dm dvh 
 soo-per.) Semidemisemiquaver rest. 
 A sixty-fourth rest. 
 Sekunde (Ger.) (se-koon-de.) Second. 
 Semi (Lat.) (sem-i.) Half. 
 Semibreve (Eng.) {sem-i-hrev.) \ 
 
 Semibr^ve (It.) (sem-e-bra-ve.) > 
 
 Semibrevis (Lat.) (sem-i-6rd-vis.) ) 
 Half a breve ; whole note. 
 
 Semibreve rest. A rest 
 
 usually filling an entire measure, 
 except in I or I rhythms. 
 
 Semicadenza (It.) (serae-ka-<iirK-tsa.) 
 Semi-cadence. 
 
 Semi-(;horus. A chorus to be sung by 
 half or only a few of the voices. 
 
 Semicroma (Gr.) (sem-i-^r»-ma.) 1 
 Semicr6ma (It.) (sem-e-^r^-ma.) ) 
 
 A semiquaver. 
 
 Semidemisemiquaver. A half demi- 
 semiquaver ; a sixty-fourth note. 5 
 
 Semidemisemiquaver rest. A rest 
 equal in duration to a semidemisemi- 
 
 quaver, 
 
 ■■\ 
 
 Semi-diapente (Lat.) (sem-i-di-a-/<'«-te.) 
 Diminished, or imperfect fifth. 
 
 Semi-diatessaron (Lat.) (sem-i-di-a-/,?j- 
 sa-ron.) Diminished fourth. 
 
 Seml-ditone (Lat.) (sem-i-di-/«-ne.) 
 Semi-dit6no (sem-e-de-^»-n6.) 
 A minor third. 
 
 Semi-fredon (Fr.) (sem-i-fra-donh.) A 
 sixteenth note. 
 
 Semi-fusa (Lat.) (sem-i-/K-sa.) A six- 
 teenth note. 
 
 Semi-minim (Lat.) (sem-i-wzfe-im.) ) 
 Semi-minima (It.) (sem-e m^-ne-ma.) ) 
 A half-minim ; a crotchet ; a quarter- 
 note. 
 
 Semiquaver. A note equal to half a ^ 
 quaver; a sixteenth note. 
 
 as in io?ie ; 5 as in dove ; 8 as in not; 
 
 2 
 
 Semiquaver rest. A rest equal in :) 
 
 duration to a semiquaver. 
 Semitone (Eng.) {sem-\-ton.) i 
 
 Semitonium (Lat.) (sem-i-ZJ-ni-iim.) ( 
 
 A half-tone. 
 Semi-tone major. A' semi-tone produced 
 
 by ascending a degree, as from G to A 
 
 flat. (This distinction of major and 
 
 minor semi-tones is uncalled for, and 
 
 not usually accepted.) 
 Semi-tone minor. A semi-tone produced 
 
 by passing from a note to its sharp, or 
 
 flat. 
 Semitonium modi (Lat.) (sem-i-<»-ni-um 
 
 mS-di.) The leading-note, or major 
 
 se.venth. 
 Semitu6no (It.) (se-me-two-nb.) A semi- 
 tone. 
 S^mplice (It.) (j-i?»«-ple-tshe.) Simple, 
 
 pure, plain. 
 Semplicem^nte (It.) (sem-ple-tshe-«Bif«- 
 
 to.) Simply ; plainly ; without ornament. 
 
 Semplicissimo (It.) {sa.m--p\e-tshee-se- 
 mo.) With the utmost simplicity. 
 
 Sempllcita (It.) (sem-ple-tshe-ta.) Sim- 
 plicity, plainness. 
 
 S^mpre (It.) (ji?««-pre.) Always, ever- 
 more, continually. 
 
 S^mpre forte (It.) (sem-pre for-ie.) Al- 
 ways loud. 
 
 S^mpre legdto (It.) (sem-pre le-^a-to.) 
 Always smooth. 
 
 S^mpre pidno (It.) (sem-pre pe-o-no.) 
 Always soft. 
 
 S^mpre piu f6rte (It.) Continually in- 
 creasing in power. 
 
 S^mpre piu pr&to (It.) (sem-pre pe-oo 
 pres-to.) Continually quicker. 
 
 S^mpre ritarddndo (It.) (sem-pre re-tar- 
 ddn-do.) Always slower ; slower and 
 slower. 
 
 S£mpre staccato (It.) (sem-pre stak-ia- 
 t5.) Always detached ; staccato through- 
 out. 
 
 Sensfbile (It.) (sen-«^-be le.) Expressive ; 
 with feeling. 
 
 Sensibilita (It.) (sen-se-be-le-/a.) Sensi- 
 bility, expression, feeling. 
 
 Sensibilm^nte (It.) (sen-se-bel-ff«^«-te.) 
 Expressively ; in a feeling manner. 
 
 Sensible (Fr.) (sanh-j-^^/.) The leading, 
 note, or major seventh of the scale. 
 
 fi as in up; ii the French sound of u. 
 
 31 
 
SENTENCES 
 
 silCLO 
 
 Septieme (Fr.; {set-i-dm.) ) The inter- 
 Septime (Ger.) (sep-^2-me.) ) val of a 
 seventh. 
 
 Septimen-accord (Gar.) (sep-^i'-men-ak- 
 icord.) The chord of the seventh, com- 
 prising the root, the third, fifth, and 
 seventh. 
 
 Septimole (Lat.) (se/-ti-mo-le.) i ^ 
 
 Septiole (Lat.) (sep-ti-o-le.) (group 
 of seven notes, having the value, and 
 to be played in the time of four, or six, 
 of the same species. See Notes. 
 
 Sequence (Eng.) (j^-quens.) 
 
 Sequence (Fr.) (^s.-kdnhss.) \ ' 
 
 Sequenz (Ger.) (se-quents.) r 
 ia.)J . 
 
 Sentences. Certain interlude strains 
 sometimes introduced into the service 
 of the established church, especially of 
 particular chapels ; short anthems. 
 
 Sentie (Fr.) (sanh-/^«.) Felt, expressed ; 
 milodie bien sentie, the melody well- 
 expressed, or accented. 
 
 Sentito (It.) (sen-/^^-to.) See Sentie. 
 
 Sentimentdle (It.) (sen-te-men-/a-le.) i 
 
 Sentim^nto (It.) (sen-te-»«««-to.) ) 
 
 Feeling ; sentiment ; delicate expression. 
 
 S^nza (It.) (sen-tsa.) Without. 
 
 S^nza accompagnamSnto (It.) (sen-tsa 
 ak-kom-pan-ya-men-to.) Without ac- 
 companiment. 
 
 S^nza battiita (It.) (sen-tsa ba-ifw-tii.) 
 At the pleasure of the performer as 
 regards the beat, or time. 
 
 S^nza fi6ri (It.) (sen-tsa fe-o-re.) ) 
 
 S^nzaornatn^nti (It.) (sen-tsa or-na- ) 
 ?««K-te.) 
 
 Without embellishments ; without orna- 
 ment. 
 
 S^nza interruzione (It.) (sen-tsa en-ter- 
 
 roo-tse-6-ne.) Without interruption. 
 S^nza 6rgano (It.) (sen-tsa 5r-^a-no.) 
 
 Without the organ. 
 S^nza ped&le (It.) (sen-tsa pe-rfii'-le.) 
 
 Without the pedals. 
 S6nza repetizidne (It.) (sen-tsa re-pe- \ 
 
 te-tse-tf-ne.) ( 
 
 S^nza replica (It.) (sen-tsa r^-ple-ka.) ) 
 
 Without repetition. 
 
 S^nza rigfire (It.) (sen-tsa ri-^o-re.) 
 
 Without regard to exact time. 
 S^nza sordini (It. pi.) (sen-tsa sor-dee- 
 
 ne.) Without the dampers, in piano- 
 forte playing, meaning that the dampers 
 
 are to be raised from the strings, that 
 
 is, the damper-pedal is to be used. 
 S^nza sordino (It.) (sen-tsa sor-rf^-no.) 
 
 Without the mute, in violin-playing, etc. 
 Sinza strom^nti (It. pi.) (sen-tsa stro- 
 
 mSn-te.) Without instruments. 
 S^nza t^mpo (It.) (sen-tsa tem--po.) 
 
 Without regard to the time; in no 
 
 definite time. 
 
 SepiSce (It.) (se pe-o-tshe.) At will; at 
 pleasure. 
 
 Septet (Eng.) {sep-tet.) i a composi- 
 Sept^tto (It.) (sep-/^/-to.) S tion for 
 seven voices, or instruments. 
 
 a as in ah ; a. a.sm hate / a as in a^ / e as in tree ; e as in eh ;\3S, in pine / i as in pin ; 
 
 23^ 
 
 or pro-. 
 
 gression, 
 
 Sequ^nza (It.) (se-^»?«-tsa.) J of similar 
 
 chords, or intervals, in succession. 
 Serbdno (It.) (ser-^a-no.) The serpent, a. 
 bass wind-instrument. 
 
 S^r^nade (Fr.) (ser-e-«aV.) ) Night 
 Serendta (It.) (ser-e-wo-ta.) j music ; an 
 evening concert in the open air and 
 under the window of the person to be 
 entertained. This word is used in 
 different senses in instrumental music. 
 In the eighteenth century, it was used 
 to denote a rather free suite of pieces, 
 often orchestral, and forming a short 
 program of music for an evening 
 performance ; such serenades generally 
 began with a march-like movement, 
 contained a slow movement and a 
 minuet among their intermezzi, and 
 concluded with a brilliant movement, 
 but the form was not a fixed one. In 
 another sense the serenade denoted a 
 nocturnal love-song of soothing and 
 tranquil character. There is also a 
 contrast to the serenade, intended for 
 morning performance, which properly 
 is called an aubade. Schubert's song 
 " Hark, Hark, the Lark," is a vocal 
 specimen of an aubade, but there are 
 instrumental works in this spirit also. 
 Ser^no (It.) (se-?-J-no.) Serene, calm, 
 
 tranquil, cheerful. 
 S6ria (It.) (jd-re-a.) 1 Serious, 
 
 Seri6sO (It.) (sa-re-o-zo.) ) grave ; in a 
 
 serious, sedate style. 
 S^ria, opera (It.) (j-a-re-a o-pe-ra.) Seri- 
 ous, or tragic opera. 
 
 S^rieusement (Fr.) (sa-ri-iis-manh.) 
 
 Seriously, gravely. 
 S^rio CIt.) fja-re-o.) Serious, grave. 
 
SERIO-COMIC 
 
 SFORZATO 
 
 } ^ 
 > bass 
 
 J wind 
 
 Serio-comic. A song combining the 
 grave with the ludicrous, or humorous. 
 
 Serpeggidndo (It.) (ser-ped-je-»«-do.) 
 Gently winding ; sliding ; creeping. 
 
 Serpent (Eng.) (ji?>--pent.) 
 
 Serp^nte (It.) (ser-/^»-te.) 
 
 Serpent6no (It.) (ser-pen-Zo-no.) ) wind- 
 instrument, of deep, coarse tone, re- 
 sembling a serpent in form. It was 
 chiefly used in military bands. The 
 serpent is replaced in the modem band 
 by the bass tuba. The name is some- 
 times given to a reed-stop in an organ. 
 
 Service. A musical composition adapted 
 to the services of religious worship. 
 
 Service-book. A missal ; a book con- 
 taining the musical service of the 
 church. 
 
 Service, choral. A form of religious 
 service in which the priest sings in 
 response to the choir. 
 
 Sesqui (Lat.) (ses-qm.) A Latin particle, 
 signifying a whole and a half, and 
 which, when joined with altera, terza, 
 quarta, etc., expresses a kind of ratio. 
 
 Sesquialtera (Lat.) (ses-qui-(?/-te-ra.) 
 The name given by the ancients to 
 that ratio which includes one and a 
 half to one. An organ-stop, compris- 
 ing two or more ranks of pipes, of 
 acute pitch. 
 
 Sesquitone (Lat.) (ses-que-Z^-ne.) A 
 minor third, or interval consisting of 
 three semi-tones. 
 
 S^sta (It.) (j<fj-ta.) ) The interval of a 
 SfetO (It.) [sdsAo.) ) sixth. See also 
 
 Sexte. 
 Sestet (Eng.) (ses-m.) 
 SestfttO (It.) (ses-tat 
 
 voices or instruments 
 
 Sestina (It.) (ses-te-na.) j A sextole, or 
 Sest61a (It.) (ses-Z^-la.) ) 
 
 t5.) J t'oi 
 
 composi- 
 tion for six 
 
 See 
 
 sextolet. 
 
 S^tte (It.) {sei-te.) Seven. 
 
 S^ttima (It.) (sei-te-msi.) ) The interval 
 
 S^ttimo (It.) (sei-te-mo.) ) of a seventh. 
 
 S^ttima maggi6re (It.) {set-te-ma. mad- 
 je-o-re.) Major seventh. 
 
 S^ttima minore (It.) («^te-ma me-no- 
 re.) Minor seventh. 
 
 5 as in tone ; 6 as in dove ; Sjas in »oi 
 
 Settim61a (It.) (set-ti-««-la.) A septi-^ 
 
 mole. See Notes. 
 Setz-art (Ger.) (jrfj-art.) Style, or 
 
 manner of composition. 
 Setzen (Ger.) (j«Z-tsen.) To compose. 
 Seventeenth. An organ-stop. See 
 
 Tierce. 
 Seventh. An interval containing six 
 
 diatonic degrees. 
 Sevens and fives metre. Consists of a 
 
 stanza of four lines in trochaic measure 
 
 and designated, 7s and 5s. 
 Sevens and sixes metre. A metre desig- 
 nated thus : 7s and 6s, consisting of a 
 
 stanza of four lines, iambic. 
 
 Sevens metre. A stanza of four lines 
 in trochaic measure, each line contain- 
 ing seven syllables. 
 
 Seventh, diminished. An interval 
 measured by nine half-steps. 
 
 Seventh, major. An interval measured 
 by eleven half -steps. 
 
 Seventh, minor. An interval measured 
 by ten half-steps. 
 
 Severam^nte (It.) (se-ver-a-»««K-te.) 
 Severely, strictly, rigorously. 
 
 Severita (It.) (se-ve-re-/a.) Severity, 
 strictness. 
 
 Sexta (Lat.) (j&c-ta.) Sixth. 
 
 Sexte (Ger.) (j/jr-te.) A sixth ; also, the 
 name of an organ-stop with two ranks 
 of pipes, sounding the interval of a 
 major sixth, a twelfth, and tierce on 
 one shde. 
 
 Sextetto. See Sestetto. 
 
 Sextole (Lat.) {sex-to-\e.) 1 a group 
 
 Sextuple! (Lat.) {sSx-\.u-pllt.) \ of six 
 notes, having the value, and to be 
 played in the time of four. See Notes. 
 
 Sextuple measure. The name formerly 
 given to* measures of two parts, com- 
 posed of six equal notes, three for each 
 part. This is more generally called 
 compound even rhythm. 
 
 SfogatO (It.) (sfo-^iai-to.) A very high 
 soprano. 
 
 Sf6rza (It.) (j/or-tsa.) Forced; with 
 force and energy. 
 
 Sforzindo (It.) (sior-tsan-da?) 1 porced; 
 
 Sforzito (It.) (sfor-^j-a-to.) ( one par- 
 ticular chord, or note, is to be played 
 with force and emphasis. 
 
 ,• li as in up ; ii the French sound of a. 
 
 233 
 
SFORZATAM^NTE 
 
 SIGNATURE 
 
 Sforzatam^nte (It.) (sfor-tsa-ta-OTf«-te.) 
 Impetuously, energetically. 
 
 Sfumato (It.) (sioo-mdA-to.) Very 
 lightly, like a vanishing smoke-wreath. 
 Sfumaiura, " Smoke-wreath" (title of a 
 light, airy composition). 
 
 Shake. An ornament produced by the 
 rapid alternation of two successive 
 notes, comprehending an interval not 
 greater than a whole tone, nor less than 
 a semi- tone. Plain shake, or trill. See 
 TriU. 
 
 Written. Played. 
 
 tr 
 
 Sharp (Ger., Kreuz; Fr., Diise ; It., Die- 
 sis.) The sign 8, which occurring either 
 before a note or in the signature, raises 
 the pitch of a tone one chromatic semi- 
 tone. The sign had its origin in a St. 
 Andrew's cross x which was used in the 
 notation of the middle ages. See Acci- 
 dentals and Chromatics. 
 
 Sharp, accidental. An occasional sharp 
 placed before a note in the course of a 
 piece, but not the same letter found 
 sharp in the signature. 
 
 Sharp, double. A double sharp is 
 equivalent to two sharps, raising a note 
 a whole tone instead of a semi-tone ; 
 expressed thus : « X. 
 
 Sharp sixth. In the first inversion of 
 the minor chord of the seventh; by 
 sharpening the fundamental tone we 
 obtain the chord of the Sharp Sixth, or 
 as some writers call it, the German- 
 Sixth. 
 
 Shawm. A wind-instrument of the 
 ancient Hebrews, supposed to be of 
 the reed, or hautboy species. 
 
 Shift. A change of position of the 
 left hand, in playing the violin, etc. 
 See Violin Shifts. 
 
 Shift, double. A shift on the violin, to 
 D in alt. 
 
 Shift, first. A violin shift on the fifth 
 line, also called the half-shift. 
 
 Shift, half. See First Shift. 
 
 Shift, last. In violin-playing, the shift 
 nearest the bridge. 
 
 Short metre (abb.-.?. M:) Four lines to 
 each stanza ; iambic verse, with the fol- 
 lowing arrangement of syllables — 6, 6, 
 8, 6. The pulsations being 
 
 Short octaves. A term applied to the 
 lower notes in old organs, where some 
 of the notes were omitted. 
 
 Si (Fr.) (se.) Applied in solfding to the 
 note B. 
 
 Si b^mol (Fr.) (see ba-mol.) I The 
 
 Si bemoUe (It.) (see ba-mol-le.) (note 
 Bb. 
 
 Si b^mol majeur (Fr.) (see ba-mol ma- 
 zhUr.) The key of B b major. 
 
 Si b^mol mineur (Fr.) (see ba-mol me- 
 nUr.) The key of B I? minor. 
 
 Sibilate (j*5-i-late.) To sing with a hits- 
 ing sound. 
 
 Sicilidna (It.) (se-tshe-le-o-na.) i a 
 
 Sicilidno (It.) (se-tshe-le-a-no.) J dance 
 of the Sicilian peasants, a graceful 
 movement of a slow, soothing, pastoial 
 character, in | or '^■f time. 
 
 Side-drum. The common military drum 
 so-called from its hanging at tlie side 
 of the drummer when played upon. 
 
 Si diese (Fr.) (se di-az.) The note B Jt. 
 
 Sieben (Ger.) (j#-b'n.) Seven. 
 
 Sieben-klang (Ger.) (se-h'n-klang.) 
 Heptachord, a scale of seven notes. 
 
 Siebente (Ger.) {see-hen-te.) Seventh. 
 
 Siebenzehnte (Ger.) («^-ben-tsen-te.) 
 Seventeenth. 
 
 Siegesgesang (Ger.) («^-ghes-ghe- 
 
 sUng. 
 Siegeslied (Ger.) (see-ghes-lcd.) 
 
 A triumphal song. 
 
 Siegesmarsch (Ger.) {see-ghes-mdrsh.) 
 A triumphal march. 
 
 Siffler (Fr.) (sif-fla.) To whistle. 
 
 Signature (Eng.) (rf^-na-tshur.) 1 Name 
 
 Signatura(Spa.)(sen-ya-/(7o-ra.) J> t^^t^^ 
 
 Signatur (Ger.) (sig-na-ioor.) J sharps, 
 
 or flats, placed at the beginning of a 
 
 piece, and at the commencement of 
 
 each staff, to indicate the key in which 
 
 it is written. See AV^. 
 
 Si ILS in ah ; Si as in hate y a as in at ; e as in tree ; S as in eh ; i as in pine ; i as in pin; 
 
 2.34 
 
SIGNATURE, TIME 
 
 SIGNS 
 
 Signature, time. Figures, in the form 
 of a fraction, placed at the beginning 
 of a piece to indicate the time. See 
 Time. 
 
 Sign, cancelling. A natural. 
 
 Sign, da capo. A mark placed before a 
 bar, Indicating that the piece, or move- 
 ment. Is to be repeated from that point. 
 
 Signe (Fr.) (sen.) The sign, :g: See 
 Segno. 
 
 Signes accidentels (Fr.) (sen ak-si-danh- 
 t'l.) Accidental sharps, flats, and nat- 
 urals. 
 
 Signes de silences (Fr.)(seen de si-ldnAs.) 
 Rests. 
 
 Sign, neutralizing. A cancelling sign ; 
 
 a natural. 
 Signs. The following are the chief signs 
 used In music : 
 
 . (i) A dot above or below a note sig- 
 nifies staccato. (2) After a note, 
 or rest, it is a sign of length. 
 f A dash above or below a note signi- 
 fies staccaiissimo (becoming obso- 
 lete at present). 
 ^ A slur, bind, tie. 
 CT; A slur and dots above or below two 
 or more notes (one dot to each 
 note) indicate that the latter 
 have to be played somewhat de- 
 tached. See Portamento. 
 — Sustained. Horizontal dashes above 
 or below a series of notes Indicate 
 that they have to be sustained 
 but not slurred. 
 ~ Accented and sustained, 6en fro- 
 nunziato or marcato. 
 
 [ 1 With a weighty and well-sustained 
 
 touch, pesante, or martellato. 
 — == Crescendo. 
 r=— Diminuendo. 
 -=- and -= Rinforzando, accented. 
 A Forzando, or sforzato, accented. 
 A and =- mean practically the same, 
 unless used together, when the 
 first has the stronger accent. 
 ■«=■ In vocal music would mean Missa 
 di Voce (which see). In instru- 
 mental music it would also mean 
 crescendo and diminuendo (a 
 swell mark), but it Is sometimes 
 used over a single note, or chord, 
 in piano music, in which case it 
 means resonance without sud- 
 denness. 
 
 V Up-bow. A Down-bow in violoncello 
 
 music. 
 U or n down-bow In violin-music. 
 
 1^ Hold, or Fermata. 
 
 ^ Repeat preceding measure. 
 
 *4[? :%i Segno. Repeat from this sign. 
 
 * J^rt '^ Double sharp. 
 
 Repeat. 
 
 ■II- Repeat. 
 
 X or + Thumb (pfte-music.) American 
 Fingering. 
 
 ? Breathing-mark. 
 
 S A dded lines to call attention to repe- 
 :| tition dots. Bis is also sometimes 
 J used as a repeat -mark. 
 
 'VV /v|v Mordent and Frailer. 
 -^^ '*-' 2 Turns. 
 
 I Repeat preceding figure of eighth 
 notes. 
 
 U Repeat preceding figure of sixteenth 
 notes. 
 
 itl Repeat prececUng figure of thirty- 
 second notes. 
 
 .^,,.^.,^., Indicates the continuation of 
 a trill, or an octave mark. 
 
 i Arpeggio. 
 
 r signifies sometimes in pianoforte 
 L music that two notes on different 
 
 staves have to be played with 
 
 one hand. 
 
 A stave. 
 
 A bar. 
 
 A double bar. 
 
 .0. The coda mark. First, time of play- 
 ing disregard the sign. Second 
 time (after D. C.) skip from this 
 sign to the coda. Sometimes the 
 sign is also placed at the coda. 
 
 Imo Jma ; Primo, Prima (/«>«« fo/te). 
 
 Ildo Ilda : Secondo, Seconda {seconda 
 volta). 
 
 M. M. I 120. Refers to Maelzel's me- 
 tronome. This or any other figure 
 indicates to which part of the pen- 
 dulum the regulator is to be moved, 
 
 O as in tone ; 6 as in dove / 8 as in ?u>t ; fi as in up ; ii the French sound of u. 
 
 235 
 
SIGNS 
 
 SINGLE-ACTION HARP 
 
 and this or any other note indicates 
 whether it beats halves, quarter- 
 notes, or eighths, so many to the 
 minute. 
 
 A direct. 
 
 ^ ^ These signs refer to the piano- 
 forte-pedal. The first is the only 
 one nowin use, and indicates where 
 the foot is to be raised after the 
 pedal has been pressed down. The 
 second is sometimes found in 
 German editions. 
 
 L— I An American pedal-mark, show- 
 ing exactly how long to use the 
 damper-pedal. 
 
 : Clefs. 
 
 g ^ Time signatures. 
 
 ^ - r r : 5 5 5 5 Notes. 
 
 EE 
 
 s na 
 
 Rests. 
 
 ^ A breathing-mark in some vocalises. 
 
 1 I I 1 Organ-music, pedal; 
 
 notes so connected are to be played 
 with alternate toe and heel of same 
 foot. Heel and toe are also some- 
 times marked ^ v and also o, A over 
 the note meaning right foot, and 
 under left foot. 
 
 Thumb positions (violoncello-play- 
 i"g)- 
 
 '^ ~ V cTiange toes on organ-pedal. 
 
 '\_^^ Slide same toe to next note. 
 
 a' b" c" 
 
 a' b^ c' 
 
 a b c 
 
 >etc. See Pitch .and Tabla- 
 ture. 
 
 Brace. 
 
 Tr. /v^^ Trill. 
 
 •p" *(= Short grace-notes or acciacca- 
 ' ' tura. 
 
 I 
 
 % 
 
 Long grace-note or appoggia- 
 tura. See also Abbreviations, 
 Notation, Notes, Accidentals, 
 Turns, Trills, Flat, Sharp, 
 Mordent, Direct, Rests, etc. 
 
 Si majeur (Fr.) (see ma-zhiir.) The key 
 of B major. 
 
 Similar motion. Where two or more 
 parts ascend, or descend, at the same 
 time. 
 
 Simile (It.) (/^-me-le.) Similarly; in 
 like manner. 
 
 Si mineur (Fr.) (see mi-nHr.) The key 
 of B mineur. 
 
 Simple counterpoint. That counter- 
 point in which note is set against note, 
 and which is called simple, in opposi- 
 tion to more elaborate counterpoint 
 which is known as figurative. Also 
 sometimes called harmonic counter- 
 point. 
 
 Simple intervals. Those which do not 
 exceed an octave. 
 
 Simple inversion. An inversion made 
 by reversing the notes of fugal, or 
 other'subject in its answer, so that the 
 ascending notes of the original passage 
 descfend in the answer, and vice versa. 
 
 Simple recitative. A recitative with the 
 accompaniment of a bass part only ; a 
 plain recitative. See Recitative. 
 
 Sin 'alfine (It.) (sin al fee-ne.) To the 
 end ; as far as the end. 
 
 Sincopa (It.) (j;»-k6-pa.) \ See Synco- 
 Sincope (it.) («»-ko-pe.) J pdtion. 
 
 Sinfonla (It.) (sin-f6-«^-a.) |^ An orches- 
 Sinfonie (Fr.) (sanh-fo-K^.) i tral com- 
 position in many parts ; used by Each 
 and others for prelude. See Sym- 
 phony. 
 
 Singen (Ger.) (j&^-en.) To sing; to 
 chant ; singing ; chanting. 
 
 Singend (Ger.) (jfe^-end.) See Cantd- 
 bile. 
 
 Sing-gedicht (Ger.) (slng-ghe-dikht.) 
 Hymn ; poem intended to be sung. 
 
 Singhiozzdndo (It.) (sen-ghee-5t-san- 
 do.) Sobbingly. 
 
 (sing-koonst.) The 
 
 Sing-kunst (Ger.) 
 art of singing. 
 
 Single-action harp. A harp with pedals, 
 by which each string can be raised one 
 semi-tone. For double-action harp, see 
 Harp. 
 
 a as in a/5 ; a as in hate ; a as in at ; e as in tree ; 6 as in eh ;\zs, in pins ; i as in pin: 
 
 236 
 
SINGLE CHANT 
 
 SIXTH GERMAN" 
 
 Single chant. A simple harmonized 
 melody, extending only to one verse of 
 a psalm, as sung in cathedrals, etc. 
 
 Sing-mahrchen (Ger.) {sikg--mdr-kh'n.) 
 A ballad. 
 
 Sing-meister (Ger.) (si'tts'-mis-ter.) Sing- 
 ing-master. 
 
 Sing-pult (Ger.) (smg-poolt.) Singing- 
 desk. 
 
 Sing-schauspiel (Ger.) (jfe^-shous-pel.) 
 Singing-drama ; a drama with songs, 
 etc., interspersed. 
 
 Sing-schule (Ger.) (sTn^-sAoo-K.) Sing- 
 ing-school ; a school, or method, for 
 the voice. 
 
 Sing-spiel (Ger.) (sing-spel.) An 
 opera; melodrama; a piece inter- 
 spersed with songs. 
 
 Sing-stimme (Ger.) {sing-stim-me.) 
 Singing-voice ; a vocal part. 
 
 Sing-stimmen (Ger. pi.) (sf?ig-siim-mm.) 
 The voices ; the vocal parts. 
 
 Sing-stiick (Ger.)(sing-fetiik.) Air.melody. 
 
 Sing-stunde (Ger.) {s^ng-sioon-Ae.) Sing- 
 ing-lesson. 
 
 Sing-tanz (Ger.) (sing-tants.) Dance, 
 
 accompanied by singing. 
 Sing-verein (Ger.) (sing-ve-rin.) A 
 
 choral society. 
 
 Sing-weise (Ger.) (sing-vi-se.) Melody, 
 
 tune. 
 Siniestra (Spa.) (se-ni-^j-tra.) i The left 
 Sinistra (Lat.) (sin-is-tra.) ) hand. 
 Sinistra mdno (It.) (si-««-tra md-no.) ) 
 Sinistra manu (Lat.) (sin-is-tra md-nn.) ) 
 
 The left hand. 
 
 Sino (It.) (si-n5.) ) To ; as far as ; until ; 
 Sin (It.) (sin.) ) confuoco sin 'alfine, 
 
 with spirit to the end. 
 Sino al s^gno (It.) {si-no al sen-yo.) As 
 
 far as the sign. 
 Sipidce (It.) (se pe-o-tshe.) At pleasure ; 
 
 as you please. 
 
 Siren, i Aninstrumentusedforascertain- 
 
 Sirene. ) ing the rapidity of aerial vibra- 
 tion, corresponding to the different 
 pitches of musical sounds. 
 
 Sirenen-gesang (Ger.) (slr-/-nen-ghe- 
 sdng.) Siren-song; a soft, luscious, 
 seductive melody. 
 
 Si replica (It.) (se «-ple-ka.) A re- 
 peat ; to be repeated. 
 
 A measure hav- 
 six eighth-notes, 
 
 Si replica una v61ta (It.) (se ?-^-ple-ka 
 oo-na v61-ta.) Play the part over 
 
 again. 
 
 Si segue (It.) (se sa-gue.) Go on. 
 
 Sistema (It.) (ses-te-ma.) System. 
 
 Sistrum (Lat.) (sls-trum.) An instru- 
 ment of percussion of very great antiq- 
 uity, supposed to have been invented 
 by the Egyptians, and was much used 
 by the priests of Isis and Osiris in sac- 
 rifice. It consisted of a rod of iron, 
 bent into an oval, or oblong shape, or 
 square at two corners, and curved at 
 the others, and furnished with a num- 
 ber of movable rings, so that, when 
 shaken, or struck with another rod of 
 iron, it emitted the sound desired. 
 
 Si tdce (It.) (se ^a-tshe.) Be silent. 
 
 Si T61ga (It.) (se vol-gi.) Turn over the 
 leaf. 
 
 Sixain (Fr.) (sez-anh.) Stanza ; strophe 
 of six verses. 
 
 Six-eighth measure, 
 ing the value of 
 marked |. 
 
 Sixes and fives metre. A metre consist- 
 ing of a stanza of four lines alternating 
 in length, of 6 and 5 syllables. Gen- 
 erally trochaic verse, as follows : 
 
 marked 6s and 5s. 
 
 Sixieme (Fr.) (sez-i-i2?».) A sixth. 
 
 Six pour quatre (Fr.) (sez poor katr.) 
 A double triplet, or sextuplet ; six 
 notes to be played in the time of 
 four. 
 
 Six quarter measure. A measure hav- 
 ing the amount of six quarter-notes, 
 marked J. 
 
 Sixte (Fr.) (sekst.) A sixth. 
 
 Sixteenth note. A semiquaver, J. 
 
 Sixteenth rest. A pause equal in dura- 
 tion to a sixteenth note. 
 
 Sixtes (Fr.) (sekst.) Sixths. 
 
 Sixth. An interval comprising six 
 sounds, or five diatonic degrees. 
 
 Sixth augmented. An interval measured 
 by ten half-steps. 
 
 Sixth German. See Sharp Sixth. 
 
 as in tone ; 6 as in dove ; 8 as in not; ii as in up; ii the French sound of ». 
 
 237 
 
SIXTH ITALIAN 
 
 SLURRING 
 
 Sixth Italian. An interval obtained by 
 suppressing the original seventh in 
 the chord of the sharp sixth. 
 
 Sixth major. An interval measured by 
 nine half-steps. 
 
 Sixth minor. An interval measured by 
 eight half -steps. 
 
 Sixth sharp. An interval obtained from 
 the first inversion of the minor chord 
 of the seventh, by sharping the funda- 
 mental tone. 
 
 Sixty-fourth note. A hemidemi- & 
 semiquaver. ^S 
 
 Sixty-fourth rest. A pause equal in 
 point of duration to a sixty-fourth 
 note. 
 
 Skip. A term apphed to any transition 
 exceeding that of a whole tone step. 
 
 Skizzen (Ger. pi.) (siiis-tsen.) Sketches ; 
 short pieces. 
 
 Skolien (Sweden) (sk6-/^«.) Drinking- 
 song. 
 
 Slancio con (It.) (kon j&K-shee-oh.) 
 With vehemence ; impetuously. (Some- 
 times written islancio for the sake of 
 euphony.) 
 
 SlargAndo (It.) (slar-^ii«-d6.) ) 
 
 Slargand6si (It.) (slar-gan-^J-zee.) ) 
 Extending, enlarging, widening j the 
 time to become gradually slower. 
 
 Slent^ndo (It.) (slen-^a«-do.) Relaxing 
 the time ; becoming gradually slower. 
 
 Slide. A movable tube in the trombone 
 (formerly in the trumpet), which is 
 pushed in and out to alter the pitch of 
 the tones while playing. It is more 
 perfect than the valve, because it 
 changes only the length of the air- 
 column, not its direction and form ; 
 and also because every interval of pitch 
 is obtainable ; but it is more difficult of 
 manipulation than the keys, or valves. 
 A rapid run of two or more notes as, 
 for example, the following : 
 
 ^^^^ 
 
 Slur (Ger., Legatobogen ; Fr., liaison ; 
 It., legattira.) A curve drawn over or 
 under two or more notes, signifying 
 that they are to be executed legato. 
 The slur over two notes is called the 
 
 a as in a,^ ; a as in kate ; S as in at ; e as in tree ; S as in eh ; \ as in pine ; i as in pin 
 
 short slur. The slur first appeared in 
 notation in connection with violin-mu- 
 sic, and was used to show how many 
 notes were to be executed with a single 
 stroke of the bow. Soon after this it 
 was also admitted into vocal notation 
 to indicate the number of notes to be 
 sung in a single breath. It is almost 
 impossible to give absolute rules for 
 the execution of the slur, there are so 
 many exceptions. Yet the following 
 rules may apply in general cases : 
 I . When two notes of small denomi- 
 nation (quarter-notes or less) are con- 
 nected by a slur, the first note is 
 generally accented, the second played 
 lightly ; the tone of the first is to over- 
 lap into that of the second note ; and 
 the second note is frequently shortened. 
 This example, 
 
 # 
 
 would often be played thus : 
 
 ^ 
 
 2. When the slurred notes are of a 
 longer denomination, the second is not 
 generally shortened. 3. When the 
 second note is longer than the first, the 
 effect of the slur is often nothing more 
 than a legato mark. 4. In vocal mu- 
 sic, both long and short slurs are often 
 used merely to show how many notes 
 are to be sung to a single syllable. 
 The long slur (over more than two 
 notes) is frequently a very indefinite 
 sign. It is one of the most vague 
 signs in piano-music, often merely in- 
 dicating a legato execution, and not 
 the phrasing. In vocal-music it is 
 used properly as a phrasing and breath- 
 ing-mark, but it is impossible to formu- 
 late any rules that will cover the 
 contradictory uses of the long slur in 
 piano-music. See Elson's " Theory of 
 Music." 
 
 Slurred. Notes, or passages, performed 
 in a smooth and gliding manner, are 
 said to be slurred. 
 
 Slurring. Performing in a smooth, 
 gliding style. 
 
 238 
 
SMALL OCTAVE 
 
 SOLFAING 
 
 Ex- 
 
 Small octave. The name given in Ger- 
 many to the notes included between C 
 on the second space of the bass staff 
 and the B above, these notes being ex- 
 pressed by small letters, as a, 6, c, d, 
 etc. 
 
 Smanicdre (It.) (sman-e-/5ii-re.) To shift, 
 or change the position of the hand in 
 playing the violin, guitar, etc. 
 
 Smanidnte (It.) (sman-e-aK-te.) 
 
 Smani&to (It.) (sma-ne-a-to.) 
 
 Smani6so (It.) (sma-ne-o-zo.) 
 ment ; frantic with rage. 
 
 Sminu^ndo (It.) (sme-noo-^«-d5.) ^ 
 
 Sminuito (It.) (sme-noo-^-to.) \ 
 
 Smor^ndo (It.) (smo-?-^K-do.) , ) 
 Diminishing ; decreasing ; gradually 
 softer. 
 
 Smorfi(5so (It.) (smor-fe-o-zo.) Affected; 
 
 coquettish ; full of grimaces. 
 Smorz. An abbreviation of Smorzdndo. 
 Smorzdndo (It.) (sm6r-/j(i«-do.) 
 SmOTzdto (It.) (smor-^jfl-'io.) 
 
 tinguished ; put out ; suddenly dying 
 
 away. 
 Snare-drum. The commonly used small 
 
 drum, so named on account of strings 
 
 of raw-hide drawn over its lower head, 
 
 and to distinguish it from the large, or 
 
 bass drum. 
 
 Soive (It.) (so-a-ve.) A word implying 
 that a movement is to be played in a 
 gentle, soft, and engaging style. 
 
 Soavem^nte (It.) (so-a-ve-/«^«-te.) 
 Sweetly, agreeably, delicately. 
 
 Soci^t ^cliantante (Fr.) (s5-si-a-;^shanh- 
 tanht.) Singing-society. 
 
 Sogg^tto (It.) (sod;7^^to.) Subject, 
 theme, motive. 
 
 Sogg^tto di fliga (It.) (sod-/^^t6 de foo- 
 ga.) Subject of the fugue. 
 
 Sogg^tto invariato (It.) (sod^>/-to in-va- 
 re-a-to.) The invariable subject ■ — a 
 term applied to the subject of counter- 
 point when it does not change the fig- 
 ure, or situation of the notes. 
 
 Sogg^ttO variato (It.) (&o&-jet-\.o va-re-a- 
 to.) Variable subj ect — a term applied 
 to the subject of a counterpoint when 
 it changes the figure, or situation of the 
 notes. 
 
 ■Soiree musicile (Fr.) (swa-ra mii-ze-/Ja7.) 
 A musical evening. 
 
 Sol (s51.) A- syllable applied by the 
 Italians and French to G, the fifth 
 sound of the diatonic scale, or octave 
 of C. 
 
 S61a (It.) (jJ-la.) Alone. See SSlo. 
 
 Sol b^mol (Lat.) (sol ba-mol.) The 
 note G flat. 
 
 Sol b^mol majeur (Fr.) (sol ba-mol ma- 
 zhilr.) The key of G flat major. 
 
 Sol b^mol mlneur (Fr.) (s51 ba-mol me- 
 niir.) The key of G flat minor. (Not 
 in use.) 
 
 Sol diese (Fr.) (sol di-az.) The note 
 G sharp. 
 
 Sol diese mineur (Fr.) (sol di-az me-nUr.) 
 The key of G sharp minor. 
 
 Sol^nne (It.) (so-/if«-ne.) Solemn. 
 
 Solennem^nte (It.) (so-len-ne-ff;i?«-te.) 
 Solemnly. 
 
 Solfalng. Singing the notes of the 
 scale to the monosyllables applied to 
 them by Guido. Guido was a Bene- 
 dictine monk (b. Arezzo, about A.D. 
 looo) and taught music in the monas- 
 tery at Pomposa, about 1032. He 
 found great difficulty in his work be- 
 cause of the vagueness of notation, 
 particularly in the matter of pitch. He 
 observed that each line of a certain 
 hymn which the students sang daily to 
 St. John began with a different syllable, 
 and also rose one degree at each phrase. 
 The music was as follows : 
 
 
 :j==t: 
 
 ^m 
 
 i 
 
 UT que-ant la - xis, RE-so-na-re 
 
 A A 
 
 ;^^^^^iP^ 
 
 fi - bris, MI - ra ge-sto-rum FA-mu-li-tu 
 
 :^fe£^ 
 
 5-?*= 
 
 o-rum, SOL-ve pol - lu - ti, LA-bi - i re- 
 
 m. 
 
 ^S=E 
 
 ^=f?_ 
 
 t=F 
 
 a turn, San - cte Jo - han - nes. 
 
 Here was Guido's opportunity. He 
 caused these syllables to be used to 
 represent the notes by the students, 
 who had already learned to associate 
 them together in their minds, and the 
 greater part of the modern scale was 
 formed. It may be mentioned that 
 
 B as in tone / 6 as in dove ; 8 as in not y ii as in a^ y ii the French sound of u. 
 
 239 
 
SOLFEGE 
 
 sonXta 
 
 the French to-day use ut as the first 
 note of the scale although other nations 
 have changed it to do. Guido's scale 
 was hexachordal, and contained no 
 leading-tone. The seventh note was 
 added in the sixteenth or seventeenth 
 century, and received the name of si. 
 The change of ut to do is attributed to 
 Buononcini, about 1700. 
 
 Solfege (Fr.) {&o\-fezh.) ^ gxer- 
 
 Solf^ggi (It. pi.) (soU/^rf-ji.) S cises for 
 Solfeggio (It.) (sol-/«rf'-ie-6.) ) 'he voice 
 according to the rules of solmization. 
 
 Solfeggiamfeti (It.) (sol-fed-je-a-»««K- 
 te.) Solfeggi. 
 
 Solfeggidre (It.) (sol-fed-je-3-re.) To 
 practice Solfeggi. 
 
 Solfeggiren (Ger.) (sol-feg-ghi-r'n.) ) 
 
 Solfier (Fr.) (sol-fe-a.) ) 
 
 To solfa. 
 
 S61i (It.) (jo-le.) A particular passage 
 played by principals only, one per- 
 former to each part. 
 
 S61ito (It.) (jJ-le-to.) Accustomed ; in 
 the usual manner. 
 
 SoU^cito (It.) (s6-/^-tshe-to.) Careful, 
 solicitous; meaning an attentive and 
 careful style of execution. 
 
 Sol majeur (Fr.) (sol ma-zhiir.) The 
 key of G major. 
 
 Sol mineur (Fr.) (sol me-niir.) 
 of G minor. 
 
 Solmisdie (It.) (s61-me-za-re.) 
 
 Solmizare (It.) (sol-me-^ra-re.) 
 
 Solmisiren (Ger.) (j-^/-mi-J!>-en.) 
 
 of the scales, applying to the different 
 tones their respective syllables, do, re, 
 mi, fa, sol, la, si; to this kind of vocal 
 exercise the practice of Solfeggi is 
 added. 
 
 Solmization. See Solfiggi and Sol- 
 misdre. 
 
 S6I0 (It.) {sd-\b.) N A composition for 
 
 Solo (Fr.) (j-o-lo.) > a single voice, or in- 
 
 Solo(Ger.) (so-\o.) ) strument. 
 
 Soloist. One who sings, or performs 
 alone, with or without the aid of ac- 
 companiment. 
 
 Solo pitch. The tuning of an instru- 
 ment a little higher than the ordinary 
 pitch in order to obtain brilliancy of 
 tone with a certain amount of ease to 
 
 The key 
 
 The 
 
 prac- 
 tice 
 
 Solospieler (Ger.) A solo player. 
 
 Solostimme (Ger ) A solo part. 
 
 S6mma espiessi6ne (It.) (som-ma es- 
 pres-se-ff-ne.) Very great expression. 
 
 Sommeils (s6m-mal.) The name by 
 which the French distinguished the airs 
 in their old serious operas, because 
 they were calculated to tranquillize the 
 feelings and induce drowsiness. 
 
 Sommerlied (Ger.) (som-mer-led.) A 
 song in praise of summer. 
 
 Sommier (Fr.) (s6-m!-a.) The wind- 
 chest. 
 
 Somtnier d'orgue (Fr.) (s5-mi-a d'org ) 
 Wind-chest of an organ. 
 
 Sound. 
 
 the player, 
 i as in a/4 / a as in hate ; a as in at; e as in tree ; 6 as in ei ; i as in pine 
 
 240 
 
 Son (Fr.) (sonh.) ) 
 
 Son (Spa.) (s5n.) ) 
 
 Sondbile (It.) (s6-»a-be-le.) ) Sonorous, 
 
 Sonable (Spa.) (so-«a-ble.) i resonant. 
 
 Sonaglidre (It.) (so-nal-ye-o-re.) To 
 jingle ; to ring a small bell. 
 
 Sondglio (It.) (so-nal-ye-o.) A small 
 bell. 
 
 Sonam^nto (It.) (s6-na-/«i»«-to.) Sound- 
 ing, ringing, playing. 
 
 Sondre (It.) (s6-«a-re.) To sound ; to 
 have a sound ; to ring; to play upon. 
 
 Sondre dlla mtote (It.) (so-«a-re a/-la 
 men-te.) To play extempore ; to im- 
 provise. 
 
 Sondre 11 viollno (It.) (s6-«o-re el ve-6- 
 le-no.) To play upon the violin. 
 
 Sondta (It.) (so-^a-ta.) ^ a • - 
 Sonate (Fr.) (so-ndt.) i strumental 
 Sonate (Ger.) (so-«a-te.) ) composition, 
 usually of three or four distinct move- 
 ments, each with a unity of its own, 
 yet all related so as to form a per- 
 fect whole. It commonly begins with 
 an allegro, sometimes preceded by 
 a slow introduction. Then come the 
 andante, adagio, or largo ; then the 
 minuet and trio, or scherzo ; and lastly 
 the finale in quick time. This form is 
 applied not only to large piano sonatas, 
 but to symphonies, string quartet, etc. 
 The fonn of the sonata grew slowly 
 from the first vague ' shapes used in 
 the seventeenth century, which often 
 resembled the suite. The sonatas of 
 Domenico Scarlatti, Ph. Em. Bach, and 
 Corelli, show the old form gradually 
 crystallizing into two movements. Of 
 
 iasin//«/ 
 
sonXta 
 
 SONG 
 
 these, the first movement was very 
 important, for it led to the sonata 
 allegro, the most important single 
 movement form of sonata and one 
 ■which is even now constantly used for 
 the first movement (and sometimes 
 other movements) of the sonata, and 
 symphony. Briefly stated, this form is 
 follows : 
 
 
 MIDDLE PART 
 
 
 
 OR 
 
 
 EXPOSITION. 
 
 DEVELOPMENT. 
 
 RECAPITULATION. 
 
 
 often 
 Followed by 
 
 
 Chief 
 
 Chief 
 
 Theme. 
 
 
 Theme, 
 
 Subordinate 
 
 
 Subordinate 
 
 Theme 
 
 
 Theme 
 
 in related 
 
 Returning 
 
 (generally in 
 
 ^^^■■ 
 
 Passage 
 
 Tonic key). 
 
 Closmg 
 
 
 Closing 
 
 Theme. 
 
 
 Theme. 
 
 (Repetition.) 
 
 Haydn first established the classical 
 sonata form, although Ph. Em. Bach, 
 Dittersdorf, Kozeluch, and others, pro- 
 duced sporadic works in very nearly 
 the same shape. Mozart improved 
 and Beethoven culminated the form. 
 In the full sonata form the second 
 movement would be in slow tempo. In 
 a three-movement sonata the slow 
 movement becomes the central move- 
 ment of the work. The slow move- 
 ment is the emotional or romantic part 
 of the sonata, and is more free than 
 the first movement. Some composers 
 who are not successful in the sonata- 
 movement or sonata-allegro form, are 
 yet very expressive in the slow move- 
 ment. Chopin is an example of this. 
 The slow movement is generally in a 
 related key to that of the first move- 
 ment. Beethoven frequently used the 
 key of the submediant for this part of 
 the sonata. The tempo of the slow move- 
 ment varies from largo (used by Haydn 
 and others) to allegretto (used by Bee- 
 thoven in his seventh symphony and 
 elsewhere), but is most frequently either 
 andante, or adagio. The slow move- 
 ment has no fixed form, but is often in 
 song form, variation form sonata-allegro, 
 or rondo. The third movement (if the 
 four-movement form is used) is a min- 
 uet, or scherzo (see these nouns, and 
 also Form), but in the three-movement 
 form this movement is omitted. Con- 
 certos omit this part. The forms chiefly 
 employed in the finale are: i. The 
 
 as in tone ; 6 as in dove ; 8 as in not ; 
 
 sonata-rondo, i. The sonata-allegro, 
 but with less development than is used 
 in the opening movement, as develop- 
 ment should be the chief feature of the 
 first movement, at least, in a large 
 work. 3. Grand variations, \i\i\ch. a.re 
 certainly the best offset to the develop- 
 ment of the first movement, since varia- 
 tion differs from development in keep- 
 ing the harmonic shape unchanged. 
 Examples of these modes of ending 
 may be found in Beethoven's works, as 
 follows: ist mode. Sonatas Op. 7, and 
 Op. 13. 2d mode. Sonata Op. 2, Uo. 
 I. 3d mo^de. Sonatas Op. 109 and iii. 
 For further study of the sonata see 
 Prout's " Musical Form," Pauer's 
 " Musical Forms," Goetschius' " Les- 
 sons in Music Form," Elson's " Theory 
 of Music." 
 
 Sonata da cimera (It.) (so-«a-ta da kO- 
 me-ra.) A sonata designed for the 
 chamber, or parlor. 
 
 Sonata da chi^sa (It.) (s5-»d;ta da ke-(f- 
 za.) A church-sonata, an organ-sonata. 
 
 Sonata dl bravura (It.) (so-Ko-ta de bra- 
 voo-xi.) A brilliant, bold style of 
 sonata. 
 
 Sonata form. In the style of a sonata. 
 Sonata form is also synonymous with 
 sonata-allegro. 
 
 Sonata, grand. A massive and extended 
 sonata, consisting usually of four move- 
 ments. 
 
 Sonatina (It.) (s6-na-/^-na.) 1 ^ short 
 Sonatine (Fr.) (s6-na-/?».) (easy so- 
 nata, generally two or three move- 
 ments. The sonatina movemej:t differs 
 from the sonata-allegro in having no 
 development, or middle section, being 
 merely an exposition, followed by a 
 recapitulation. 
 
 Sonatdjo (It.) (s6-na-^o-h6.) A sounding- 
 board. 
 
 Sonat6re (It.) (s6-na-/o-re.) An instru- 
 mental performer. 
 
 Son doux (Fr.) (sohn doo.) Soft sound. 
 
 Song. I. (Ger., Gesang; Yr., chant; It., 
 canto.) Vocal musical expression or 
 utterance. 2, (Ger., Lied; Fr., chan- 
 son; It., canzone^ A lyrical poem set 
 to music. The song deals with emo- 
 tions ; the ballad tells a story. Song 
 form is a musical form originally de- 
 rived from vocal music. (See Form.) 
 
 fi as in K/ ; ii the French sound of u. 
 
 '241 
 
SONG, BACCHANALIAN 
 
 soprXno 
 
 Folk-song is a simple song (frequently 
 a ballad) which is popular with the 
 common people. Songs are chiefly of 
 two styles of composition. 1st. The 
 strophe form in which the music is set 
 to the first stanza and then repeated 
 to each succeeding stanza. 2d. The art- 
 song (or through-composed — Durch 
 componiert style) in which each stanza 
 receives separate musical treatment 
 according to its contents. Among 
 Schubert's songs " The Miller's Flow- 
 ers " and " Impatience " are strophe 
 forms, and the " Erl-King" and " The 
 Wanderer " are art-songs. The strophe 
 form can only be artistically employed 
 when there are very few stanzas in a 
 poem and all of the same general pur- 
 port, as in Schubert's " Impatience." 
 Song, Bacchanalian. A song which 
 either in sentiment, or style, relates to 
 scenes of revelry. 
 Song, boat. A song sung by the rowers ; 
 
 gondolier-song. 
 Song, erotic. A love-song. 
 Song, florid. A term applied by musi- 
 cians of the fourteenth century to 
 figured descant, in order to distinguish 
 it from the old chant, or plain song. 
 Song-form. See Ferm. 
 Song, four-part. A song arranged for 
 
 four voices. 
 Song, gondolier. A song sung by the 
 
 Venetian gondoliers ; a barcarolle. 
 Song, hunting. A melody set to words 
 
 in praise of the chase. 
 Song, martial. A song, the subject and 
 
 style of which are war-like. 
 Song, national. A song identified with 
 the history of a nation, on account of 
 the sentiments it expresses, or from 
 long use. 
 Song, nautical. A song relating to the 
 
 sea. 
 Song, nuptial. A song celebrating 
 
 marriage. 
 Song, patriotic. A song intended to 
 inspire a love of country. 
 
 Song, plain. The old ecclesiastical 
 chant, without any of the harmony 
 which now enriches it. 
 
 Songs without Words (Ger., Lieder ohne 
 Worte ; Fr., Chants sans Paroles.) 
 Pianoforte-pieces of a short, undevel- 
 
 'i as in ah ; si a* in hate; a as in at; e as in tree 
 
 242 
 
 oped and vocal character, consisting of 
 a melody and accompaniment. 
 
 Sonnerie (Fr.) A Carillon (peal, or chime 
 of bells). 
 
 S6no (It.) (soh-no.) Sound, tone. 
 
 Sonnet. A short poem of fourteen lines, 
 two stanzas of four verses each and two 
 of three each, the rhymes being ad- 
 justed by a particular rule. 
 
 Sonnettier (Fr.) (s6nh-net-ti-a.) Bell- 
 maker, or seller. 
 
 Sonneur (Fr.) (sonh-niir.) A bell- 
 ringer. 
 
 Sonometer (s6-«i?OT-e-ter.) An instru- 
 ment for measuring intervals, or the 
 vibrations of sounds. 
 
 Sonoram^nte (It.) (s5-no-ra-»«^»-te.) 
 Sonorously, harmoniously. 
 
 Sonore (Fr.) (so-nor.) \ Sonorous, har- 
 
 Son6ro (It.) (so-«J-ro.) S monious, reso- 
 nant. 
 
 Sonorific {so-nb-rtf-ik..) Producing 
 sound. 
 
 Sonorita (It.) (so-no-re-^a.) ) Harmony, 
 
 Sonority (Fr.) (so-no-re-/a.) ) resonance, 
 sonorousness. 
 
 Sonorous (s6-»^-rous.) An epithet ap- 
 plied to whatever is capable of yielding 
 sound ; full, or loud in sound ; rich- 
 toned, musical. 
 
 Son percant (Fr.) (sonh par-sanh.) A 
 shrill, piercing sound. 
 
 Sons 6tOufE& ( Fr. pi.) (sonhs'a toof-fa.) 
 Stifled, or muffled tones. 
 
 Sons harmoniques (Fr. pi.) (sonhs' har- 
 monh-f^.) Harmonic sounds. 
 
 Sons pleins (Fr. pi.) (sonhs' planh.) In 
 flute music, this means that the notes 
 must be blown with a very full, round 
 tone. 
 
 Sonus (Lat.) (jo-nus.) Sound, tone. 
 
 Sdpra (It.) (jJ-pra.) Above, upon, over, 
 before. See Super. 
 
 S6pra domindnte (It.) (w-pra d5-me- 
 jidn-ie.) The fifth, or upper dominant. 
 
 Soprani (It. pi.) {s,b-prd-y\t.) Treble 
 voices. 
 
 Sopran (Ger.) (sb-prdn.) I The treble; 
 
 Soprdno (It.) (so-/ra-n5.) S the highest 
 kind of female voice ; a , p h ^- 
 ti-eble, or soprano singer. |:A_ 1 — 
 Normal compass about \j -•• 
 
 e as in eh ; i as in pine ; i as in pins 
 
SOPRANO 
 
 SOPRAN-STIMME 
 
 The soprano is the highest part in con- 
 certed vocal music, and carries the air, 
 or melody, in any modern composition 
 that presents harmony, or counterpoint. 
 But this was not always the case. In 
 the early days of counterpoint it gave 
 support to the melody, which always 
 lay in the tenor. See Tenor. It was 
 then called " Discantus" which indi- 
 cated that it was " against the melody," 
 and not the melody itself. We give an 
 example of this old kind of counter- 
 point with the melody in the tenor part, 
 the discant giving counterpoint against 
 it : it is " Old Hundred," in Dowland's 
 setting of about three centuries ago : 
 
 pi 
 
 
 T3r 
 
 All 
 
 Hi 
 
 - pie 
 1- 
 
 that 
 
 =1= 
 
 ESE 
 
 earth 
 
 do 
 
 earth 
 
 do 
 
 dwell, 
 
 Sing 
 
 cheer - ful 
 
 to the Lord with cheer ful 
 
 m. 
 
 ^^- 
 
 m 
 
 ^= 
 
 Wi 
 
 -*- 
 
 H im serve with fear , H is 
 
 ^ 
 
 -f= 
 
 ^= 
 
 Come 
 
 be-fore Him and 
 
 It was about three hundred years ago 
 also, that the change in part-writing 
 took place. Lucas Osiander and Hans 
 Leo Hassler should be mentioned as 
 reformer^ in music. The innovation 
 which they made may seem a very 
 slight one, but it was none the less of 
 great importance. It was the giving of 
 the melody, in part- music, to the high- 
 est voice, changing its name from dis- 
 cant to soprano (meaning above'). 
 To us it seems self-evident that this 
 voice should carry the tune, but, as the 
 above selection shows, it was not so 
 with the early composers. They de- 
 sired to make the most of their discant, 
 and the melody, given in the tenor, in a 
 part-song, served only as a peg whereon 
 to hang the counterpoint. See Voice, 
 Tenor, Descant. 
 
 Soprino acuto (It.) (so-/ra-n6 a-Hoa-td.) 
 High soprano. 
 
 Soprano clef. The C clef on the first 
 line of the staff for soprano, 
 instead of using the G clef on 
 the second line for that part. 
 
 Soprano clef, mezzo. The C clef when 
 placed on the second line of 
 the staff, formerly used for the 
 
 m 
 
 Mi 
 
 second treble voice, and for which the 
 soprano clef is now substituted. 
 
 SoprAno concertiito (It.) (so-/r<i-no kon- 
 tsher-/o-to.) The soprano solo part, 
 the part for a solo treble voice in a 
 chorus. 
 
 Soprina c6rda (It.) (so-/ra-n6 igr-da.) 
 The E string of a violin. 
 
 Soprino mSzzo (It.) (s6-/ra-no metso.} 
 A species of female voice between so- 
 prano and alto. 
 
 Soprano second. Low soprano. 
 
 Soprdno secundo od ilto (It.) (so-/?-3-n5- 
 S3.-ioon-do od dl-to.) The second so- 
 prano, or alto. 
 
 Sopran-stimme (Ger.) {so-pran stfm-me.) 
 A soprano voice. 
 
 as in tone; 8 as in dove; Q as in not; u as in «// ii the French sound of u. 
 
 243 
 
SdPRA QUINTA 
 
 SOUS-TONIQUE 
 
 S6pra quiuta (It.) (sd-pii yueen-tiL) 
 
 Upper dominant. 
 S6pra una cdrda (It.) {so-pia. oo-n'a. kSr- 
 
 aa.j On one string. 
 
 Sdrda (It.) (sor-da.) Muffled; veiled 
 tone. 
 
 Sordam^nte (It.) (s6r-da-»«i?»-te.) 
 Softly, gently ; also, damped, muffled. 
 
 Sordellina (It.) (s6r-del-/^^-na.) A 
 species of bag-pipe. 
 
 Sordina (It.) (s5r-(/^^-na.) ) A sordine, 
 
 Sordina (Spa.) {sox-die-niL.) ) or m^'e. 
 
 Sordet. ) A small instrument, or 
 
 Sordine. ) damper, in the mouth of a 
 trumpet, or on the bridge of a violin, or 
 violoncello, to make the sound more 
 faint and subdued ; a mute. 
 
 Sordini (It. pi.) (s6r-,/«-ne.) Mutes in 
 violin-playing; and the dampers in 
 pianoforte music. See Con Sordini, and 
 Sinza Sordini. 
 
 Sordini levati (It.) {sox-dee-^% le-i-a-te ) 
 The dampers removed. 
 
 Sordino (It.) (s6r-</^«-n6.) A sordine ; a 
 mute. 
 
 S6rdo (It.) {sor-d.o.') Muffled; veiled 
 tone. 
 
 Sorgfaltig (Ger.) (jor^-fal-tigh.) Care- 
 fully. 
 
 Sortita (It.) (s6r-<«-ta.) The opening 
 air in an operatic part, the entrance 
 aria ; also a closing voluntary. 
 
 Sospensidne (It.) (sos-pen-se-o-ne.) A 
 suspension. 
 
 Sospensivam^nte (It.) (s6s-pen-se-va- 
 men-te.) Irresolutely, waveringly. 
 
 Sospirindo (It.) (sos-pe-?-a«-do.) 
 Sospirdnte (It.) (sos-pe->-a«-te.) 
 Sospir^vole (It.) (s6s-pe-r«^-vo-le.) 
 Sospir6so (It.) (sos-pe-?-J-26.) J 
 
 Sighing ; very subdued ; doleful. 
 
 Sospiro (It.) (s5s-/#^-r6.) A quarter- 
 rest. 
 
 Sosten^ndo (It.) (sos-te-«<2«-do.) ) 
 Sostemito (It.) (s6s-te-K<)i7-to.) ( 
 
 Sustaining the tone ; keeping the notes 
 
 down their full duration. 
 
 Sostenuto m61to (It.) (sos-te-M(7(7-t6 mo/- 
 to.) In a highly sustained manner. 
 
 Sotto (It.) (sot-to.) Under, below. 
 
 S. as in aA ; sl 3ls in Aaie ; a as in at ; e as in tree ; e as in eA; i as in pine ; i as in pin ; 
 
 Sdtto vdce (It.) (sot-to z-J-tshe.) Softly ; 
 
 in a low voice ; in an undertone. 
 SOttbrette (Fr.) {soo-brett.) A female 
 
 smger for a. subordinate and playful 
 
 part in a comic opera. 
 
 Sou-chantre (Fr.) (soo-shantr.) A sub- 
 chanter. 
 
 SoufQerie (Fr.) (soof-fle-re.) The ma- 
 chinery belonging to the bellows in an 
 organ. 
 Souffleur (Fr.) (soof-flur. i Bellows- 
 SoufQeuse (Fr.) (soof-fliis.) ) blower; 
 also a prompter in a theatre. 
 
 Souffleur d'orgues (Fr.) (soof-flur d'Srgh.) 
 Bellows-blower of an organ. 
 
 Sound-board. IThe thin board over 
 
 Sounding-board. ) which the strings of 
 
 the pianoforte and similar instruments 
 
 are distended. 
 
 Sound-post. A small post, or prop, with- 
 in a violin, nearly under the bridge ; it 
 is not only to sustain the tension but to 
 carry the vibrations from the front- 
 board, or belly to the back, thus mak- 
 ing the whole sound-box vibratory. 
 
 Soupir (Fr.) ,(soo-peer.) A quarter-rest. 
 
 Soupir de croche (Fr.) (soo-peer duh 
 krosh.) See Demi-soupir. 
 
 Soupir de double croche (Fr.) (soo-peer 
 diih doobl krosh.) See Quart de soupir . 
 
 Soupir de triple croche (Fr.) (soo-peer- 
 duh trepl krosh.) See Demi-quart de 
 soupir. 
 
 Sourdeline (Fr.) (j-i7i;?--di-leen.) An Ital- 
 ian bag-pipe, or musette. 
 
 Sourdement (Fr.) {soord-rai.-aSx.') In a 
 subdued manner. 
 
 Sourdet (Fr.) (soor-(/a.) The little pipe 
 of a ti*mpet ; a sordine, or mute. 
 
 Sourdine (Fr.) (soor-deen.) The name 
 of a harmonium stop. See also Sor- 
 dino. 
 
 Sous (Fr.) (soo.) Under, below. 
 
 Sous-chantre (Fr.) {soo-shdnhtr.) A 
 sub-chanter. 
 
 Sous-dominante (Fr.) {sao-iio-mi-7idnkt.) 
 The subdominant, or fourth of the 
 scale. 
 
 Sous-m^diante (Fr.) (soo-ma-di-o»/4/.) 
 The submediant, or sixth of the scale. 
 
 Sous-tonique (Fr.) (soo-t5n-^i.) The 
 seventh of the scale, or subtonic. 
 
 244 
 
SOUTENIR 
 
 squillAnte 
 
 To sustain 
 
 RecoUec- 
 
 In 
 
 Soutenir (Fr.) (soo-te-ner.) 
 a sound. 
 
 Souvenir (Fr.) (soo-\e-ner.) 
 tion, reminiscence. 
 
 Spaces. The intervals between the lines 
 of the staff. 
 
 Spanisch (Ger.) (span-ish.) ) 
 
 Spagnol^sco (It.) (span-yo-/«-ko.) ) 
 the Spanish style. 
 
 SpagnoUtta (It.) (span-y6-/«^ta.) A 
 Spanish dance ; a species of minuet. 
 
 Spagnuola (It.) (span-yoo-o-la.) The 
 guitar. 
 
 Spassapensi^re (It.) (spas-sa-pen-se-5- 
 re.) The Jew's-harp. 
 
 Spasshaft (Ger.) (j/aj.f-haft.) Spor- 
 tively, playfully, merrily. 
 
 Spasshaftigkeit (Ger.) (j/ajj--haf -tig- 
 kit.) Sportiveness, playfulness. 
 
 Spasshaftlich (Ger.) (j/oj-j-haft-llkh.) 
 Sportively, merrily, playfully. 
 
 Spizio (It.) (j/d-tse-o.) A space be- 
 tween the lines where music is written ; 
 a distance, an interval. 
 
 Spiandto (It.) (spe-a-«a-to.) Smooth, 
 even; legdto. 
 
 Spiccatam^nte (It.) (spek-ka-ta,-z»^». 
 te.) 
 
 Spicclito (It.) (spek-yfd-to.) 
 
 Separated, pointed, distinct, detached ; 
 in violin music it means that the notes 
 are to be played with the point of the 
 bow. 
 
 Spiel (Ger.) (speel.) Play, performance. 
 
 Spiel-art (Ger.) (speel-art.) Manner of 
 playing, style of performance. 
 
 Spielen (Ger.) {spee-Va.) To play on an 
 instrument. 
 
 Spieler (Ger.) {spee-\ex.) Performer. 
 
 Spiel-leute(Ger.pl.) {speel-loi-te.) Musi- 
 cians. 
 
 Spiel-mann (Ger.) (speel-man.) A musi- 
 cian. 
 
 Spigliatezza (It.) (spa-yee-a-<rf«-a.) Agil- 
 ity, dexterity, briskness. Spigliatezze 
 (pi.), short, lively pieces, or studies 
 requiring dexterity. 
 
 Spinae (Lat.) (j/i-ne.) Thorns; a name 
 formerly applied to the quills of the 
 spinet. 
 
 Spinet (Eng.) (j/r«-et.) \ a stringed 
 
 Spinett (Ger.) (spi-K/A) > instrument 
 
 Spinfitta (It.) (spe-««/-ta.) 
 as in tone y 5 as in dove . 
 
 formerly 
 
 much in use, somewhat similar to the 
 harpsichord, and, like that, consisting 
 of a case, sounding-board, keys, jacks, 
 and a bridge. It was evidently de- 
 rived from the harp, and was originally 
 called the couched harp, but afterwards 
 denominated spinet, from its quills, 
 which resemble thorns, called in Latin 
 sptna. 
 
 Spirito (It.) (j/j-re-to.) Spirit, life, 
 energy. 
 
 Spiritosam^nte (It.) (spi-re-to-za-wz^K- ) 
 te.) [ 
 
 Sptritdso (It.) (spi-re-/o-zo.) ) 
 
 Lively, animated, brisk, spirited. 
 
 Spirituile (It.) (spi-re-too-d-le.) 1 Sa- 
 Spirituel (Fr.) (spir-e-too-a/.) Jcred, 
 
 spiritual. 
 Spiritu6sO (It.) (spi-re-too-i»-zo.) See 
 
 SpiritSso. 
 Spitz (Ger.) (spitz.) Pointed. 
 Spitz-flote (Ger.) (spitz^^-te.) ) 
 Spitz-flute (Ger.) (spitz.^w-te.) ) 
 Pointed-flute ; an organ-stop of a soft, 
 pleasing tone, the pipes of which are 
 conical, and pointed at the top. 
 
 Spitz-quinte (Ger.) (spitz-y«i'«-te.) An 
 organ-stop with pointed pipes, sounding 
 a fifth above the foundation stops. 
 
 Spondee (Lat.) (spon-da.) A musical 
 foot consisting of two long notes or 
 syllables, — — . 
 
 Spondeo (It.) (spHn-de-o.) A spondee. 
 
 Spottlied (Ger.) (spot-led.) A satirical 
 song. 
 
 Spring. An embellishment. The Ger- 
 man spring consists of two small notes 
 before a principal, similar to the Italian 
 mordent, but very distinct ; thus : 
 
 Written. 
 
 Played. 
 
 iS^^i^s 
 
 Spruchgesang (Ger.) (sprooih-ghe-sang.) 
 
 An anthem. 
 Square B. Name formerly given to B 
 
 natural on account of the shape of its 
 
 signature. See F/at. 
 SquiUa (It.) (sfuil-Va..) A little bell ; a 
 
 shrill-sounding bell; the clang of a. 
 
 trumpet. 
 SquilUnte (It.) (squil-/a«-te.) Clear, 
 
 plain, sounding, ringing. 
 
 8 as in «o<; fi as in upj ii the French sound of a. 
 
 245 
 
SQUILLANTEMlfcNTE 
 
 STEP, HALF 
 
 Squillantem^nte (It.) (squil-lan-te-zw^K- 
 
 te.) Clearly, loudly, shrilly. 
 Squilldre (It.) (squil-Zo-re.) To sound 
 
 loud and shrill. 
 Sta (It.) (sta.) This, as it stands ; to be 
 
 played as written. 
 Stabat mater (Lat.) (ria-bat wo-ter.) The 
 
 Mother stood — a hymn on the cruci- 
 fixion. 
 Stdbile (It.) (j/a-be-le.) Firm. 
 Stac. An abbreviation of Staccdto. 
 Staccatissimo (It.) (stak-ka-/^j-se-mo.) 
 
 Very much detached ; as staccdto as 
 
 possible. 
 Staccdto (It.) (stak-;5a-to.) Detached; 
 
 distinct ; separated from each other. 
 
 Staccato marks. . . . i t i 
 
 Small dots or 
 
 dashes placed 
 
 X=^ 
 
 over or under the notes, thus: The 
 wedge-shaped marks are shorter than 
 the dots, but are little used by modern 
 composers. 
 
 Staccato touch. A sudden lifting up of 
 the fingers from the keys, giving to the 
 music a light, detached, airy effect. 
 
 StaccAre (It.) (stak-^o-re.) To detach; 
 to separate each note. 
 
 Stadt-musikus(Ger.)(j-/arf/-ffzo(PSi-kus.) 
 
 tadt-pfeifer (( 
 
 Town-musician 
 
 Stadt-pfeifer (Ger.) (stddt-pft-if^x. 
 
 us.)) 
 6r.)S 
 
 Staff. The five horizontal and parallel 
 lines on and between which the notes 
 are written. See Notation. 
 
 Staff of four lines. In the earlier ages 
 of the Christian Church, the monks 
 frequently used music written on four 
 lines with 
 
 Staff bass, 
 bass clef. 
 
 Staff tenor. 
 
 tenor clef. 
 
 Staff treble. 
 
 treble clef. 
 Stagidne (It.) (sta-je-o-ne.) The season ; 
 
 the musical season. 
 Stagi6ne di cartello (It.) (sta-je-o-ne de 
 
 kar-/iz/-lo.) The operatic season. 
 Stambuzdre (It.) (stam-boo-Zj-a-re.) To 
 
 beat the drum. 
 Stamm-accord (Ger.) (stam-ak-kord.) A 
 
 radical, or fundamental chord from 
 
 which others are derived. 
 
 clefs. See Notation. 
 The staff marked with the 
 
 The staff marked with the 
 
 The staff marked with the 
 
 Stampita (It.) (stam-/^-ta.) An air; a 
 tune ; a song. 
 
 Stance (Fr.) (stanhts.) A stanza. 
 
 Stanchezza (It.) (stan-^^^-za.) Weari- 
 ness ; con St., wearily ; very dragging. 
 
 Standchen (Ger.) {stend-Vhen.) A sere- 
 nade. 
 
 Standhaft (Ger.) {stdnd-hUt.) Steadily, 
 firmly, resolutely. 
 
 Standhaftigkeit (Ger.) (j^fl«</-haft-tig- 
 , kit.) Firmness, resolution. 
 
 Stand, music. A light frame designed 
 for holding sheets, or books, for the 
 convenience of performers. 
 
 Stangh^tta (It.) {z&n-get- 
 ta.) A bar line. The 
 
 fine line drawn across and perpendicu- 
 lar to the staff. 
 
 Stdnza (It.) (j/aw-tsa.) A verse of a song, 
 or hymn. 
 
 Stark (Ger.) (stark.) Strong, loud, vigor- 
 ous. 
 
 Starke (Ger.) (stdr-\ie.) Vigor, force, 
 energy. 
 
 Starke stimmen (Ger.) {stdr-'ke stim- 
 men.) Loud stops; Mit Starken Stim- 
 men, with loud stops. 
 
 Stat (Lat.) (Stat.) This; as it stands. 
 
 Stave. Name formerly given to the staff. 
 
 Stag (Ger.) (stegh.) The bridge of a 
 violin, etc. 
 
 Stem. The thin stroke which is drawn 
 from the head of a note. 
 
 Stem, double. A stem drawn both up- 
 ward and downward from a note, 
 indicating that the note belongs 
 to two parts. 
 
 StentAndo (It.) (sten-/a«-do.) Heavy, 
 and retarding. 
 
 Stentato (It.) (sten-/o-to.) Hard, forced, 
 loud. 
 
 Stentor. A herald, in Homer, having a 
 very loud voice — hence, any person 
 having a powerful voice. 
 
 Stentorian, Extremely loud. 
 
 Step. A degree upon the staff. Some 
 teachers use the terms step and half- 
 step in place of tone and semi-tone. 
 
 Step, half. A semi-tone. 
 
 a as in a/5 y a as in hate; a as ina/y iaavatree; easinif/5/ iasin//Kf; las in pin; 
 
 246 
 
STERBE-GESANG 
 
 STOP, CLARION, OR OCTAVE TRUMPET 
 
 Stimmer (Ger.) (stUn-mer.) Tuner; 
 also a tuning-hammer. 
 
 Stimm-gabel (Ger.) (s/rm-g-a-h'l) Tun- 
 ing-fork. 
 
 Stimm-hammer (Ger.) {sizm-/idm-mer.) 
 Tuning-key, tuning-hammer. 
 
 Stimmig (Ger.) {stfm-mig.) Having a 
 sound. 
 
 (Ger.) {sUm-pfi-ii.) 
 pitch-pipe. 
 
 Stimm-stock (Ger.) (stim-stok.) The 
 sound-post of a violin, etc, 
 
 Stimmung (Ger.) (jtfw-moong.) Tun- 
 ing, tune, tone. 
 
 Stingu^ndo (It.) (sten-^^-do.) Dying 
 away ; becoming extinct. 
 
 Stiracchi&to (It.) (ste-rak-kee-a-to.) 1 
 
 Stirito (It.) (ste-ra-to.) , ) 
 
 Stretched, forced, retarded. See Allar- 
 
 Stimm-pfeife 
 Wooden-fife ; 
 
 Sterbe-gesang (Ger.) (j«r-be-ghe- j 
 sang:) ( 
 
 Sterbe-lied (Ger.) {stgr-he-led.) S 
 Funeral hymn. 
 
 Sterbe-ton (Ger.) {stlr-he ton.) A tone 
 
 diminishing, dying away insensibly. 
 
 Sterbend is similar to morendo. 
 Stfeo (It.) (j^^-zo.) Extended, diffused, 
 
 larger. 
 
 St^so mfito (It.) {si^zo ma-to.) A slow 
 movement. 
 
 St^sso (It.) The same; I'isthso tSmpo, in 
 the same time. 
 
 StibacchiStO (It.) (ste-bak-ke-a-to.) Re- 
 laxing ; retarding the time. 
 Sticcido (It.) (stek-/5a-d6.) ) An instru- 
 Sticcdto (It.) (stek-/5a-t5.) ( ment con- 
 sisting of little bars of wood rounded 
 
 at the top and resting on the edges of 
 
 a kind of open box. They gradually 
 
 increase in length and thickness, are 
 
 tuned to the notes of the diatonic scale 
 
 and are struck with a little ball at the 
 
 end of a stick. A Xylophone. 
 Stich (Gr.) (stikh.) A dot, or point. 
 Sticker. A portion of the connection, 
 
 in an organ, between the keys, or pedals, 
 
 and the valve; a short link attached 
 
 to a key or pedal, and acting on the 
 
 backfall. 
 Stile (It.) (ste-le.) Style. 
 Stile a capp^Ila (It.) (ste-le a kap-/rf- 
 
 la.) In the chapel style. A Cappella. 
 Stile grandi6so (It.) (ste-le gran-de-»-z6.) 
 
 In a grand style of composition, or 
 
 performance. 
 
 Stile rigordso (It.) (ste-le re-g5-?-o-zo.) 
 
 In a rigid, strict style. 
 Still (Ger.) (stni.) Calmly; quietly. 
 
 Still-gedacht (Ger.) (still-ghe-rfa/l^.) A 
 stopped diapason ; of a quiet tone. 
 
 Stilo (It.) (stee-l5.) Style ; manner of 
 composition,* or performance. 
 
 Stimm-deckel (Ger.) (sUm d^^-el.) 
 Sound-board. 
 
 Stimme (Ger.) (sUm-me.) The voice ; 
 ■sound ; also, the sound-post in a 
 violin, etc. ; also a part in vocal, or in- 
 strumental music ; also an organ-stop, 
 or register. 
 
 Stimmen (Ger. pi.) {silm-m'n.) Parts, or 
 voices ; also organ-stops. 
 
 as in Une; 6 as in dove; 5 as in nai; fi as in up; ii the French sound of a. 
 
 247 
 
 Stondnte (It.) (sto-«a«-te.) Discordant ; 
 out of tune. 
 
 Stop. A register, or row of pipes in an 
 organ ; on the violin, etc., it means the 
 pressure of the finger upon the string. 
 Double Stop, pressing two strings at 
 once. Organ-stops are of two kinds, 
 ^ue, and reed-stops. (See Organ ) 
 The flue-stops are subdivided into, 
 ist, principal, or cylindrical pipes of 
 diapason style ; 2d, gedackl (or cov- 
 ered) pipes, which are stopped at the 
 end, and give a hollow tone ; T^di, flute- 
 work, which includes pipes which are 
 too narrow to sound their fundamental 
 tones, stopped pipes, with chimneys, 
 and three-sided or four-sided pipes. 
 Mechanical-stops are those which do 
 not give a tone, but work some mech- 
 anism, as the couplers, etc. Mixture- 
 stops are those sounding more than 
 one note to a single key. They are to 
 add the harmonics to the principals. 
 See Harmonics, Acimstics, Organ, 
 Pipe. 
 
 Stop, bassoon. A reed-stop in an organ 
 resembling the bassoon in quality of 
 tone. 
 
 Stop, claribel. A stop similar to the 
 clarinet-stop. 
 
 Stop, clarion, or octave trumpet. A 
 stop resembUng the tone of a trumpet, 
 but an octave higher than the trumpet- 
 stop. 
 
STOP, CORNET 
 
 STOP, TWELFTH 
 
 Stop, cornet. A stop consisting of five 
 pipes to each key. 
 
 Stop, Cremona. A reed-stop in unison 
 with the diapasons. 
 
 Stop, double diapason. An open set of 
 pipes tuned an octave below the dia- 
 pasons. 
 
 Stop, double trumpet. The most 
 powerful reed-stop in the organ, the 
 pipes being of the same length as the 
 double diapason, to which it is tuned in 
 unison. 
 
 Stop, dulciana. A stop of peculiar 
 sweetness of tone, which it chiefly de- 
 rives from the bodies of its pipes, being 
 longer and smaller than those of the 
 pipes of other stops. 
 
 Stop, fagotto. The bassoon-stop. 
 
 Stop, fifteenth. A stop which derives 
 its name from its pitch, or scale, being 
 fifteen notes (two octaves) above that 
 of the diapason. 
 
 Stop, flute. An organ-stop, resembling 
 in tone a flute, or flageolet. 
 
 Stops, foundation. The diapasons and 
 principal, to which the other stops, be 
 they few or many, are tuned. 
 
 Stop, hautboy. A reed-stop having a 
 tone in imitation of the oboe. 
 
 Stop, larigot, or octave twelfth. A 
 stop, the scale of which is an octave 
 above the twelfth. It is only used in 
 Miefull organ. 
 
 Stop, mixture, or furniture. A stop 
 comprising two or more ranks of pipes, 
 shriller than those of the sesquialtera, 
 and only calculated to be used together 
 with that and other pipes. 
 
 Stop, nazard. Twelfth stop. 
 
 Stop, open diapason. A metallic stop 
 which commands the whole scale of 
 the organ, and which is called of en in 
 contradistinction to the stop diapason, 
 the pipes of which are closed at the 
 top. 
 
 Stop, organ. A collection of pipes 
 similar in tone and quality, running 
 through the whole, or a great part, of 
 the compass of the organ ; a register. 
 
 Stopped diapason. A stop, the pipes 
 of which are generally made of 
 wood, and its bass, up to middle C, 
 always of wood. They are only half 
 as long as those of the open diapason, 
 
 A as in a;i J 
 
 and are stopped at tho upper end with 
 wooden j^o//^rj, or plugs, which render 
 the tone more soft and mellow than 
 that of the open diapason, and lower it 
 an octave. 
 
 Stop, salcional. The dulcima-stop. 
 
 Stops, compound. An assemblage of 
 several pipes in an organ, three, four, 
 five, or more to each key, all answering 
 at once to the touch of the performer. 
 Mixture-stops. 
 
 Stops, draw. Stops in an organ placed 
 on each side of the rows of keys in 
 front of the instrument, by moving 
 which the player opens, or closes, the 
 stops within the organ. 
 
 Stop, sesquialtera. A stop resembling 
 the mixture, running through the scale 
 of the instrument, and consisting of 
 three, four, and sometimes five, ranks 
 of pipes, tuned in thirds, fifths, and 
 eighths. 
 
 Stops, mutation. In an organ, the 
 twelfth, tierce, and their octaves. 
 
 Stop, solo. A stop which may be drawn 
 alone, or with one of the diapasons. 
 
 Stops, reed. Stops consisting of pipes 
 upon the end of which are fixed thin, 
 narrow plates of brass, which, being 
 vibrated by the wind from the bellows, 
 produce a reedy thickness of tone. 
 See Pipes. 
 
 Stop, stopped unison. The stopped 
 diapason stop. 
 
 Stop, tierce. A stop tuned a major 
 third higher than the fifteenth, and only 
 employed in the full organ. 
 
 Stop, treble forte. A stop applied to a 
 melodeon, or reed-organ, by means of 
 which the treble part of the instrument 
 may be increased in power, while the 
 bass remains subdued. 
 
 Stop, tremolo. A contrivance, by 
 means of which a tremulous effect is 
 given to some of the registers of an 
 organ. 
 
 Stop, trumpet. A stop, so-called, 
 because its tone is imitative of a 
 trumpet. In large organs it generally 
 extends through the whole compass. 
 
 Stop, twelfth. A metallic stop, so de- 
 nominated from its being tuned twelve 
 notes above the diapason. This stop, 
 on account of its pitch, or tuning, can 
 
 a as in hate ; a as ina^y e as in tree; iasineA; ias in pine; las in pin; 
 248 
 
STOP, VOX-HUMANA 
 
 string6ndo 
 
 never be used alone ; the open diapa- 
 son, stopped diapason, principal and 
 fifteenth, are the best qualified to ac- 
 commodate it to the ear. 
 
 Stop, TOX-humana. A stop, the tone of 
 which resembles the human voice. 
 
 St6rta (It.) (stor-ta.) A serpent. See 
 that word. 
 
 Stortina (It.) (stor-/?-na.) A small 
 serpent. 
 
 Straccinato (It.) (stra-tshe-«<f-t6.) See 
 Strascindto. 
 
 Stradivari. The name of a very supe- 
 rior make of violin, so-called from 
 their maker, Stradivarius, who made 
 them at Cremona, Italy, in the first 
 part of the eighteenth century. See 
 article " Stradivari," in Grove's Dic- 
 tionary, and also Stoeving's "The 
 Violin." 
 
 Stiain. A portion of music divided off 
 by <i double bar. A period. See 
 Form. 
 
 Strasciciindo (It.) 
 Dragging the time 
 slowly. 
 
 Strascicdto (It.) . 
 
 Dragged ; trailed ; played slowly 
 
 Strascindndo (It.) (stra-she-«a«-do.) 
 Dragging the time ; playing slowly. 
 
 Strascindndo I'Arco (stra-she-»a«-d5 I'ar- 
 ko.) Keeping the bow of the violin 
 close to the strings, as in executing 
 the tremolando, so as to slur, or bind 
 the notes closely. 
 
 Strascinito (It.) (stra-she-«a-to.) 
 Dragged along ; played slowly. 
 
 Strascinfo (It.) (stra-j^^-ne-6.) Drag- 
 ging ; playing slowly. 
 
 Strathspey. A lively Scotch dance, 
 somewhat slower than the reel, and 
 like it in \ time, but in dotted eighth 
 
 (stra-she-^tt«-do.) 
 ; trailing; playing 
 
 (stra-she-^a-to.) 
 
 notes alternating with sixteenths, pro- 
 ducing the peculiar jerky rhythm of the 
 Scotch snap. See Scotch Snap. 
 
 StrayagAnte (It.) (stra-va-^a«-te.) Ex- 
 travagant, odd, fantastic. 
 
 Stravagdnza (It.) (stra-va-^o«-tsa.) Ex- 
 travagance, eccentricity. 
 
 Street-organ. Hand-organ. 
 
 Streichinstrument (Ger.) (strik in-stroo- 
 ment.) A stringed instrument played 
 by the stroke of a bow. 
 
 Streng (Ger.) (streng.) Strict severe, 
 rigid. 
 
 5 as in tone ; 8 as in dove ; 8 as in not ; ii as in »/; ii the French sound of u 
 
 249 
 
 Strenge gebunden (Ger.) {strSn-ghe ghe- 
 boon-A'n.) Strictly legato ; exceedingly 
 smooth. 
 
 Streng im tempo (Ger.) (streng im tem- 
 po.) Strictly in time. 
 
 Str^pitO (It.) (j^rc-pe-tS.) Noise. 
 
 Strepitosam^nte (It.) (stre-pe-to-sa- 
 men-te.) With a great noise. 
 
 Strepit6so (It.) (stre-pe-^J-zo.) Noisy, 
 boisterous. 
 
 Str^tta (It.) (stret-ta..) A concluding 
 passage, coda, or finale, taken in 
 quicker time to enhance the effect. 
 
 Strfitto (It.) {strlt-tb. ) Pressed, close, con- 
 tracted ; formerly used to denote that 
 the movement indicated was to be per- 
 formed in a. quick, concise style. In 
 fugue-writing, that part where the sub- 
 ject and answer overlap one another. 
 
 Stricciindo (It.) (strit-tshe-a:«-do.) See 
 Strascicdndo, 
 
 Strich (Ger.) (strikh.) Stroke; the man- 
 ner of bowing. 
 
 Strich-arten (Ger.)(strlkh-ar-t'n.) Differ- 
 ent ways of bowing. 
 
 Strict inversion. The same as simple 
 inversion, but requiring that whole 
 tones should be answered by whole 
 tones, and semi-tones by semi-tones. 
 
 Strictly inverted imitation. A form of 
 imitation in which half and whole tones 
 must be precisely answered in contrary 
 motion. 
 Strident (Fr.) (stre-danh.) j Sharp, 
 
 Stridente (It.) (stre-rf^«-te.) > shrill, 
 Stridevole (It.) (stre-(/^-vo-le.) ) acute. 
 
 Striking reed. That kind of reed-pipe in 
 an organ, in which the tongue strikes 
 against the tube in producing the tone. 
 
 Strillare (It.) (strel-Za-re.) To scream; 
 shriek ; screech. 
 
 Strillo (It.) istrelAo.') A loud scream ; 
 shrill cry ; shriek. 
 
 String band. A band of stringed in- 
 struments only. 
 
 Stringed instruments. Instruments 
 whose sounds are produced by striking, 
 or plucking strings, or by the friction 
 of a bow drawn across them. 
 
 String^ndo (It.) (stren,/fif«-do.) Press- 
 ing, accelerating the time. 
 
STRING QUARTET 
 
 SUAVE 
 
 String quartet. A composition of four 
 instruments of the violin species^ as, 
 two violins, a viola, and violoncello. 
 
 Strings. Wires or chords used in musi- 
 cal instruments, which, upon being 
 struck, or drawn upon, produce tones ; 
 the stringed instruments in a band, or 
 orchestra. 
 
 Strings, open. The strings of an instru- 
 ment when not pressed. 
 
 StriscidndO (It.) (stre-she-a»-do.) Glid- 
 ing ; slurring ; sliding smoothly from one 
 note to another. 
 
 Str6fa(It.)(....--fa.)U^^^^^^ ^^^^^ 
 
 Stl6ie (It.) {siro-ie.) ) '^ 
 
 Strombazziita (It.) (strom-bat-/j<i'-ta.) ) 
 
 Strombettata (It.) (strom-bet-/a-ta.) ) 
 The sound of a trumpet. 
 
 Strombettdre (It.) (strom-bet-^a-re.) To 
 sound, or play on the trumpet. 
 
 Strombetti^re (It.) (str6m-bet-te-<J-re.) 
 A trumpeter. 
 
 Stromentdto (It.) (stro-men-/o-to.) In- 
 strumented ; scored for an orchestra. 
 
 Strom^nti (It. pi.) (str5-ZB(f«-te.) Musical 
 instruments. 
 
 Strom§nti d'arco (It. pi.) (stro-OT^«-te 
 
 d'ar-k5.) Instruments played with the 
 
 bow. 
 Strom^nti da fidto (It. pi.) (str6-»2«K- 1 
 
 te da ie-a,to.) I 
 
 Stromtets di v6nto (It. pi.) {stxo-men- \ 
 
 te de ven-to.) • J 
 
 Wind-instruments. 
 Strom^nti di rinf6rzo (It. pi.) (stro-wz^K- 
 
 te de renyor-tso.) Instruments em- 
 ployed to support, or strengthen, a 
 
 performance. 
 
 Strom^nto (It.) (stro-men-to.) An in- 
 strument. 
 
 Strophe. In the ancient theatre, that 
 part of a song, or dance, around the 
 altar which was performed by turning 
 from the right to the left. It was suc- 
 ceeded by the antistrophe, in a con- 
 trary direction. Hence, in ancient lyric 
 poetry, the former of two stanzas was 
 called the strophe and the latter the 
 antistrophe. 
 
 Stiick (Ger.) (stiik.) Piece, air, tune. 
 Stiicken (Ger.) {stiik-'in.') Pieces. 
 Studien (Ger. pi.; (jfoy-di-en.) Studies, 
 a as in a.i ; a as in hate ; a as in at ; e as in tree ; e as in ^.4 
 
 250 
 
 Studio (It.) (j-^ijo-de-o.) )A study; 
 
 Studium (Ger.) {stoo-&-xaa.) ( an exer- 
 cise intended for the practice of some 
 
 particular difficulty. 
 Stufe (Ger.) {stoo-ie.) Step, degree. 
 Stufe der tonleiter (Ger.) (stoo-ie der to/i- 
 
 ly-ter.) A degree of the scale. 
 Stufen (Ger. pi.) (stoo-i'n.) Steps, or 
 
 degrees. 
 Stufenweise (Ger.) (stoo-i'n-vi-s6.) By 
 
 degrees. 
 Stuondnte (It.)(stoo-5-«o«-te.) I Dis- 
 Stuondto (It.) (stoo-5-»a-t6.) ) sonant; 
 
 out of tune. 
 Stuondre (It.) (stoo-6-«o-re.) To sing 
 
 out of tune. 
 Sturm-drommete (Ger.) (stoom-drom- 
 
 me-te.) The alarm-trumpet. 
 
 Sturm-glocke (Ger.) (s/oorm-^U-ke.) The 
 
 tocsin ; the alarm-bell. 
 Stiirmisch (Ger.) (sturm-ish.) Impetu- 
 
 ousy, boisterously, furiously. 
 Style. The manner of composition, or 
 
 performance, on which the effect chiefly 
 
 if not wholly depends. 
 Stylo (It.) (stee-16.) Style. 
 Stylo choraico (It.) (stee-lo ko-ra e-ko.) 
 
 A style suitable for dances. 
 Stylo dramatico (It.) (stee-lo dra-md- 
 
 te-ko.) In dramatic style. 
 Stylo ecclesiastico (It.) (stee-lo ek-kla- 
 
 ze-aVte-ko.) In church style. 
 
 Stylo fantastico (It.) (stee-lo fan-/aj-te- 
 ko.) An easy, fantastic style ; free 
 from all restraint. 
 
 Stylo rappresentativo (It.) (stee-16 rap- 
 ra-zen-ta-te-vo.) A term applied to 
 recitative music, because almost ex- 
 clusively adapted to the drama. 
 
 Stylo recitativo (It.) (stee-lo ra-tshe-ra- 
 te-vb.) In the style of a recitative. 
 
 Styrienne. An air in slow movement 
 and I time, often in minor, with Jodler 
 after each verse. 
 
 Su (It.) (soo.) Above, upon. 
 
 Suabe-flute. An organ-stop of clear, 
 liquid tone, not so loud as the wald- 
 fltite; it was invented by William Hill, 
 of London. 
 
 Sudve (It.) (ja/i'-ve.) 
 Suave (Spa.) (jwd-ve.) 
 Suave (Fr.) (swav.) 
 
 i as in pine ; 1 as in pin; 
 
 Sweet, mild, 
 agreeable, 
 pleasant. 
 
SUAVEMENTE 
 
 SUITE DE DAKSES 
 
 -Suavemente (Spa.) (swa-ve-w?««-te.) 
 
 Suavem^nte (It.) (swa-ve-««««-te.) 
 
 Suavita (It.) (swa-ve-^a.) 
 Suavity, sweetness, delicacy. 
 
 Sub (Lat.) (sub.) Under, below, be- 
 neath. 
 
 Sub bass (Ger.) (soob-bass.) Under- 
 bass; an organ-register in the pedals, 
 usually a double-stopped bass of 32 or 
 16-foot tone, though sometimes open 
 wood-pipes of 16-foot, as at Haarlem ; 
 the ground bass. 
 
 Subbourdon. An organ-stop of 32-foot 
 tone, with stopped pipes. 
 
 Subcantor (Spa.) (soob-kan-^w-.) Sub- 
 chanter. 
 
 Subchanter. The precentor's deputy in 
 a cathedral choir. 
 
 Subdominant. The fourth note of any 
 scale, or key. 
 
 Subitam^nte (It.) (soo-be-ta-OT?«-te.) ) 
 
 SiibitO (It.) (jw-be-to.) ) 
 
 Suddenly; immediately; at once. 
 
 Subject. A melody, or theme ; a leading- 
 text, or motivo. 
 
 Subject, counter. See Fugue. 
 
 Submediant. The sixth tone of the scale. 
 
 Suboctave. An organ-coupler produ- 
 cing the octave below. 
 
 Subprincipal. Under principal, that is, 
 below the pedal-diapason pitch ; in 
 German organs this is a double open 
 bass-stop of 3 2 -foot scale. 
 
 Subsemitone. The semi-tone below the 
 key-note ; the subtonic. 
 
 Subsemitonium modi (Lat.) (sub-sem-i- 
 ^ff-ni-iim m5-dl.j The leading-note. 
 
 Subsidiary notes. Notes situated one 
 degrSe above and one degree below the 
 principal note of a turn. 
 
 Subtonic. Under the tonic ; the semi- 
 tone immediately below the tonic. 
 
 Succession. A word applied to the 
 notes of a melody, in contradistinction 
 to those of harmony, which are given 
 in combination. 
 
 Succession, conjunct. A succession of 
 sounds proceeding regularly upward 
 or downward, through the several 
 intervening degrees. 
 
 Succession, disjunct. Where the sounds 
 pass from one degree to another vrith- 
 out touching the intermediate degrees. 
 
 5 as iit tone; 6 as in dove ; 8 as in not , 
 
 Sufiolamento (It.) (soof-f6-la-»««»-to.) 
 Hiss, whistle, murmur. 
 
 Suggeritore di teatro (It.) (sood-ja-re- 
 to-xh de ta-o-tro.) The prompter of a 
 theatre. 
 
 Suggetto (It.) (sood-y«^to.) The sub- 
 ject, or theme of a composition. See 
 Soggetto. 
 
 Suite (Fr.) (sweet.) A series, a succes- 
 sion ; une suite de piices, a series of 
 lessons, or pieces. 
 
 Suite de danses. A set of dances. It 
 was generally known as the suite, 
 and probably began not far from the 
 year 1600 in the freer Partita. Both 
 had their origin in dances. Dances 
 were composed of marked and at- 
 tractive rhythm, differing essentially 
 from each other in character, and ca- 
 pable of very contrasted effects. In 
 Spain were the stately Sarabande, the 
 dignified Pavane, and the more rapid 
 Loure ; in Italy, the gay Courante, the 
 sedate Chaconne, and the quiet Passa 
 Mezzo; in England, the Hornpipe, the 
 Country Dance, and others embraced 
 in the general Continental appellation 
 of Anglaise; in Germany the cheerful 
 dance known in the works of Mozart 
 and others as the Danza Tedesca; in 
 France the noble Minuet, and half- 
 playful Gavotte, the merry Branle, the 
 dashing Passe-pieds, and the pleasing 
 Rigaudon; and, in all of these coun- 
 tries, the hearty Gigue, or Jig. The 
 essence of form is contrast, and it is 
 not surprising that the composers soon 
 invented a simple form by combining 
 two or three dance-rhythms of con- 
 trasted style and tempo into a single 
 cycle form. The contrasts of the suite 
 were well-established by Bach, and the 
 movements gradually assumed the fol- 
 lowing order in his suites : A prelude 
 or not, as the composer desired, after 
 which came the allemande, the courante, 
 the sarabande, the intermezzi, and fin- 
 ally the gigue. The intermezzi were 
 from two to four dances, or other 
 movements, left to the choice of the 
 composer, as minuets, gavottes, etc. 
 They were generally of moderate tempo, 
 in order that they might not destroy 
 the effect of the sarabande and the 
 gigue, between which they came. The 
 suite, in the eighteenth century, had 
 all of its movements in the same key, 
 
 : Q as in up ; ii the French sound of u. 
 51 
 
SUIVEZ 
 
 SUSPENSION, SINGLE 
 
 a uniformity which tended to monot- 
 ony. Handel left the precise order 
 of movements prescribed by Bach, and 
 his suites are very free — even the 
 dance names being discarded in some 
 of them. Sometimes in the old suites, 
 a movement could be duplicated, and 
 two conrantes, two minuets, or two 
 bourrees appear. The modern orchestral 
 suite is of a much freer character and 
 is practically a small symphony. Franz 
 Lachner wrote many orchestral suites, 
 and suites by Bizet, Massenet, Tschai- 
 kowsky and Moszkowski have become 
 well-known. These are less ambitious 
 than the symphony, generally begin- 
 ning with a march, or variations, having 
 a slow movement near the centre, and 
 ending with a lively finale. They 
 have generally four movements. 
 
 Suivez (Fr.) (swe-va.) Follow, attend, 
 
 pursue ; the accompaniment must be 
 
 accommodated to the singer, or solo 
 
 player. 
 Sujet (Fr.) (sii-zha.) A subject, melody, 
 
 or theme. 
 Siil (It.) (sool.) J 
 
 Still' (It.) (sool.) I On, upon the. 
 Siilla (It.) (jW-la.) J 
 Siil A. On the A string. 
 Siil D. On the D string. 
 Stilla m^zza cdrda (It.) (joo/la met-si. 
 
 igr-da..) On the middle of the string. 
 Siilla tisti^ra (It.) (sool-l'a. tas-te-a-ra.) 
 
 Upon the keys ; upon the finger-board. 
 Siil ponticello (It.) (sool pon-te-/j-.4i?/-16.) 
 
 On or near the bridge. 
 Sumsen (Ger.) (soom-s'n.) To hum. 
 Siio 16co (It.) (soo-5 15-ko.) In its own, 
 
 or usual place. 
 Suondre (It.) (swo-«a-re.) To play upon 
 
 an instrument. 
 Su6no (It.) (swo-no.) Sound ; tone ; 
 
 music ; a song. 
 
 Su(5no dflle camp^ne (It.) (swo-no lidl- 
 le kam-/o-ne.) The sound of bells. 
 
 Super (Lat.) (j«-per.) Above, over. 
 
 Superdominant. The note in the scale 
 next above the dominant. 
 
 Superfluous intervals. Those which are 
 one semi-tone more than the perfect-, 
 or major, intervals. See Augmented 
 Intervals . 
 
 Superoctaye. An organ-stop tuned two 
 octaves, or a fifteenth, above the dia- 
 pasons ; also a coupler producing the 
 octave above. 
 
 Supertonic. ) 
 
 Supertonique (Fr.) (sii-per-tonh-^/5.) ) 
 The note next above the tonic, or key- 
 note ; the second note of the scale. 
 
 Supplich^vole (It.) (soo-ple-;*^,4-vo-Ie.) 
 Supplichevolm^nte (It.) (soop-ple-^if/4- 
 
 vol-»«f«-te,) 
 
 In a supplicatory manner. 
 
 Sur (It.) (soor.) 
 Sur (Fr.) (siir 
 
 Surdeline. The old Italian bagpipe, a 
 large and rather complicated instru- 
 ment, consisting of many pipes and 
 conduits for the conveyance of the 
 wind, with keys for the opening of the 
 holes by the pressure of the fingers, 
 and inflated by means of bellows which 
 the performer blows with his arm, at 
 the same time that he fingers the pipe. 
 Also called Sourdeline and Sordellino. 
 
 :.) S 
 
 , upon, over. 
 
 Suspended cadence. 
 
 Cadence. 
 
 See Interrupted 
 
 Suspension. A theoretical ' expression 
 applied to the retaining in any chord 
 some note, or notes, of the preceding 
 chord. A dissonant note which finally 
 sinks into the harmony of the chord. 
 If the dissonant note does not appear 
 in the preceding chord as a harmonic 
 note it is said to be unprepared, ox free. 
 Suspensions, which may occur in any 
 part, are said to be double when two, 
 and triple when three, notes are sus- 
 pended. 
 
 Prepared. 
 
 Unprepared. 
 
 f^i^ 
 
 -=»^ 
 
 -J- 
 
 ^^ 
 
 ^ 
 
 Suspension, double. A suspension re- 
 taining two notes and requiring a 
 double preparation and resolution. 
 
 Suspension, single. A suspension re- 
 taining but one note and requiring 
 only a single preparation and resolution. 
 
 a as in a/4 y a as in hate ; S as mat ; ^3smtree; 6 as in ^/4; i as in /«»,?,• ias in pin / 
 
 252 
 
SUSPENSION, TRIPLE 
 
 SYMPHONY 
 
 Suspension, triple. A suspension formed 
 by suspending a dominant,or diminished 
 seventh, on the tonic, mediant, or dom- 
 inant of the key. 
 
 Siiss (Ger.) (siiss.) Sweetly. 
 
 Siissflote (Ger.) (sUss-JlS-te.) In organs, 
 the soft flute. 
 
 Sussurindo (It.) (soos-soo-ro»-d6.) ) 
 Sussurinte (It.) (soos-soo-ra«-te.) ) 
 Whispering, murmuring. 
 
 Sutonique (Fr.) (sii-tonh-^/l.) Supertonic. 
 
 Svegli4tO (It.) (sval-ye-o-to.) Brisk, 
 lively, sprightly. 
 
 Sv61tO (It.) (j7/^/-to.) Free, light, easy. 
 
 Swell. A gradual increase of sound. 
 
 Swell-organ. In organs having three 
 rows of keys, the third, or upper row, 
 controlling a number of pipes enclosed 
 in a box, which may be gradually 
 opened, or shut, and thus the tone 
 increased, or diminished, by* degrees. 
 See Organ. 
 
 Swell-pedal. That which opens the 
 
 blinds of the swell-organ, increasing 
 
 the tone. 
 Swiss flute. An organ-stop, of agreeable 
 
 tone, something like that of the g'dmia. 
 Syllables, fixed. Syllables which do not 
 
 change with change of key. 
 
 Syllables Guidonian. The syllables ut, 
 re, mi, fa, sol, la, used by Guido for 
 his system of tetrachords. See Aretin- 
 ian Syllables and Solfaing. 
 
 Sympathetic strings. Strings which 
 were formerly fastened under the finger- 
 board of the viola d'amore, beneath 
 the bridge, and, being tuned to the 
 strings above, vibrated with them and 
 strengthened the tone. Bliithner, in 
 Germany, has added sympathetic 
 octave-strings to his aliquot grand 
 pianos. 
 
 Symphonie (Fr.) (sanh-fo-ne.) 
 Symphonic (Ger.) (sini-fo-nee.) 
 
 Symphony (Eng.) 
 half of the eighteenth century sym- 
 phony meant any instrumental prelude, 
 or interlude, or postlude. In this sense 
 Handel uses it in " The Messiah," and 
 Bach thus called his three-part inven- 
 tions symphonies. It now means a grand 
 composition of several movements, for 
 a full orchestra. The symphony in its 
 
 5 as in tone ; o as in dove / 8 as in nol ; fi 
 
 253 
 
 > the' 
 ) first 
 
 present form was introduced by Haydn, 
 and generally consists of an allegro 
 movement (sometimes with a slow 
 introduction), a slow movement, a 
 minuet, or scherzo, and a finale. It 
 is 3, sonata for orchestra. {See Sonata.) 
 Beethoven introduced the scherzo to 
 take the place of the threadbare 
 minuet. (See Minuet and Scherzo:) 
 The greatest symphonists are Bee- 
 thoven and Brahms, although the 
 pioneer work by Haydn and Mozart 
 must always receive due acknowledg- 
 ments. Beethoven's nine symphonies 
 remain the purest models of the 
 symphonic form, although the G minor 
 symphony, and particularly the Jupiter 
 symphony, by Mozart, show that the 
 form had become great even 'in the 
 eighteenth century. The four move- 
 ments of the symphony are intended 
 to be in the best contrast with each 
 other. Thus, the first movement, 
 which is in the sonata-allegro form, 
 may be called the most intellectual 
 movement of the work. The second 
 (which is generally andante or adagio) 
 is the romantic, or emotional move- 
 ment. The third (usually the scherzo, 
 or minuet) is the dainty, playful or 
 popular movement, and the finale is 
 the brilliant, and climax movement. 
 In the early symphonies the finale was 
 always jovial, copying the jollity of the 
 gigue, which ended the suite. Bee- 
 thoven reformed this defect and gave 
 to the finale a broader and more am- 
 bitious character. 
 
 The chief symphonies of Haydn were 
 those that he wrote for London during 
 his two visits to England. These 
 twelve are called the English sym- 
 phonies. The symphony did not stand 
 revealed in all its grand proportions 
 until 1804, when Beethoven brought 
 forth his Heroic symphony, the great- 
 est of the world up to that time. 
 In modern times the symphony has 
 been growing more free than formerly. 
 Brahms in his four symphonies still 
 held to the classical path and proved 
 that there was much to say in this 
 form yet ; but Bruckner, Mahler, St. 
 Saens, D'Indy, Tschaikowsky, and 
 many others, have deserted the strict 
 form — sometimes to advantage, 
 but more generally the reverse. The 
 logical outcome of the attempts at 
 
 as in up ; ii the French sound of u. 
 
SYMPHONION 
 
 TABULATUR 
 
 freer expression came in the symphonic 
 poem, whicli has found its broadest 
 expression in the works of Richard 
 Strauss. The poeme symphonique, 
 which Liszt established, did not signify 
 a symphonic poem, for the word 
 symphonique in French merely meant 
 orchestral. But many of Liszt's suc- 
 cessors embodied 'the effects of the 
 symphony in the symphonic poem, so 
 that it has, in some degree, become the 
 modem representative of the classical 
 form. The symphonic poem has no 
 fixed shape, but relies for its effects 
 chiefly upon figure development, and 
 very powerful orchestration. Some of 
 the symphonic poems of Richard 
 Strauss are the broadest orchestral 
 works at present existing. For 
 further information regarding sym- 
 phony see Grove's " Beethoven's Nine 
 Symphonies," Weingartner's " Sympho- 
 ny since Beethoven," Elson's " Famous 
 Composers and their Works " (new 
 series), article " Some Orchestral Mas- 
 terpieces," and Arthur Elson's "Modem 
 Composers of Europe." 
 Symphonion. An instrument invented 
 by Fr. Kaufmann, resembling the 
 orchestrion, and combining the tone 
 of a pianoforte with that of the flute, 
 clarinet, etc. 
 
 Harmonious ; agreeing 
 
 Symphonious. 
 
 in sound. 
 
 Symphonische dichtung (Ger.) (sim/J- 
 m-she dflch-toong.) Symphonic poem. 
 
 Symposia. An epithet generally appli- 
 cable to cheerful and convivial compo- 
 sitions, as catches, glees, rounds, etc. 
 
 Syncopdta (It.) (sin-ko-^a-ta.) I Con- 
 Syncopdte (It.) (sin-k6-/a-te.) ( tracted, 
 Syncopdto (It.) (sin-ko-^o-to.) °"" 
 
 Syncopated (Eng.) 
 
 gether ; contraction of a note by cut- Sub-contra Octave, 
 
 ting off part of its value and giving it 
 to the foUovring note. See Syncopation. 
 
 Syncopation (Eng.) 
 
 Syncopatio (Lat.) (sin-k6-/a-shi-o.) 
 
 Syncope (Fr.) (sanh-kop.) 
 
 An unequal division of the time, or 
 
 notes ; irregular accent ; binding the Great Octave. 
 
 last note of one bar to the first note 
 
 of the next ; accented notes occurring rss" 
 
 on the unaccented part of a bar. "K^'z ^ 
 
 Syncopation is an artificial- accent, an ^fT*- -•- *^~ 
 
 .a as in a4 ; a as in hate ; a as in a< y e as in tree ; e as in 
 
 254 
 
 interruption of the natural pulsation of 
 the music. It can be produced by 
 giving an accent where none is ex- 
 pected, by taking away the accent 
 from a point where it is expected, or 
 by both methods combined. The 
 natural rhythm must be restored after 
 the syncopation has been used for a 
 short time, otherwise the ear will 
 accept the artificial accent as a natural 
 one and the effect of syncopation be 
 lost. Syncopations in accompaniments 
 must be strong to be effective. 
 
 T. An abbreviation of Talon, Tasto {t. s. 
 = tasto solo), Tempo {a t. = n tempo). 
 Toe (in organ-music), Tre (T. C. = tre 
 corde), and Tutti. 
 Tablatura (It.) (tab-la-to»-ra.) 
 Tablature (Fr.) {ta-hla.-tiir.) 
 Tablatufe (Eng.) {tdi-la.-tshm.) 
 TabulatuT (Ger.) (ta-boo-la-toor.) 
 
 A term formerly applied to the totality, 
 or general assemblage of the signs used 
 in music; so that to understand the 
 notes, clefs, and other necessary marks, 
 and to be able to sing at sight, was to 
 be skilled in the tablature. The method 
 of notation for the lute, and other sim- 
 ilar instruments, was also distinguished 
 by this appellation. The musical rules 
 of the master-singers were also called 
 the tablatur. But the chief use of the 
 word is to designate 'Ct^^ pitch of dif- 
 ferent notes in different octaves by let- 
 ters with numerals, accents, or adjec- 
 tives attached. The principle of the 
 tablature of pitches dates back to the 
 time of Guido of Arezzo, about A. D. 
 1 000. The chief system used by mu- 
 sicians is the following : 
 
 ;1= 
 
 Contra Octave. 
 
 
 Small Octave. 
 
 |C D E 
 
 F G A B 
 
 SE 
 
 d e f g a b I 
 
 ! ; i as in pine ; i as in pin ; 
 
TABULATUR 
 
 TACT-SCHLAGER 
 
 One-lined Octave. 
 ^ ] c^ d^ e' i' g' z' b' \ 
 
 Two-lined Octave. 
 
 1=^^ 
 
 t? -*■ * I c" d" e" £" g" a"i 
 
 t7 ic"' d" 
 
 Three-lined Octave. 
 
 f rrf % 
 
 |c"' d'" e"' f" g'" a'" b"' 
 
 Four-lined Octave. 
 
 Sva.. 
 
 I 
 
 ^f f € J^ 
 
 !(■>»/ d»» e//» j.<» g</» a""b'"' I 
 
 In many cases, however, the Unas are 
 made horizontal instead of vertical, 
 thus, c, e, etc., and sometimes the 
 subcontra-notes are written with three 
 capitals (CCC, DDD, etc.), and the 
 contra notes with two (CC, DD, etc.), 
 instead of having lines attached. An- 
 other method is to count the octave by 
 the length of an open pipe required to 
 produce its fundamental tone. As it 
 would take a pipe 32 feet long to pro- 
 duce subcontra C (the lowest tone 
 audible to the human ear) , that note is 
 called " 32-foot C" and the same adjec- 
 tive is applied to all other notes in the 
 " 32-foot " octave. The contra octave 
 is called the" i6-foot" octave, the great 
 octave the " 8-foot," the small octave 
 the " 4-foot," the one-lined octave the 
 " 2-foot," etc. Still another method of 
 tablature is used by scientists and acous- 
 ticians. In this the subcontra notes 
 are marked thus, Cj, Dj, etc. ; the con- 
 tra notes C,, Dp etc. ; the notes of the 
 great octave c', d', etc. ; the small oc- 
 tave c', d^, etc. ; the one-lined octave 
 c', d', etc. ; the two-lined octave c', d*, 
 etc. ; and thus up the scale. It will be 
 well, therefore, not to use numerals in 
 any other system ; c" for example 
 (or c) must not be written c^ but c* ; 
 and the tuning note of th 
 orchestra, one-lined A, 
 nai a}, but a'. A lack 
 knowledge of this system has led to 
 some confusion in otherwise valuable 
 books of reference. It may also be 
 stated that the English call the small 
 
 9 as in ione ; 8 as in dove ; 8 as in nat; 
 
 hef=ft= 
 isffiE 
 of XT 
 
 octave the Unor 
 the one-lined octave 
 octave. There is also 
 a vocal nomenclature in 
 the higher octaves, as 
 follows : alt octave and 
 altissimo octave. Thus 
 three-lined C would be 
 called C in alt, and 
 three-lined G would be 
 G in altissimo. 
 
 octave, and 
 the middle 
 
 
 8va,. 
 
 ^ 
 
 (Fr.) 
 
 d'ar- 
 
 Table d' harmonie 
 
 m5-«^.) 
 Table a'instrument (Fr.) (tabl d'anh- I 
 
 strii-manh.) J 
 
 The belly of an instrument. The 
 
 sounding-board. 
 Table-songs. Songs for male voices 
 
 formerly mijch in vogue in German 
 
 glee clubs. 
 Tabor. A small drum, generally used to 
 
 accompany the pipe, or fife, in dances. 
 Taboret. A small tabor. 
 Tabourin (Fr.) (ta-boo-ranh.) A tabor, 
 
 or tambourine — a shallow drum with 
 
 but one head. 
 Tabret. A kind of drum used by the 
 
 ancient Hebrews. 
 
 Tacet (Lat.) (td-set.) ] ^^ ^^H^^ '• 
 
 Tdce (It.) (..-sh..) 1 --71 
 
 Tici (It.) (ifd-tshe.) tain in- 
 
 Taciisi (It.) (ta-tshe-o-ze.) J struments 
 
 are not to play; as vioUno tacet, 
 
 the violin is not to play ; Shoe tacet, let 
 
 the oboe be silent. 
 Tact (Ger.) (takt.) Time, measure; 
 
 also Takt. 
 Tact-art (Ger.) (takt-art.) Species of 
 
 time ; common, or triple. 
 
 Tact-fiihrer (Ger.) (takt-fiih-rej.) A 
 
 conductor ; leader. 
 Tact-linie (Ger.) {td&t-irn-e-e.) 1 A bar 
 Tact-strich (Ger.) {tdkt-strikh.) ) line; 
 
 the lines which mark the bars. 
 
 Tactmassig (Ger.) [takt-m- -sig.) Con- 
 formable to the time. 
 
 Tactmesser (Ger.) {tdkt-mes-sir.) A met- 
 ronome. 
 
 Tact-pause (Ger.) {tdkt-pou-ze.) Bar 
 rest. 
 
 Tact-schlager (Ger.) {tdkt-shld-%\ihT.) 
 Time-beater. 
 
 ii as in ti/<; ii the French sound of u. 
 
TACT-STOCK 
 
 TELL-TALE 
 
 Tact-stock (takt-stock.) A b&ton for 
 
 beating time. 
 • Tactus (Lat.) (tak-tus.) In'the ancient 
 
 music, the stroke of the hand by which 
 
 the time was measured, or beaten. 
 Tact-zeichen (Ger.) {tdkt /«-kh'n.) The 
 
 figures, or signs, at the beginning of a 
 
 piece, to show the time. 
 Tafel-musik (Ger.) {ta,-V\-moo-7Sk>i 
 
 Table-music ; music sung at the table ; 
 
 as, part-songs, glees, etc. 
 
 TagliStO (It.) (tal-ye-a-to.) Clef. 
 
 Taille (Fr.) (iJ-uh.) The tenor part; 
 the viola. 
 
 Taille de violon (Fr.) (/(f-uh diih ve-o- 
 lonh.) The viola, or tenor violin. 
 
 Tail-piece. That piece of ebony to 
 which the strings of the violin, viola, 
 etc., are fastened. 
 
 Takt (Ger.) (takt.) See Tact. 
 
 Talking machine. See Phonograph. 
 
 Talon (Fr.) (ta-16nh.) The heel of the 
 bow ; that part nearest the nut. 
 
 Tambour (Fr.) (tanh-boor.) Drum ; the 
 great drum ; also, a drummer. 
 
 Tambour de basque (Fr.) (tanh-boor diih 
 bask.) A labour, or tabor ; a tambou- 
 rine. 
 
 Tambouret (Fr.) (tanh-boo-ra.) i ^ fim. 
 
 Tambourine (Eng.) ) brel ; a 
 
 small instrument of percussion, like the 
 head of a drum, with little bells placed 
 round its rim to increase the noise. 
 
 Tambourin (Fr.) (tanh-boo-ren.) A 
 species of dance accompanied by the 
 tambourine ; also a tambourine. 
 
 Tam-tam. The gong. 
 
 Tandelnd (Ger.) (^J»-delnd.) In a 
 playful manner. 
 
 Tangqpt (Ger.) (Ai«-ghent.) The jack 
 of a harpsichord. 
 
 Tdnto (It.) (iafi-to.) So much, as much ; 
 alllgro non tdnto, not so quick ; not too 
 quick. 
 
 Tantum ergo (Lat.) (tdn-tvixa. dr-go.) A 
 hymn sung at the benediction in the 
 Roman Catholic service. 
 
 Tanz (Ger.) (tants.) A dance. 
 
 Tanz-kunst (Ger.) (tants-koonst.) The 
 art of dancing. 
 
 Tanz-stiick (Ger.) (tants-stook.) A 
 dance tune. 
 
 Tap. A drum-beat of a single note. 
 
 Tarantella (It.) (tar-ran-/^/-la.) A swift 
 delirious Italian dance in f time. The 
 form has been adopted by many of the 
 modern composers, as Liszt, Chopin, 
 etc. 
 
 Tardam^nte (It.)(tar-da-»«if«-te.) Slowly. 
 Tarddndo (It.) {tar-cfan-do.) Lingering; 
 retarding the time. 
 
 TArdo (It.) {idr-do.) Tardy, slow. 
 Tastdme (It.) (fas-tii-me.) 
 Tastatur (Ger.) (^oj-ta-toor.) 
 Tastatiira (Ger.) (tiis-ta-^w-ra.) 
 Tasti^ra (It.) (tas-te-iJ-ra.) 
 
 The keys, or key-board, of a pianoforte, 
 
 organ, etc. 
 
 Taste (Ger.) (tds-te.) ) The totich of any 
 
 Tdsto (It.) (tds-to.) ) instrument ; hence 
 also, a key, or thing touched. 
 
 Tasten-brett (Ger.) {tds-t'n iret.) Key- 
 board of a pianoforte, etc. 
 
 Tdsto s61o (It.) (tds-to so~)d.) One key 
 alone; in organ, or pianoforte music, this 
 means a note without harmony; the 
 bass notes over or under which it is 
 written are not to be accompanied with 
 chords. 
 
 Tattoo. The beat of a drum at night 
 calling the soldiers to their quarters. 
 
 Teatrino (It.) (ta-a-^?-?-n6.) A little 
 theatre. 
 
 Tedtro (It.) (ta-di-tro.) A theatre, play- 
 house. 
 
 Technik (Ger.) {tekh-xSk.) Technique. 
 
 Technisch (Ger.) (tekh-m^^ Technical ; 
 this word is also used to indicate 
 mechanical proficiency, as regards exe- 
 cution. 
 
 Technique. The mechanical skill of 
 playing or of singing. 
 
 Tedd^O (It.) (ted-da-o.) Te Deum. 
 Ted&ca (It.) (te-afej-ka.) ) German : dlla 
 Ted^sco (It.) (te-oVj-ko ) 1 tedisca, in the 
 German style. 
 
 Te Deum laudamus (Lat.) (te da-um 
 law-da-mus.) We praise Thee, O God; 
 a canticle, or hymn of praise. 
 
 Tell-tale. A movable piece of metal, 
 bone, or ivory, attached to an organ, 
 indicating by its position the amount 
 of wind supplied by the bellows. 
 
 a as in a,4 y a as in hate ; S as in at ; e as in tree ; S as in eh ; i as in pine ; i as in pin; 
 
 256 
 
T£kA 
 
 TEMPERAMENT 
 
 T£ma (It.) {tay-m'i..) A theme, or sub- 
 ject ; a melody. 
 
 Temperament. The adjustment of the 
 imperfect sounds of the scale, by trans- 
 ferring a part of the defects to the 
 more perfect ones, in order to remedy, 
 in some degree, the false intervals of 
 the organ, pianoforte, and similar in- 
 struments, whose sounds are fixed; 
 that equalization of the intervals, in 
 tuning, which brings their whole system 
 as near as possible to that of the dia- 
 tonic scale. That equalization, or 
 tempering of the twelve sounds in- 
 cluded in an octave, which renders all 
 the scales equally in tune ; the imper- 
 fection being divided equally amongst 
 the whole. The division of the octave 
 into twelve equal semi-tones, in de- 
 fiance of the law of nature, which de- 
 mands a different proportion. The 
 introduction of equal temperament was 
 a modification of the scale of nature 
 that alone made music on keyed instru- 
 ments practicable. The scale of true 
 intonation, with its varying intervals, 
 beautiful in progressions and har- 
 monies, and eminently fitted for the 
 vocalist, or violinist, could only 
 be employed on the organ when modu- 
 lation was absent, and the work re- 
 mained entirely (or nearly so) in one 
 key. By the simple device of dividing 
 the octave into twelve equal semi- 
 tones, Willaert (about 1550) solved a 
 problem that, although not of vast im- 
 portance in his day, when modulations 
 ■were but sparingly used, became each 
 century of greater dimensions. This 
 reform, because of the reason stated, 
 ■was but slowly adopted by the world. 
 As the field of music began to enlarge, 
 a system of partial temperament was 
 adopted which allowed the organist to 
 play in a few keys closely related to F 
 and C, without getting discordantly 
 out of tune, but such keys as F J 
 major, U b major, etc., were deemed 
 •altogether unnecessary, and were not 
 used until a much later epoch. The 
 tuning which is at present employed by 
 all civilized nations is a compromise. 
 The octave which must always be 
 taken as a true interval, its upper note 
 vibrating twice as fast as its lower, is 
 •divided into twelve equal semi-tones, 
 all a trifle out of tune but none dis- 
 tressingly so, and this tempered scale 
 
 as in tone ; d as in dme ; 8 as in nol; 
 
 -as it is called, admits of the use 
 of all the twenty-four major and 
 minor keys with equal facility. This 
 system of equal temperament was 
 advocated as early as the sixteenth 
 century by Willaert, Zarlino, and 
 others; but it was not thoroughly 
 adopted until J. S. Bach, in his noble 
 collections of preludes and fugues en- 
 titled " TheWell-tempered Clavichord," 
 proved the practicability of the system, 
 by writing compositions in all of the 
 different keys, where before only a 
 very limited number had been em- 
 ployed. The "Well-tempered Clavi- 
 chord," Part I, was given to the world 
 in 1722, and Part II, in 1742, and settled 
 the matter of the division of the scale 
 forever, for from this epoch dates the 
 beginning of freedom of modulation. 
 Regarding the effect of the tempered 
 scale as compared with the scale of 
 true intonation, the following facts not 
 generally known to amateurs, may be 
 stated. The tempered scale is close 
 enough to just intonation not to 
 shock the ear of any musician (especi- 
 ally on the pianoforte) and admits of 
 modulations freely into all keys. The 
 interval of the major third is, however, 
 an exception to this, and causes the 
 major triad to sound somewhat harsh. 
 On the organ the tempered major triad 
 is especially disagreeable. The tem- 
 pered scale is, after all, only a compro- 
 mise, an escape from a difficulty, and 
 while it is necessary upon keyed instru- 
 ments, is adhered to far too faithfully 
 by violinists and vocalists, who, when 
 unaccompanied, could obtain a far 
 richer, mellower, and finer effect by 
 keeping to the scale of true intonation. 
 The deflections from true pitch in the 
 different intervals of the tempered scale 
 may be thus summarized : The perfect 
 fifth is one-fiftieth of a semi-tone flat. 
 The perfect fourth is one-fiftieth of a 
 semi-tone sharp. The major third, one- 
 se,venth of a semi-tone sharp. The 
 minor third, one-sixth of a semi-tone 
 flat. The major sixth, one-sixth of p^ 
 semi-tone sharp. The minor sixth, one- 
 seventh of a semi-tone flat. The 
 minor seventh, one-sixth of a semi-tone 
 flat. The major seventh, one-eighth of 
 a semi-tone sharp. In the scale of 
 true intonation, or the enharmonic 
 scale, there would be a distinct differ- 
 
 fi as in up; ii the French sound of ». 
 
 257 
 
TEMPERAMENT 
 
 TEMPESTOSO 
 
 Table of Vibrations of all Tones Used in Music. 
 For comparison of true and tempered itUervah {Orchestral tufiing to A^) Internaiiofial Pitch 43s- 
 
 Octaves 
 
 C 
 
 C sharp, or 
 Dflat 
 
 D 
 
 I) sharp, or 
 Eflat 
 
 E 
 
 F 
 
 Subcontra, or 32- ( Pure 
 foot I Tempered 
 
 16.313 
 
 
 18.352 
 
 
 20.391 
 
 21.750 
 
 16.166 
 
 17.127 
 
 18.146 
 
 19.225 
 
 20.368 
 
 21-579 
 
 Contra, or ,6.foot{P"/^p^^^, 
 
 32.625 
 
 
 36.703 
 
 
 40.781 
 
 43.500 
 
 32.332 
 
 34.254 
 
 36.291 
 
 38.449 
 
 40.735 
 
 43.158 
 
 Great, or 8-foot \\^Z^^,,^ 
 
 65.250 
 64.663 
 
 68 .'508 
 
 73.406 
 72.582 
 
 ■76.8^8 
 
 • Si. 563 
 81.470 
 
 87.000 
 86.315 
 
 Small, or 4-foot \^^^^^,^ 
 
 130.500 
 
 
 146.813 
 
 
 163.125 
 
 174.000 
 
 129.326 
 
 137.016 
 
 145.164 
 
 153.795 
 
 162.941 
 
 172.630 
 
 One-Uned, or 2-foot {P^«p^^^^ 
 
 261.000 
 
 
 293.625 
 
 
 326.250 
 
 348.000 
 
 258.652 
 
 274.032 
 
 390.327 
 
 307.591 
 
 325.881 
 
 345.259 
 
 Two-lined, or i- f Pure 
 foot ( Tempered 
 
 522.000 
 
 
 587.250 
 
 
 652.500 
 
 696.000 
 
 5I7.304 
 
 548.C64 
 
 580.654 
 
 615. 181 
 
 651.762 
 
 690.518 
 
 Three-lined, or 6- | Pure 
 inch \ Tempered 
 
 1,044.000 
 
 
 1,174.500 
 
 
 1,305.000 
 
 1,392.000 
 
 1,034.608 
 
 1,096.128 
 
 1,161.308 
 
 1,230.362 
 
 1,303.524 
 
 1,381.036 
 
 Four-lined, or 3- ( Pure 
 inch \ Tempered 
 
 2,088.000 
 
 
 2,349.000 
 
 
 2,610.000 
 
 2,784.000 
 
 2,069-216 
 
 2,192,256 
 
 2,322.616 
 
 2,460.724 
 
 2,607.048 
 
 2,762.072 
 
 Five-lined, or i^- ( Pure 
 inch \ Tempered 
 
 4,176.000 
 
 
 4,698.000 
 
 
 5,220.000 
 
 5,568.000 
 
 4,138.432 
 
 4,384.5" 
 
 4,645.232 
 
 4,921.448 
 
 5,214.096 
 
 5,524.144 
 
 Octaves 
 
 F sharp, or 
 Gilat 
 
 G 
 
 G sharp, or 
 Aflat 
 
 A 
 
 A sharp, or 
 Bflat 
 
 B 
 
 Subcontra, or 32- ( Pure 
 foot. ( Tempered 
 
 
 24469 
 
 
 27.188 
 
 
 30.586 
 
 22.862 
 
 24221 
 
 25.662 
 
 27.188 
 
 28.804 
 
 30.517 
 
 Contra, or i6.foot { P^^'p„^^ 
 
 45.724 
 
 48.937 
 48.443 
 
 51.323 
 
 54.375 
 54.375 
 
 57.608 
 
 61.172 
 61.034 
 
 Great, or S-foo. { ^l^^p^red 
 
 91.448 
 
 97.875 
 96.885 
 
 102.646 
 
 108.750 
 108.750 
 
 115.217 
 
 122.344 
 122.068 
 
 Small, or 4-foot 1 ^"/^pered 
 
 i82;8'95' 
 
 195.750 
 193.770 
 
 205.292 
 
 217.500 
 217.500 
 
 230.433 
 
 244.68S 
 244-135 
 
 One.lined,or2.foot{5^;jp^^^^ 
 
 365.789 
 
 391.500 
 387.540 
 
 410.585 
 
 435.000 
 435.000 
 
 460.866 
 
 489.375 
 488.270 
 
 Two-lined, or i- ( Pure 
 foot ( Tempered 
 
 
 783,000 
 
 
 870.C00 
 
 
 978.750 
 
 731.578 
 
 775.080 
 
 821.169 
 
 870.000 
 
 921.732 
 
 976.540 
 
 Three-lined, or 6 ( Pure 
 inch ( Tempered 
 
 
 1,566.000 
 
 
 1 ,740.000 
 
 
 1,957.500 
 
 1,465.156 
 
 1,550.160 
 
 1,642.338 
 
 1 ,740.000 
 
 1343.464 
 
 1,953-080 
 
 Fourrlined, or 7- I Pure 
 inch \ Tempered 
 
 
 3,132.000 
 
 
 3,480.000 
 
 
 3,915.000 
 
 2,926.312 
 
 3,100.320 
 
 3,284.676 
 
 3,480.000 
 
 3,686.928 
 
 3 go6.i6o 
 
 Five-lined, or i^ f Pure 
 inch \ Tempered 
 
 
 6,264.000 
 
 
 6,960.000 
 
 
 7,830.000 
 
 5,852.624 
 
 6,200.640 
 
 6,569.352 
 
 6,960.000 
 
 7,373-856 
 
 7,812.320 
 
 ence between such notes as A If and 
 B b, or C I7 B ft, but in the tempered 
 scale these distinctions disappear. 
 
 The last three figures in the above 
 table are decimals in each case. The 
 pitch of the sharps and flats according 
 to the enharmonic scale is not given, 
 as they are not used in practical music, 
 but the table will readily show the ex- 
 act amount of deflection from true 
 pitch of any note used in our system. 
 See Pitch . Consult Pole's " Philosophy 
 of Music " and Zahm's " Sound and 
 Music " for details of temperament. 
 
 Temperament, unequal. That method 
 of tuning the twelve sounds included in 
 an octave, which renders some of the 
 scales more in tune than the others. 
 Also called Mean Temperament. 
 
 Temperatur (Ger.) (tem-pe-r'a-^tf^r.) 
 Temperament. 
 
 Tempered. Having a perfect adjust- 
 ment of sounds ; tuned. 
 
 Tempestosam^nte (It.) (tem-pes-to-za- 
 men-te.) Furiously, impetuously. 
 
 Tempest6so (It.) (tem-pes/o-zo.) Tem- 
 pestuous, stormy, boisterous. 
 
 a. as in ah s a as in hate; a. as in at ; e as in free; e as in My i as in pine; J as in pin} 
 
 258 
 
TEMPETE 
 
 t£mpo WIE VORHER 
 
 Tempete (Fr.) (tanh-/i».) A boisterous 
 
 dance in J time. 
 Tempo (It.) (*»«-po.) The Italian word for 
 time. Tempo is rather loosely defined 
 as the speed of the music, but it ought 
 rather to be regarded as the speed of 
 the rhythm, the rapidity with which 
 the natural accents follow each other. 
 In the mediaeval music the tempo marks 
 were very few. Jean de Muris, about 
 1350, wrote that there were three 
 speeds in music — quick, slow, and 
 medium. At about this time one 
 might find an occasional C marked in 
 the music, meaning celeriter, to acceler- 
 ate the tempo; or a Tiox teneatur, simi- 
 lar to the modern ritenuto. The marks 
 of tempo began (practically) with the 
 beginning of opera. When emotional 
 and expressive composition began, 
 about A. D. 1600, the marks of tempo 
 at once commenced to appear. So far 
 as we have traced the matter, the 
 word adagio (misspelt adazio) in one of 
 Frescobaldi's works was the beginning 
 of proper tempo-marking. It should be 
 remembered by the teacher that up to 
 the beginning of the nineteenth century 
 the tempo-marks were less extreme 
 than at present; the slow movements 
 were less slow, and the quick move- 
 ments less quick than they are in the 
 modern works. The chief terms used 
 for speed are (from slowest to quick- 
 est) grave, largo, larghetto, adagio. 
 Unto, andante, andantino, m-oderaio, 
 allegretto, allegro, presto, and prestis- 
 simo. These Italian words have been 
 given in this order by custom rather 
 than by their literal meaning. Andan- 
 tino, for example, literally means 
 slower than andante, yet, by a mis- 
 understanding, it is frequently used in 
 exactly the opposite sense. (See An- 
 aantino.) The slow tempo-marks are 
 not so fixed in their succession as the 
 others, and larghetto, adagio, and 
 lento are used interchangeably by 
 some composers. There are many 
 other Italian words used for tempo- 
 marks which will be found under their 
 own headings. The words for tempo 
 and expression are usually in Italian, 
 although Schumann and Wagner used 
 German, and Berlioz, French. It is 
 best that Italian should be used for : 
 1st, It has been employed for three 
 hundred years. 2d. It would be im- 
 
 possible to allow every composer (Rus- 
 sian, Hungarian, Norwegian, Polish, 
 etc.), the use of his own language in 
 music of world-wide importance. 3d. 
 A universal language such as notation 
 has become, must not have a language 
 of terms less universal than itself. 
 
 T6mpo alia breve (It.) {tem-^o al-Ya. brd- 
 ve.) In a quick species of common 
 time. 
 
 T^mpo a piac^re (It.) {tem--po a pe-a- 
 tshd-xe.) The time at pleasure. 
 
 T6mpo cdmodo (It.) {tem-^o ko-mo-Ao.) 
 Convenient time ; an easy, moderate 
 degree of movement. 
 
 T^mpo di bdllo (It.) {tem-^o de bil-lb.) 
 In dance time ; rather quick. 
 
 T^mpo di capp^lla (It.) (tem-yo de kap- 
 
 /i?/-la.) In the church-time. See 
 
 Alia Brh/e. 
 X^mpo di gav6tta (It.) {tem-^pb de ga- 
 
 vot-ia,.) In the time of a gavot. 
 T^mpo di menu^tto (It.) (tem--p6 de me- 
 
 noo-«/-to.) In the time of a minuet. 
 T^mpo di policca (It.) {tem-po de po- 
 
 /o^-ka.) In the time of a polacca. 
 T^mpo di valse (It.) {tem-po de val-se.) 
 
 In waltz time. 
 
 T^mpo frett^vole (It.) {tem-pb fret- T 
 teh-\b-\e.) \ 
 
 Tfimpo frettol6so (It.) {tem-pb fret-to- [ 
 lo-zb. J 
 
 In quicker time ; hurrying ; hastily. 
 
 T6mpo gilisto (It.) {tem-pb je-oos-tb.) In 
 just, exact strict time. 
 
 T^mpo ordindrio (It.) {tem-pb br-de-nd- 
 re-5.) Ordinary, or moderate time. 
 
 T^mpo perdiito (It.) {tem-pb pax-doo-tb.) 
 Lost ; interrupted, irregular time. 
 
 Tfimpo prfmo (It.) {tem-pb pre-mb.) 
 First, or original time. 
 
 T^mpo reggi4to (It.) (tem-po red-je-a- 
 t5.) The time is to be accommodated 
 to the solo singer, or player. 
 
 T6mpo rubdto (It.) (tem-po roo-W-to.) 
 Robbed or stolen time ; irregular time ; 
 meaning a slight deviation to give 
 more expression by retarding one note, 
 and quickening another, but so that the 
 time of each measure is not altered as 
 a whole. 
 
 T^mpo wie vorher (Ger.) (tem-po ve/^ 
 rer.) The time as before. 
 
 S as in tone ; 6 as in dove ; 6 as in not ; ii as in »/; ii the French sound of u. 
 
 259 
 
TEMPS 
 
 TERCET 
 
 Tempa (Fr.) (tanh.) i Time ; also the 
 
 Terns (Fr.) (tanh.) 5 various parts or di- 
 visions of a bar. 
 
 Temps frapp£ (Fr.) (tanh frap-pa.) The 
 down-beats, or accented parts. 
 
 Temps lev6 (Fr.) (taph leva.) The up- 
 beats, or unaccented parts. 
 
 Tendre (Fr.) (tanhdr.) Tender. 
 
 Tendrement (Fr.) (tanhdr-manh.) Ten- 
 derly, affectionately. 
 
 Tenebrae (Lat.) (;/«-e-bra.) Dark- 
 ness ; a name given to the Roman 
 CathoUc service during Holy Week, in 
 commemoration of the darkness which 
 attended the crucifixion. 
 
 Ten^ndo il cdnto (It.) (te-nen-do il Adn- 
 to.) Sustain the melody. 
 
 Teneram^nte (It.) (ten-e-ra-ff«^»-te.) 
 Tenderly, delicately. 
 
 Tener^zza (It.) (ten-e-«^tsa.) Tender- 
 ness, softness, delicacy. 
 
 T^nero (It.) (fe-ne-ro.) Tenderly, softly, 
 dehcately. 
 
 Tenir (Fr.) (te-«^^?-.) To hold a violin 
 
 bow, etc. 
 Tenor. That species of male voice next 
 
 above the baritone, and extending from 
 
 the C upon the second space in bass, 
 
 to G on the second line in the treble. 
 
 So-called from teneo (I hold), since 
 
 it held the melody in old times. See 
 
 Soprano and Voice. 
 Tenor C. The lowest C in 
 
 the tenor voice ; the lowest 
 
 string of the viola, or tenor 
 
 violin. 
 
 Tenor clef. The C clef, when placed 
 upon the fourth hne. 
 
 Ten6re robiisto (It.) (te-«fl-re ro-iwj-to.) 
 
 A strong tenor voice. 
 Tendre sec6ndo (It.) (te-«^-re se-ion- 
 
 do.) Second tenor. 
 
 Tendre vWla (It.) (te-no-re ve-^-la.) 
 Tenor viol. A viola. 
 
 Tenorist (Ger.) (ten-6-rist.) i a 
 Tenorista (It.) (ten-6-r^j-ta.) ) tenor 
 singer. 
 
 Tenoroon. The old tenor aioe da caccia, 
 the compass of which extended down- 
 ward to tenor C. The name is some- 
 times applied to an organ-stop. 
 
 Tenor-posaune (Ger.) (ten-w--po-«tf«-ne.) 
 The tenor trombone. 
 
 Tenor-schliissel (Ger.) (ten-w--j'^/«j-s'l.) 
 The tenor clef. 
 
 Ten6re (It.) (te-«J-re.) Tenor voice; a 
 tenor singer. See, also Viola. 
 
 Tendre buffo (It.) (te-Ko-re bdof-io.) The 
 second tenor singer of an opera com- 
 pany for comic parts. 
 
 Tendre di grizia (It.) (te-no-re di gra- 
 tse-a.) A dehcate and graceful tenor. 
 
 Tendre leggi^ro (It.) (te-«o-re led- 
 je-az-ro.) A tenor voice of a light 
 quality of tone. 
 
 Tendre primo (It.) 
 First tenor. 
 
 (te-»o-re J>ree-mo.) 
 
 Tendre ripidno (It.) (te-«o-re re-pe-^j/ 
 no.) Tenor of a grand chorus. 
 
 a as in a^ y a as in ^aie; 3 as in <2/ 
 
 Low tenor. 
 (Ger.) (ten-dr-sOm-me.) 
 
 Tenor, second. 
 Tenor-stimme 
 
 Tenor voice ; a tenor. 
 
 Tenor trombone. A trombone having a 
 compass from the great B flat to the 
 one-lined g, and noted in the tenor 
 clef. 
 
 Tenor-viole (Ger.) (ien-or-vi-o-le.) ) The 
 Tenor-violin (Eng.) ) viola. 
 
 Tenor voice, counter. The male voice 
 next above the tenor voice ; the low- 
 est of the female voices. 
 
 Tenor-zeichen (Ger.) (ten-or isykh'n.) 
 The tenor clef. 
 
 Tentellare (It.) (ten-tel-/o-re.) To 
 jingle. 
 
 Tenth. An interval comprising an 
 octave and a third ; also, an organ-stop 
 tuned a tenth above the diapasons, 
 called, also, decima and double tierce. 
 
 Tenue (Fr.) (ta-nii.) See Temito. 
 
 Teniite (It.) (ta-woo-te.) ) Held on; sus- 
 
 Teniito (It.) (ta-«ofl-to.) ( tainedjorkept 
 down the full time. 
 
 Tdorbe (Fr.) (ta-orb.) See Theorbo. 
 
 Teordtico (It.) (ta-o-r^-te-ko.) Theo- 
 retical. 
 
 Teoria (It.) (ta-o-r^^'-a.) Theory. 
 
 Teoria del c^nto (It.) (ta-o-r^-a del kdn- 
 
 to.) The theory, or art, of singing. 
 Tepidamdnte (It.) (te-pe-da-OT^»-te.) 
 
 Coldly ; with indifference. 
 
 Tepidita (It.) Coldness, indifference. 
 Ter (Lat.) (ter.) Thrice ; three times. 
 Tercet (Fr.) (ter-sa.) A triplet. 
 e as in tree ; g as in ^.4 ; i as in pine ; i as in pin; 
 
 260 
 
TERCETO 
 
 THIRD, MAJOR 
 
 Terceto (Spa.) (ter-tAd-to^) A triplet. 
 
 Terms, musical. Words and sentences 
 applied to passages of music for the 
 purpose of indicating the style in which 
 they should be performed. See 
 Tem/ie. 
 
 Ternario t^mpo (It.) (ter-«o-re-o tem- 
 po.) Triple time. 
 
 Ternary measure. Threefold measure; 
 triple time. 
 
 Terpsichore. In classical mythology, 
 the muse of choral dance and song. 
 
 Terpsichorean. Relating to Terpsi- 
 chore, the muse who presided over 
 dancing. 
 
 Tertia (Lat.) (t^r-shi-a..) ) xhird, tierce ; 
 
 Tertzia (Ger.) (ter-tsi-e.) ) also an organ- 
 stop sounding a third, or tenth, above 
 the foundation stops. 
 
 Tertian (Lat.) (//r-shi-an.) An organ- 
 stop composed of two pipes, tierce and 
 larigot, on one slide, sounding the in- 
 terval of a minor third. 
 
 Terz (Ger.) (tairts.) "l A third ; the 
 
 T6rza (It.) USir-tsi.) interval of a 
 
 «^ /.-^ \ r^-- J. ^ \ third: also an 
 Terze (Ger.) (^«r-tse.) ^^ ^ ^ ; ^_^^^^ 
 
 Terzie (Ger.) {ieur-tsi-e.) sounding a 
 
 T&ZO (It.) (tdir-tso.) j third above 
 
 the fifteenth See Tierce. 
 Terz decimole (Ger.) (tdtrisda.-tsi-mo-\e.) 
 
 A group of thirteen notes having the 
 
 value of eight, or twelve similar ones. 
 T&za maggi6re (It.) (idir-tsa. mad-je-o- 
 
 re.) Major third. 
 Tina, mindre (It.) {tdir-tsa. me-no-re.) 
 
 Minor third. 
 Terzen (Ger.) (/di>-ts'n.) Thirds. 
 Terzetto (It.) (tair-i?j«Mo.) A short 
 
 piece, or trio, for three voices. 
 Terz-flbte (Ger.) {tdirts-Jld-te.) A flute 
 
 sounding a minor third above ; also, 
 
 an organ-stop. 
 
 Terzlna (It.) {taxr-tse-na..) A triplet. 
 
 T&to (It.) (fej-to.) The text, subject, 
 or theme, of any composition. A word 
 applied by the Italians to the poetry of 
 a song ; when the words are well writ- 
 ten, the song is said to have a good 
 thto. 
 
 Tetrachord (Gr.) («-ra-kord.) ^ a 
 
 Tetracorde (Fr.) (WAra-kord.) > fourth ; 
 
 Tetracfirdo fit.) {tsX-ri^kgr-Ao.) > ^'^o, 
 
 A theme, or 
 subject. 
 
 system of four sounds among the an- 
 cients, the extremes of which were 
 fixed, but the middle sounds were 
 varied according to the mode. 
 
 Tetrachords, conjoint. Two tetra- 
 chords, or fourths, where the same 
 note is the highest of one and the low- 
 est of the other. 
 
 Theile (Ger. pi.) (ty-\e.) Parts, divisions 
 of the bar ; also, strains, or component 
 parts of a movement, or piece. 
 
 Theme, i. A subject, in the development 
 of sonata-form. 2. The catitus jSrmus 
 on which counterpoint is built. 3. 
 The subject of a fugue. 4. A simple 
 tune on which variations are made. 
 
 Thema (Gr.) (tha-ma.) 
 
 Thema (Lat.) (tha-ma.) 
 
 Thema (Ger.) {tdy-ma..) 
 
 Theme (Fr.) (taym.) 
 
 Theorbe (Ger.) (te-OT--be.) ) An old 
 
 Theorbo (Eng.) (the-^r-bo.) j stringed 
 instrument resembling the lute in form, 
 or tone. It had two necks, to the 
 longest of which the bass strings were 
 attached. It was employed for accom- 
 panying voices, and was in great favor 
 during the seventeenth century. 
 
 Theory of music. The science of music. 
 The speculations arising from a knowl- 
 edge of the principles of sound. The 
 rules for composition and arrangement 
 of music for voices and instruments in 
 rhythm, melody, harmony, counter- 
 point, and instrumentation. 
 
 Thesis (Gr.) (tha-sts.) Down-beat, the 
 accented part of the bar. See Arsis. 
 
 Theurgic hymns. Songs of incantation, 
 such as those ascribed to Orpheus, per- 
 formed in the mysteries upon the most 
 solemn occasions. These hymns were 
 the first of which we have any account 
 in Greece. 
 
 Third. An interval comprising three 
 diatonic degrees. 
 
 Third, diminished. An interval meas- 
 ured by two half -steps. 
 
 Third inversion. A name given to an 
 inverted chord of the seventh when its 
 seventh is the lowest. 
 
 Third, major. An interval measured by 
 four half-steps. 
 
 a 
 
 5 as in tone ; 6 as in dove; 8 as in not ; fi as in 2{^/ ii the French sound of M. 
 
 z6i 
 
THIRD, MINOR 
 
 TIERCE DE PICARDIE 
 
 Third, minor. An interval measured by 
 
 three half -steps. 
 Third shift. The double shift in vioUn- 
 
 playing. 
 Thirteenth. An interval comprising an 
 
 octave and a sixth. It contains twelve 
 
 diatonic degrees, i.e., thirteen sounds. 
 
 Thirty-second note. A demisemiquaver, |S 
 
 Thirty-second rest. A rest, or pause, 
 equal to the length of a thirty-second 
 note, 3 
 Thorough bass. Figured bass ; a system 
 of harmony which is indicated by a 
 figured bass. When there is no figure, 
 it is understood that the common 
 chord of such a note is to be used as 
 its harmony. The following table will 
 show the manner in which figures are 
 used : 
 
 The figure 2 implies a 4th and 6th, 
 
 " "3 "a 5th perfect, 
 
 or diminished, according to the 
 
 position of the note in the key. 
 
 The figure 4 implies a 5th, or 5th and 8th. 
 
 " S " 3d and 8th. 
 
 " " 6 " 3d. 
 
 " " 7 " 5th and 3d. 
 
 " " 8 " 3d and 5th. 
 
 " " 9 " 3d and 5th. 
 
 A stroke through a figure directs the 
 raising of the interval by a natural, or 
 sharp, as the case may be. An acci- 
 dental standing alone implies a corre- 
 sponding alteration of the 3d of the 
 chord. Horizontal lines direct the con- 
 tinuance of the harmony of the pre- 
 vious chord. If there are no figures 
 under the previous chord, the line or 
 hues direct the continuance of the com- 
 mon chord of the first note under 
 which they were placed. 
 Three- eighth measure. A measure hav- 
 ing the value of three eighth notes, 
 marked \. 
 Three fold. A chord consisting of three 
 tones, comprising a tone combined 
 vpith its third and fifth. 
 
 Threnodia (Lat.) (thre-«J-di-a.) ) An 
 
 Threnodie (Gr.) (thre-«o-de.) S eiegy; 
 a funeral song. 
 
 Threnody. Lamentation ; a song of 
 lamentation. 
 
 Thrice-marked octave. The name given 
 in Germany to the notes between the 
 C on the second added line above the 
 treble staff and the next B above, in- 
 
 S as in a^ / a as in hate ; a as in <z/ ; e as i 
 
 2 
 
 elusive; these notes are expressed by 
 small letters, with three short strokes, 
 also thrice-accented octave, or three-lined 
 octave. See Tablature and Tempera- 
 ment. 
 
 Thumb-string. Melody-string of the 
 banjo. 
 
 Tie. A curved line placed over two or 
 more notes in the same position on the 
 stave : 
 
 ^_ etc. 
 
 The tie is also called a bind, and the 
 curved line, when used over notes repre- 
 senting different sounds, is called a slur. 
 (See Slur.) These notes need not be 
 written on the same degree of the staff, 
 (although they generally are) for in the 
 tempered scale (which see) the flat and 
 the sharp of two contiguous notes can 
 mean the same sound, and the follow- 
 ing would therefore be 
 an enharmonic tie : 
 
 If the two notes under the curved 
 line have dots above them, the 
 curved line is not a tie, but becomes, 
 a portamento {demi-marcato) mark. 
 This is an example of such a markr 
 
 P^ 
 
 If the second note only, in such an 
 example, has a dot over it, the effect 
 would be that of a short slur. The fol- 
 lowing, therefore, would 
 be played as two notes, 
 
 f 
 
 ^^ 
 
 the first receiving some degree of 
 accent, and the second being played 
 vnth lightness, and a little shorter than 
 its written value. 
 Tief (Ger.) (tef.) Deep, low, profound. 
 
 Tiefer (Ger.) (te-ier.) Deeper; lower;. 
 
 8va tiefer, octave below. 
 Tieftonend (Ger.) (^^^-ZiJ-nend.) Deep 
 
 toned. 
 
 Tierce (Fr.) (ters.) A third; also, the 
 name of an organ-stop tuned a major 
 third higher than the fifteenth. 
 
 Tierce de picardie (Fr.) (ters duh yi-kdr- 
 de.) Tierce of Picardy; a term applied 
 to a m.ajor third,vihen introduced in the 
 last chord of a composition in a minor 
 
 n tree ; 6 as in ^/5 ; i as in pine ,• i as in pin i 
 62 
 
TIERCE MAXIME 
 
 TIME 
 
 mode; the custom was supposed to 
 have originated in Picardy, and for- 
 merly was quite common. It will be 
 found in the final cadence of very 
 many of Bach's compositions in minor. 
 
 Tierce maxime (Fr.) (ters max-em.) 
 Augmented third, containing five semi- 
 tones ; as, from F to A (. 
 
 Tiercet (Gr.) (ter-set.) A triplet. 
 
 Timbal (Spa.) (tim-*3/.) \ a 
 
 Timbale (Fr.) (tanh-*a/.) [ kettle- 
 
 Timbiillo (It.) (tem-M7-l6.) ) drum. 
 
 Timballes (Fr.pl.) (tanh'-bal.) Kettle- 
 drums. 
 
 Timbre (Fr.) (tanhbr.) Quality of tone, 
 or sound. 
 
 Timbrel. An ancient Hebrew instru- 
 ment, supposed to have been like a 
 tambourine. 
 
 Time. The measure of sounds in re- 
 gard to their continuance, or duration. 
 The speed of the rhythm. The rapid- 
 ity with which the natural accents 
 follow each other. This is the correct 
 meaning of ft>«^. {See Tempo.) Never- 
 
 a fitting word, but this would lead 
 to confusion with hymns and poeti- 
 cal meters. As the word time is 
 almost always used to denote the 
 divisions of the measure, we present 
 the divisions under this head. They 
 are classified as even, triple, and 
 peculiar. Even times are tljose where 
 the measure divides naturally into 
 halves, f f, f, f, i, ^, I, I, and f are 
 examples-of such rhythms. The follow- 
 ing signs are also employed : ^^ or 
 ^ for f , ^ for f , and g for f . When 
 the measure divides naturally into 
 halves or quarters and each of these 
 subdivisions into thirds, the result is 
 compound even time, as follows : f , J, 
 f . A. ¥. ¥. \h and even f^. Triple 
 times occur when the measure divides 
 itself naturally into thirds, as, f , f, J, 
 |, ^, and compound triple rhythms 
 are those where the measure divides 
 into thirds, and each of these thirds 
 again subdivides into thirds, as |, %, 
 y^5 ; even J/- has been used. Septuple 
 or quintuple rimes are where the meas- 
 
 TABLE OF PRINCIPAL RHYTHMS. 
 
 English 
 
 German 
 
 French 
 
 Two-two 
 
 (alia breve) 
 
 Two-four 
 
 Four-two 
 
 Four-four 
 
 (common) 
 
 Zweizweiteltakt 
 ;2weivierteltakt 
 Vierzweiteltakt 
 
 Viervierteltakt 
 
 Deux-deux 
 
 Deux-quatre 
 
 Quatre-deux 
 
 Quatre-quatre 
 
 Six-four 
 Six-oight 
 Six-sixteen 
 Twelve-eight 
 
 Sechsvierteltakt 
 Sechsachteltakt 
 Sechssechzehnteltakt 
 Zwolfachteltakt 
 
 Six-quatre 
 Six-huit 
 Six-seize 
 Douze-huit 
 
 Three-two 
 Three-four 
 Three-eight 
 
 Dreizweiteltakt 
 Dreivierteltakt 
 Dreiachteltak 
 
 Mesure k trois deux 
 Mesure k trois quatre 
 Mesure ^ trois huit 
 
 Nine-eight 
 
 Neunachteltakt 
 
 Mesure k neuf huit 
 
 Five-four 
 Five-eigth 
 
 Fiinfvierteltakt 
 Fiinfachteltakt 
 
 Mesure k cinq quatre 
 Mesure k cinq huit 
 
 theless, an almost universal custom 
 prevails of using the word time to ex- 
 press the division of the measure as 
 well as the speed. Such division 
 should properly be called either 
 rhythm., or measure. There could be 
 no possibility of being misunderstood 
 if a, composition marked 
 were described as being in 
 
 I rhythm or in | measure, instead of 
 rommon time. An eminent Ameri- 
 can teacher has suggested meter as 
 
 P 
 
 ure divides into fifths, or sevenths, as, 
 f ' f ' I' 1^5' \' i' I' -h- Sometimes when 
 these rhythms are employed they are 
 only an alternation of even and triple 
 times. There are also compound deri- 
 vations from these, and Scriabine has 
 written on etude in -^ time, being 
 merely a | time subdivided into triplets. 
 Instead of the words even and triple, 
 the English often use duple, or binary 
 and ternary. We hope yet to see the 
 whole of the misleading nomenclature 
 
 5 as in tone ; Q as in dove ; 8 as in not; fi as in up ; ii the French sound of ^. 
 
 263 
 
TIMIDEZZA, COK 
 
 TON 
 
 abolished and even rhythm and triple 
 rhythm, come into use. There is also 
 a comical error frequently made in 
 imagining the sign for f rhythm — C — 
 to be a letter C used as an abbrevia- 
 tion for common time. The sign comes 
 to us from the middle ages when the 
 triple pulsation of music was held to 
 be the only perfect rhythm, as the 
 monks held that it represented the 
 Trinity. It was written with the fol- 
 lowing sign, 0> ^"d was called perfec- 
 tum : when the monks admitted an 
 even rhythm, they called it imperfectum 
 and broke the circle writing it thus — C. 
 Timidezza, con (It.) (te-me-o'if^-sa.) 
 With timidity. 
 
 Timorosam^nte (It.) (te-m5-ro-z'a-OT«K- 
 te.) Timidly ; with fear. 
 
 Timorflso (It.) (te-mo-r»-2o.) Timorous; 
 
 vrith hesitation. 
 Timpan^tto (It.) (tem-pa-«^<-to.) A 
 
 small drum, or timbrel. 
 Timpani (It. pi.) (tem->a-ne.) ) The 
 Timpani (Spa. pi.) (tem-/a-ne.) ) kettle- 
 drums. 
 Timpani sordi (It.) (tem-^a-ne sor-Ae.^ 
 
 Drums having mutes. 
 Timpanista (It.) (tem-pa-»ij-ta.) A 
 
 performer on the kettledrums. 
 Timpano (It.) (^^»e-pa-no.) I Drum, 
 Timpano (Spa.) (tem-pa-no.) i timbrel, 
 
 tabor. 
 Tintement (Fr.) (tanh-t-manh.) Ting- 
 ling of a bell; vibration, or ringing 
 
 sound. 
 Tinter (Fr.) (tanh-ta.) To toll a bell; 
 
 to jingle. 
 Tintinnabulum (Lat.) {ttn-^rx-ndb-vi.- 1 
 
 Km.) ! 
 
 Tintinndbolo (It.) (ten-ten-»a-bo-l6.) ] 
 Tintinnibulo (It.) (ten-ten-«o-boo-lo.) j 
 
 A little bell. 
 Tintinnam^ntO (It.) (ten-ten-na-»2«z-to.) 
 
 Tinkling of small bells. 
 Tintinnire (It.) (ten-ten-«^-re.) To 
 
 tinkle ; to resound. 
 Tintinno (It.) (ten-if^«-no.) Vibration; 
 
 ringing of a bell. 
 Tifirba (It.) (te-J^-ba.) ) theorbo 
 Tiorba (Spa.) (te-^r-ba.) ) 
 
 Tipping. A distinct articulation given 
 to the tones of a flute by placing the 
 end of the tongue on the roof of the 
 mouth. See Double-tonguing. 
 
 Brace of 
 drum. 
 
 Tirant (Fr.) (te-ranh.) 
 
 Tirante (Spa.) (te-?-a«-te.) 
 
 Tirasse (Fr.) (ti-rajj.) The pedals of a 
 small organ which act on the manual 
 keys, by pulling, or drawing them down. 
 
 Tirito (It.) (te-ro-to.) Drawn, pulled, 
 stretched out ; a down-bow. See, also, 
 Tirasse. 
 
 Tira tiitto (It.) (^^-ra toot-\.o^ A pedal, 
 or mechanism, in an organ, which, act- 
 ing upon all the stops, enables the per- 
 former to obtain at once the full power 
 of the instrument. 
 
 Tir6 (Fr.) (te-ra.) Drawn, pulled ; a 
 down-bow. 
 
 Tirolese (It.) (te-ro-/a-ze.) A kind of 
 dance. See Tyrolienne. 
 
 Tobend (Ger.) (^o-bend.) Blusteringly, 
 violently. 
 
 Toccita (It.) (to-,fo-ta.) An old form of 
 composition for the organ, or piano- 
 forte, something like our capriccio, or 
 fantasia ; a piece requiring brilliant ex- 
 ecution, the toccata was a technical 
 work (from the word toccare, to 
 touch), a study in which some diffi- 
 culties of execution were always pres- 
 ent, and it generally preceded a fugue. 
 In modern times it is still a study, but 
 is more generally founded on the treat- 
 ment of a single figure. 
 
 Toccatina (It.) (tok-ka-/^-na.) A short 
 toccata. 
 
 Tocsin. An alarm-bell ; ringing of a bell 
 for the purpose of alarm. 
 
 Todesgesang (Ger.) (/o-des-ghe-jo«^.) ) 
 
 Todeslied (Ger.) (to-des-led.) ■ ) 
 
 A dirge ; a funeral song. 
 
 Todtenglockchen (Ger.) {tod-\.'-a-gl6k- 
 kh'n.) Funeral bell. 
 
 Todtenlied (Ger.) {tod-Vn-led .) Funeral 
 song, or anthem. 
 
 Todten-marsch (Ger.) {tod-Vxi-mdrsh.) 
 Funeral march. 
 
 Todten-musik (Ger.) (Jdd-t'n-moo-zlk..) 
 
 Funeral music. 
 Tolling. The act of ringing a church-bell 
 
 in a slow, measured manner. 
 Tome (Fr.) (torn.) Volume, book. 
 
 3 as in ah ; a as in hate , 
 
 Ton (Fr.) (tonh.) 
 Ton (Ger.) (ton.) 
 Tone (Ger. pl.)(^^-ne.) 
 Tono (Spa.) (to-no.) 
 Tons (Fr. pi.) (tonh.) 
 
 3 as in a^ / e as in free ; hasmeh ; i as in pine / i as in pin ; 
 264 
 
 Tone, sound, 
 voice, melody ; 
 also, accent, 
 stress ; also the 
 pitch of any 
 note as to its 
 
TON-ABSTAND 
 
 TONIC SOL-FA 
 
 acuteness, or gravity ; also, the key, or 
 mode; li ton d'ut, the key of C. See 
 also Tone. 
 
 Ton-abstand (Ger.) (/o«-a4-stand.) An 
 
 interval. 
 Tonart (Ger.) (to-nart.) Mode, scale, 
 
 key. 
 
 Xon-ausweichung (Ger.) (^tou-o-as-vt- 
 
 khoong.) Modulation. 
 Ton, bas (Fr.) (tonh ba.) A low, deep, 
 
 tone. 
 
 Ton, demi (Fr.) (tonh de-me.) A semi- 
 tone. 
 
 Ton de voix (Fr.) (tonh duh vwa.) Tone 
 of voice. 
 
 Ton-dichter (Ger.) (ton-dnh-iex.) Poet 
 of sound; a composer of music. 
 
 Ton-dichtung (Ger.) (ton-diiA-toong.) 
 Musical composition of a poetic char- 
 acter. 
 
 T6ndo (It.) (ton-do.) Round, or full, as 
 regards tone. 
 
 Ton doux (Fr.) (tonh doo.) Soft, sweet 
 tone. 
 
 Tone. A given, fixed sound of certain 
 pitch; it is used to signify a certain 
 degree of distance, or interval, between 
 two sounds, as in the major tone and 
 minor tone; also the particular quality 
 of the sound of any voice, or instru- 
 ment. 
 
 Tone, explosive. A tone produced by 
 striking a note suddenly and with great 
 force, and as suddenly causing it to 
 cease, > v 
 
 Tonen (Ger.) {tS-nen.) To sound ; to re- 
 sound. 
 
 Tonend (Ger.) (^^-nend.) Sounding. 
 
 Tone, open. A tone produced on an 
 open string. 
 
 Tone, quarter. A small interval, which, 
 in the mathematical theory of music, 
 is found to exist between D # and E h, 
 GS and A , etc. 
 
 Tones, accessory. Harmonics; tones 
 faintly heard in the higher octaves, as 
 the principal tone dies away. See 
 Harmonics. 
 
 Tones, chest. The lowest register of the 
 human voice. 
 
 Tones, Gregorian. The chants used for 
 the psalms in the Roman Catholic 
 service ; the ancient modes or tones on 
 which the Gregorian chants are based. 
 
 9 as in tone ; 6 as in dove ; B as in not ; 
 
 le-J 
 
 Tones, passing. Whenever one or more 
 of the parts constituting an harmonic 
 chord moves to <t tone foreign to the 
 harmony, the chord otherwise remain- 
 ing unchanged, such movements are 
 <iii\&d passing tones. 
 
 Tone, whole. An interval consisting of 
 two half-tones. 
 
 Ton-fall (Ger.) (ton-fall.) A cadence. 
 
 Ton-farbe (Ger.) {ton-fdr-he.) Tone- 
 color. 
 
 Ton-folge (Ger.) (ton-fol-^e.) A suc- 
 cession of tones. 
 
 Ton-ffihrung (Ger.) (ton-/u-roong.) Mod- 
 ulation ; also succession of melody, or 
 harmony. 
 
 Ton-fuss (Ger.) (^o«-foos.) Meter. 
 Ton-gang (Ger.) (ton-gHng.) Tune, 
 
 melody. 
 Ton-gattung (Ger.) {ton-gat-tooiig.) 
 
 Ton-geschlecht (Ger.) (ton-ghe- 
 shlekkt^ 
 
 The individuality of the two modes, 
 the major and minor ; Ton-geschleck 
 is the more correct term. 
 
 Ton-g^n6rateur (Fr.) (tonh-zha-na-ra- 
 tiir.) The ruling, or principal key in 
 which a piece is written. 
 
 Tongue. In the reed-pipe of an organ, a 
 thin elastic slip of metal. 
 
 Tonguing. A mode of articulating 
 quick notes, used by flutists and cor- 
 netists. 
 
 Tonic. The key-note of any scale ; the 
 chief, fundamental ground-tone, or 
 first note, of the scale. 
 
 Tfinica (It.) (if^-ne-ka.) j 
 
 Tonica (Ger.) (^i7-ne-ka.) S Tonic. 
 
 Tonique (Fr.) (tonh-^i.) ) 
 
 Tonic-pedal. A continued bass note on 
 which chords foreign to its harmony 
 are given. 
 
 Tonic Sol-fa. A method of teaching 
 vocal music, invented by Miss Sarah 
 Ann Glover, of Norwich, England, 
 about 1812 (called by her the tetra- 
 chordal system), and afterwards per- 
 fected by the Rev. John Curwen, who 
 became acquainted with the method in 
 1841. Its formal basis is the »2£>«'aW*- 
 do system ; the seven usual solmisa- 
 tion syllables are employed, as follows ; 
 doh, ray, me,fah, soh, lah, te. The rea- 
 
 ii as in up; ii the French sound of u. 
 
 265 
 
TONIC SOL-FA 
 
 TON-VERANDERUNG 
 
 son for this departure from the ordinary 
 spelling is, that the above is 
 considered easier for English people to 
 pronounce. In printing music, the 
 initial letter of the syllable indicates 
 the scale note. Si and soA having the 
 same initial, the former is altered to 
 ie. Higher or lower octaves are shown 
 by figures placed by the side of the 
 notes, i/', {p, m^, and s^, m^, d^. The par- 
 ticular pitch of the key-sound is shown 
 by the statement at the beginning of 
 the piece, key G, key E b, key A, etc. 
 The minor mode is regarded as de- 
 rived from the relative major, its tonic 
 being called lah. Great use is made, 
 in this system, of a modulator, a chart 
 of the musical sounds. It presents 
 succinctly the relative places of the 
 notes of the scale, the relative minor 
 modes, the chromatics, related keys. 
 
 etc. 
 
 m' 
 
 — 1 
 
 X 
 
 f 
 m 
 
 i 
 
 di 
 t - 
 
 1 = r' — 
 
 s-DOH- 
 
 TE — 
 f ta le 
 
 m— LAH = 
 la se 
 
 r - SOH- 
 
 ia. fe 
 
 d — FAH 
 
 t, - ME - 
 
 s di 
 t 
 f 
 m 1 
 
 f 
 m 
 
 % 
 
 m, 1, 
 
 = RAY 
 
 - s, a 
 
 
 
 de 
 
 t, 
 
 1. 
 
 r, s, 
 
 -DOH 
 
 - f, 
 
 
 
 t, 
 
 — m, 1 
 
 S| 
 
 d, f, 
 
 
 
 
 tj m, 
 
 - 1, 
 
 = r, s. 
 
 t 
 
 
 
 
 m, 
 
 1, r, 
 
 — s, 
 
 - a, f 
 
 tz m, 
 
 ri 
 
 Sj di 
 
 - f, 
 
 
 
 t. 
 
 — m, 
 
 — 1^ r, 
 
 as 
 
 n a.4 ; a 
 
 as in iate , 
 
 • S as in at 
 
 1, 
 
 The advantage of the system is that it 
 teaches sight singing much more rapidly 
 and easily than can be done by no- 
 tation. It has been applied to very 
 large works with considerable success. 
 See Grove's Dictionary, for fuller 
 details of this important system. 
 
 Ton-kunst (Ger.) (ton-koonst.) Music ; 
 the art and science of music. 
 
 Ton-kiinstler 
 Musician. 
 
 Ton-kiinstlich 
 
 Musical. 
 
 (Ger.) {ton-iiinst-ler.) 
 
 (Ger.) (ton iunst-likh.) 
 
 (Ger.) {ton-lT-tev.) Scale, 
 
 Ton-leiter 
 gamut. 
 
 Ton-majeur (Fr.) (tonh-ma-zhur.) Major 
 key. 
 
 Ton-mass (Ger.) (ton-mass.) Measure, 
 time. 
 
 Ton-messer (Ger.) {ton-mes-set.) A 
 monochord. 
 
 Ton-mineur (Fr.) (t6nh-me-«;??-.) Minor 
 key. 
 
 Ton-satz (Ger.) {idn-satz). A musical 
 composition. 
 
 Ton-schluss (Ger.) (t5n-shloos.) A ca- 
 dence. 
 
 Ton-schliissel (Ger.) {ton-shlUs-s'l.) 
 The key ; key-note. 
 
 Ton-schrift (Ger.) (ton-shrift.) Musical 
 notes. 
 
 Tons de I'eglise (Fr.) (tonh duh I'a- 
 glez.) Church modes, or tones. 
 
 Ton-setzer (Ger.) (^o«-j^Mser.) A com- 
 poser ; a less flattering term than ton- 
 dichter. 
 
 Ton-setzung (Ger.) {tdn-set-\s,oow%.') i 
 
 Ton-stuck (Ger.) (ton-stiik.) ) 
 
 A musical piece, or composition. 
 
 Ton-stufe (Ger.) {iofi-stoo-ie.) A degree 
 of the staff. 
 
 Ton-system (Ger.) {ton-sls-tem.) Sys- 
 tem of tones, or sounds ; the science of 
 harmony , the systematic arrangement 
 to musical tones, or sounds, in their 
 regular order. 
 
 Ton-verandening (Ger.) {ton-ie-ran-de- 
 roong.) Modulation. 
 
 e as in tree ; § as in ^/^ ; i as in pine ; \ as in pin; 
 z66 
 
TON-WERK 
 
 TRANSCRIPTION 
 
 Ton-werk (Ger.) (toii-vark.) A musical 
 composition. 
 
 Ton-wissenschaft (Ger.) {tSn-vls-s'vt- 
 sliaft.) The science of music. 
 
 Tostam^nte (It.) (t6s-ta-OT^»-te.) 
 Quickly, rapidly. 
 
 Tostissimam^nte (It.) (t5s-tes-se-ma- ^ 
 men-te.) \ 
 
 Tostissimo (It.) (tos-^^j-se-mo.) ^ 
 
 Extremely quick ; with great rapidity. 
 
 T6stO (It.) (^w-to.) Quick, swift, rapid. 
 See, also, Piu TSsto. 
 
 Touch. Style of striking, or pressing the 
 keys of an organ, pianoforte, or similar 
 instrument ; the resistance made to the 
 fingers, by the keys of any instrument, 
 as when the keys are put down with 
 difficulty, an instrument is said to have 
 a hard, or heavy touch ; when there is 
 little resistance the touch is said to be 
 soft, or light. 
 
 Touch, demi legato. A touch indicated 
 by dots under a slur, and played by 
 gently raising the hand, 
 with a motion from the 
 
 ^ 
 
 wrist, and pressing the 
 keys, carefully detaching 
 the notes. See Portamento. 
 
 Touch, demi staccato. The striking the 
 key and raising the hand . , , 
 
 quickly, retaining the 3n*z=^3 
 
 note not more than halJ 
 
 its full value. At present, however,' 
 
 the dots are employed for all kinds of 
 
 staccato. 
 
 Touche (Fr.) (toosh.) The touch ; also a 
 key of the pianoforte, etc. 
 
 Touche d'orgue (Fr.) (toosh d'org.) 
 Key of an organ. 
 
 Toucher (Fr.) (too-sha.) To play upon 
 an instrument. 
 
 Touch, legato. A sliding of the fingers 
 on and off the keys ; holding down one 
 key until the finger is fairly on to an- 
 other. It is indicated by 
 a curved line over or un- 
 der the note. 
 
 striking of the keys, making the notes 
 very detached. 
 
 Toujours (Fr.) Always ; used in the 
 same sense as Sempre. 
 
 Tours de force (Fr.) (toor duh fors.) 
 Bravdra passages, roulades, divisions, 
 etc. 
 
 Tout ensemble (Fr.) (too t'anh-sanhbl.) 
 The whole together ; the general effect. 
 
 Trabattere (It.) (tra-bat-ta-re.) To 
 beat. 
 
 Trachea (Lat.) (^ra-ke-a.) The wind- 
 pipe. 
 
 Tracto (Spa.) (trak-to.) Versicles sung 
 at Mass between the Epistle and the 
 Gospel. 
 
 Tradolce (It.) (tra-^J/-tshe.) Very soft; 
 sweet. 
 
 Trad6tto (It.) (tra-aTo-to.) Translated; 
 arranged ; adapted ; fitted to. 
 
 Tragedy, lyric. A tragedy accompanied 
 by singing ; tragic opera. 
 
 Trains (Fr.) (tra-na.) Slurred ; bound ; 
 lingering; drawn along. 
 
 Trait (Fr.) (tra.) Passage; run; a 
 phrase. 
 
 Trait de chant (Fr.) (tra diih shanh.) A 
 melodic passage, or phrase. 
 
 Trait d'harmonie (Fr.) (tra d'ar-mo-ne.) 
 Succession of chords ; a sequence. 
 
 Trait d'octave (Fr.) (tra d'ok-tav.) See 
 Rule of the Octave, 
 
 Traits (Fr.) (tra-<J.) A treatise on the 
 practice, or the theory of music. 
 
 Trallern (Ger.) (fra/-lern.) To trill ; to 
 hum a tune. 
 
 Tramoya (Spa.) (tra-OT«-a.) Scene; 
 operatic decoration. 
 
 Tranquillam^nte (It.) (tran-quil-la-»?^»- 
 te.) Quietly, calmly, tranquilly. 
 
 TranquilUzza (It.) (tran-quil-/^^s'a.) 
 
 Tranquillita (It.) (tran-quil-le-ifa.) 
 
 Tranquillo (It.) (tran-^a«rf-Io.) 
 Tranquillity, calmness, quietness. 
 
 Touch, piano. The manner of striking Transcription. An arrangement for any 
 the keys of the pianoforte. instrument, of a song or other composi- 
 
 tion, not originally designed for that 
 Touch, staccato. A short and sudden instrument ; an adaptation. 
 
 as in tone ; 6 as in dove ; 5 as in tiot ; li as in K/y ii the French sound of u. 
 
 267 
 
TRANSIENr 
 
 TRE C(5rDE 
 
 Transient. An epithet applied to those 
 chords of whose harmony no account 
 is meant to be taken, but which are 
 used as passing chords. 
 
 Transitio (Lat.) (tran-j-^-shi-o.) I Pass- 
 Transition (Eng.) ) i"g 
 suddenly out of one key into another, 
 also a passage leading from one theme 
 to another. 
 
 Transposed. Removed, or changed into 
 another key. 
 
 Transposer (Fr.) (tranhs-po-za.) ) 
 
 Transponiren {Gei.){trdns-po-nee-ren.) ) 
 
 Change of key ; removing a piece into 
 
 another key. 
 
 Transposing Instruments. Instruments 
 which have their natural scale written 
 as the C scale, while actually sounding 
 a different pitch j the contra-bass 
 sounds an octave lower, and the piccolo 
 an octave higher than written, and it is 
 natural and correct to speak of such in- 
 struments as transposing : but these 
 transpose only to avoid leger lines ; 
 there are other instruments which 
 transpose to other degrees than the 
 octave, instruments which, therefore, 
 give forth a different note from that 
 which is written. The reason of this 
 practice is found in the fact that wind- 
 instrument players frequently perform 
 on two or more different instruments 
 of the same family, and, in order to 
 secure uniformity of fingering and 
 blowing, the system applied to one is 
 applied to others ; for example, the Eng- 
 lish-horn, which is a larger oboe, is no- 
 tated as that instrument, and the per- 
 former who is accustomed to the oboe 
 will play the English-horn in a similar 
 manner, but it will actually sound a 
 perfect fifth below the notes which are 
 written. The clarinets, in the same 
 way, are all written alike, but the C 
 clarinet only, sounds the notes as they 
 are written, the B flat clarinet sounding 
 a tone below, and the A clarinet a 
 minor third below. The horns '(ex- 
 cept C alto) the trumpets, and cornets 
 (except those in C), the B flat bass 
 clarinet, and other instruments, are 
 treated in this manner, sounding notes 
 of a different pitch from those written. 
 
 Traquenard (Fr.) (tra-ke-nard.) 
 sort of dance. 
 
 A brisk 
 
 (tra-shi-«o«-do.) 
 Copied, 
 
 Transverse flute. The German flute 
 the flauio traverse. 
 
 a as in ah ;a^ss, in hate ; a as in at 
 
 Trascin&ndo (It.) 
 Dragging the time. 
 
 Trascritto (It.) {txi.-skret-\x>.) 
 
 transcribed. 
 TrattAto (It.) (trat-ifa-to.) See Traiti. 
 
 Trauer-gesang (Ger.) (trou-er-ghe-zan^.) 
 Mourning song ; dirge. 
 
 Trauer-marsch (Ger.) (trou-ei-mdrsA.) 
 Funeral march. 
 
 Trauer-musik (Ger.) (trou-ei-moo-zik.) 
 Funeral music. 
 
 Traurig (Ger.) (trau-ng.) Heavily, 
 sadly, mournfully. 
 
 Traversiere (Fr.) (tra-ver-se-if?-.) 
 
 Trav^rso (It.) (tva.-vdr-so.) 
 
 Cross, across ; applied to the trans- 
 verse, or German flute, to distinguish it 
 from the flUte h bee. 
 
 Travestie (Ger.) (trd-ies-ie.) Parody. 
 
 Travestiren (Ger.) {trd-ies-teer-en.) To 
 parody. 
 
 Tre (It.) (tray.) Three ; d tre, for three 
 voices, or instruments. 
 
 Treble. The upper part ; the highest 
 voice ; the soprano ; that which gener- 
 ally contains the melody. 
 
 Treble clef. The G clef, the soprano 
 clef. 
 
 } 
 
 The highest treble, or 
 
 Treble, first, 
 soprano. 
 
 Treble forte stop. A stop applied to 
 cabinet-organs, by means of which the 
 treble part of the instrument may be 
 increased in power, while the bass re- 
 mains subdued. 
 
 Treble second. Low soprano. 
 
 Treble staff. The staff upon which the 
 treble clef is placed. 
 
 Treble viol. An instrument invented 
 before the modern viol, furnished with 
 six strings tuned chiefly hy fourths. 
 
 Treble voice. The highest species of 
 the female, or boy's voice. 
 
 Tre c6rae (It.) (tray kSr-Ae.) Three 
 strings ; in pianoforte music this means 
 that the pedal which moves the keys, or 
 
 e as in tree ; S as in eh ;\zs, in pine y i as in pin ; 
 
tremXndo 
 
 TRILL 
 
 action, the soft pedal, must no longer 
 be pressed down. 
 
 Trem&n4o (It.) (tra-»»a'»-do.) See 
 Tremolindo. 
 
 Tremblant (Fr.) (tranh-blanh.) Shak- 
 ing. See Tremulant. 
 
 Xremblement (Fr.) (tranhbl-manh.) A 
 trill, or shake. 
 
 Trembler (Fr.) (tranh-bla.) To tremble; 
 to shake. 
 
 Tremblotant (Fr.) (tranh-blo-tanh.) 
 Quivering. 
 
 Trembloter (Fr.) (tranh-blo-ta.) To 
 
 quiver ; to shake. 
 Trem^ndo (It.) (tre-»?f»-do.) Terrible, 
 
 dreadful. 
 TremoUndo (It.) (trem-5-/o»-d6.) "1 
 Tremoldte (It.) (trem-o-/a-te.) I 
 
 Tremolo (It.) (;^a-mo-16.) j 
 
 Tr^mulo (It.) {trd-moo-\o.) ■' 
 
 Trembling, quivering; a note, or chord, 
 
 reiterated with great rapidity, producing 
 
 a tremulous effect. 
 
 Tremolant. i An organ-stop which g^ves 
 
 Tremulant, f to the tone a waving, trem- 
 bling, or undulating effect, resembling 
 the vibrdto in singing, and the tremo- 
 Idndo in violin-playing ; also, a harmo- 
 nium-stop of the same kind. 
 
 Trem6re (It.) (tra-w^-re.) } Tremon 
 
 Tremor6so(It.) (tra-mo-ro-z6.) ) trem- 
 bling ; see also Tremoldndo. 
 
 Xrenchmore. An old English dance, 
 of a lively species. 
 
 Xrenodia (It.) (tra-«»-de-a.) A funeral 
 dirge. 
 
 Trental. An office for the dead in the 
 Roman Catholic Church, consisting of 
 thirty Masses. 
 
 Tr6s (Fr.) (tray.) Very, most. 
 
 Trfes-anim6 (Fr.) (tra san-e-may.) Very 
 animated ; very lively. 
 
 Tr&ca (It.) (^«-ka.) A country dance. 
 
 Trfes fort (Fr.) (tray for.) Very loud. 
 
 Trfes lentement (Fr.) (tray lanht-manh.) 
 Very slow. 
 
 Trfes piano (Fr.) (tray pe-a-no.) Very 
 soft. 
 
 Trfes vif (Fr.) (tray veef .) Very lively ; 
 very brisk. 
 
 Tres vite (Fr.) (tray veet.) Very quick. 
 
 o as in tone ; 6 as in dove ; 6 as in not; ii as in »^y ii the French sound of ti, 
 
 269 
 
 Treter (Ger.) (tra-ter.) Treader, of the 
 
 bellows, in German organs. 
 Tre v61te (It. pi.) (tray v5l-te.) Three 
 
 times. 
 Triad. The common chord, consisting 
 
 of a note sounded together with its 
 
 third and fifth. 
 Triad, extreme. A triad consisting of a 
 
 fundamental tone, a major third, and 
 
 an augmented fifth. 
 Triad, imperfect. The chord taken on 
 
 the seventh of the key, consisting of 
 
 two minor thirds. 
 Triad, major. A union of any sound 
 
 with its major third and perfect fifth. 
 Triad, minor. A union of any sound 
 
 with its minor third and perfect fifth. 
 Triad of the dominant. A triad on the 
 
 dominant, or major fifth. 
 
 Triad, perfect. The harmonic division 
 of the fifth into two thirds, of which 
 the greater third is lowest. 
 
 Triad, tonic. A triad on the tonic, in 
 major, or minor. 
 
 Triangle. A small three-sided steel 
 frame, which is played upon by being 
 struck with a rod. It gives no definite 
 pitch. 
 
 Triangolo (It.) (tre-an-go-l6.) \ a 
 
 Triangulo (Spa.) (tre-an-goo-l6.) > tii- 
 
 Triangulus (Lat.) (tre-a«-gu-lus.) ) angle. 
 
 Trill (Ger., Triller; Fr., Trille; It., 
 Trillo; in England, The Shake.) Its 
 sign is ;?■ or tr /vw, and it consists of a 
 rapid alteration of the printed note and 
 the next note above, to the value of 
 the printed note : 
 
 Written. Played. Or thus. 
 
 tr 
 
 In the eighteenth century the trill always 
 began on the upper note, as in the 
 second example, but early in the nine- 
 teenth century Hummel established the 
 rule of beginning with the principal 
 note. Biilow returns to the older 
 method in most of his editions of the 
 masterworks. Yet we think the Hum- 
 mel method, to begin the trill upon the 
 principal note, the better one. The 
 interval is according to the scale, unless 
 otherwise indicated by accidentals, 
 therefore, it can be either a tone, or a 
 
TRILLANDO 
 
 TRIPLE DOTTED REST 
 
 semi-tone. The wavy line indicating 
 the trill is as old as the time of the 
 Neumes (see Notation). Grace-notes 
 before or after a trill form part of it 
 and are played in the same speed as 
 the trill itself. A trill generally ends 
 
 Written. 
 
 with a turn, especially if it has the 
 rhythmic value of a half-note or more, 
 and if it occurs in an ascending passage 
 (in descending passages the final turn 
 is sometimes omitted) and this turn is 
 indicated by two grace-notes, the note 
 below and the principal note, written 
 after the trill ; these two notes, added 
 to the last beat of the trill, form a 
 turn, naturally. The concluding ^a«- 
 notes are often omitted in careless nota- 
 tion, therefore it is important to re- 
 member this rule. If the trill is begun 
 on the auxiliary note (the upper note) 
 the unequal group at the close disap- 
 pears. See also, Dannreuther's " Mu- 
 sical Ornamentation," and Fay's 
 " Ornaments in Music." 
 
 TrilUndo (It.) (trel-/a«-d6.) Trilling. 
 
 Trilldre (It.) (trel-/ii-re.) To shake ; to 
 trill. 
 
 Trille (Fr.) (trell.) 
 Triller (Ger.) (tn7-ler.) 
 Trfllo (It.) (trel-lo.) 
 
 Triller-kette (Ger.) (/?-r/-ler-,J//-te.) A 
 chain, or succession of shakes. It., 
 Catena di Trilli. 
 
 Trillern (Ger.) (j?H7-lern.) To trill; to 
 shake. 
 
 Trillette (Fr.) (tril-lett.) ■ 
 Trillttta (It.) (trel-/^-ta.) j 
 Trillftto (It.) (trel-/rf-t6.) . 
 
 Trill, imperfect. A trill, or shake with- 
 out a turn at the close. 
 
 Trilli (It.) (trel-le.) Trills, shakes. 
 
 shake ; 
 
 trill. 
 
 A short trill, 
 or shake. 
 
 Trill, perfect. A quick alteration of two 
 notes ending with a turn. 
 
 Trink-gesang (Ger.) {trlnk-^e-zdng.) \ 
 
 Trink-lied (Ger.) (trink-leed.) ) 
 
 A Bacchanalian, or drinking-song. 
 
 Trino (Spa.) (tree-no.) A trill. 
 
 Trinona. An organ-stop, of open 8-foot 
 small scale, and pleasant, gamba-like 
 tone. 
 
 Trio (It.) (tree-o.) A piece for three 
 instruments, or voices. The word trio 
 is also applied to a contrasted song- 
 form in the minuet form of composi- 
 tion. (See Form.) This arose from 
 the custom (in the seventeenth and 
 eighteenth centuries) of placing two 
 minuets in contrast in a single form. 
 This second minuet being generally 
 played by the wood-wind in three-part 
 harmony, soon received the name of 
 the trio, a name which is applied to it 
 still, although it is no longer necessarily 
 in three-part harmony. The trio is 
 generally cantabile in character. The 
 trio appears in marches, walzes, ga- 
 vots, minuets, and much other light 
 music in the minuet (or song form 
 ■with trio) form. 
 
 Triole (Ger.) (tri-c-le.) i a triplet ; a 
 
 Triolet (Fr.) (tri-o-la.) ) group of three 
 notes to be played in the time of two. 
 
 Triomphale (Fr.) (tre-onh-fal.) I Trium- 
 
 Trlonfile (It.) (tre-6n-/o-le.) ) P^al. 
 
 Triomphant (Fr.) (tre-onh-fanh.) ) 
 
 Trionfdnte (It.) (tre-on^/aM-te.) ) 
 
 Triumphant. 
 
 Tripartite. Divided into three parts ; 
 scores in three parts are said to be 
 tripartite. 
 
 Triphony. Three sounds heard together. 
 
 Triple. Threefold, treble. 
 
 Triple counterpoint. Counterpoint in 
 three parts, invertible ; that is, so con- 
 trived that each part will serve for 
 either bass, middle or upper part. 
 
 Triple croche (Fr.) (kro-sha.) A 32nd 
 note, a demisemiquaver. 
 
 Triple dotted note. A note whose length 
 is increased seven-eighths of its original 
 value by three dots placed after it. 
 
 Triple dotted rest. A rest whose value 
 is increased seven-eighths by three 
 dots placed after it. 
 
 a as in ah ; a as in hate ; a as in a< ; e as in tree ; 6 as in ^.4 ; i as in pine / i as in pin ; 
 
 270 
 
TRIPLE OCTAVE 
 
 TROMBONE 
 
 Triple octave. See Tridiapason. 
 Triplet. A group of three notes, played 
 
 in the usual time of two similar ones. 
 Triple time. Such as has an odd, or 
 
 uneven number of parts in a bar, as 
 
 three, or nine. 
 Trlplice (It.) (tre-ple-tshe.) Triple, 
 
 treble, threefold. 
 Triplum (Lat.) (/r§»-lum.) Formerly 
 
 the name of the treble, or highest part. 
 Trisagion (Ger.) (tri-ja-ghe-6n.) i ^ 
 Trisagium (Lat.) (tri-sa-ghe-iim.) ( hymn 
 
 in which the word Holy is repeated 
 
 three times in succession. 
 
 Trisemitonium(Lat.)(<>-/-sem-i-^ij-ni-um.) 
 The lesser, or minor third. 
 
 Trist&za (It.) (tris-fe?-sa.) Sadness, 
 
 heaviness, pensiveness. 
 Triton (Fr.) (tre-tohn.) 
 Tritone (Eng.) (tri-ton.) 1 fli^^'^'; 
 Trit6no (It.) (tre-io-no.) f augmented 
 Tritonus (Lat.) (tre-^o-niis.) J fourth, 
 
 containing three whole 
 
 tones, once held to be the 
 
 worst possible interval in 
 
 music. 
 
 Triumphirend (Ger.) (^ri'-oom./«-rend.) 
 Triumphant. 
 
 Triumphlied (Ger.) {tri-oomi-leed.) Song 
 of triumph. 
 
 Trochaisch (Ger.) (tro-kd-lsh.) Tro- 
 chaic. 
 
 Trochaus (Ger.) (tro-ka-us.) Trochee. 
 
 Trochee (Lat.) (tro-ka.) A dissyllabic 
 musical foot, containing one long and 
 one short syllable, — ■~'. 
 
 Trdmba (It.) {trdmMi..) A trumpet ; 
 also an 8-foot reed organ-stop. 
 
 Trfimba di bdsso (It.) (trom-ba de bas- 
 so.) The bass trumpet. 
 
 Trdmba prima (It.) (trom-ba pre-ma..) 
 First trumpet. 
 
 Trombare (It.) (trom-W-re.) To sound 
 the trumpet. 
 
 Tr6mba secdnda (It.) (irom-h'i sii-ion-da..) 
 
 Second trumpet. 
 Tr6mbe s6rde (It. pi.) (irom-he sKr-de.) 
 
 Trumpets having dampers. 
 Tromb^tta (It.) (trom-i5rf-ta.) A small 
 
 trumpet. 
 Trombone. (Ger., Posaune, It. and Fr., 
 
 Trombono.) This brass instrument is 
 
 5 as in tone ; 6 as in dovej 8 as in not ; fi 
 
 271 
 
 made on two different systems. The 
 valve-trombone lengthens its tube by 
 means of keys which open extra crooks 
 of the tube and thus lengthen it, the 
 slide-trombone has no keys, but is made 
 in two sections, the tubes of which are 
 caused to overlap, so that the player, 
 by drawing them out, can elongate the 
 instrument, and cause it to give differ- 
 ent series of tones. The natural tones 
 are those produced with closed shdes, 
 but in the slide-trombones there is little 
 difference in quality between these and 
 the tones produced with open slides, 
 since the shape of the tube remains 
 unchanged. The trombone with keys 
 is the easier to play, but the slide-trom- 
 bone has the better tone. The slides 
 are drawn into six positions, each one 
 being a semi-tone lower than the one 
 preceding, thus lowering the pitch of 
 the instrument a diminished fifth. The 
 trombone is at present made in three 
 pitches, alto, tenor, and bass. The 
 trombones are generally written in 
 three-part harmony, and are treated as 
 non-transposing. The alto trombone 
 is called the E flat trombone, as, with 
 closed slides, it gives the harmonic 
 series of E flat, beginning not with the 
 fundamental, but with 
 the first overtone. The 
 general compass of the 
 
 =^ 
 
 trombone is a little more than two oc- 
 taves, the pitch of the instrument vary- 
 ing with the length of the tube. Thus 
 an alto trombone, the part for which is 
 written in the alto clef, can play all 
 notes between 
 
 i 
 
 a tenor trombone all between 
 
 * 
 
 and a bass trombone all between 
 
 m 
 
 -%-^ — 
 
 including every intermediate semi-tone, 
 and six semi-tones deeper than the low- 
 est natural tone (given above) by draw- 
 ing the slides, or using the ventils. 
 Each instrument can also sound the 
 
 as in up ; ii the French sound of u. 
 
TROMBONI 
 
 TRUMPET 
 
 note an octave deeper than the one 
 ^ven as the lowest in the above sched- 
 ule. This is however very difficult 
 to do, yet good players can attain this 
 fundamental, by protruding the lips 
 well into the mouthpiece, and can then 
 lower the tone by means of the slides. 
 These deep tones are called the pedal 
 tones and must be sparingly used. The 
 following would be the practicable 
 pedal tones on a tenor-trombone : 
 
 S= 
 
 =t 
 
 =1= 
 
 It 
 
 The pedal tones have a growling, un- 
 pleasant quality. See Fronts " Orches- 
 tra," or A. Elson's " Orchestral Instru- 
 ments." 
 Tromboni (It.) (trom-bo-nee.) Trom- 
 bones. 
 
 Trommel (Ger.) {trdm-m'\>) The military 
 drum. 
 
 Trommel-boden (Ger.) (^?-«»-mWo-d'n.) 
 Bottom of a drum. 
 
 Trommler (Ger.) {irom-lei.) A drum- 
 mer. 
 
 Trommel-kasten (Ger.) {tram-m'l- 
 ids-t'n.) The body of a drum. 
 
 Trommel-klopfel (Ger.) {trdm-m'\- "| 
 
 - ki6p-m.) I 
 
 Trommel-schlagel (Ger.) {trdm-m'\- \ 
 
 sAld-s'\.) J 
 
 Drumstick. 
 Trommel-schlager (Ger.) (irom-m'\- 
 
 sAid-gher.) Drummer. 
 
 Trommeln (Ger.) {<rom-me\n.) To 
 
 drum ; drumming ; beating the drum. 
 Trompa (Lat.) (trom-pa.) ) ^ ^ j_ 
 
 Trompe (Fr.) (tronhp.) ) 
 Trompe de bdarn (Fr.) (tromhp duh- 
 
 ba-am.) The Jews'-harp. 
 Trompete (Ger.) (trom-/J-te.) A trum- 
 pet; also, a reed-stop in an organ. 
 Trompeten (Ger.) (trom-/fl-t'n.) To 
 
 play upon the trumpet. 
 Trompeten-register (Ger.) (trom-/(Z- l 
 
 t'n-re-^.4&-ter.) 1 
 
 Trompeten-zug (Ger.) (trom-/<?-t'n- f 
 
 isiig-.) ) 
 
 Trumpet -stop, or register in an organ. 
 Trompeter (Ger.) (tr6n^-/ii-ter.) ) 
 
 Trompeteur (Fr.) (tronh-pa-tur.) ) 
 
 A trumpeter. 
 
 a as in a^j' a as in hate ; a as in at ; e as in tree ; e as in 
 
 272 
 
 Trompette (Fr.) (tronh-pat.) A trum- 
 pet ; also, a trumpeter ; also, a reed- 
 stop in an organ. 
 
 Trompette a pistons (Fr.) (tronh-pat a- 
 pes-tonh.) The valve-trumpet. 
 
 Trompette harmonique (Fr.) (tronh-pat 
 har-monh-ek.) Harmonic-trumpet, a 
 reed-stop in an organ of 8 or 16-foot 
 tone. See Harmonic Flute. 
 
 Trompette marine (Fr.) (tr5nh-pat ma- 
 ren.) See Trumpet-marine. 
 
 Trompette parlante (Fr.) (tr5nh-pat par- 
 lanht.) A speaking-trumpet. 
 
 Tronco (It.) (tron-ko.) An intimation 
 that the sounds are to be cut short. 
 
 Troop. A quick march ; a march in 
 quick time. 
 
 Troper. A book formerly used in the 
 church, containing the sequences, or 
 chants, sung after the recital of the 
 Epistle. 
 
 Tr6ppo (It.) (trop-po.) Too much; 
 fion trSppo, not too much. 
 
 Troubadours (Fr. pi.) (troo-ba-door.) 
 
 Trouveres (Fr. pi.) (troo-vair.) 
 
 Trouveurs (Fr. pi.) (troo-viir.) 
 
 The bards, and poet -musicians of Prov- 
 ince, and of North France, about the 
 twelfth century. See Rowbotham's 
 " Troubadours and Courts of Love." 
 
 Troupe, opera. A company of musi- 
 cians associated for the purpose of giv- 
 ing operas, generally traveling from 
 place to place. 
 
 Trovatdre (It.) (tro-va-to-re.) A min- 
 strel ; a troubadour. 
 
 Trug-schluss (Ger.) (troog-shloos.) In- 
 terrupted, or deceptive cadence ; an 
 unexpected, or interrupted resolution 
 of a discord. 
 
 Trump. A trumpet ; to blow a trumpet. 
 
 Triib (Ger.) (treeb.) Sad, mournful, 
 gloomy. 
 
 Trumpet (It. Tromba, Fr., Trompette, 
 Ger., Trompete.) A brass instrument 
 with long and narrow tube and a rather 
 shallow mouthpiece. The trumpet is 
 often replaced by the cornet in orches- 
 tral music in America. The substitu- 
 tion is not a good one, since the cornet 
 has a shorter, wider tube and a differ- 
 ent tone quality. The trumpet's nat- 
 ural tones are a harmonic series 
 
 1 as in pine y I as in pin ; 
 
TRUMPET HARMONICAL 
 
 TtmiNG-SLIDE 
 
 beginning on the second overtone of a 
 deep series, while those of the cornet 
 begin on the first overtone of a high 
 series. The following is the natural 
 series of a trumpet in C : 
 
 fe 
 
 i^^ 
 
 *=<*= 
 
 ^ 
 
 The trumpet is generally used in open 
 tones, most of the muted tones sound- 
 ing almost comical and very much like 
 a child's toy, a fact which was taken 
 advantage of by Wagner, in his " Mas- 
 tersingers of Nuremburg," in the pro- 
 cession of the guilds, to usher in the 
 toymakers. The C trumpets are non- 
 transposing, and like the horns, the 
 trumpets are scored in the key of C. 
 There are trumpets in B, B-flat, A, A- 
 flat, and G, transposing downwards, and 
 others in D, E-flat, E, and F, transpos- 
 ing upwards. There is also another 
 trumpet in F, sounding a fifth lower 
 • than written, and bass-trumpets are 
 used by Wagner and others, in various 
 keys, transposing even to a ninth down- 
 ward. The B-flat trumpet is the most 
 used. See Prout's " Orchestra," or A. 
 Elson's " Orchestral Instruments." See 
 also Ventil. 
 
 Trumpet harmonical. An instrument, 
 the sounds of which resemble those of 
 a trumpet, differing from that instru- 
 ment only in being longer and having 
 more branches ; the sackbut. 
 
 Trumpet-marine. An ancient species of 
 monochord, played with a bow, and 
 producing a sound resembling that of a 
 trumpet. It is also called Trumm- 
 scheidt and Tromba marina, but is 
 not a trumpet. 
 
 Trumpet-stop. A stop in an organ hav- 
 ing a tone similar to that of a trumpet. 
 
 Trumpet-stop, octave. A stop in an or- 
 gan sounding an octave higher than the 
 trumpet-stop. 
 
 Trnmpet-yalve. A trumpet the tones of 
 which are changed by the use of valves. 
 See Ventil. 
 
 T. S. The initials of Tasto Solo. 
 
 Tuba (Lat.) (foo-ba.) The name applied 
 te the deepest saxhorns. The tuba 
 is made in different pitches, the deep- 
 est being called the contra-bass (not to 
 be confounded with the string instru- 
 
 ment). The tuba is non-transposing, 
 and is played with keys. It was the 
 invention of a German bandmaster 
 named Wieprecht. Sometimes a fine 
 effect is attuned by using a quartet 
 of tubas, in which case the euphonium 
 and the baritone, both saxhorns of a 
 higher pitch, are employed, together 
 with bass-tubas. Wagner, in the bar- 
 baric Hunding motive in "Die Walkiire," 
 makes masterly use of the tubas. Tu- 
 bas are made with three, four and 
 even five, keys ; also the name of a 
 powerful reed-stop in an organ. See 
 Ventil. 
 Tuba clarion (Lat.) (/»-ba ^/a-ri-on.) A 
 4-foot reed-stop of the tuba species. 
 
 Tuba mirabilis (Lat.) (^-ba m!-ra-bi- 
 lis.) An 8-foot reed-stop, on a high 
 pressure of wind, first introduced into 
 the Birmingham Town Hall organ, 
 and invented by William Hill. 
 
 Tubular instruments. Instruments 
 formed of tubes, straight, or curved, of 
 wood, or metal. 
 
 Tuiau d'orgue (Fr.) (twe-6 d'org.) See 
 Tuyau d'orgue. 
 
 Tumultu6so (It.) (too-mool-too-ff-z6.) 
 Tumultuous, agitated. 
 
 Tune. An air ; a melody ; a succession 
 of measured sounds, agreeable to the 
 ear, and possessing a distinct and 
 striking character; to bring into har- 
 mony. 
 
 Tuning-fork. A small steel instrument, 
 having two prongs, which upon being 
 struck, gives a certain fixed tone, used 
 for tuning instruments, and for ascer- 
 taining or indicating the pitch of tunes. 
 Tuning-forks were invented in Eng- 
 land in 1 7 1 1 , by John Shore, a sergeant- 
 trumpeter in the army. Shore dated 
 his forks, a proceeding that has aided 
 much in ascertaining the old pitches. 
 Tuning-forks are generally made in 
 two pitches — A' (or one-lined A) for 
 orchestra, and C* (or two-lined C) for 
 pianos and organs. 
 
 Tuning-hammer. A steel, or iron utensil 
 used by harpsichord and pianoforte, 
 tuners. 
 
 Tuning-key. A tuning hammer. 
 
 Tuning-slide. An English instrument 
 for pitching the key-note, producing 
 thirteen semi-tones f rom C to C . Also 
 
 5 as in tone ; 6 as in dove ; 8 as in not; tt as in up; ii the French sound of ». 
 
 273 
 
TUdNI ECCLESllsTICI 
 
 TURK 
 
 a crook on some brass instruments 
 
 which by lowering the tone as it is 
 
 drawn out, puts the instrument in pitch 
 
 with the orchestra. 
 Tu6ni ecclesidstici (It. pi.) (tw6-ne ek- 
 
 kla-ze-as-te-tshe.) Ecclesiastical modes, 
 
 or tones. 
 Tu6no (It.) (/OTtf-no.) Atone; a sound; 
 
 a tune. 
 
 Tu6no m^zzo (It.) (two-no met-so.) A 
 semi-tone. 
 
 Turbae (Lat.) The chorus part of voice 
 of the multitude in a Passion music. 
 
 Turkish; 
 
 dlla 
 Tiirca. 
 
 Turca (It.) (<o^-ka.) j 
 
 Turch^sco (It.) (toor-/J«-k6.) > 
 
 Turco (It.) (<tfff?--ko.) ) 
 
 in the style of Turkish music. 
 
 Tiirkisch (Ger.) (/«?'-kish.) See Tiirca. 
 
 Turkish-music. See Janitscharen- 
 musik. 
 
 Turn. An embellishment of four, five, 
 or three notes, being made of the note 
 above and the note below the principal 
 note. It is called Gr«//«//i7 in Italian, 
 Doppelschlag in German, and Groupe in 
 French. Its sign, <-~', came from the 
 neume notation of the dark ages, and 
 showed the direction of the progression 
 of the music. Draw a line through the 
 following group, from note to note, 
 and the origin of the sign of the turn 
 will be at once perceived : 
 
 ^^P 
 
 A line drawn through any sign of em- 
 beUishment, /+', is to denote its inver- 
 sion. The turn is generally played 
 rapidly, but some deviation is made at 
 times, in very slow and expressive 
 passages. The turn takes its rhythmic 
 value from the note over or after 
 which it stands. The intervals of the 
 turn are most frequently a tone for 
 the upper, a semi-tone for the lower, 
 interval, 
 
 f=^P 
 
 but on the third and seventh degrees 
 in a major scale they are a semi-tone 
 above and a tone below unless other- 
 wise indicated, while in a minor scale 
 
 a turn on the fifth degree is generally 
 made of sem,i-tones both above and 
 below. Occasionally there are turns 
 of a tone above and a tone below, but 
 these intervals should never be played, 
 or sung, unless clearly indicated. Such 
 a turn is sometimes found on the sec- 
 ond degree of the major scale (see 
 Schumann's " Der Dichter Sprieht," or 
 " Novellette," in F.) The following 
 general rules for turns may be given. 
 If a turn follows a note and the next 
 note is of a different pitch, play four 
 notes in the last part of the rhythmic 
 value of the principal note : 
 
 Written. Played. 
 
 f^^gi^^ 
 
 Writeen. 
 
 Played. 
 
 %w^\%^^^^ 
 
 But if the next note is of the same 
 pitch play but three notes in the same 
 manner : 
 
 Written. Played. 
 
 EpgEgi^ 
 
 =t3- 
 
 Written. 
 
 Played. 
 
 Let it be clearly understood that a turn 
 over or under a note means something 
 entirely different from the turn after a 
 note, as illustrated above. A turn 
 over (or under) a note takes its time 
 value from the beginning of the note, 
 and is played in two ways. If the 
 note is of any length (even of moder- 
 ate duration) always play three quick 
 notes before the principal note, and 
 accent the latter thus : 
 
 Written. 
 
 N. B. Played. 
 
 But if the note is quite short (and the 
 tempo-mark must guide us somewhat 
 here) let it dissolve entirely in a turn 
 thus : 
 
 a as in a,? ; a as in hate; a. asinat; easin tree; 6asin«;4/ las inpine; iSLsinpini 
 
 274 
 
TURN 
 
 tiJtte c6rde 
 
 Written. 
 
 Played. 
 
 The above two rules are far two little 
 understood by young teachers, yet 
 they are very simple, and almost inva- 
 riable. If, however, the next note is 
 of the same pitch, and the principal 
 note is very short, let it dissolve into a 
 turn, but now beginning with the prin- 
 cipal note : 
 
 Written. Played. 
 
 K it is over a long note follow the pre- 
 ceding rule, which is practically invari- 
 able: A turn over a note of any length, 
 is played as three quick notes before the 
 principal ndle, as in the example 
 marked JV. B. When a turn follows 
 a dotted note and the next note is a 
 single, short, unaccented note, filling 
 out a rhythmical division of the meas- 
 ure, the value of the dotted note is 
 divided into thirds ; on the first third 
 comes the principal note, on the second 
 third, three notes of the turn are played, 
 and on the last third comes the last 
 note of the turn. This forms a group 
 beginning and ending with the same 
 note, and with a note of the same 
 rhythmic value. Example : 
 
 Written. 
 
 Played. 
 
 Occasionally some very slight deviatiqn 
 is made, and the first note played a little 
 longer and the triplet a little shorter 
 than above. If the dotted note be 
 very short we can still follow the above 
 rule, or we can play a group beginning 
 with the principal note to the value of 
 the simple note (without the dot) and 
 then play the principal note to the 
 value of the dot : 
 
 Written. 
 
 Played. 
 
 ^S 
 
 Efe 
 
 ^ 
 
 Turns after long dotted notes, or after 
 such dotted notes as constitute a regu- 
 lar rhythmic division of the measure, 
 
 B as in to?ie ; 6 as in dove ; Q as in not 
 
 do not follow these rules, but are- 
 played as when the turn follows an 
 ordinary note, as in the first example 
 given: 
 
 Written. Played. 
 
 Written. 
 
 Played. 
 
 P 
 
 ^m 
 
 It will be observed that in the last ex- 
 ample the turn takes the value of the 
 dot. Accidentals in turns can be writ- 
 ten to affect either note. When it is 
 intended to affect the upper note the 
 accidental is written above the turn ;. 
 when the lower note is to be affected,, 
 the sign is written below the turn. 
 Accidentals can be written simultane- 
 ously both above and below, affecting, 
 both auxiliary notes. The inverted 
 turn, written ( or ,^», follows the above 
 rules but begins on the lower, not on 
 the upper note. Sometimes, when a 
 note is dissolved into a turn (as in the 
 example next following the one marked 
 N. B.), particularly if the tempo is 
 slow, it may be dissolved into five 
 notes : 
 
 Written. 
 
 Played. 
 
 Tusch (Ger.) (toosh.) A flourish of 
 trumpets and kettledrums. 
 
 Tuthorn (Ger.) (toot-horn.) The horn 
 of a cowherd. 
 
 Ttitta (It.) (too-ta.) ) 
 
 All; the whole; 
 entirely ; quite. 
 
 Tiitto (It.) (too-to.) 
 
 Tutta f6rza (It.) (/(Jo-ta-/J?--tsa.) > 
 
 Ttitta la f(5rza (It.) {too-\.a. la/o>-tsa.) ) 
 
 The whole power, as loud as possible,. 
 
 with the utmost force and vehemence. 
 
 Tutte (It.) (too-te.) ) All, the entire 
 Tiitti (It.) (too-te.) \ band, or chorus ; in 
 
 a solo, or concerto, it means that the 
 
 full orchestra is to come in. 
 
 Tdtte c6rde (It.) (ioo-\.e kSr-Ae.) All the 
 strings ; in pianoforte-music this means 
 that the soft pedal which shifts the ac- 
 tion, must no longer be pressed down. 
 
 u as in K/ ; ii the French sound of ». 
 
 275 
 
TUTTE UNISONI 
 
 UNGARISCH 
 
 Tutti unfsoni (It. pi.) (toot-te oo-ne-20- 
 ne.) All in unison. 
 
 Tiitto drco (It.) (toot-t5 ar-ko.) With 
 the whole length of the bow. 
 
 Tuyau d'orgue (Fr.) (tii-yo d'org.) An 
 organ-pipe. 
 
 Twelfth. An interval comprising eleven 
 conjunct degrees, or twelve sounds, 
 also, an organ-stop tuned twelve notes 
 above the diapasons. 
 
 Twelfth-stop, octave. A stop of an or- 
 gan sounding an octave higher than 
 the twelfth stop. 
 
 Twenty-second. See Octave-fifteenth. 
 
 Tymbale. See Timbale. 
 
 Tympani (It. pi.) {tem -psi-ne.) Kettle- 
 drums. 
 
 Tympano (It.) See Timpano. 
 
 Tympanon (Fr.) (tanh-pa-nonh.) Dul- 
 cimer. 
 
 Tympanum (Lat.) (^''/w-pa-num.) Tim- 
 brel, tabor; old name for the drum. 
 
 Tyrolienne (Fr.) (ti-ro-li-en.) Songs, or 
 dances, peculiar to the Tyrolese. 
 
 U 
 
 Udita (It.) (oo-a?Ma.) ) Heard ; the sense 
 TJdito (It.) (oo-rf^to.) i of hearing. 
 
 ITditfire (It.) (oo-de-^J-re.) An auditor, 
 listener ; hearer. 
 
 TJebereinstimmung (Ger.) (u-bet-m-stlm- 
 moong.) Consonance, harmony, ac- 
 cordance. 
 
 TJebergang (Ger.) (U-her-giing.) Transi- 
 tion; change of key. 
 
 TJebermassig (Ger.) («-ber-»«aj--sig.) 
 Augmented, superfluous. 
 
 Uebung (Ger.) («-boong.) An exercise ; 
 a study for the practice of some pecu- 
 liar difficulty. Uebungsstilck : an exer- 
 cise. 
 
 XTebungen (Ger. pi.) («-boon-ghen.) 
 Exercises, 
 
 Uguale (It.) 
 similar. 
 
 XTguaimtote (It.) 
 Equally, alike. 
 
 TJmSna (It.) (00-ma-na.) 
 TJmano (It.) (00-ma-no 
 human voice. 
 
 XTmfang (Ger.) {oom-ia.ng.) 
 extent. 
 
 S. as in aA , 
 
 {oo-gwa-\e.) Equal, like, 
 (oo-gwal-OT^K-te.) 
 
 a,)) 
 i.) S 
 
 Human 
 umdna. 
 
 vSce 
 the 
 
 Compass, 
 
 Umfang der stimme (Ger.) (oom-fang 
 der stlm-me.) Compass of the voice. 
 
 Umkehrung (Ger.) (ww-ka-roong.) In- 
 version. 
 
 Umore (It.) (po-mor-e.) Humor, play- 
 fulness. 
 
 Umschreibung (Ger.) (oam-shil-hoong.) 
 Circumscription, limitation. 
 
 Un (It.) (oon.) J 
 
 Una (It.) (oij-na.) > A, an, one. 
 
 Uno (It.) (oo-no.) ) 
 
 Unaccompanied. A song, or other vocal 
 composition without instrumental ac- 
 companiment. 
 
 Una cdrda (It.) (00-na iHr-da.) One 
 string, on one string only ; in piano- 
 forte-music it means that the soft 
 pedal is to be used. See Pedal. 
 
 Unbezogen (Ger.) (w»-be-^Jo-ghen.) Un- 
 strung; not furnished with strings. 
 
 Und (Ger.) (oond.) And ; Aria und 
 Chor, air and chorus. 
 
 Unda maris (Lat.) («<»-da md-ns.) 
 Wave of the sea ; an organ-stop tuned 
 rather flatter than the others, and pro- 
 ducing an undulating, or waving effect, 
 when drawn in conjunction with an- 
 other stop ; this effect is sometimes 
 produced by means of a pipe with two 
 mouths, the one a little higher than the 
 other. 
 
 Undecima (Lat.) (iin-</^j-i-ma.) The 
 eleventh. 
 
 Under song. In very old English music 
 this was a kind of ground, or drone 
 accompaniment to a song, and which 
 was sustained by another singer ; called 
 ^Iso burden anAfoot. 
 
 Undulazi6ne (It.) (oon-doo-la-tse-o-ne.) 
 Undulation ; the expressive, tremulous 
 tone produced by a peculiar pressure 
 of the finger upon the strings of the 
 violin. Vibrato. 
 
 Unequal counterpoint. Parts moving 
 in notes of unequal duration. 
 
 Unequal temperament. That method 
 of tuning the twelve sounds included 
 in an octave, which renders some of the 
 scales more in tune than the others. 
 See Temperament. 
 
 Ungar (Ger.) (oon-gar.) 1 Hun- 
 
 Ungarisch (Ger.) (oon-gi-nsh.) \ garian ; 
 in the Hungarian style. 
 
 a.asmAate;a.asmat;eas'm tree / 6 as in f/5 ; i as in pine ; i as in pin ; 
 276 
 
XJNGERADE TAKT-ART 
 
 VALVE HORN 
 
 I 
 
 TIngerade takt-art (Ger.) (<7o«-ghe-/-a-de 
 takt-art.) Triple time ; uneven time. 
 
 Ungestiim (Ger.) (oon-ghes-tum.) Im- 
 petuous. 
 
 XJngezwungen (Ger.) {oon-ghets-voon- 
 
 g'n.) Easy, natural, unstrained. 
 TTnhannoiiious. Dissonant, discordant. 
 TTnharmoniscIier querstand (Ger.) 
 
 (oon-har-mo-nish-er quer-stand.) 
 Unharmonischer umstand (Ger.) (oon- i 
 
 har-mo-nish-er oom-stand.) J 
 
 A false relation. 
 
 Unison. An accordance or coincidence 
 of sounds proceeding from an equality 
 in the number of vibrations made in a 
 given time by a sonorous body ; a tone 
 that has the same pitch with another. 
 
 Unisonance. Accordance of sounds. 
 
 Unisonant. ) Being in unison ; having 
 
 Unisonous. ) the same degree of gravity, 
 or acuteness. 
 
 Unison, augmented. A semi-tone on 
 same degree of staff. 
 
 Unisoni (It. pi.) (oo-ne-a^-ne.) Unisons ; 
 two, three, or more parts are to play, 
 or sing, in unison with each other ; or 
 if this be not practicable, in octaves. 
 Unisono (It.) (oo-ne-zo-no.) ) A uni- 
 Unisonus (Lat.) (u-ni-j-^-nus.) S son; 
 in unison ; two or more sounds having 
 the same pitch. 
 
 Unitam^nte (It.) (oo-neta-OT«'«-te.) To- 
 gether, jointly, unitedly. 
 
 Unsingbar (Ger.) (oon-j&^-bar.) Im- 
 possible to be sung. 
 
 Unstrung. Relaxed in tension ; an in- 
 strument from which the strings have 
 been taken. 
 
 Unter (Ger.) (w»-ter.) Under, below. 
 
 Unter-bass (Ger.) {oon-\.ix-bdss.) The 
 double-bass. 
 
 Unterbrechung (Ger.) i^oon-iix-brl- 
 khoong.) Interruption. 
 
 Unterhaltungs-stiick (Ger.) (oon-ter-/4a7- 
 Xoongs-stiik^ Entertainment ; an 
 
 amusing, bright piece of music. 
 
 Untertasten (Ger.) {pon-thx-tas-Vn^ 
 The white keys. 
 
 Unterricht (Ger.) (oon-iex-rlkht) In- 
 struction, information. 
 
 stopped bass of 3 2 -foot tone in German 
 organs. See Subbourdon. 
 
 Up-bow. The sign A or V. 
 
 Ut (Er.) (oot.) The note C ; the syllable 
 
 originally applied by Gnido to the note 
 
 C, or do. 
 
 Ut b^mol (Fr.) (oot ba-mol.) The note 
 C flat. 
 
 Ut diese (Fr.) (oot dj-az.) The note C 
 sharp. 
 
 Ut diese mineur (Fr.) (oot di-az me-nur.) 
 The key of C sharp minor. 
 
 Ut mineur (Fr.) (oot me-nur.) C minor. 
 
 Ut queant laxis (Lat.) (iit qud-3.xA Idx- 
 is.) The commencing words of the 
 hymn to St. John the Baptist, from 
 which Guido is said to have taken the 
 syllables, ut, re, mi, fa, sol, la, for his 
 solmisation. See Aretinian syllables. 
 
 Ut supra (Lat.) (ut su-pra.) As above; 
 as before. See Come Sopra. 
 
 V. An abbreviation for Violion, Vdlti, 
 (V. S. = volti subito), Voce (m, u. = 
 mezza voce.) Vc, or Vcello, Violoncello; 
 Via, Viola; Y\.,violini. 
 
 Va (It.) (va.) Go on. 
 
 Vaceto fva-tsha-to.) Quick. 
 
 Vaccildndo (It:) (vat-tshe-/a«-d6.) Wa- 
 vering ; uncertain ; irregular in the 
 time. 
 
 Vdgo (It.) (vd-go.) Vague ; rambling ; 
 uncertain, as to the time of expression. 
 
 Valeur (Fr.) (va-liir.) ) The value, 
 
 Val6re (It.) (va-/«-re.) ) length, or dura- 
 tion of a note. 
 
 Valse (Fr.) (vals.) A waltz ; a dance in 
 I time. 
 
 Valse a deux temps (Fr.) (vals a dii 
 tanh.) A quick waltz, in which the 
 dancers make two steps in each 
 measure. 
 
 Valve. A close lid or other contrivance 
 designed to retard or modify the sound 
 of an organ- pipe, or any wind-instru- 
 ment. See Ventil. 
 
 Valve horn. A horn in which a portion 
 of the tube is opened or closed by the 
 use of valves, whereby a higher or 
 lower pitch is obtained. The opening 
 of the valve always lowering the tone. 
 See Horn and Ventil. 
 
 Untersatz (Ger.) (aon-tex-sdtz.) Sup- 
 porter ; stay ; a pedal-register ; double- 
 
 as in tone; 6 as in dove; g as in not; fi as in up; u the French sound of «, 
 
 277 
 
VALVE TRUMPETS 
 
 VERGELLEir 
 
 Valve trumpets, whose tones are varied 
 by the use of valves. 
 
 Vamp . To improvise an accompaniment . 
 
 Variam^nte (It.) (va-re-a-»jif«-te.) ) In a 
 
 Variam^ntO (It.) (va-rea-/«f«-to.) ) va- 
 ried, free style of performance, or ex- 
 ecution. 
 
 Variations. Repetitions of a theme, or 
 subject, in new and varied aspects, the 
 form or outline of the composition 
 being preserved while the different 
 passages are ornamented and amplified. 
 With Bach and Handel they were 
 often called Doubles. 
 
 Variationen (Ger. pi.) (fa-re-a-te-6- j 
 nen.) V 
 
 Variazidni (It. pi.) (va-re-a-tse-c-ne.) ) 
 Variations. 
 
 Variazi6ne (It.) (va-re-a-tse-^-ne.) Va- 
 riation. 
 
 VariitO (It ) (va-re-a-to.) ) Varied ; di- 
 
 Vari6 ■ Fr.) (va-re-a.) \ versified ; 
 with variations. 
 
 Varsovienne. A dance in moderate 
 tempo, and | time. 
 
 Vaudevil. A ballad ; a song ; a. vaude- 
 ville. 
 
 Vaudeville (Fr.) (vo-de-»#/.) A street 
 ballad, or song ; a roundelay ; also, a 
 simple form of operfetta" ; a comedy, or 
 short drama, interspersed with songs. 
 
 Veemtote (It.) (va-w«^«-te.) Vehement, 
 forcible. 
 
 Veem6nza (It.) (va-ffj^«-tsa.) Vehe- 
 mence, force. 
 
 Velata (It.) (va-/a ta.) ) Veiled; a voice 
 
 VeUtO (It.) (va-/a-t5.) ) sounding as if it 
 were covered with a veil. 
 
 Vellutdta (vel-loo-Za-ta.) 1 In a velvety 
 
 Vellutiito fvel-loo-Zii-lo.) (manner; in a 
 soft, smooth, and velvety style. 
 
 Vel6ce (It.) (ve-ZJ-tshe.) 
 
 Velocem^nte (ve-lo-tshe-/H««-te.) 
 quickly ; in a rapid time. 
 
 Velocissimam^nte (It.) (ve-lo-tshes- \ 
 
 se-ma-»/^?z-te.) > 
 
 Velocissimo (It.) (ve-lo-^j-.^^j--se-mo.) ; 
 
 Very swiftly ; with extreme rapidity. 
 Velocita (It.) (ve-lo-tshe-ta.) Swiftness, 
 
 rapidity. 
 Veneziiiiia (It.) (ve-na-tse-o-na.) Vene- 
 tian ; the Venetian style. 
 
 Swift- 
 ly; 
 
 .-til.) , 
 n-^^-le.) ) 1 
 
 Ventile (It.) (ven-^^-le.) f modern wind- 
 instruments for producing the semi- 
 tones ; also, a valve for shutting off the 
 wind in an organ. The keys and valves 
 upon modern brass instruments enable 
 such instruments as the horn or the 
 trumpet, which formerly gave only the 
 broken scale of harmonics, to give an 
 entire chromatic series of tones. The 
 invention dates from the early days of 
 the nineteenth century, and is claimed 
 by several musicians and manufac- 
 turers. It.is probably not entirely due 
 to any one discoverer. The method of 
 using the ventils, valves, or keys, is 
 the same on trombone, tuba, trumpet, 
 horn, or cornet. It is based upon the 
 principle that the longer the lube the 
 deeper is the tone. The keys open 
 certain bends, or crooks, in the tube, 
 which are shut off when the keys are 
 not touched. . The key nearest the 
 mouthpiece opens a short bend ; the 
 middle key one still shorter, the third 
 key (there are generally but three) one 
 longer than either of the other two. 
 These added lengths can be combined 
 together if desired. Thus the natural 
 tube would sound, not one tone, but a 
 series. (See Harm-onics.') The middle 
 key would add a short length to the 
 tube, and cause it to sound all these 
 harmonics a semi-tone lower. The 
 first key would give the series a tone 
 lower ; the third a minor third lower ; 
 the third and second keys combined a 
 major third lower; the first and third 
 combined a perfect fourth lower ; and 
 all three, a diminished fifth lower. See 
 Elson's " Famous Composers and their 
 Woiks," new series, article " Orches- 
 tral Instruments," for a full table of 
 these changes. Those tones, which do 
 not require the use of any key, sound 
 somewhat clearer than those produced 
 with one or more keys down. 
 
 Venusto (It.) {yh-noos-\.o.) Beautiful, 
 gracefully. 
 
 Vepres (Fr.) (vapr.) Vespers ; evening 
 prayers. 
 
 Veranderungen (Gr. pi.) (fe-r(f»-de- 
 roong-en.) Variations. 
 
 Verbindung (Ger.) (fer-^i/z-doong.) Com- 
 bination, union, connection. 
 
 Vergellen (Ger.) (fer-^/5#/-l'n.) To di- 
 minish gradually. 
 
 S as in oy5; a as in hate ; a as mat ; e as in tree; 6asinif/4; i as in pine; ias in pin; 
 
 278 
 
VERGER 
 
 VESPERS 
 
 Verger. The chief officer of a cathedral ; 
 a pew opener, or attendant at a church. 
 
 Vergette (It.) (ver-^«it-te.) ) ThetaU.or 
 
 Verghetta (It.) (ver-^ifMa.) ) stem of a 
 note, 
 
 Vergliedem (Ger.) (fer-^/«-dern.) To 
 articulate. 
 
 Verhallen (Ger.) (fer-,4a/-l'n.) To di- 
 minish gradually. 
 
 Verhallend (Ger.) (fer-^o7-lend.) Dying 
 away. 
 
 Verilay. Street ballad ; a roundelay. 
 See Vaudeville. 
 
 Verlagsrecht (Ger.) {ier-ldgs-rekkt.) 
 Copyright. 
 
 Verloschend (Ger.) (fer-/iS-shend.) Ex- 
 tinguishing. 
 
 Veimindert (Ger.) (fer-»82»-dert.) Di- 
 minished ; diminished interval. 
 
 Vers (Ger.) (fers.) Verse, strophe, 
 stanza. 
 
 Verschiebung (Ger.) (fer-jA«-boong.) 
 The soft pedal ; Mit Verschiebung, 
 with the soft pedal. See Pedal. 
 
 Verschwindend (Ger.) ({er-scAwind-ent.) 
 Vanishing ; dying away. 
 
 Verse. That portion of an anthem, or 
 service, intended to be sung by one 
 singer to each part, and not by the full 
 choir in chorus. In secular music, as 
 A song, or ballad, each stanza of the 
 words is a verse. 
 
 Verse and chorus anthem. An anthem 
 composed of verse and chorus, but 
 commencing with chorus. 
 
 Verse anthem. An anthem which con- 
 tains a solo, duet, etc., or one or more 
 verses. See Verse and Full Anthem. 
 
 Versette (Ger) (fer-j/Z-te.) i Short 
 
 Versetten (Ger.) (fer-jcif-t'n.) ( pieces for 
 the organ, intended as preludes, inter- 
 ludes, or postludes. 
 
 Versetzen (Ger.) (fer-j/iT-tsen.) To 
 transpose. 
 
 Versetzung (Ger.)(fer-j-/i!'-tsoong.) Trans- 
 position. 
 
 Versetzungs-zeichen (Ger.) (fer-j/A 
 tsoongs-z'j'r-kh'n. ) The marks of trans- 
 position, the sharp, the flat, the 
 natural. 
 
 Versicle. A little verse. 
 
 Versikel (Ger.) (fer-.«'l.) U versicle. 
 5.)) 
 
 Verse. 
 {vd'r-io 
 
 a-rff-e-ko.) 
 
 Versmass (Ger.) (fers-mass.) The meas- 
 ure of the verse ; the meter. 
 
 V^rso (It.) (j/<fr-so.) 
 
 V^rso er6ico (It.) 
 Heroic verse. 
 
 V^rso sci6Uo (It.) {vSr-sx> she-»/-to.) 
 Blank verse. 
 
 Verspatung (Ger.) (fer-j/<i-toong.) Re- 
 tardation, delay. 
 
 Verstimmt (Ger.) [iet-sttmt.) Out of 
 tune ; also moody, depressed ; out of 
 humor. 
 
 Vertatur (Lat.) (ver-/o-tiir.) \ ^^^^ ^^^^ 
 
 Verte (Lat.) (vlr-ie.) ) 
 
 Verte subito (Lat.) (z'<*>--te sUb-i-to.) 
 Turn the leaf quickly. See Volii. 
 
 Vertical slur. A Written. Placed, 
 p e r p e n dicular , 
 slur, or curved 
 
 line, denoting 
 
 that the chord before which it stands is 
 to be performed in imitation of harp- 
 music, or in arpeggio style. This mark 
 is now found only in old music. In % 
 modern editions it is written : | 
 
 Vertonen (Ger.) (fer-/iJ-nen.) To cease 
 sounding; to die away. 
 
 Verwandt (Ger.) (ier</andt.) Related, 
 relative keys, etc. 
 
 Verwechselung (Ger.) (fer-z',?.*,4-sel- 
 oong.) Changing, mutation, as to 
 key, tone, etc. 
 
 Verweilend (Ger.) (fer-wf-lend.) Delay- 
 ing ; retarding the time. 
 
 Verwerfung (Ger.) (ier-vfrf-oong.) 
 Transposing. 
 
 Verziert (Ger.) {iet-tslrt.) Embellished, 
 decorated. 
 
 Verzierung (Ger) {iei-tse-xoong.) Em- 
 bellishment, ornament. 
 
 Verzbgerung (Ger.) (fer-^jrf-ghe-roong.) 
 Retardation. 
 
 Verzweiflungsvoll(Ger.)(fer-«z4/2-floongs- 
 foU.) Despairing ; with desperation. 
 
 V,espeTae (Lat.) (ves-pe-re.) Vespers, or 
 the evening service in the Roman 
 Catholic Church. 
 
 Vesper (Ger.) (//j-per.) \ 
 
 V&pero (It.) (j/^j-pe-ro.) > Vespers. 
 
 V^spro (It.) (ves-^xo.) > 
 
 Vespers. Name of the last evening ser- 
 vice in the Roman Catholic Church, 
 consisting chiefly of singing. 
 
 Versillo (Spa.) (ver-j^/-yo 
 
 9 as in tone; 3 as in dove; 8 as in not; ti as in k/; ii the French sound of «. 
 
 279 
 
VESPER BELL 
 
 VIOL 
 
 Vesper bell. The sounding of a bell 
 about sunset in Roman Catholic 
 countries, calling to vespers. 
 
 Vesper hymn. A hymn sung in the 
 evening service of the Roman Catholic 
 Church. 
 
 Vespertini psalmi (It. pi.) (ves-per-^^-ne 
 psal-me.) Evening psalms, or hymns. 
 
 Vezzosam^nte (It.) (vet-tso-za-»«^»-te.) 
 Tenderly, softly, gracefully. 
 
 Vezz6so (It.) (vet-;jff-z5.) Graceful, 
 sweet, tender. 
 
 Vibrinte (It.) {vi-bran-te.) Vibrating ; 
 a tremulous,quivering touch ; full reson- 
 ance of tone. 
 
 Vibrdte (It.) (\-i-6rd-te.) ) A strong, vi- 
 
 Vibrdto (It.) (vi-^?-o-t5.) ) brating, full 
 quality of tone ; resonant. 
 
 Vibration. The tremulous or nndulatory 
 motion of any sonorous body (or of 
 the air) by which the sound is pro- 
 duced, the sound being grave or acute, 
 as the vibrations are fewer or more 
 numerous in a given time. See Acou- 
 stics. 
 
 Vibratisslmo (It.) (vi-bra-^«-se-mo.) 
 Extremely vibrating and tremulous. 
 
 Vlbrdto m61tO (It.) {y\-braAo mal-to.) 
 Extremely rapid. 
 
 Vibrazidne (It.) (vi-bra-tse-o-ne.) Vi- 
 bration, tremulousness. 
 
 Vic^nda (It.) (vi-isAen-da..) Alteration, 
 
 change. 
 Vicend^vole (It.) (vi-tshen-rtfev5-le.) ) 
 Vicendevolemtote (It.) (vi-tshen-de- \ 
 
 vo-la.-men-te.) J 
 
 Alternately ; by turns. 
 Vide (Fr.) (veed.) ) Open ; as oj^en 
 Vido (It.) (z'^-do.) ( slrmgs. 
 
 Viel. An old name for instruments of 
 
 the violin species. 
 
 Viel (Ger.) (feel.) Much ; a great deal ; 
 mt/ vielem tone, with much tone. 
 
 Vielle (Fr.) The hurdy-gurdy. 
 
 Vielleur (Fr.) (ve-yur.) The hurdy- 
 gurdy-player, 
 
 Viel-stimmig (Ger.) (feel-st{m-mig.) For 
 many voices. 
 
 Viel-tonig (Ger.) {feel-td-mg.) Multison- 
 ous ; many-sounding. 
 
 Vier (Ger.) (feer.) Four. 
 
 Vier-fach (Ger.) (feer-fakh.) Fourfold ; 
 
 of four ranks of pipes, etc. 
 Vier-gesang {Ger.){/eer-^e-sang.) Song 
 
 for four voices. 
 Vier-handig (Ger.) (feer-kdn-Aig.) For 
 
 four hands. 
 
 Vier-saitig (Ger.) {fhr-st-tig.) Four 
 stringed. 
 
 Vier-spiel (Ger.) (feer-spel.) Quartet ; 
 for four performers. 
 
 Vier-stimmig (Ger.) {/eer-stim-mig.) 
 Four- voiced ; in four parts ; for four 
 voices, or instruments. 
 
 Vierte (Ger.) {/eer-te.) Fourth. 
 
 Viertel-note (Ger.) (feer-Vl-no-te.) Quar- 
 ter-note, a crochet. 
 
 Viertel-ton (Ger.) (feer-t'l-ifo«.) A 
 quarter-tone. 
 
 Vierundsechzigstel (Ger.) (fier-oaoA- 
 «/S/4-tsig-stel.) Sixty-fourth notes. 
 
 Vier-viertel-tact (Ger.) {feer-feer-i'l- 
 takt.) Common time of four quarters. 
 
 Vler-zweitel-tact (Ger.) {feer-tsvi-t'l 
 takt.) Time of four halves. 
 
 Vierzehn (Ger.) (feer-tsan.) Fourteen. 
 
 Vierzehnte (Ger.) ifeer-tsen-te.) Four- 
 teenth. 
 
 Viet4to (It.) (ve-a-«-to.) Forbidden; 
 prohibited ; a term applied to such in- 
 tervals and modulations as are not 
 allowed by the laws of harmony. 
 
 Vif (Fr.) (veef.) Lively, brisk, quick, 
 sprightly. 
 
 Vigorosam^nte (It.) (vi-go-ro-za-»«i;»- 
 te.) Vigorously ; with energy. 
 
 Vigor6so (It.) (vi-go-rff-zo.) Vigorous, 
 bold, energetic. 
 
 Villageois (Fr.) (vel-la-zhwa.) Rustic ; 
 (J la villageoise, in a rustic style. 
 
 Villdncico (Spa.)(vel-la-/^^-ko.) ) A 
 
 VilUncio (Spa.)(vel-_raK-thi-a.) ) species 
 of pastoral poem, or song. 
 
 Villan^Ua (It.) (veUla-nel-Va.) i ^n qJ^ 
 
 Villanelle (Fr.) {ve-yi.-nel.) ( rustic 
 Italian dance, accompanied with sing- 
 ing. 
 
 Vin4te (It.) (ve-«o-te.) Drinking-songs. 
 
 Vinettes. See Vindte. 
 
 Viol. An old instrument somewhat 
 resembling the violin, of which it was 
 the origin ; it had six strings with frets, 
 and was played with a bow. 
 
 a as in a4; a as in hate ; a as in a// e as in free; 6 asineA; ias inline; ias in pin; 
 
 z8o 
 
VIOLA 
 
 VIOLIIT 
 
 Vi61a. A tenor-violin ; an instrument 
 similar in tone and formation to the 
 violin, but larger in size and having a 
 compass a fifth lower. It is played in 
 the same manner as a violin, and all 
 points of violin execution are possible 
 upon it, but its tone-color is more 
 sombre. It suits best to the expression 
 of a tender melancholy, or gloom. It 
 has four strings, the two lowest of 
 which are wired. It must be borne in 
 mind that it plays the tenor part in the 
 string quartet, and the English call it 
 the tenor-viol, although the French 
 give it the misleading name of Viola 
 Alto. It is notated „ 
 
 in the alto clef, and 
 its four strings are 
 tuned thus : " 
 
 Its compass in orchestral use is about 
 as follows : -^- 
 
 s 
 
 m 
 
 ri 
 
 Viol, bass. The violon- 
 cello ; a stringed in- 
 strument in the form of 
 a violin, but much larger, having four 
 strings, and is performed on with a 
 bow. See Violoncello. 
 
 Vi6Ia da brSccio (It.) (ve-o-la da brcii- 
 tshe-6.) The viSla; thus named be- 
 cause it rested on the arm. From 
 Braccio (arm) comes its German name 
 Bratsche. 
 
 Vi61a d'amore (It.) (ve-J-la d'a-OTo-re.) 
 Viole d'amour (Fr.) {\e-ol A'i-moor. 
 An instrument a little larger than the 
 viola, furnished with frets, and a greater 
 number of strings, seven above the 
 finger-board, and seven below. The 
 name is also given to an organ-stop of 
 similar quality to the gamba,, or salcio- 
 nal. 
 
 Vi(51a poinp6sa (It.) (ve-^-la pom-/ff-za.) 
 An enlarged viol, or viSla, of the same 
 Compass as the violoncello, but with 
 the addition of a fifth string. It is 
 said to have been invented by J. S. 
 Bach. It is no longer used. 
 
 Viol da brdccio (It.) (ve-6l da l>rdi-tsh%- 
 6.) See Viola da Brdccio. 
 
 Viol da gimba (It.) (ve-61 da^o>«-ba.) ) 
 Viol di gdmba (It.) (ve-ol de ^aw-ba.) ) 
 Legviol; an instrument formerly much 
 used in Germany, but now nearly obso- 
 lete. It was a little smaller than the 
 violoncello, furnished vrith frets and six 
 
 strings and held between the legs in 
 
 playing, hence its name. 
 Viol, double-bass. The largest and 
 
 deepest-toned of stringed instruments. 
 
 The contra bass. 
 Viole (Ger.) (fe-.--le.) ) ^he viila. 
 Viol* (Fr.) (ve-ff/.) ) 
 Viole alt (Ger.) (fI-»-le alt.) The tenor 
 
 violin. The viola. 
 Violentem^nte (It.) (ve-o-len-te-»2««-te.) 
 
 Violently ; with force. 
 Viol^nto (It.) (ve-6-&«-to.) Violent, 
 
 vehement, boisterous. 
 Viol^nza (It.) (ve-o-/««-tsa.) Violence, 
 
 force, vehemence. 
 
 Violet. A species of viole d'avidur, with 
 only six strings ; the name is also 
 applied to a gamba-stop of 4-foot tone. 
 
 Violetta (It.) (ve-o-«-ta.) Small alto 
 viol. 
 
 Violicembalo. A pianoforte played with 
 a bow, invented in 1 823. 
 
 Violin. A well-known stringed instru- 
 ment. It is the most perfect musical 
 instrument known, of brilliant tone 
 and capable of every variety of expres- 
 sion. The violin has four strings, 
 which are always spoken of as being 
 of catgut, but are in reality made from 
 the intestines of the sheep, or goat. 
 The G string is wired. The four 
 strings are tuned 
 as follows : 
 
 i 
 
 # 
 
 The ordinary orchestral compass of 
 the violin is about — ^ 
 
 although Wagner and 
 other composers have 
 demanded a greater 
 
 compass from orchestral players. The 
 soloist can play nearly an octave 
 higher. The violin is always notated in 
 the G clef, whence that clef is often 
 called the violin clef. At times the 
 quality of the tone is altered and its 
 power much diminished by an appli- 
 ance called the mute, or sordino. This 
 is a clamp, which being placed upon 
 the bridge, prevents that conductor 
 from freely transmitting the vibrations 
 of the strings to the sounding-board. 
 When this is used it is marked con 
 sordino; when removed from the bridge 
 the music is marked senza sordino. The 
 
 5 as in tone ; Q as in dove; B as in not; ii as in up ; ii the French sound of u. 
 
 281 
 
VrOLINBOGEN 
 
 VIOLONClfeLLO 
 
 violin can produce all embellishments 
 and also all possible emotions from the 
 deepest pathos to the wildest jollity. 
 It is as varied in its expression as the 
 human voice. Like the human voice, 
 too, it is rather a melodic than a har- 
 monic instrument. One can produce 
 two tones simultaneously from the 
 violin, and this is called double-stopping, 
 but single-stopping or producing a 
 ■ single note at a time, is the real charac- 
 ter of the instrument, which, therefore, 
 like the solo voice, needs the support of 
 other instruments. At times the bow 
 of the violin is discarded altogether 
 and the instrument plucked like a 
 guitar; this mode of playing is called 
 pizzicato, and is most effective on the 
 open strings, or in the middle register, 
 since it sounds woodeny and dry in the 
 higher register. High tones of a pe- 
 culiar, piping quality can be produced 
 from the instrument by placing the 
 finger very lightly on the vibrating 
 string at a regular proportion of its 
 length, thus causing it to vibrate in 
 ventral segments and give forth one of 
 its overtones instead of its fundamental. 
 These tones, which require consider- 
 able skill on the part of the performer, 
 are very properly called harmonics, but 
 the Germans call them flageolet tones 
 because their quality resembles that 
 instrument. Double harmonics, that is 
 double-stopping in harmonics, is one 
 of the most difficult points of virtuosity 
 upon the violin. For a full account of 
 the technique of the instrument, its 
 history and its repertoire see Stoe- 
 ving's " The Violin." 
 
 Violinbogen (Ger.) (fee-6-leen-bo-g'n.) 
 A violin-bow. 
 
 Violine (Ger.) (fee-o-leen-e.) The vio- 
 lin ; also, an organ-stop of 8, 4, or 2- 
 foot tone. 
 
 Violinier (Fr.) (ve-o-li-ner.) A violinist. 
 
 Violinist. A performer on the violin. 
 
 Violinista (It.) (ve-o-len-^j-ta.) 1 ^ 
 
 Violinista (Spa.) (ve-o-len-«-ta.) ) violin- 
 
 Violini unisonl (It.) (ve-o-&-ne oo-ne- 
 «i?-Tie.) The violins in unison. 
 
 Violino (It.) (ve-o-/,5«-no.) The violin ; 
 it attained its present shape, with four 
 strings, in the sixteenth century. 
 
 a as in a,i ; a as in hate / a as in a^," e as in tree 
 
 282 
 
 Violino piccolo (It.) (ve-o-/,?^-no pek- \ 
 ko-lo.) I 
 
 Violino poch^tto (It.) (ve-6-/iif-n5 po- f 
 khet-\.o.) J 
 
 A small violin ; a kit. 
 
 Violino primo (It.) {ve-o-lee-no pree- I 
 mo.) ^ I 
 
 VioUno principAle (It.) {ve-o-lee-ali f 
 pren-tshe-/o-le.) J 
 
 The first, or principal violin part ; the 
 leading violin-player, or chefl d'attaque. 
 
 Violin-principal. An 8 or 4-foot organ- 
 stop, with an agreeable and violin-like 
 tone. 
 
 Violin-saite (Ger.) (fee-6-fe«-«-te.) 
 Violin-string. 
 
 Violin-schliissel (Ger.) {iee-o-leen- "] 
 shlUs-s'X.) 1 
 
 Violin-zeichen (Ger.) {iee-o-leen -tsi- \ 
 k'hn.) J 
 
 The treble clef used for the violin. 
 
 Violin-Echule (Ger.) tes-b-leen-shoo-\e.) 
 School for the violin. 
 
 Violin-spieler (Ger.) (iee-o-leen-spe-ler.) 
 A violin-player. 
 
 Violin-steg (Ger.) (fee-o-fe«-stegh.) 
 Violin-bridge. 
 
 Violin-stimme (Ger.) {iee-o-leen-stHm- 
 me.) Part for the violin. 
 
 Violon (Fr.) (vi-o-16nh.) The French 
 name for the violin. 
 
 Violon (Ger.) (R-o-lon.) The double- 
 bass ; see also Violdne. 
 
 Violoncell (Ger.) (fi-5-lon-ifj///.) ^ 
 
 Violonoelle (Fr.) (vi-o-16nh-ja/.) > 
 
 Violoncfllo (It.) (ve-o-lon-^iT/^^Z-lo.) ) 
 The large, or bass violin ; the name is 
 also applied to an organ-stop of small 
 scale, and crisp tone. The instrument 
 took its name from the Violone, the 
 contra-bass viol, and Violoncello means 
 " little Violone." Of course to spell 
 the word, as is sometimes done — Vi6- 
 lincello, makes nonsense of its etymol- 
 ogy. The violoncello is as expressive as 
 the violin but is masculine where the lat- 
 ter is feminine, having a broader, richer 
 tone. It has four strings, the two 
 lower ones being wired. These strings 
 are tuned as fol- p;^ _ ^ 
 
 lows and the 
 compass of the S^ 
 
 e as in eh ;\2& in t-ine ; 
 
 las in. pin'. 
 
VI0L6NE 
 
 VOCE DI CAMERA 
 
 §= 
 
 instrument is about c, 
 All the violin points 
 of technique (^see 
 Violin) are possible upon the violon- 
 cello. Jt is often abbreviated into CelU. 
 "VioWne (It.) (ve-o-/o-ne.) > The name 
 "VioKSno (It.) (veo-/o-no.) j originally 
 given to the double-bass. Its pitch is 
 an octave below that of the violoncello 
 and its true use is to sustain the har- 
 mony ; the name is also applied to an 
 open wood stop, of much smaller scale 
 than the diapason, on the pedals of an 
 organ. 
 
 Viols, chest of. An expression formerly 
 applied to a set of viols, consisting of 
 six, the particular use of which was to 
 play fantasias in six parts, generally two 
 each of bass, tenor, and treble. See 
 Elson's " Shakespeare in Music." 
 
 Virelay. A rustic song, or ballad, in the 
 fourteenth century ; nearly the same as 
 the roundel, but with this difference, 
 the roundel begins and ends with the 
 same sentence, or strain, but the vire- 
 lay is under no such restriction. 
 
 Virgil Practice-Clavier. , A dumb key- 
 board instrument for mechanical piano 
 practice invented by A. K. Virgil, of 
 New York in 1 883. It differs from the 
 old dumb piano in giving a click at 
 the depression and release of the key, 
 and in allowing a gradation of the 
 touch so that one may produce a light 
 or heavy touch upon the keys at will. 
 
 Virginal. A small keyed instrument, 
 much used about the time of Queen 
 Elizabeth, and placed upon a table 
 when played upon. It is supposed to 
 have been the origin of the spinet, as 
 the latter was of the harpsichord. See 
 Elson's " Shakespeare in Music," and 
 Naylor's "An Elizabethan Virginal 
 Book." 
 
 Virtuose (Ger.) (fir-too-o-ze.) ) A skillful 
 
 Virtn6so (It.) (ver-too-ff-z5.) ) perform- 
 er upon some instrument. 
 
 Virtuositat (Ger.) (fir-too-o-zi-tat.) Re- 
 markable proficiency ; fine execution ; 
 applied both to singers and players. 
 
 Vista (It.) (ves-t'a..) Sight ; i. prima 
 vista, at first sight. 
 
 Vistam^nte (It.) (ves-ta-»z^»-te.) ) 
 
 Vitam^nte (It.) (ye-ta-men-te.) > 
 
 Quickly, swiftly, briskly, immediately. 
 
 5 as in tone ; as in dove ; 8 a.s in not ; 
 
 Vite (Fr.) (vet.) ) Quickly, 
 
 Vitement (Fr.) (w^iT-manh.) i swiftly ; «» 
 
 peu plus vite, a little more quickly. 
 Vitesse (Fr.) (ve-tess.) Swiftness, 
 
 quickness. 
 
 Vivice (It.) (ve-z/o-tshe.) ) 
 
 Vivacem^nte (It.) (ve-va-tshe-»2^«-te.) ) 
 
 Lively, briskly, quickly. 
 Vivac^zza (It.) {ve.va.-tshet-sz.!) \ 
 Vivacita (It.) (ve-va-tshe-ta.) ) 
 
 Vivacity, liveliness. 
 Vivacissimo (It.) (ve-va-ir.^?j-se-mo.) 
 
 Very lively ; extreme vivacity. 
 Vivam^nte (It.) (vi-va-OTif»-te.) In a 
 
 lively, brisk manner. 
 Vive (Fr.) (veev.) Lively, brisk, quick, 
 
 sprightly. 
 Viv6nte (It.) (ve-z/?»-te.) Animated, 
 
 lively. 
 Viv^zza (It.) (ve-ii^Msa.) Vivacity, 
 
 liveliness. 
 
 Vivido (It.) (OT-vi-do.) Lively, brisk. 
 
 Vivo (It.) (z/ifif-vo.) Animated, lively, 
 brisk. 
 
 Vocal. Belonging, or relating to the hu- 
 man voice. 
 
 Vocale (It.) (v6-ia-le.) Vocal ; belQng- 
 
 ing to the voice. 
 Vocal^zzo (It.) (vo-ka-/«^tso.) A vocal 
 
 exercise. 
 Vocalization. Command of the voice ; 
 
 vocal execution ; also, vocal writing, or 
 
 composition. 
 
 Vocalize. To practice vocal exercises 
 using the vowels and the letter A, 
 sounded in the Italian manner, for the 
 purpose of developing the voice, and of 
 acquiring skill and flexibility. 
 
 Vocalizes. Solfeggios ; exercises for the 
 voice, also Vocalises. 
 
 Vocalizzare (It.) (v6-ka-lit-iro-re.) To 
 vocalize ; to sinf exercises for the 
 voice. 
 
 Vocalizzi (It. pi.) (vo-ka-///-tsi.) Vocal 
 exercises, to be sung on the vowels. 
 
 Vocal score. An arrangement of all the 
 separate voice parts, placed in their 
 proper order under each other, and used 
 by the conductor of a vocal perform- 
 ance. 
 
 V6ce (It.) (vo-tshe.) The voice. 
 
 V6ce di camera (It.) (vo-tshe de kii-rai.- 
 
 u as in »/ ; ii the French sound of «. 
 
 283 
 
VOCE DI GOLA 
 
 VOIX DE TETE 
 
 ra.) Voice for the chamber; one 
 suited for private, rather than public, 
 singing. 
 
 V6ce di g61a (It.) (vo-tshe de^J-la.) The 
 throat voice ; also, a gutteral voice. 
 
 V6ce di p^tto (It.) (v6-tshe de fet-tb.) 
 The chest-voice, the lowest register of 
 the voice. 
 
 V6ce di t&ta (It.) (vo-tshe de tes-t'i.) 
 The head-voice, Xhe falsetto, or feigned 
 voice ; the upper register of the voice. 
 
 V6ce, mfoza (It.) (vo-tshe met-tsa..) 
 Haii the power of the voice ; a moder- 
 ate, subdued tone, rather soft than 
 loud. 
 
 Vogel-flote (Ger.) (fo-g'l-fl6-te.) Bird- 
 flute. 
 
 Vogel-pfeife (Ger.) (y?-g'l-//«-fe.) Bird- 
 call, flageolet. 
 
 Vogel-gesang (Ger.) (JS-g'l-ghe-san^.) 
 Singing of birds ; an accessory stop in 
 some very old German organs, produ- 
 cing a chirping eff ect,by some little pipes 
 standing in a vessel with water, through 
 which the wind passes to them. 
 
 V6glia (It.) (z/J/-ye-a.) Desire, longing, 
 ardor, fervor. 
 
 Voice. The sound, or sounds, produced 
 by the vocal organs in singing ; applied 
 also to the tuning, and quality of tone, 
 of organ-pipes, the voicing being a 
 most important part of the organ- 
 builder's work. The human voices are 
 classlfled, from lowest to highest, as 
 follows : bass, baritone, tenor, alto, 
 mezzo-soprano, and soprano, or 
 treble. The bass has an average com- 
 pass from great F, or E, to one-lined 
 e. (See Tablaiure.) The baritone 
 from great A to one-lined f ; the tenor 
 from small c to one-lined a or b ; the 
 alto from small g to two-lined d 
 or e; the mezzo-soprano from small 
 a or b to two-lined g or a ; the soprano 
 from middle c (one-lined) to c in alt 
 (three-lined c) or even higher. Sybil 
 Sanderson was easily able to take g in 
 altissi-mo (three-lined g) and in the eigh- 
 teenth century there lived a singer, 
 Agujari by name, who could go much 
 higher. The above voices are sub- 
 divided, especially in operatic work. 
 The deep slow-moving bass is called 
 Beuso Profundo, and, a little higher are 
 the Basso Serio, and the Basso Can- 
 tante. The light, playful bass is called 
 
 Basso Buffo. The baritones are some- 
 times called bass-baritone, or tenor- 
 baritone according to the tone- color of 
 their voices. Tenor voices are divided 
 into Tendre Eroico or Tenore Robusto 
 who sing broad and dramatic works, 
 and Tenore Lirico, who sing light and 
 graceful r&les, and possess flexibility 
 rather than majesty. Alto and con- 
 tralto have no longer any different 
 meaning ; they are identical ; but when 
 one finds an alto voice of smooth 
 and graceful, rather than of broad, 
 character, it is sometimes called a 
 mezzo-contralto. It leans toward the 
 mezzo-soprano voice in its character- 
 istics. See Tenor, Soprano, Descant. 
 Voice, chest. The register of the chest- 
 tones. 
 
 Voice, falsetto. Head voice ; feigned 
 voice ; certain tones in a man's voice 
 which are above its natural compass, 
 and which can only be produced in an 
 artificial, or feigned tone. 
 
 Voice, fourth. The bass. 
 
 Voice, first. The soprano. 
 
 Voice, guttural. A voice produced by a 
 contracted pharynx. 
 
 Voice, head. The highest register of the 
 female voice; the falsetto in male 
 voices. 
 
 Voice parts. The vocal parts ; chorus 
 
 parts. 
 Voice, treble. The soprano. 
 Voicing. The adjustment of the parts of 
 
 an organ-pipe for the purpose of giving 
 
 it its proper pitch and its peculiar 
 
 character of sound. 
 Voix (Fr.) (vwa.) The voice. 
 Voix aigre (Fr.) (vwasagr.) Harsh 
 
 voice. 
 Voix argentine (Fr.)(vwa-sar-zhanh-ten.) 
 
 A clear-toned voice ; a silvery voice. 
 
 Voix cflestes (Fr.) (vwa sa-lest.) Celes- 
 tial voices ; an organ-stop of French 
 invention, formed of two dulcianas, one 
 of which has the pitch slightly raised, 
 which gives to the stop a waving, un- 
 dulating character; also, a soft stop 
 on the harmonium. 
 
 Voix de poitrine (Fr.) (vwa diih pwa- 
 treen.) Chest-voice; natural voice. 
 
 Voix de tete (Fr.) (vwa diih tat.) Head- 
 voice ; falsetto voice. 
 
 a as in a^ ; a as in hate ; a as in at ; e as in tree ; has'mek ; J as in pine ; i as in pin; 
 
VOIX ECLATAKTE 
 
 VORTRAG 
 
 Voix ^clatante (Fr.) (vwa'sii-\iVi-tduAt.) 
 Loud, piercing voice. 
 
 Voldnte (It.) (vo-lan-te.) /'"lying; a 
 light and rapid series of notes. 
 
 VolAta (It.) (v6-/a-ta.) A flight; run; 
 rapid series of notes ; a roulade, or 
 division, 
 
 Volite (It. pi.) (vo-/a-te.) See Voldta. 
 Volatina (It.) (vo-laV^-na.) A little 
 flight, etc. See Voldta. 
 
 Volatlne (It. pi.) (v6-la-^^-ne.) Short 
 runs. See Voldta. 
 
 Vol^e (Fr.) (yo-laf) A rapid flight of 
 notes. 
 
 Volks-gesang (Ger.) {fdlks-^e^-sang^ ) 
 
 Volks-lied (Ger.) (folks-led.) 5 
 
 National song; popular air; tune, or 
 
 ballad. 
 
 Voll (Ger.) (foil.) Full ,• mit vollem 
 
 werke, with the full organ. 
 Volle-orgel (Ger.) (/J/-le-«?--g'l.) Full 
 
 organ. 
 
 Voller (Ger.) (/0/-ler.) Fuller, louder. 
 VoUes-werk (Ger.) (yo/-les-vark.) The 
 full organ. 
 
 VoU-gesang (Ger.) (/oll-ghe-sdng.) 
 Chorus. 
 
 Vollkommen (Ger.) {fdll-kom-raea.) 
 
 Perfect, complete. 
 Voll-stimmig (Ger.) {/oll-stlm-mig.) 
 
 Full-toned, full-voiced. 
 
 Voll-stimmigkeit (Ger.) {/oll-stim-mig- 
 klt.) Fullness of tone. 
 
 VoU-tonend (Ger.) (foll-tS-nead.) Full- 
 sounding, sonorous. 
 
 Volenti (Fr.) (v5-16nh-ta.) Will, pleasure ; 
 iJ volonte, at vpill. 
 
 V61ta (It.) (j/ff/ta.) Time; also, an old 
 air in | time, peculiar to an Italian 
 dance of the same name, and forming 
 a kind of galliard. See Volte. 
 
 V61ta prima (It.) (vol-ta-/r^^-ma.) 
 First time. 
 
 Voltdre (It.) (voUa-re.) To turn; 
 turn over. 
 
 V61ta secdnda (It.) 
 The second time. 
 
 V61te (It.) (val-le.) ) An obsolete dance 
 Volte (Fr.) (volt.) ) in f time, resembling 
 the galliard, and with a rising and leap- 
 ing kind of motion. See Volia. 
 
 to 
 
 (vol-ta se-ion da.) 
 
 Volteggi&ndo (It.) (v61-ted-je-a«-do.) 
 
 Crossing the hands, on the pianoforte. 
 Volteggidre (It.) (vSl-ted-je-o-re.) To 
 
 cross the hands, in playing. 
 V61ti (It.) (vol-te.) Turn over. 
 V61ti sdbito (It.) {vol-ti soo-U-to.) Turn 
 
 over quickly. 
 Volubilita (It.) (vo-loo-bi-Ii-ta.) ) 
 
 Volubilm^nte (It.) (v5-loo-bel-OT^«-te.) ) 
 
 Volubility ; freedom of performance ; 
 
 fluency in delivery. 
 Volume. The quantity of fullness of the 
 
 tone of a voice, or instrument. 
 Voluntary. An introductory performance 
 
 upon the organ, either extemporaneous, 
 
 or otherwise ; also, a species of loccdta, 
 
 generally in two or three movements, 
 
 calculated to display the capabilities of 
 
 the instrument, and the skill of the 
 
 performer. 
 Von (Ger.) (fon.) By, of, from, on. 
 Vorausnahme (Ger.) (^b-rous-riii-me.) 
 
 Anticipation. 
 Vorbereitung (Ger.) (/o7--be-«-toong.) 
 
 Preparation of discords, etc. 
 Vorbereitungsunterricht (Ger.) {for-he^ 
 
 ii-toongs-(7c«-ter-rikht,) Preparatory 
 
 lesson ; elementary instruction. 
 Vorgreifung (Ger.) (for-^T-foong.) j 
 VorgrifE (Ger.) {iox-grrff.) ) 
 
 Anticipation. 
 Vorhalt (Ger.) (for-Mlt.) A suspension, 
 
 or syncopation. 
 Vorher (Ger.) (ior-Adr.) Before; temj^o 
 
 wie vorher, the time as before. 
 Vorsang (Ger.) (ior-sang.) Leading off 
 
 in the song ; act of beginning the tune. 
 Vorsanger (Ger.) (ibx-sdng-ei.) The 
 
 leading singer in a choir ; a precentor. 
 
 Vorschlag (Ger.) (ior-sh/dg.) Appoggi- 
 atura, beat. 
 
 Vorspiel (Ger.) (ior-spel.) Prelude, intro- 
 ductory movement. Wagner has used 
 the Vorspiel in his later operas to re- 
 place the overture. See Overture. 
 
 Vorspieler (Ger.) (for-jjJe-ler.) Leader 
 of the band; the i)nnd.pa,l, prima, per- 
 former upon any orchestral instrument. 
 
 Vorsteller (Ger.) (for-j///-ler.) Per- 
 former, player. 
 
 Vortrag (Ger.) (ior-trdg.) Execution, 
 mode of executing a piece; delivery, 
 
 as in tonej d as in dove; S as in not; ii as in up; li the French sound of ». 
 
 28s 
 
VORTRAGSSTUCK 
 
 WESENTLICHE SEPTIME 
 
 elocution, diction ; the act of uttering 
 or pronouncing. 
 
 Vortragsstiick (Ger.) A piece for per- 
 formance before an audience ; a con- 
 cert-piece. 
 
 Vorzeichnung (Ger.) (ior-istM-noong.) 
 The signature. See Signature and 
 Key. 
 
 Vox (Lat.) (vox.) Voice. 
 
 Vox acuta (Lat.) (vox a.-iu-ta..) A shrill, 
 or high voice. In the ancient music, 
 the highest note in the bisdiapason, or 
 double octave. 
 
 Vox angelica (Lat.) (vox an-j'el-i-ka..) 
 Angelic voice. See Voix Cilestes. 
 
 Vox humana (Lat.) (vox hii-zBo-na.) 
 Human voice; an organ reed-stop of 
 8-foot tone, intended to imitate the 
 human voice which it sometimes does, 
 though very imperfectly. 
 
 Vue (Fr.) (vii.) Sight, as, for example, 
 h fremiire vue ; at sight, a prima vista. 
 
 Vuide (Fr.) (vwed.) Open ; on the open 
 string. 
 
 W 
 
 Waits. An old word meaning oboes ; 
 also, players on the oboes ; persons 
 who play hymn tunes, etc., in the 
 streets during the night, about Christ- 
 mas. See Elson's " Realm of Music," 
 article " Old English Ballads." 
 
 Wald-flote (Ger.) (vald-fl6-te.) Forest- 
 flute, shepherd's-flute ; an organ-stop 
 with a full and powerful tone. 
 
 Waldhorn (Ger.) (v'ald-horn.) Forest- 
 horn; also, the French horn in its natu- 
 ral form, without valves. 
 
 Waltz. The name of a modern dance 
 originally used in Suabia. The measure 
 of its music is triple, usually, in \ time, 
 and performed moderately slow, or, at 
 the quickest, in allegretto. The waltz 
 was derived from the minuet. In the 
 waltz, as in all the dance forms, the 
 phrases are of eight, sixteen, or thirty- 
 two measures, generally. The rhythm 
 of the waltz is marked }, but it will be 
 found that each alternate measure only, 
 has a strong accent ; therefore, almost 
 all waltzes sound best if played as if 
 they were written in J rhythm. In a 
 set of waltzes each waltz is generally 
 in first rondo or song form, but in an 
 extended single waltz the second rondo 
 
 form, or the minuet form, can be used. 
 Berlioz and Tschaikowsky have used 
 the waltz as a symphonic movement. 
 
 Walzer (Ger.) (z/o7-tser.) Waltz. 
 
 Wassail. An old term signifying a 
 merry, or convivial song. 
 
 Wasserorgel (Ger.) (i/flj-ser-tfr-g'l.) Hy- 
 draulic organ. 
 
 Weber chronometer. An instrument 
 similar to a metronome, but simpler in 
 its construction. It consists of a piece 
 of twine, about five feet in length, on 
 which are fifty-five inch spaces, and a 
 small weight at the lower end, the de- 
 gree of motion being determined by 
 the length of string swinging with the 
 weight. Web. Chron |*= 38" Rh. 
 (39^- Eng.) G. Weber copied this 
 from a much older invention, a divided 
 pendulum which was advocated by a 
 Frenchman, Etienne Loulie, in 1696. 
 If Bach and Handel had only used the 
 invention they would have spared the 
 modem conductor much unnecessary 
 trouble in the matter of tempi. 
 
 Wechsel-gesang (Ger.) (z/^/f/i-s'1-ghe- 
 sdng.) Alternative, or antiphonal song. 
 
 Wechsel-noten (Ger. pi.) {vekh-s'\-nd-t'n.) 
 Changing not^: passing notes; notes 
 of irregular transition ; appoggiaturas. 
 
 Wehmuth (Ger.) {vi-mooV) Sadness. 
 
 Wehmiithig (Ger.) (va-«B«-tig.) Sad, 
 sorrowful. 
 
 Weiber-stimme (Ger.) (w-ber-j^m-me.) 
 
 A female voice ; a treble voice. 
 Weich (Ger.) (vikh.) Soft, gentle. 
 Weihnachtslied (Ger.) (wiK-akhts-led.) 
 
 Canticle at Christmas ; Christmas 
 
 hymn, or carol. 
 Weise (Ger.) (vi-ze.) Melody, air, song. 
 Weite harmonie (Ger.) (wt-te har-mo- 
 
 ne.) Dispersed, or open harmony. 
 Weltliche (Ger.) (w^/Mikh-e.) Secular. 
 Weltliche lieder (Ger.) {vett-\ikh-e le-dev.) 
 
 Secular songs. 
 Wenig (Ger.) (vd-mg.) Little ; ein wenig 
 
 stark, a little strong ; rather loud. 
 Werk (Ger.) (vark.) Work, movement, 
 
 action. See Hauptwerk and Oberwerk. 
 
 Wesentlich (Ger.) (»<J-sent-likh.) Es- 
 sential. 
 
 Wesentliche septime (Ger.) (va-sent- 
 lik-e sep-^^-me.) Dominant seventh. 
 
 3 as in a^ / a as in hate ; S as in at ; e as in tree ; 6 as in «,4 ; i as iapine ,• i as iapin; 
 
 286 
 
"WETTGESANG 
 
 ZA 
 
 Wettgesang (Ger.) (v^i-ghe-san^.) A 
 singing-match. 
 
 WhifQe. Anciently, a fife, or small flute. 
 
 Whistle. A small, shrill wind-instru- 
 ment, in tone resembling a fife, but 
 blown at • the end like an old English 
 flute. 
 
 Whole note. A semibreve. 
 
 Whole rest. A pause equal in r » h 
 length to a whole measure in I n 
 
 every modern rhythm except |. 
 
 Whole tone. A tone ; a large second ; 
 a whole step. 
 
 Wieder-anfangen (Ger.) (»^-der-flf«-fan- 
 
 g'n.) To begin again ; to recommence. 
 Wiederholung (Ger.) (w^-der-/5«-loong.) 
 
 Repeating, repetition. 
 
 _ Wiederholungszeichen (Ger.) (z/^-der- 
 Ao-loongs-/j2-khen.) Signs of repeti- 
 tion. 
 
 Wiederklang (Ger.) (ve-der-i/ang-.) ) 
 Wieder-schall (Ger.) (ve-dei-sMI/.) ) 
 Echo, resounding. 
 
 Wind. To give a prolonged and varied 
 sound, as, to wind a horn. 
 
 Wind-chest. An air-tight box under the 
 
 sound-board of an organ, into which 
 
 the wind passes from the bellows, and 
 
 from which it passes to the pipes. 
 Wind-coupler. A valve in the wind- 
 trunk of an organ, to shut off, or on, 
 
 the wind. 
 Wind-instruments. A general name for 
 
 all instruments, the sounds of which 
 
 are produced by the breath, or by the 
 
 wind of bellows. 
 Wind-harfe (Ger.) (vind-hdr-fe.) jEolian- 
 
 harp. 
 Wind-lade (Ger.) (vind-/a-de.) Wind- 
 chest in an organ. 
 Wind-messer (Ger.) (vind-m&-ser. ) 
 
 Anemometer, wind-gauge. 
 Wind-stock (Ger.) (vind-stok.) Cover 
 
 of organ-pipes. 
 Wind-trunk. A large passage in an organ 
 
 through which air is conveyed from the 
 
 bellows to the wind-chest. 
 
 Windzunge (Ger.) (vind-^j<7ff«-ghe.) 
 Tongue of an organ-pipe. 
 
 Winselig (Ger.) (z/fe-se-lig.) Plaintive. 
 
 Wirbel (Ger.) (vfr-h'\.) Peg of a violin, 
 
 5 as in iane ; 6 as in dtrve; 8 as in noi; fi as in »// ii the French sound of u. 
 
 viola, etc. ; the stopper in an organ- 
 pipe ; a roll on a drum. 
 
 Wirbel-kasten (Ger.) (vir-b'l-^aj-t'n.) 
 That part of the neck of a violin, etc., 
 which contains the pegs. 
 
 Wogend (Ger.) (w-ghend.) Waving. 
 
 Wolf. A name applied to an impure 
 fifth, which occurs in pianofortes, or 
 organs, tuned in unequal temperament. 
 Any dissonance caused by imperfection 
 in the tuning, or manufacture, of an in- 
 strument. 
 
 Wood wind. The orchestral wind-in- 
 struments which are made of wood. 
 See Orchestra. 
 
 Wrest. An old name for a tuning-key. 
 
 Wrest-pins. Movable pins in a piano 
 about which one .end of the string is 
 wound, and' by turning which the in- 
 strument is tuned. 
 
 Wrist-guide. A part of the chiroplast, 
 invented by Logier, to assist young 
 pianoforte players in keeping the wrist 
 in proper position. 
 
 Wuchtig (Ger.) (wwr^-tig.) Weightily, 
 ponderously. 
 
 Wiirde (Ger.) {viir-il.) Dignity. 
 
 Wiirdig (Ger.) (viir-dig.) Dignified. 
 
 Wuth (Ger.) (voot.) Madness, rage. 
 
 Xylophone. An instrument composed of 
 dry staves of wood united with straw 
 and struck in the same manner as a 
 dulcimer. It is given many different 
 names as Ger., Strohfiedel Holzharmo- 
 nika; Fr., claquebois lchelette,patouille, 
 xylorganon; It., gigelira, sliccado. It 
 has a compass of a little more than 
 two octaves and gives as much of a 
 click as of a tone. It was used by 
 St. Saens in his Danse Macabre, to 
 picture the bones of skeletons knock- 
 ing against each other. 
 
 Yodel ox Jodel. The peculiar high war- 
 bling of the Swiss and Tyrolean moun- 
 taineers, in which falsetto tones are 
 interspersed with chest-tones. 
 
 Za. A syllable formerly applied by the 
 French, in their church music, to B flat. 
 
 287 
 
ZAMACUCA 
 
 z6ppa 
 
 to distinguish it from B natural, called 
 
 si. 
 Zamacuca. The national dance of the 
 
 Chilians. 
 Zambacucca. A favorite dance of the 
 
 Peruvians. 
 Zampogino (It.) (tsam-po-je-no.) A 
 
 small flageolet, or bagpipe. 
 Zamp6gna(It.) (tsam-/i7«-ya.) i ^^ 
 Zampiigna (It.) (tsam-/ofl«-ya.) ) ancient 
 
 pipe, or bagpipe, now nearly extinct, 
 
 with a reedy tone, resembling, but 
 
 much inferior, to the clarinet. See 
 
 Cornamusa and Chalumeau. 
 Zampognare (It.) (tsam-pon-^a-re.) To 
 
 play on the pipes. 
 Zapateido (Spa.) (tha-pa-te-a-do.) A 
 
 Spanish national dance in which a 
 
 noise is made with the shoe. 
 
 Zapatear (Spa.) (tha-pa-te-a?-.) To beat 
 time with the foot. 
 
 Zapfen-streich (Ger.) {tsap-i'n-strzkh.) 
 The tattoo. In Germany the grosser 
 Zapfenstreich is an impressive finale 
 of a military review, commencing with 
 a grand crescendo roll on the drums of 
 all the regimental bands. 
 
 Zarge (Ger.) (/.raV-ghe.) The sides of 
 a violin, guitar, etc. 
 
 Zart (Ger.) (tsart.) ) Tenderiy, 
 
 Zartlich (Ger.) (/jojW-liikh.) ) softly, 
 delicately. 
 
 Zarte stimmen (Ger. pi.) {tsdr-te stfm- 
 m'n.) Delicate stops. 
 
 Zart-flote (Ger.) {tsdrt-fld-te..') Soft- 
 flute; an organ-stop of the flute species. 
 
 Zarzu^la (Spa.) (thar-thoo-a-la.) A 
 short drama, vrith incidental music, 
 something similar to the vaudeville. 
 
 Zehn (Ger.) (tsan.) Ten. 
 
 Zehnte (Ger.) (tsdn-te.) Tenth. 
 
 Zeichen, alt (Ger.) (to'-khen alt.) The 
 C clef on the third line. 
 
 Zeit-mass (Ger.) (tsit-m'ass.) 
 measure. 
 
 Time, 
 
 Zel. A Moorish instrument of music, 
 similar to the cymbals. 
 
 Zele (Fr.) (zhal.) 1 ™ , , 
 
 ^ ' ^ ' > Zeal, ardor, energy. 
 Z^lO (It.) {tsd-]o.) ( ' ' s.)- 
 
 Zelosam^nte (It.) (tse-16-za-»z«»-te.) 
 Zealously, ardently. 
 
 a as in aA J- a as in Aate; a as in a// e as in free; easini?/4/ ias in pine; las \nptn; 
 
 288 
 
 Zel6sO (It.) (tse-/cr-z6.) Zealous, ardent, 
 earnest. 
 
 Zerstreut (Ger.) {tser-straii.) Dispersed, 
 scattered, with respect to the notes of 
 arpeggios, or chords, the situation of 
 the different parts of a composition, etc. 
 
 Ziemlich (Ger.) {/seem-\ikh.) Tolerably, 
 moderately 
 
 Ziemlich langsam (Ger.) (iseem-iikh 
 Idnff-saxa.) Tolerably slow. 
 
 Zierlich (Ger.) {tseer-Mch.) Neat, grace- 
 ful. 
 
 Zingar^sa (It.) (tsin-ga-r^y-za.) In the 
 style of gypsy music. 
 
 Zingar^sca (It.) (tsin-ga-r^j-ka.) A 
 song, or dance, in the style of the 
 gypsies. 
 
 Zingaro (It.) {tsin-g&-ro.) Gypsy ; in the 
 gypsy style. 
 
 Zink-blaser (Ger.) {tstnk-bld-zer.) Cor- 
 net player. 
 
 Zinke (Ger.) {tslnk-e.) 1 Small 
 
 Zinken (Ger. pi.) (^rf«-k'n.) ) cornet, 
 species of horn, or, trumpet of very 
 ancient date, now almost obsolete. It 
 was made either of wood, or the small 
 branches on the head «■_ the deer. Also, 
 the name of a treble stop, in German 
 organs, which is sometimes a reed, and 
 at others, a mixture stop. 
 
 Zisch (Ger.) (tsish.) A hiss. 
 
 Zischlaut (Ger.) (tsifsh-lout.) A hissing 
 sound. 
 
 Zither (Ger.) (tsit-er.) An instrument 
 which may be called a compound of 
 the harp and guitar. The harmonies 
 of the first-named instrument are pro- 
 duced from it, and it possesses the 
 delicate notes pertaining to both, but 
 not great compass. The zither is also 
 like the lute in the quality of its tones. 
 It is a sweet-toned instrument of about 
 thirty strings (some have a less num- 
 ber), and is plucked by the fingers, 
 and by a hook of iron which is worn on 
 the thumb of the performer. 
 
 Zittern (Ger.) (tsTt-tern.) Trembling. 
 
 Zogernd (Ger.) {tsS-ghemd.) A contin- 
 ual retarding of the time ; hesitating. 
 
 Z61fa (It.) (tsol-ia.) See SJl/a. 
 
 Z6ppa (It.) {tsop-pa.) ^ 
 
 Z6ppe (It.) (/.^:^-pe.) i J^^""^' ^f'JjS- 
 r,, ,^ , {( See Syncopation. 
 
 Z6ppo (It.) (tsop-po.) > 
 
ZORNIG 
 
 ZYMBEL 
 
 Zornig (Ger.) {tsor-nig.) Angry, wrath- 
 ful. 
 
 Zu (Ger.) (tsoo.) At, by, in, to, unto. 
 Zug (Ger.) (tsoog.) Draw-stop, or regis- 
 ter, in an organ. 
 
 Ziige (Ger. pi.) (/j»-ghe.) See Zu^. 
 Ziigeglockchen (Ger.) {tsu-gh.e-gl$k- 
 
 khen.) The passing bell ; a knell. 
 Zuklang (Ger.) (/■wo-klang.) Unison, 
 
 harmony, concord. 
 
 Zunehmend (Ger.) (tsoo-«J-mend.) In- 
 creasing. 
 
 Zunge (Ger.) {tsoi>n-^e.) The tongue 
 of a reed-pipe. 
 
 Zuriickhaltung (Ger.) {tsoo-riik-hdl- 
 toong.) Retardation ; keeping back. 
 
 Zusammen (Ger.) (tsoo-za>»-m'n.) To- 
 gether. 
 
 Zusammen-blasen (Ger.) (tsoo-zaw-ra'n- 
 i/a-z'a.) To play together on wind- 
 instruments. 
 
 Zusammen-gesetzt (Ger.) (tsoo-zam-m'n- 
 ghe-seisi.) Compound ; condensed ; 
 compiled ; put together. 
 
 Zusammen-klang (Ger.) (tsoo-2<iV«-m'n- 
 klang!) Harmony, consonance. 
 
 Zusammen-laut (Ger.) (tsoo-^am-m'n- 
 Imtt.) Harmony, consonance. 
 
 Zusammen-stimmig (Ger.) (tsoo-zaOT- 
 m'n-j/fw-mig.) Harmonious, concor- 
 dant. 
 
 Zusammen-stimmung (Ger.) {Ksoo-zdm- 
 m'n-j/i"/«-moong.) Harmony, con- 
 cord, consonance. 
 
 Zutraulich (Ger.) (tsoo-;?-£ja-likh.) Con- 
 fidently. 
 
 ZuTersicht (Ger.) iysoo-ihx-sHkht^ Con- 
 fidence. 
 
 Zwanzig (Ger.) (?jwa«-tsig.) Twenty. 
 
 Zwei (Ger.) (tsvi.) Two. 
 
 Zwei-fach (Ger.) (/reif-fakh.) i Two- 
 
 Zwei-faltig (Ger.) (tsvi-ys/-tig.) \fold, of 
 two ranks, in organ-pipes ; compound, 
 speaking of intervals, such as exceed 
 the octave ; as the 9th, i6th, etc. 
 
 Zwei-gesang (Ger.) (isvi-gbe-sang.) For 
 two voices ; a duet. 
 
 Zwei-gestrichen (Ger.) {/svt-gties-irfki- 
 en.) WtiA two strokes; applied to C 
 on the third space in the treble and the 
 six notes above. See Tablature. 
 
 Zwei-handig (Ger.) (?j»f-han-digh.) For 
 
 two hands. 
 Zwei-mal (Ger.) (/jz/f-mal.) Twice. 
 Zwei-sang (Ger.) (tsvl-sang.) ) 
 
 Zwei-stimmig (Ger.) {tsvistXm-rc&%) S 
 
 For two voices, or parts ; a duet. 
 Zwei-spiel (Ger.) (tsvi-speel.) A duet. 
 Zweite (Ger.) {tsvt-te.^ Second. 
 Zweite mal (Ger.) (tsvt-te-»«a7.) Second 
 
 time. 
 Zweites manual (Ger.) (to/f-tes ma-noo- 
 
 aV.) The second manual. 
 Zwei-und-dreissigstel-note (Ger.) (tsvi- 
 
 oond-i/rj-sig-stel-w-te.) A thirty-second 
 
 note. 
 Zwei-und-areissigstelspause(Ger.)(tsvI- 
 
 o<3nd-(/«-sigs-tels-/ow-ze.) A thirty- 
 second rest. 
 
 Zwei-viertel-takt (Ger.) (tsvf-/lifr-tel- 
 takt.) Time of two-quarters, |. 
 
 Zwei-zweitel-takt (Ger.) (tsvl-to/«-t'l- 
 takt.) Time of two halves, \. 
 
 Zwerch-flote {G^x:){tsvh-kh-fl6-it.) Trans- 
 verse flute, the German flute. 
 
 Zwerch-pfeife (Ger.) (tsvirkh //i-ie.) 
 Transverse pipe, the fife. 
 
 Zwischen-gesang (Ger.) (/jw^-shen- "i 
 ghe-2a«^.) I 
 
 Zwischen-handlung (Ger.) (to/^-shen- | 
 hdnd-Xoang^ J 
 
 An episode. 
 
 Zwischen-harmonie (Ger.) (/jwr-shen- 
 har-mo-ne.) Between harmony; the 
 connecting harmony in a fugue. 
 
 Zwischen-raume (Ger. pi.) (isvl'-shen- 
 rajr-me.) The spaces between the lines 
 of the staff. 
 
 Zwlschen-satz (Ger.) {tsvi-shea-sa.tz.) 
 Intermezzo ; intermediate thence ; epi- 
 sode. 
 
 Zwischen-spiel (Ger.) (/'jT'z'-shen,speel.) 
 Interlude played between the verses of 
 a hymn. 
 
 Zwischen-ton (Ger.) {tsvi-shen-ton.) In- 
 termediate tone. 
 
 ZwiJlf (Ger.) (tsvolf.) Twelve. 
 
 Zwiilfachteltakt (Ger.) (tsv61f-akh-t'I- 
 takt.) Twelve-eight time. 
 
 Zymbel (Ger.) {tsiim-hl.) Cymbal. 
 
 as in tone; d as in dove; S as in not; fi as in «, ; ii the French sound of a. 
 
 289 
 
A LIST OF PROMINENT FOREIGN 
 COMPOSERS, ARTISTS, Etc. 
 
 Giving the pronunciation of their names and their chief works or claims to fame. 
 
 Abt, Franz (Ahbt.) Eilenburg, 1819 — 
 Wiesbaden, 1885. Songs. " When the 
 Swallows Homeward Fly." 
 
 Adam, AdolphCharles(Ah-dam.) Paris, 
 1803-1856. Light operas. "Postilion 
 de Longjumeau." 
 
 Alard, J. Delphin (AhVa^;-.) Bayonne, 
 1 81 5 — Paris, 1888. Violinist and com- 
 poser of violin works. 
 
 Albani, Emma (Abl-^a;i»-ee.) Canada, 
 1850. Singer. 
 
 Amati, Nicolo fAh-OTa^-tee.) Italy, 
 1596-1684. Violin-jnaker. 
 
 Arditi, Luigi {PCax-dee-\.ee. Loo-<fi?-gee.) 
 Conductor. Italy, 1822. — Brighton, 
 Eng., 1903. 
 
 Arensky, Anton Stepanovitch {Pi^-ren- 
 schkee.) Novgorod, Russia, 1862. 
 Composer. Orchestral and operatic 
 works. 
 
 Arne, Dr. Thomas Augustine. Lon- 
 don, 1710-1778. Much vocal music. 
 Many celebrated songs. 
 
 Artchibouchefi, Nicolas V. (Ahr- 
 /jf;4<?^-boo-shef .) Tsarskoe-Sielo, Rus- 
 sia, 1868. Pianist and composer. 
 
 Auber, Daniel, F. E. (0,4-behr.) Caen, 
 France, 1782 — Paris, 1871. Operas. 
 " Masaniello. 
 
 Audran, Edmond (0.4-drahng.) Lyons, 
 1842 — Tierceville, 1901. Light operas. 
 " La Mascotte." 
 
 Aus der Ohe, Adele (Ous-der-oA-eh.) 
 Classical pianist and composer. 
 
 Bach, Johann Sebastian (Bahchh.) 
 Eisenach, 1685 — Leipsic, 1750. 
 " Passion Music," B minor Mass, 
 " Well-tempered Clavichord," Two 
 and three-part inventions. Organ 
 works. 
 
 Bach, Karl Philipp Emanuel. Wei- 
 mar, 1 7 14 — Hamburg, 1788. Third 
 
 son of above. One of the founders of 
 piano-technique. First good piano 
 method, 1753. 
 Backer-Grdndahl, Agatha (Bahker- 
 Grdhn-&3)[A.) Norway, 1847. Pianist 
 and composer. 
 
 Balakirew, Milly A. (Bah-&^-kee-re£f .) 
 Nijni- Novgorod, Russia, 1836. Com- 
 poser in all large forms. Symphony, 
 overture, etc. Very difScult piano 
 piece — " Islamey." 
 
 Balfe, Michael Wm. Dublin, 1808 — 
 England, 1870. Lyric operas. " The 
 Bohemian Girl." 
 
 Bantock, Granville. London, 1868. 
 
 Composer in large and small forms. 
 Bargiel, Woldemar (Bahr-%eA.) Ber- 
 
 Un, 1828-1897. Composer in large and 
 
 small forms. 
 
 Barnby, Sir Joseph, York, England, 
 1838 — London, 1896. . Organist, con- 
 ductor, and composer of much sacred 
 music, hymns, etc. 
 
 Bauer, Harold (Biyw-er.) Pianist. 
 London, 1873. 
 
 Bazzini, A. (Bah-iseen-ee.) Brescia, 
 1 8 1 8 — Milan, 1897. Violinist . 
 
 Beethoven, Ludwig van (Bay-ioh-ven, 
 not Bay-toA-ven, and van not von.) 
 Bonn, 1770 — Vienna, 1827. Nine 
 great symphonies, thirty-eight sonatas 
 for the piano, ten for violin and piano, 
 five piano concertos, one violin con- 
 certo, eleven overtures, sixteen string 
 quartets, one opera — " Fidelio" — a 
 great contrapuntal Mass, an oratorio, 
 etc. The composer who best combined 
 intellectual and emotional qualities in 
 his music. 
 
 Behr, Franz (Bare.) Germany, 1837. 
 Light piano pieces. 
 
 Bellini, Vincenzo (Bell-few-ee.) Cata- 
 
 291 
 
BENDEL, FRANZ 
 
 CALVE, EMMA 
 
 nia, Sicily, 1 802 — Paris, 1835. Oper- 
 atic composer. " La Somnambula," 
 " Norma," " Puritani." 
 
 Bendel, Franr {Bend-d\.) Bohemia, 
 1833 — Berlin, 1874. Pianist and com- 
 poser of salon-pieces. 
 
 Beriot, Charles Augustus de (De Bair- 
 yoh.) Louvain, 1802 — Brussels, 1870. 
 Violinist and violin composer. 
 
 Berlioz, Hector {Bair-\ee-6\as, not Bair- 
 lee-oh.) Near Grenoble, France, 
 1803 — -Paris, 1869. The earliest of 
 the great orchestral colorists. Wrote 
 the largest orchestral works in " Pro- 
 gram-music " style. (See Pro- 
 gramme-music.) " Symphonie Fan- 
 tastique," " Childe Harold Symphony," 
 " Romeo and Juliet Symphony," " Car- 
 naval Romaine Overture," etc. Four 
 large operas and large choral works. 
 Great Requiem, " Damnation de Faust," 
 " Les Troyens," etc. 
 
 Best, Wm. T. Carlisle, 1826 — Liver- 
 pool, 1897. Organist and composer. 
 Important organ studies. 
 
 Bishop, Sir Henry R. London, 1786- 
 1855. Operas, ballads, songs, etc. 
 "My Pretty Jane." Believed to have 
 composed " Home, Sweet Home." 
 
 Bizet, Georges (Bee-zay.) Paris, 1838 — 
 Bougival, 1875. Great French com- 
 poser. " Carmen," " Suites Arlesi- 
 ennes," etc. 
 
 Boccberinl Lulgl (Bock-er-«^-nee.) 
 Lucca, 1743 — Mairid, 1805. Violon- 
 cellist and composer in all forms. 
 
 Bohm, Carl (Bom.) Berlin, 1844. 
 Many piano pieces. 
 
 Boleldleu, Francois Adrlen ' (Bwahl- 
 dyay.) Rouen, 1775 — Jarcy, 1834. 
 Operatic composer. " La Dame- 
 Blanche," chief work. Overtures to 
 " Jean de Paris " and " Caliph of Bag- 
 dad " often performed. 
 
 Boito Arrigo (Boh-«-toh.) Padua, 1842. 
 Composer and poet. Opera, " Mefis- 
 tofele." Librettos to Verdi's " Otello " 
 and " Falstaff." Pseudonym is " Tobio 
 Gorria," an anagram. 
 
 Bordogni, Glullo Marco {Bor-dokn- 
 yee.) Bergamo, 1788 — Paris, 1856. 
 Tenor and vocal teacher. Many exer- 
 cises for voice. 
 
 Borodin, Alexander P. (^OT-oh-deen.) 
 
 St. Petersburg, 1834 — 1887. Sym- 
 phonies, opera, and other large forms. 
 Bortnianski, Dlmitri (Bon-niahn- 
 schki.) Russia, 1752 — -1825. The 
 Russian Palestrina. Some great sa- 
 cred music. Chiefly for the Greek 
 Church service. 
 
 Brahms, Johannes (German "a" is 
 sounded.) Hamburg, 1833 — Vienna, 
 1897.) Four great symphonies. Ger- 
 man Requiem, powerful choral work. 
 Violin concerto; sonatas, chamber- 
 music, etc. The greatest recent clas- 
 sicist. 
 
 Brassin, Louis {Brass-sa.ng.) Aix-la- 
 Chapelle, 1840 — St. Petersburg, 1884. 
 Pianist and composer. 
 
 Breitkopf & Hartel {Brighi-^opi and 
 Hair-X\.) Leipzig music-publishers, 
 founded in 17 19. 
 
 Bruch, Max (Broochh.) Cologne, 1838. 
 Choral works, cantatas, etc. " Frithjof," 
 " Fair Ellen," "Arminius," " Odysseus," 
 etc. Violin concerte in G minor, and 
 two others of less rank. 
 
 Bruckner, Anton {Brook-ner.) Ausfel- 
 den, Austria, -1824 — Vienna, 1896. 
 Composed in large forms. Nine sym- 
 phonies. Very free in form. Enthusi- 
 astic Wagnerite, and endeavored to 
 adapt his theories to symphonic forms. 
 
 Briill, Ignaz (Brill.) Moravia, 1846. 
 Operas. "The Golden Cross." 
 
 Bruneau, Alfred {'Rvi-noh, acute French 
 "u.") Paris, 1857. Operas. " L'Attaque 
 du Moulin." 
 
 Bull, Die (Bool, O-leh.) Norway, 1810- 
 1880. Violinist and composer. 
 
 Buonamici, Giuseppe (Boo-oh-nah-»z^^- 
 chee.) Florence, 1846. Pianist and 
 conductor. Piano etudes, etc. 
 
 Billow, Hans Guido von (.ffif^-loh, fon, 
 the French "u" sound in first syllable.) 
 Dresden, 1830 — Cairo, 1894. Pianist, 
 conductor, and editor of many musical 
 classics. 
 
 Bungert, August {Boong-gext.) Miihl- 
 heim, 1846. Great German operas in 
 modem school. 
 
 Busoni, Feruccio (fioo-zohn-ee.) Near 
 Florence, 1866. Pianist and composer 
 in extreme modern instrumental school. 
 Has edited Bach's piano works. 
 
 Calve, Emma {Kakl-veh.) Madrid, 1864. 
 Celebrated operatic singer and actress. 
 
 292 
 
CARRENO, TERESA 
 
 DE RESZKE, JEAN 
 
 Carreno, Teresa (Cahr-ra»«-yo.) Vene- 
 zuela, 1853. Pianist. 
 
 Chabrier, Alexis E. (SAaA-hiee-a.y.) 
 Puy-de-Dome, 1841 — Paris, 1894. 
 French composer, operas, etc. 
 
 Chaminade, C£cile (Sha-mee-«o^rf.) 
 Paris, 1861. Graceful songs, piano- 
 pieces, etc. 
 
 Charpentier, Gustave (Shar-pahn-tiay.) 
 Lorraine, i860. Opera " Louise," 
 Cantata, " Vie du Poete," etc. One of 
 the leading French composers of the 
 present. 
 
 Chausson Ernest (SAoA-song.) France, 
 1855-1899. Orchestral works. Sym- 
 phonic poem " Viviane ; " opera " Le 
 Roi Arthus," etc. 
 
 Cherubini, Luigi (Keh-roo-*e^-nee.) 
 Florence, 1760 — Paris, 1842. Pure 
 classicist. Opera " Deux journees " 
 ("The Water-carrier"). Two great 
 Requiems, Many compositions in a 
 noble contrapuntal school. 
 
 Chopin, Fr^d&ic (iVJo-pang, last syllable 
 nasal.) Poland, 1810 — Paris, 1849. 
 Some doubts about date of birth. The 
 poet of the piano. Reputation rests 
 wholly upon piano compositions. 
 
 dementi, Muzio (Kleh-men-tee.) Rome, 
 1752 — England, 1832. Piano-peda- 
 gogue. Piano studies, " Gradus ad 
 Parnassum." One of the most important 
 of early technical works. 
 
 Coleridge-Taylor, Samuel. London, 
 1875. The first eminent musical com- 
 poser of African descent. Writer in 
 large and small forms. Symphony, 
 chamber-music, cantatas, etc. " Hia- 
 watha," a large cantata, chief work. 
 
 Concone, G. (Kon-^«^«-eh.) Turin, 
 1810-1861. Vocal-teacher. Wrote 
 some very popular vocalises. 
 
 Corelli, Arcanpelo (Koh-r^Wee.) Fu- 
 signano, Italy, 1653 — Rome, 1713. 
 Great violinist and composer. Helped 
 the " sonata-allegro " (see Sonata) 
 greatly. 
 
 Cornelius, Peter (Kor-way-lee-oos.) 
 Mayence, 1824- 1874. Follower of 
 the Wagnerian school. Chief opera, 
 " The Barber of Bagdad." 
 
 Couperin, Franfois (j?«o?>-e-rang, last 
 syllable nasal.) Paris, 1668-1733. 
 One of the greatest of the old harpsi- 
 chord and spinet composers. 
 
 Cowen, Frederic H. Kingston, 
 
 Jamaica, 1852. Excellent composer 
 in all forms. " Scandinavian Sym- 
 phony" best work. 
 
 Cramer, Johann Baptist (A>a,4-mer.) 
 Mannheim, 1771 — London, 1858. 
 One of the eminent piano-pedagogues. 
 Important studies for the instrument. 
 
 Cristofori, Bart (Kris-to/c^-ree.) Padua, 
 1653 — Florence, 1731. Inventor of 
 the pianoforte, 1709-11. 
 
 Cui, C£sar A. (Quee.) Vilna, Russia, 
 1835. One of the prominent com- 
 posers of the new Russian school. 
 Operas, symphonies, etc. 
 
 Curwen, Rev. John. Yorkshire, 1816. 
 — Manchester, 1880. Chief founder 
 of tonic sol-fa system (which see) . 
 
 Czemy, Carl (Tif/iazV-nee.) Vienna, 
 1791-1857. One of the important 
 workers in piano-technique. Numerous 
 studies of all grades of difficulty. 
 
 D'Albert, Eugen (Z>o/4/-bair.) Glasgow, 
 1864. Pianist and composer. Several 
 operas. 
 
 Dancla, Charles {Dahnk-Xih^j Bag- 
 neres-de-Bigorre, France, 1818. Vio- 
 linist and composer. Many violin 
 works and studies. 
 
 Dargomyzsky, Alexander S. (Dahr-goh- 
 misch-^x.^.') Russia, 1813-1869. 
 Many operas. 
 
 David, Ferdinand (Z>a;4-veed.) Ham- 
 burg, 1810 — Switzerland, 1873. Violin- 
 ist and composer. 
 
 David, F^licienC. Cadenet, 1810 — St. 
 Germain, 1876. Composed in all forms. 
 Great success in France and elsewhere. 
 Ode-symphonie, " Le Desert." 
 
 Debussy, Achille Claude (Deh-^»j-see.) 
 St. Germain-en-Laye, 1862. Very 
 characteristic French composer ; one of 
 the prominent figures of the present. 
 Orchestral, vocal, and piano works. 
 " L'Apres-midi d'un Faune," for or- 
 chestra. Very delicate sketches for 
 piano. 
 
 Delibes, L60 iji^-leeb.) St. Germain- 
 du-Val, 1836 — Paris, 1891. Com- 
 poser of operas and ballets of much 
 delicacy and grace. Opera, " Lakme" ; 
 Ballet, " Coppelia." 
 
 De Reszk^, Jean (Deh ReschAsA^i.) 
 Warsaw, 1852. Prominent tenor. 
 
 293 
 
 i J 
 
DOHNANYI, ERNEST VON 
 
 GOLDMARK, KARL 
 
 Dohnanyi, Ernest von (Doh-nan-yee). 
 Pressburg, Hungary, 1877. Pianist 
 and composer. 
 
 Donizetti, Gaetano (Doh-nee-^«/-tee.) 
 Bergamo, 1797-1848. . Operatic com- 
 poser. " Lucia di Lammermoor," 
 " Fille du Regiment," " Linda," " Don 
 Pasquale," " La Favorita," " Lucre- 
 zia Borgia," and many others. 
 
 Dubois, Theodore {T)\i-iwaA.) Rosnay. 
 1837. Operas, oratorios, etc. Chief 
 oratorio, " Paradise Lost." 
 
 Dussek, Johann L. (DoD-scheck.) Bo- 
 hemia, 1761 — St. Germain-en-Laye, 
 1812. Composer in all fields. Piano 
 sonatas still important. 
 
 Dvo'dk, Antonin {jOvar-zhak.) Miihl- 
 hausen, Bohemia, 1841 — Prague, May 
 I, 1904. Composer in all fields of 
 music. Bohemian operas ; " Stabat 
 Mater," "Spectres Bride," "St. Lud- 
 milla." Requiem Mass, five symphonies 
 including " From the New World," 
 chamber-music, piano works, songs, 
 etc. 
 
 Elgar, Sir Edward. Broadheath, Wor- 
 cester, England, June 2d, 1857. Most 
 prominent English composer. Oratorio, 
 " Dream of Gerontius," " The 
 Apostles " ; songs with orchestra, 
 "Sea Pictures," etc.; orchestral varia- 
 tions, overtures, etc. 
 
 Faure, J. (Fohr.) France, 1830. Singer. 
 Composer of " Palm Branches." 
 
 FavLvi, Gabriel (Fohr-oj'.) (Often con- 
 founded with the above.) Pamiers, 
 France, 1845. Prominent composer 
 in all forms, from symphonies to songs. 
 
 Field, John. Dublin, 1782 — Moscow 
 1837. Piano composer. First writer 
 of nocturnes. 
 
 Fielitz, Alex von (./vi?/-its.) Leipsic, 
 
 i860. Excellent vocal composer. 
 
 Vocal cycle " ElUand." 
 Flotow, Frederick von (F/oA-toh.) 
 
 Mecklenburg, 1812 — Darmstadt, 1883. 
 
 Operatic composer. " Martha." 
 
 Franchetti, A. (Frahn-^^^-tee.) Turin, 
 1850. Important Italian composer, 
 chiefly operatic. 
 
 Franck, C63ar Auguste (Frahnk.) 
 Li^ge, 1822 — Paris, 1890. Most im- 
 portant composer and teacher. Founder 
 of the most modern French school of 
 choral and orchestral work. " Beati- 
 
 tudes," orchestral and chorus. " Chas- 
 seur Maudit," orchestra, a noble sym- 
 phony, etc. 
 Franz, Robert (Frahnts.) Family name 
 Knauth, changed by royal permission. 
 Halle, 1815-1892. One of the great- 
 est of " Lied " composers. His songs 
 equal those of Schumann and Schu- 
 bert. 
 
 Gabrilowitch, Ossip (Ga-bril o,4-vitsch, 
 not Ga-ir27-oh-vitsch.) St. Petersburg, 
 1878. Pianist. 
 
 Gade, Niels Wilhelm {GaA-deh.) Co- 
 penhagen, 1817-1890. Composer. His 
 cantatas are most performed of his 
 works. 
 
 Gadski, Johanna(Ga.4^-skee.) Anclam, 
 Prussia, 1871. Celebrated soprano. 
 Dramatic school. 
 
 Garcia (Ga^-^thee-a.) Noted family of 
 singing-teachers and singers, of whom 
 Manuel (Madrid, 1805) invented the 
 laryngoscope. 
 
 Genee, Franz F. R. (Zhe-way.) Dant- 
 zig, 1823 — Vienna, 1895. Comic 
 operas. 
 
 Gerardy, Jean (Zhe-rar-dy.) Luttich, 
 1878. Violoncellist. 
 
 German J. Edward, Shropshire, Eng- 
 land, 1862. Composer in large forms. 
 Symphonies, suites, etc. 
 
 Gericke, Wilhelm ( G«^-rick-eh.) Graz> 
 1845. Orchestral-conductor. 
 
 Glazounow, Alexander (Glaz-oo-«^) 
 St. Petersburg, 1865. Important Rus- 
 sian composer in large orchestral forms. 
 Symphonies and symphonic poems. 
 
 Glinka, Michail Ivanovitch (G/zw-ka.) 
 Novospaskoi, Russia, 1804 — Berlin, 
 1857. First great Russian composer 
 in secular vein. First of new Russian, 
 national scho6l. Operas, etc. " Life 
 for the Czar," " Russian and Ludmilla." 
 
 Gluck, Christoph Willibald (Glook.) 
 The name is sometimes misspelled 
 Gliick.) Weidenwang, 1714 — Vienna, 
 1787. Founder of true dramatic 
 opera. " Orpheus." 
 
 Godard, Benjamin {Go-da&r.) Paris, 
 1849 — Cannes, 1895. Operas, orches- 
 tral works, chamber-music, charming 
 songs, and piano pieces. 
 
 Goldmark, Karl (Go/Z-mark.) Hungary, 
 1830 (often misstated, 1832). Operatic 
 and orchestral composer. " Queen of 
 
 294 
 
GOUNOD, CHARLES 
 
 KNEISEL, FRANZ 
 
 Sheba," « Heimchen am Herd," " Rus- 
 tic Wedding Symphony," etc. 
 Gounod, Charles (Goo-noh.) Paris, 1818 
 -1893. Operatic and oratorio com- 
 poser. " Faust,"" Romeo and Juliet," 
 " Mireille," " Redemption," " Mors et 
 Vita," celebrated Mass, etc. 
 
 Grieg, Eduard Hagerup (Greeg) Bergen, 
 1843. Greatest Norwegian composer 
 in orchestral, piano, and vocal works. 
 " Peer Gynt " suite ; piano concerto ; 
 song-albums ; piano sketches ; violin 
 sonatas ; and chamber-music. 
 
 Guilmant, Alexandre (Geel-mang.) 
 Boulogne, 1837. Great organist and 
 composer for the instrument. 
 
 Handel, George Frederic (Handle.) 
 Name properly spelled Handel, but 
 custom sanctions the spelling given. 
 Oratorios. " The Messiah" " Israel in 
 Egypt," and " Judas Maccatjaeus." 
 
 Haupt, K. August (Howpt.) Silesia, 
 1810 — Berlin, 1891. Celebrated or- 
 ganist and teacher. Many prominent 
 American organists and composers 
 were his pupils. 
 
 Hauptmann, Moritz {//awpi-man.) 
 Dresden, 1792 — Leipsic, 1868. The- 
 orist, composer and teacher. Many 
 valuable instruction-books. 
 
 d'Hardelot, Guy (Ghee-<252^(/-loh.) Real 
 name Mrs. Rhodes. Born near 
 Boulogne. Many popular and beauti- 
 ful songs. Resides in London. 
 
 Haydn, Josef (I/i^A-dn.) Rohrau, 1732 
 — Vienna, 1809. Composer in all the 
 large forms. "The Creation," The 
 English Symphonies, some charming 
 string quartets, Austrian national 
 hymn, piano (spinet) sonatas. 
 
 Heller, Stephen. Pesth, 1815 — Paris, 
 1888. Piano studies. 
 
 Helmholtz, Hermann L. (.^^/>K-holts.) 
 Potsdam, 1 82 1 — Charlottenburg, 
 
 1894. Acoustician. Discoverer of 
 the laws of the overtones, (^fee Ifar- 
 mo7tics and Acoustics^ Chief work, 
 " The sensations of tone." 
 
 Henschel, Georg (.^»-shl.) Breslau, 
 1850. Composer, conductor, etc. 
 Many songs, and a requiem. 
 
 Henselt, Adolf von (.ff^«-slt.) Bavaria, 
 1814 — Pilesia, 1889. Pianist and com- 
 poser, a famous piano concerto, etudes, 
 etc. 
 
 Holmes, Augusta Mary Ann (0/-mes, 
 but properly Augusta Holmes.) Paris, 
 1847-1903. Born of Irish parents. 
 Composed in large forms. One of the 
 chief woman composers. 
 
 Huber, Hans {Hoo-hex) Switzerland, 
 1852. Excellent symphony inspired 
 by Boecklin's paintings. 
 
 Hummel, Johann Nepomuk {Hoom- 
 ml.) Pressburg, 1778 — Weimer, 1837. 
 Noble septet, fine sonatas, etc. 
 
 Humperdinck, Engelbert {Hoom--pex- 
 dink.) Near Bonn, 1854. Folk-song 
 opera, " Hansel and Gretel." 
 
 Indy, Vincent d' {Dan-Ay, but with nasal 
 touch on first syllable.) Paris, 1 851. 
 Greatest pupil of Cesar Franck. Mu- 
 sic not always pleasing, but very in- 
 tellectual. Orchestral compositions 
 and chamber-music the most important. 
 
 Jadassohn, Salomon ( Ka^i-das-sohn.) 
 Breslau, 1831 — Leipsic, 1901. Best 
 modern composer of canons. Nick- 
 named the Musical J^rupp. Some fine 
 chamber-music. Books on harmony, 
 counterpoint, canon and fugue, 
 
 Jank6, Paul von (Ka«-koh.) Hungary, 
 1856. Inventor of a new keyboard for 
 the piano. ^&& Janko Keyboard. 
 
 Jensen, Adolf (K««-sen.) Konigsberg, 
 1837 — Baden-Baden, 1879. Excellent 
 songs and some very expressive studies. 
 
 Joachim, Joseph (Ko/i-a-chim.) Near 
 Pressburg, 1831. Was for a long time 
 one of the greatest violinists. A violin- 
 concerto (the " Hungarian ") and other 
 works. 
 
 Joseffy, Rafael (Yoh-z^-fee.) Hun- 
 gary, 18J3. Famous pianist and 
 teacher. 
 
 Karganov, Genari (Kahr-^a^«-ofE.) 
 Caucasus, 1852-1890. Pianist and 
 composer. 
 
 Kirchner, Theodor (Kirchk-riex.) Sax- 
 ony, 1824-1903. Organist, teacher, 
 and composer. 
 
 Kjerulf, Halfdan {Chhyair-^HA:) Chris- 
 tiania, 1818-1868. Norwegian songs. 
 
 Klindworth, Cart (short i is sounded.) 
 Hanover, 1830. Celebrated pianist 
 and teacher. Has edited many classi- 
 cal works. His editions of Wagner, 
 Chopin, etc., are celebrated. 
 
 Kneisel, Franz {Knigh-z\.) Roumania, 
 1865. Violinist. Founded a famous 
 quartet. 
 
 295 
 
KOCIAN, JAROSLAV 
 
 MASSENET, JULES 
 
 Kocian, Jaroslav {Kotsch-ee-axi.) Bo- 
 hemia, 1884. Violinist. 
 
 Kohler, Louis {Kay-\er, the first sylla- 
 ble covered.) Brunswick, 1820 — 
 Konigsberg, 1886. Many pianoforte 
 studies. 
 
 Kreutzer, Conradin {Kroytz-ex.) Baden, 
 1780 — Riga, 1849. Some excellent 
 operas. " Das Nachtlager von Gran- 
 ada," his best work. 
 
 Kreutzer, Rodolphe. Versailles, 
 
 1766 — Geneva, 1831. Famous violin- 
 ist. Beethoven dedicated the " Kreut- 
 zer Sonata " to him. 
 
 Kubelik, Johann {Koo-hs-Xv^n.) Near 
 Prague, 1880. Violinist. 
 
 Kuhlau, Friedrich {Koo-\ou, the last 
 " ou " as in bough.) Hanover, 1786 — 
 Copenhagen, 1832. Sonatinas. 
 
 KuUak, Theodor (.^w/-lack.) Posen, 
 1 81 8 — Berlin, 1882. Technical piano 
 works. Octave studies. 
 
 Lacbner (LacAk-'aex.) A family of cele- 
 brated composers, brothers, of whom 
 Franz Lachner is the greatest, and is 
 chiefly remembered by his orchestral 
 suites. But Ignatz and Vinceiiz Lach- 
 ner have also left good compositions. 
 
 Lalo, Edouard (Za;^-low.) Lille, 1823 — 
 Paris, 1893. Violin concertos, and an 
 opera, " Le Roi D'Ys." Also orchestral 
 works, chamber-music and songs. 
 
 Lange, Gustav {Lahng-e\i.) Schwer- 
 stedt, 1830 — Wernigerode, 1889. 
 Popular piano compositions. 
 
 Lassen, Edvyard {Lahs-sxi.) Copen- 
 hagen, 1830-1904. Songs. 
 
 Lebert and Stark {Lay-hext and Stahrk.) 
 Editors of several educational editions 
 of piano works. 
 
 Lecocq, Charles {'Leh-ioi.) Paris, 
 1832. Comic operas. " Fille de 
 Mme. Angot," " Girofle-Girofla," etc. 
 
 Lehmann, Lilli (Zay-man.) Wiirzburg, 
 1848. Celebrated singer. 
 
 Lehmann, Liza (Mrs. Bedford.) Lon- 
 don. Composer of many songs. A 
 cycle '' In a Persian Garden." 
 
 Leoncavallo Ruggiero (JLay-on-ksrvaAl- 
 loh.) Naples, 1858. Operas. " Pagli- 
 acci." 
 
 Leschetizky, Theodor (Lay-scheh-iiicA- 
 
 ky.) Austria, 1830. Famous piano- 
 teacher. 
 
 Liadow, Anatole (Lee-a/4-doff.) St. 
 Petersburg, 1855. Russian composer. 
 
 Lichner, Heinrich (LicM-nex.) Silesia, 
 1829 — Breslau, 1898. Organist and 
 composer. Popular works for piano. 
 
 Liszt, Franz (List.) Raiding, Hungary, 
 181 1 — Bayreuth, 1886. For a long 
 time the greatest pianist of the world. 
 Great numbers of valuable piano works. 
 Helped found the modern symphonic 
 poem, for orchestra. Much national 
 (Hungarian) music. Two powerful 
 piano concertos, symphonies, sonatas, 
 etc. A very large number of composi- 
 tions which are constantly performed. 
 Exerted great influence on piano-play- 
 ing by his teaching at Weimar and 
 Rome. 
 
 Loeschhom, Albert {LesA-hoxn.) Ber- 
 lin, 1819. Piano teacher and com- 
 poser. Many good studies. 
 
 Loewe, Karl (Lay-veb.) near Halle, 1 796 
 — Kiel, 1869. Large vocal forms. 
 Superb ballads. 
 
 Lortzing, Albert {Lt>Ar-tsixig.) Berlin, 
 1803— 1851. Charming light operas. 
 " Czar und Zimmermann," chief work. 
 
 Lully, or Ltilli, Jean Baptiste (Lil-lee, 
 French " u " sound in first syllable.) 
 Florence, 1633 — Paris, 1687. Bal- 
 lets, songs, harpsichord works, etc. 
 
 Macfarren, Sir George Alexander, 
 
 London, 1813-1887. Celebrated Eng- 
 lish composer. Wrote in all forms, 
 oratorios, symphonies, overtures, etc. 
 
 Mackenzie, Sir Alexander Campbell, 
 
 Edinburg, 1847. Composer and con- 
 ductor. Operas, oratorios, concertos, 
 etc. 
 
 Marchesi, Mathilde (Mahx-^ay-zee.) 
 Frankfort, 1826. Singing-teacher. 
 Many useful vocalises. 
 
 Martucci, Giuseppe (Mahx-iooUA-ee.) 
 Capua, 1856. Pianist, conductor, and 
 composer in orchestral forms. Sym- 
 phony, piano concerto, etc. 
 
 Mascagni, Pietro (Mahs-kaAn-yee.) 
 Leghorn, 1863. " Cavalleria Rusti- 
 cana," his first and chief opera. 
 
 Massenet, Jules (Mas-seh-nay.) Mont- 
 taud, 1842. Operas, " Manon," and 
 others. Stage music, orchestral works 
 and songs. 
 
 296 
 
MELBA, NELLIE 
 
 PONCHIELLI, AMILCARE 
 
 Melba, Nellie (properly Mitchell, 
 " Melba " being stage-name taken from 
 her birthplace.) Melbourne, 1865. 
 Soprano-singer. 
 
 Mendelssohn, Felix (^f«-del-sohn.) 
 Hamburg, 1809 — Leipsic, 1847. 
 Composer in all forms. Chief works, 
 "Elijah," "St. Paul," "Hymn of 
 Praise," " Scotch Symphony," over- 
 tures, " Midsummer Night's Dream," 
 " Hebrides," octet, " Songs without 
 Words," organ sonatas, etc. 
 
 Merkel, Gustav (^Mair-k\.) Saxony, 
 1827 — Dresden, 1885, Organist and 
 composer. Some popular organ and 
 piano-music. 
 
 Meyerbeer, Giacomo {My-eT-hair.) Ber- 
 lin, 1 791 — Paris, 1864. Operatic 
 composer. " Huguenots," " Robert," 
 " The Prophet," etc. 
 
 Meyer-Helmund, Erik {My-ex-hel- 
 moond.) St. Petersburg, 1861. Op- 
 eras, and some very popular songs. 
 
 MiUoecker, Kari (jlfi7/-leck-er.) Vi- 
 enna, 1842. Many popular operas. 
 " The Beggar Student." 
 
 Moscheles, Ignaz (.ilf(7j-shel-lez.) 
 Prague, 1794 — Leipsic, 1870. Piano- 
 teacher and composer of some good 
 studies. 
 
 Moszkowski, Moritz (Mosh-,5«^-skee.) 
 Breslau, 1854. Very graceful piano 
 compositions. 
 
 Mottl, Felix. Near Vienna, 1856. Cel- 
 ebrated conductor. Wagnerian. 
 
 Mozart, Wolfgang A. (Afo/i-tsahrt.) 
 Salzburg, 1756 — Vienna, 1791. Mas- 
 ter of aU musical forms. Symphonies, 
 the G minor, and the Jupiter ; Operas, 
 " Don Giovanni," " Magic Flute," and 
 "Marriage of Figaro"; Requiem 
 Mass ; piano sonatas, and string quar- 
 tets, are among his best works. 
 
 Nicod£, Jean Louis (iVz/J-o-day.) Near 
 Posen, 1853. Pianist -conductor and 
 composer in the large forms. 
 
 Nikisch, Arthur {Neek-\&\i) Szent 
 Miklop, Hungary, 1855. Great orches- 
 tral conductor. 
 
 Offenbach, Jacques (0/-fen-bachh.) 
 Cologne, 1819 — Paris, 1880. Comic 
 operas. " Grande Duchesse," " Belle 
 Helene," etc. One serious opera, 
 " Les Contes d'Hoffman." 
 
 Pachmann, Vladimirde {Pahchh-Ta-ak^n^ 
 Odessa, 1848. Noted pianist. Great 
 Chopin interpreter. 
 
 Paderewski, Ignace Jan (Pah-der-^ 
 skee, not Pader-00-ski, or Pader-ej-ski.) 
 Podolia, Poland, 1859. Eminent pian- 
 ist and composer. Opera "Manru," 
 and works for piano with orchestra 
 and piano solos. 
 
 Paganini, Niccolb (Pah-gah-«i?«-nee.) 
 Genoa, 1782 — Nice, 1840. The great- 
 est virtuoso upon the violin. Many 
 display works for that instrument. 
 
 Palestrina, Giovanni Pierluigi (Pah- 
 les-*-«-nah.) Palestrina, near Rome, 
 about 1515 (uncertainty about date), — 
 Rome, 1 594. Greatest of the old Cath- 
 olic Church composers. " Mass of 
 Pope Marcellus," " Improperia," etc. 
 
 Parry, Sir Charles Hubert H. Bourne- 
 mouth, 1848. Famous English com- 
 poser in all forms. Also a musical 
 author of merit. 
 
 Patti, Adelina {Pahi-tee, not properly 
 Pat-tee.) Madrid, 1843. Great colo- 
 rature singer. 
 
 Paur, Emil (Powr.) Czemowitz, 1855. 
 Orchestral-conductor. 
 
 Pergolesi, Giovanni Baptists (Pair-go - 
 foj-zee.) Jesi, Italy, 17 10 — near 
 Naples, 1736. A great " Stabat 
 Mater," and his opera, " La Serva 
 Padrone," is a model of its kind. 
 Comic opera. 
 
 Perosi, Don Lorenzo {Va.y-ro&-zee.) 
 Tortona, Italy, 1872. Modern church- 
 composer. Catholic music of all 
 kinds. 
 
 Philipp, Isidor. Pesth, 1863. Teacher 
 and composer. Chiefly piano works. 
 
 Piem^, Gabriel {Pyair-na.y.) Metz, 
 1863. Pupil of C^sar Franck, and 
 prominent French composer in various 
 forms. 
 
 Planfon, C. Pol (Plahn-song.) Cele- 
 brated French basso. 
 
 Planquette, Robert {VMha-keit.) Paris, 
 1850-1903. Light operas. "The 
 Bells of Corneville " (" Chimes of Nor- 
 mandy"). 
 
 Ponchielli, Amilcare (Pohn-kee-^/^/Z-ee.) 
 Cremona, 1834— Milan, 1886. Oper- 
 atic composer. Chief work, " La Gio- 
 conda." 
 
 297 
 
PROUT, DR. EBEKEZER 
 
 SCHUBERT, FRANZ P. 
 
 Prout, Dr. Ebenezer. Northampton- 
 shire, 1835. Prominent theorist, 
 author, and composer. Many valuable 
 educational works on music. 
 
 Puccini, Giacomo (Foo-iscAennee.) 
 Lucca, 1858. Most prominent Italian 
 operatic composer. " La Tosca," " La 
 BohSme," " Madame Butterfly," etc, 
 
 Purcell, Henry. London, 1658-1695. 
 The chief vocal composer of Kngland. 
 Many operas, cantatas, songs, etc. 
 
 Rachmaninoff, Sergei V. (Ra.chh-maAn- 
 nee-noff.) Novgorod, 1873. One of 
 the leading young Russian composers. 
 Best known by songs and piano works, 
 but has composed in the larger forms 
 aiso. 
 
 Rafi, Joachim (Rahf.) Lachen, Switz- 
 erland, 1822 — Frankfort, 1882. Com- 
 poser. " Lenore " and " Im Walde " 
 symphonies ; " Cavatina " for piano ; 
 wrote in all forms of composition. 
 Besides the above, his songs and piano 
 pieces are much performed. 
 
 Rameau, Jean Philippe (Rah-moh.) 
 Dijon, 1683 — Paris, 1764. French 
 composer for harpsichord and spinet. 
 Works still played. Wrote first method 
 of harmony, 1722. 
 
 Heger, Max {/Hay-gher.) Brand, Bavaria, 
 1873. Composer of aggressive tem- 
 perament. 
 
 Reinecke, Carl (Jfy-neck-eh.) Altona, 
 1824. Eminent composer and teacher. 
 Orchestral director. 
 
 Reisenauer, Alfred (.ffy-sen-au-er.) 
 Kbnigsberg, 1863. Celebrated pianist. 
 
 Rheinberger, Joseph (/dAine-hair-ger.) 
 Lichtenstein, 1837 — Munich, 1902. 
 Composer in all forms. Taught many 
 American composers. 
 
 Richter, Ernst Friedrich (/ficM-tei.) 
 Saxony, 1808 — Leipsic, 187Q. Theo- 
 rist and composer. " Method of Har- 
 mony," "Fugue," etc. 
 
 Richter, Hans. Raab, Hungary, 1843. 
 Eminent orchestral conductor. 
 
 Riemann, Hugo (.ff^^-mann.) Near 
 Sondershausen, 1849. Musical-writer 
 and reviewer. 
 
 Rimsky-Korsakow, Nikolas A. (Rim- 
 schkee-/5o?--sah-koff.) Novgorod, 1844. 
 Great modern Russian composer. All 
 musical forms. Best known in Amer- 
 ica by his brilliant orchestral works, 
 .symphonies, etc. 
 
 Rode, Pierre (Rohd.) Bordeaux, 1774 — 
 Damazon, 1830. Violin method and 
 solos. 
 
 Rosenthal, Moritz {/doz-en-tah\.) Lem- 
 berg, 1862. Pianist of great technique. 
 Has written a piano method. 
 
 Rossini, Gioachino- A. (Ros-j-<'^-nee.) 
 Pesaro, 1792 — Ruelle, near Paris, 
 1 868. Operatic composer. " Barbiere 
 Di Seviglia" ("Barber of Seville"), 
 " Semiramide," and " William Tell " ; 
 the last his best work. Very popular 
 " Stabat Mater." 
 
 Rubinstein, Anton (.fftfo-bin-styne.) 
 Wechwotynecz, 1830— near St. 
 Petersburg. 1894. Famous as pianist, 
 conductor, and composer. All forms. 
 Operas least successful. The " Ocean 
 Symphony," piano concertos, sonatas, 
 piano works, songs. Ballet-music, 
 sacred operas, " Tower of Babel," etc. 
 
 Saint-Saens, Camille (Sang-sain^^, is 
 as near as any English spelling can 
 reproduce the name, which sounds like 
 " Cinq Cents," a fact which led to 
 manypuns.) Paris, 1835. Oneofthe 
 leading French composers, although 
 not of the " Cesar Franck school." 
 All musical forms. Eminent organist, 
 and wrote some for that instrument. 
 Orchestral works most prized. Chief 
 operas, " Samson and Delilah," and 
 " biblical opera " — " Le Deluge." Im- 
 portant symphonies and the most bril- 
 liant symphonic poems. " Danse 
 Macabre," " Phaeton," etc. 
 
 Sarasate, Pablo de (Sah-rah-jo/iteh.) 
 Pamplona, Spain, 1834. Celebrated 
 violinist. BrUliant violin compositions. 
 
 Scarlatti, Alessandro (Scahr-laAi-tee.) 
 Sicily, 1659 — Naples, 1725. Oratorio 
 and opera composer. 
 
 Scarlatti, Domenico. Son of the above. 
 Naples, 1683-1757. Great composer 
 for harpsichord and spinet. Fore- 
 shadowed piano-technique. Invented 
 cross-hand work. Charming old so- 
 natas. 
 
 Scharwenka, Xaver (Schahr-z'i'H^-kah.) 
 Samter, Posen, 1850. Composer and 
 pianist. Piano concertos, opera, piano 
 pieces. His brother Philipp is also a 
 well-known composer. 
 
 Schubert, Franz P. (SAoo-hairt.) Lich- 
 tenthal, near Vienna, 1797 — Vienna, 
 1828. The most melodious of compo- 
 
 298 
 
SCHUETT, EDWARD 
 
 STRAUSS, RICHARD 
 
 sers. Wrote in all forms. Greatest 
 works are his songs, the C major 
 symphony, the unfinished symphony, 
 his quartets for strings, and his short 
 piano works. 
 
 Schuett, Edward. St. Petersburg, 1856. 
 Composer chiefly of pianoforte music. 
 Piano concerto, etc. 
 
 Schumann, Robert {SAoo-ma.nh.) 
 Z-wickau, 1810 — Endenich, 1856. 
 Most poetic and romantic composer. 
 Chief works are " Manfred," and 
 "Faust" (both cantatas). Songs of 
 the noblest character, symphonies of 
 which the first, in B flat, is the best, a 
 piano quintet, the best of its class, 
 most powerful piano pieces, such as 
 " Camaval scenen," " Etudes Sympho- 
 niques," " Fantasie," and many others. 
 
 Schumann-Heink, Ernestine {Shoo- 
 mahn-/tigAni.) Opera-singer, Lieben, 
 near Prague, 1861. 
 
 Schytte, L. (Shee-tay.) Jutland, 1850. 
 Many excellent piano works. 
 
 Sciiabine, Alex. (Scree-a^-been.) Mos- 
 cow, 1872. Chief success in piano 
 works. Also piano studies. 
 
 Seidl, Anton {Si^A-dl.) Pesth, 1850 — 
 New York, 1898. Great Wagnerian 
 conductor. 
 
 Sembrich, Marcella (^Sem -hrichh.) Real 
 Praxede Kochanska. Galicia, 1858. 
 Opera-singer and thorough musician. 
 
 Servais, Adrian F. (Sair-way.) Brus- 
 sels, 1807-1866. Great violoncellist. 
 Three 'cello concertos. His son, 
 Joseph, was also an eminent performer 
 on the same instrument. 
 
 Sevcik, Pan. (Save-chick.) Celebrated 
 Bohemian violiri-teacher. Taught 
 Kubelik, Kocian, etc. 
 
 Sgambati, Giovanni (^Sgahm-iai-tee.) 
 Rome, 1843. The chief Italian instru- 
 mental composer. Symphonies, cham- 
 ber-music, piano concerto, etc. 
 
 Sibelius, Jean (See-*oy-lee-oos.) Fin- 
 land, 1865. Important northern com- 
 poser. AH forms. Symphony and 
 remarkable orchestral works in the 
 most modem vein. 
 
 Sinding, Christian {Simi-ing.) Nor- 
 way, 1856. Orchestral composer. 
 Symphonies, chamber-music, etc., in 
 modern vein. Also some songs in 
 true Norwegian moods. 
 
 Sitt, Hans. Prague, 1850, violinist and 
 composer of many works for violin and 
 violoncello. 
 
 Sjoipren, Emil {SccMy-gren.) Stockholm, 
 1853. Organist and composer in the 
 classical forms , sonatas, some exquisite 
 piano works in the smaller forms. 
 
 Smetana, Friedrich (.y»;«.4-tah-na, not 
 Sme-to-na.) Bohemia, 1824-1884. 
 Pioneer of modern Bohemian music. 
 Fine opera, " The Bartered Bride," 
 great symphonic poems on national 
 subjects. Taught Dvorak. 
 
 Spindler, Fritz. Wurzbach, 1817. Has 
 composed symphonies, concertos, and 
 other large works, but is best known 
 by his popular piano pieces. 
 
 Spohr, Louis. Brunswick, 1784 — 
 Cassel, 1859. Composer in all forms. 
 His violin and chamber-music is still 
 much performed. 
 
 Stainer, Sir John (Siajy-ner.) London, 
 1840 — Verona, 1901. Excellent Eng- 
 lish contrapuntist. Much Episcopal 
 Church music, and a dictionary of 
 musical terms. 
 
 Stanford, Sir Charles Villiers. Dublin, 
 1852. Most classical of Irish compo- 
 sers. Has composed in all forms. 
 Opera, " The Canterbury Pilgrims," 
 " Shamus O'Brien " ; an " Irish Sym- 
 phony " ; some exquisite Irish folk- 
 songs. His music is national in char- 
 acter, but highly developed. 
 
 Stcherbatcheff Nicolai de (Stchair-baht- 
 cheff.) Russia, 1853. Prominent 
 composer of the new Russian school. 
 Orchestral and other works. His piano 
 works are remarkably effective. 
 
 Strauss (Strouss.) A family of waltz 
 composers in Vienna. The senior, 
 Johann Strauss, was born in Vienna in 
 1804. Since then, Johann, Jr., Joseph, 
 and Edward Strauss have written 
 waltzes for Vienna. The last-named is 
 still living. 
 
 Strauss, Richard. Munich, June it, 
 1864. The chief orchestral composer 
 of the present. Very radical and 
 modern. First works are in the classi- 
 cal vein ; a symphony, chamber-music, 
 etc. His more advanced works are 
 " In Italy " symphonic poem (transi- 
 tional 1886), "Macbeth" (1887), "Don 
 Juan" (t888), " Death and Transfigura- 
 tion " (1889). After these came "Don 
 
 299 
 
SULLIVAN, SIR ARTHUR 
 
 WAGNER, RICHARD 
 
 Quixote," "Till Eulenspiegel," "Hel- 
 denleben " ( "Hero's Life " ) and " Sin- 
 fonia Domestica." All works of the 
 utmost importance. Three operas are 
 less significant than these great sym- 
 phonic poems. The songs of Strauss 
 are much more melodic and compre- 
 hensible than his vast orchestral utter- 
 ances, although these too, have very 
 highly developed accompaniments. 
 
 Sullivan, Sir Arthiir. London, 1842 - 
 1900. Composed in almost all forms, 
 but his chief successes were in light 
 opera, which he (with his excellent 
 librettist, W. S. Gilbert) placed in a 
 newer and purer path. Long list of 
 successes with " Trial by Jury," "Pina- 
 fore," " Patience," " Pirates of Pen- 
 zance," " Mikado," etc. 
 
 Suppe, Frsmz von (Soop-peh.) Dalma- 
 tia, 1820 — Vienna, 1895. Light opera 
 composer of much merit. " Fatinitza," 
 "Poet and Peasant." Has composed 
 in more ambitious forms also. 
 
 Svendsen, Johann (Sveni-zen.) Chris- 
 tiania, 1840. Norwegian composer in 
 large forms. Many orchestral suc- 
 cesses. 
 
 Tartini, Giuseppe (tahr-/^^-nee.) Pir- 
 ano, 1692 — Padua, 1770. Eminent 
 violinist. Many violin sonatas. The 
 sonata called " The Devil's Trill," is 
 his best known work. 
 
 Tanaiefi, Sergei (Tan-yajz-eft.) Russia, 
 1856. All forms. A trilogy opera — 
 " Oresteia ' — -with striking overture. A 
 symphony, etc. 
 
 Tausig, CaxliTow-sig.) Warsaw, 1841 — 
 Leipsic, 1871. Very great pianist. 
 Some useful etudes. 
 
 Tchaikowsky, Peter I. (Tchigh-/J»^ 
 skee, with long " i " sound on first syl- 
 lable.) Wotinsk, 1840 — St. Peters- 
 burg, 1893. One of the greatest of all 
 the modem Russians. Has composed 
 in all forms. His six symphonies are 
 all of importance, the last, the " Pathet- 
 ique," being his greatest success. 
 Beautiful chamber- music, and many 
 strong overtures. " Romeo and Juliet" 
 overture the best of these. 
 
 Temina, Milka (Tum-K^^-nah.) Croa- 
 tia, 1864. Noted dramatic soprano. 
 
 Thalberg, Siglsmund ( TaAI-hairg.) 
 Geneva, 1812 — Naples, 187 1. Pianist. 
 
 Piano method " L'Art du Chant ap- 
 pliqu^ au Piano." 
 Thomas, Ambroise ( Tai-mas.) Metz, 
 181 1 — Paris, 1896. Operatic com- 
 poser. "Mignon," " Hamlet." 
 
 Thomas, Theodore, Esens, E. Friesland, 
 1835 — Chicago, 1905. A most emi- 
 nent conductor whose labors had an 
 enormous influence on the develop- 
 ment of American musical taste. 
 
 Thomson, C^sar. Liege, 1857. No- 
 table violin virtuoso. 
 
 Tinel, Edgar (Tee-nei.) Sinay, Belgium, 
 1854. Large sacred works. Great 
 oratorio, " Franciscus." 
 
 Vaccai, Niccolb (Vack-iaA-ee.) Tolen- 
 tino, 1790 — Pesaro, 1848. Vocal 
 teacher. Composed a well-known 
 vocal method. 
 
 Verdi, Giuseppe ( Vatr-dee.) Le Ron- 
 cole, 1813 — Milan, igoi. Great oper- 
 atic composer. Many successes. 
 " Trovatore," " Ernani," " Rigoletto," 
 " La Traviata," "Ballo in Maschera," 
 "Aida," " Otello," and " Falstaft." Pos- 
 sibly " Aida " may be considered as 
 great as any of his works. Composed 
 a very dramatic requiem. His instru- 
 mental works are inferior. 
 
 Vietixtemps, Henri ( J^oy-tangh.) Ver- 
 viers, 1820 — Algiers, 1881. Belgian 
 violinist. Many violin works and con- 
 certos. 
 
 Volkmann, Robert {Fo/k-makn.) Sax- 
 ony, 1815 — Pesth, 1883. Composer in 
 all forms. Two fine symphonies and 
 an excellent overture to " Richard III." 
 
 Viotti, Giovanni Baptiste (vee-ai-lee.) 
 Vercelli, Italy, 1753 — London, 1824. 
 Violin works and Several violin con- 
 certos. 
 
 Wagner, Richard (FaAg-ner.) Leipsic, 
 1813 — Venice, 1883. The most 
 important composer of recent times. 
 Almost entirely operatic. Founder of 
 the modem " Music-Drama." "Rienzi" 
 does not belong to his reforms, but his 
 new path begins with " Tannhauser." 
 After this, one can mention " Flying 
 Dutchman," "Lohengrin," " Tristan 
 and Isolde " (first opera in which all his 
 new theories were represented), " Mas- 
 tersingers of Nuremberg," the trilogy, 
 consisting of " Rheingold," "Die Walk- 
 iire," " Siegfried " and " Gotterdamme- 
 rung," and finally, " Parsifal." 
 
 300 
 
WALLACE, WM. VINCENT 
 
 ZICHY. COUNT GEZA 
 
 Wallace, Wm. Vincent. Waterford, 
 Ireland, 1814 — Haute Garonne, 1865. 
 Popular opera, " Maritana." 
 
 Weber, Carl Maria von {Vay-her.), 
 Eutin, 1786 — London, 1826. Wrote 
 in many musical forms (no sym- 
 phonies) . Chief successes, " Der Frei- 
 schiitz," which opera is still performed ; 
 overtures to this and to " Oberon " and 
 " Euryanthe " ; " Invitation to the 
 Dance," for piano ; concert-stuck for 
 piano and orchestra ; great sonatas in 
 brilliant style, and a jubilee overture 
 ending with " God Save the King." 
 
 Weingartner, Felix {Vine-gahri-ner.) 
 Dalmatia, 1863. Conductor and com- 
 poser. Large forms. Symphony, opera, 
 chamber-music, etc. 
 
 Widor, Charles Marie ( K^^-dor.) Lyons 
 1845. Composer and organist. Has 
 tried many large forms with success, 
 but his chief claim to fame will be 
 
 found in his organ sonatas, and other 
 large compositions for this instrument. 
 
 Wieniawski, Henri (Veen-ni-(2^ski.) 
 Poland, 1835 — Moscow, 1880. Violin- 
 ist and composer for that Instrument. 
 
 Wolf, Hugo (Vohlf.) Vienna, 1860- 
 1902. A modern genius who was only 
 recognized after his death. Much of 
 his music is bizarre, but his songs show 
 him at his clearest and best. Success- 
 ful comic opera, " Der Corregidor." 
 
 Wood, Henry J. London, i86g. Cele- 
 brated English conductor and com- 
 poser. Many large vocal works. 
 
 Ysaye, Eugfene {Ee-zig/t the last syllable 
 to rhyme with " sigh.") Liege, 1858. 
 Prominent violinist. 
 
 Zichy, Count Geza ( Tscii-shee.) Hun- 
 gary, 1849. Noted one-armed pianist. 
 Lost right arm in youth. Has com- 
 posed some remarkable piano pieces 
 and etudes for the left hand alone. 
 
 (Note. In the above pronunciation cM stands for the gutteral "ch" 
 of Germany, and i^A for the long sound of " i," as in " sigh.") 
 
 301 
 
ENGLISH MUSICAL TERMS OF TEMPO 
 
 OR EXPRESSION, WITH THEIR 
 
 ITALIAN EQUIVALENTS. 
 
 (In this table it has been deemed best to give Italian equivalents only. Al- 
 though Schumann and Wagner use German terms in their works, and Berlioz 
 and the Cesar Franck school, French, Italian is the preferable tongue for 
 musical terms, for the following reasons: ist. It has priority. It was the first 
 language used in this field, and has been in almost universal use for three centuries. 
 2d. It is impossible to allow each composer the use of his native language. 
 If Liszt had used Hungarian, Tchaikowsky Russian, Dvoiak Bohemian, 
 Grieg Norwegian, etc., we should find many more difficulties in the matter than 
 in the use of a. single language. 3d Musical notation is a single, universal, 
 written language. Such a language requires an equally universal set of tempo or 
 expression-marks. Exactly as in affairs of state, diplomats have chosen the French 
 language as the universal tongue, music has chosen Italian as her language of 
 tempo and expression-marks ; and we urge upon every composer to further this 
 unity by discarding English, French, or German markings, and using Italian only.) 
 
 Below. Sotto. 
 
 Boat-Song. BarcaroUa ; Gondoliera. 
 
 Boldly. Coraggioso ; con abbandono ; 
 
 con bravura ; intrepido. 
 Bound. Legato. 
 Bow. Arco (of a violin). 
 Breath. Fiato ; respiro. 
 Bridge (of violin, etc.) Ponticello. 
 Brilliant. Brillante. 
 Broader Growing. Allargando. 
 Broadly. Largamente. 
 But. Ma. 
 By. Da; per. 
 By Degrees. Poco a poco. 
 
 Abandonment. Abbandonamento. 
 
 Abrupt. Subito. 
 
 AccoTipaniment. Accompagnamento. 
 
 Affectionately. Affettuoso. 
 
 Afflicted. Con Afflizione. 
 
 Against. Contro. 
 
 Agility. Agilita. 
 
 As^tated. Agitato. 
 
 Agreeable. Piacevole. 
 
 Air. Aria. Canto. Melodia. 
 
 AU to<rether. Tutti. 
 
 Almost. Quasi. 
 
 Always. Sempre. 
 
 And. E, before a consonant, Ed, before 
 
 a vowel. 
 Ans^uished. Angosciamente. 
 Animated. Animate. 
 Artless. Semplice. 
 As. Come, 
 
 B 
 
 Bee;in. Attacca. Cominciare. 
 Bell. Campana. A Little Bell, Cam- 
 panella. 
 
 Calm. Calmato ; tranquillo ; placido. 
 Canon. Canone. 
 Caprice. Capriccio. 
 Carried Over. Portamento. 
 Chorus. Coro. 
 Clear. Chiaro ; distinto. 
 Coaxingly. Ltlsingando. 
 Coquettishly. Con ci-fretteria. 
 Continually. Sempre. 
 
 302 
 
COUFTERPOINT 
 
 GONDOLA-SONG 
 
 Counterpoint. Contrappunto. 
 Crash. Fracasso; strepito. 
 Cradle-Song. Ninnarella. 
 
 D 
 Dance. Danza; ballo. 
 Dark. Oscuro. 
 Decisively. Deciso. 
 Declamatory. Declaraandoj parlando. 
 Decreasing in Force. Decrescendo ; 
 
 diminuendo ; perdendosi. 
 Decreasing in Speed. Rallentando ; 
 
 ritardando; slentando. 
 Decreasing in Both the Above. Ca- 
 
 lando ; morendo. 
 Delicately. Con Delicatezza. 
 Delight. Con diletto ; con gioja. 
 Deliriously. Con Delirio. 
 Despairingly. Disperatamente. 
 Diminish. Diminuendo. 
 Distant. Lontano. 
 Distant (growing.) AUontandosi. 
 Distracted. Smaniosamente. 
 Disturbed. Inquieto. 
 Divided. Divisi. 
 Doleful. Dolente. Con Dolore. 
 Doubtingly. Dubbiosamente. 
 Dragging. Strascinamento ; trasci- 
 
 nando. 
 Dreaming. Sognante. 
 Drinking-Song. Brindisi. 
 Dying Away. Morendo. 
 
 E 
 
 Easier. Facilita. 
 
 Easy. Facile ; commodo. 
 
 Echoing. Echeggiando. 
 
 Embellishments. Fioriture, coloratura. 
 
 Emphatic. Marcato • sforzando ; en- 
 fatico. 
 
 End. Fine. 
 
 Energetic. Energ^co; con energiaj 
 risoluto. 
 
 Entreating. Supplichevole. 
 
 Exalted. Con esaltamento ; elevato. 
 
 Exact Time. Tempo Giusto. The op- 
 posite of this, irregular time, is Tempo 
 Rubato. 
 
 Expiring. Morendo ; espirando. 
 
 Expression, Espressivo ; con Espres- 
 sione. 
 
 Extravagantly. Stravagantemente. 
 
 Extremely. Molto. AH words ending 
 in —issimo. 
 
 F 
 
 Fancy. Fantasia. 
 
 Fast. Allegro ; vivace ; presto. Very 
 Fast. Presto; prestissimo; velocis- 
 simoj vivacissimo. Rather Fast. 
 Allegretto; allegro moderato; allegro 
 giusto. Not too Fa"t. Non troppo 
 allegro; non tanto allegro. Twice as 
 Fast. Doppiomovimento. There are 
 many words which qualify an allegro, 
 as Vivace, con brio, etc. 
 
 Faster. Piu mosso ; accelerando ; 
 stiingendo. 
 
 Fearful. Timidamente. 
 
 Feebly. Debole. 
 
 Feeling. Espressione. 
 
 Festive. Festivo. 
 
 Fervently. Con fervore. 
 
 Fiery. Con fuoco ; f uocoso ; ardente ; 
 con calore. 
 
 Fierce. Feroce, furioso. 
 
 First Part. Primo. 
 
 Fluency. Volubilita. 
 
 Flying. Volante. 
 
 Following. Seguente ; segue. Go on to 
 the Following. Attacca il seguente. 
 
 Fondly. Teneramente. 
 
 For. Per. 
 
 Forcibly. Con forza. As Forcibly as 
 Possible. Con tutta forza. 
 
 Forced. Sforzando ; forzando ; sfor- 
 zato. 
 
 Free (in time.) Tempo Rubato. 
 
 From. Da; dal. From the Begin- 
 ning. Da Capo. From the Sign. 
 Dal segno. 
 
 Fugue. Fuga. 
 
 Furiously. Con rabbia; furioso; con 
 furia. 
 
 G 
 Gay. Giojoso ; gaiamente. 
 Gentle. Piacevole. 
 Gliding, Glissando ; portamento 
 Gloomily. Tristamente. 
 Gondola-Song. Gondoliera. 
 
 303 
 
GRACE 
 
 NOBLY 
 
 Grace. Grazia ; con Garbo. 
 
 Graceful. Grazioso. 
 
 Gradually. Poco a poco (little by 
 little.) 
 
 Grand. Grandioso. 
 
 Grave. Grave. 
 
 Great. Nobile ; grande. 
 
 Grieving. Aifanosaraente. 
 
 Gypsy Style. Allazingara, orzingarese. 
 
 H 
 Half. Mezzo. 
 
 Hammered. Martellato. 
 
 Hastening. Accelerando ; aif rettando ; 
 
 stringendo. 
 Hand. Mano. 
 Heavily. Pesante. 
 Heroic. Eroico ; fern, eroica. 
 Hold. Fermata. 
 Himiorously. Con umore. 
 Hunting Piece. Alia caccia. 
 Hurried. See Hastening. 
 
 I 
 
 If. Se. 
 
 Impassioned. Appassionata. 
 Imperious. Imperioso. 
 Impetuously. Impetuoso. 
 Increasing Speed. Accellerando ; af- 
 frettando; stringendo. 
 
 Increasing Loudness. Crescendo ; rin- 
 forzando. 
 
 Innocently. Con Innocenza. 
 In the Same Manner. Simile. 
 Interlude (in a song.) Ritornella (also 
 applied to prelude and postlude). 
 
 In the Same Time. L'lste^so tempo. 
 In Time. A tempo. 
 In the Preceding Time. Tempo Primo. 
 Irregular Time. Tempo rubato. 
 
 Jestingly. Scherzando. 
 Jocosely. Giocoso. 
 Joyously. Giojoso. 
 
 Lamenting. Lamentando ; lamentoso ; 
 
 piangendo. 
 Languishing. Languente. 
 
 Languid. Languido. 
 
 Left Hand. Mano Sinistra. 
 
 Leisiurely. Adagio. 
 
 Less. Meno. 
 
 Lightly. Leggiero. Con legerezza. 
 
 Little by Little. Poco a poco. 
 
 Lively. Vivace; vivo. 
 
 Lofty. Nobile ; pomposo ; elevato. 
 
 Longing. Con desiderio. 
 
 Loud. Forte. 
 
 Louder. Piu forte. 
 
 Loud, Very. Fortissimo. 
 
 Loud, Continually. Sempre forte. 
 
 Loud as Possible. Con tutta forza; 
 
 forte possibile. 
 Lovingly. Amoroso ; amabile. 
 Lullaby. Ninnerella (for an infant.) 
 
 M 
 Madrigal. Madrigale. 
 Majestic. Maestoso. 
 Major. Maggiore. 
 Marked. Marcato. 
 Martial. Marziaie. 
 Master (in music.) Maestro. 
 Measured. Misurato. 
 March. Marcia. 
 Melancholy. Con malinconia. 
 Melody. La Melodia. II Canto. 
 Menacingly. Minacciando. 
 Minor. Minore. 
 Moderately. Moderato. 
 More. Piu. 
 
 Mournfully. Mesto; flebile; con do- 
 lore ; dolenle. 
 
 Movement. Movimento. 
 
 Movement, Twice The. Doppio movi- 
 mento. 
 
 More Movement or Motion. Piu mos- 
 so ; piu moto. 
 
 Movement Less. Meno mosso. 
 
 Much. Molto. 
 
 MiUMiuring. Mormorando. 
 
 Muted. Con sordino. 
 
 Mysteriously. Misterioso. 
 
 N 
 
 Night-piece. Notturno. 
 
 Nobly. Nobile. 
 
 304 
 
NOISILY 
 
 THREATENING 
 
 Noisily. Strepitoso. Con fiacasso 
 
 Not. Non. 
 
 Not so Fast. Meno mosso. 
 
 Not too Fast. Non troppo allegro. 
 
 Obligatory. Obbligato. 
 
 Of. Di. 
 
 One. Uno; una. 
 
 Or ; Otherwise. Ossia : oppure ; ov- 
 vere ; o ; od. 
 
 Other. Altro. 
 
 P 
 
 Passionately. Con passione ; appas- 
 sionate ; con calore. 
 
 Pastoral. Pastorale. 
 
 Pathetic. Patetico. 
 
 Pedal. Con Pedale. Without pedal. 
 
 Senza Pedale. With soft pedal. 
 
 Una corda. Without soft pedal. 
 
 Tre corde. 
 Picked (on strings.) Pizzicato. 
 Piece. Pezzo. 
 Plaintively. Lamentando ; dolente 
 
 flebile ; piangendo. 
 Playfully. Giocoso ; scherzando. 
 Pleadingly. Supplichevole. 
 Pompously. Pomposo. 
 Ponderously. Pesante. 
 Possible, The Utmost. Possibile, as 
 
 presto possibile, as rapidly as possible. 
 Prayer. Preghiera. 
 Precipitately. Precipitato. 
 Pressing (the tempo.) Stringendo. 
 Pronounced (accented.) Pronunziato. 
 Proudly. Fiero. 
 
 Q 
 
 Quietly. Quieto ; tranquillo. 
 
 R 
 
 Rapidly. Rapido ; veloce ; presto. 
 
 Rather. Quasi. 
 
 Recitative. Recitativo ; {accompanied^ 
 Recitative Stromentato ; (free.) Recita- 
 tivo Secco; (measured.) Recitativo 
 misurato. 
 
 Repeat. Repetition, Ripetizione; rep- 
 lies. 
 
 Reversing. Al Rovescio. 
 Right Hand. Mano Destra. 
 Rustic. Rustico; pastorale. 
 
 Sad. Ttisto ; flebile ; mesto ; malin- 
 
 conico. 
 Same. Stesso ; I'istesso. 
 Score. Partitura. 
 Second. Secondo. 
 Sighing. Sospirando. 
 Simple. Semplice. , 
 Singing. Cantando ; cantabile. 
 Sliding. Sdrucciolando ; glissando. 
 Slowly. Lento. See Tempo-marks. 
 Slower. Piu lento ; meno mosso ; slen- 
 
 tando. 
 
 Smoothly. Legato ; piacevole. 
 
 Sobbing. Singhiozzando. 
 
 Softly. Piano. 
 
 Solemn. Solenne ; con solennita. 
 
 Somewhat. Quasi. 
 
 Song. Canto ; melodia ; canzone. A 
 
 Little Song. Canzonetta. 
 Song-like. Cantilena (an instrumental 
 
 work in song-style.) Cantabile. 
 Sorrowful. Dolente ; doloroso ; flebile ; 
 
 con dolore. 
 Sparkling. Scintillante. 
 Spirited. Spiritoso ; con spirito ; con 
 
 brio ; brioso. 
 Still or Yet. Ancora ; ancor. 
 Subject. Soggetto. 
 Suddenly. Subito. 
 Supplicating. Supplichevole. 
 Sustained. Sostenuto. 
 Sweetly. Dolce. 
 Swelling. Crescendo. 
 Swelling and Diminishing (the voice.) 
 
 Missa di voce ; messa di voce. 
 Symphony. Sinfonia. 
 
 Tearfully. Piangendo; lagiimoso. 
 
 Tenderly. Teneramente ; con tenerezza. 
 
 Theme. Tema. 
 
 Then. Pol. 
 
 Threatening. Minacciando. 
 
 30s 
 
TIMIDLY 
 
 WITHOUT 
 
 Timidly. Timido. 
 
 To. A; ad. 
 
 Too Much. Troppo. 
 
 Tranquil. Tranquillo j placido. 
 
 Translated. Tradotto. 
 
 Triumphal. Trionfale. 
 
 Troubled. Inquieto. 
 
 Turn Quickly. Volti subito. 
 
 Two. Due. 
 
 U 
 Unaccompanied Voices. A cappella. 
 Under. Sotto. 
 Until, up to. Fino ; sine. 
 
 V 
 Variations. Variazioni. • 
 
 Velocity. Veloce. 
 
 Very. Assai; molto. 
 
 Very. All Italian words ending in issi- 
 
 mo as pianissimo, very soft ; prestissimo, 
 
 very fast. 
 
 Voice. Voce. 
 
 Voice, Follow the. Colla voce j coUa 
 parte ; col canto. 
 
 W 
 
 Warlike. Guerriero ; marziale. 
 
 Warmly. Con calore. 
 
 Well. Ben; bene. 
 
 Whispered. Sotto voce ; mezza voce. 
 
 With. Con ; col ; colle ; colla. 
 
 Without. Senza. 
 
 B S-I7 
 
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