Novelloy Ewer & Co.^s Music Primers Edited by Dr. Stainer. PRICE TWO SHILLINGS. THE PIANOFORTE BY ERNST PAUER PRINCIPAL PROFESSOR OF THE PIANOFORTE AT THE NATIONAL TRAINING SCHOOL FOR MUSIC. i&mmW WimmWi § ih«8 BOUGHT WITH THE INCOME | FROM THE SAGE ENDOWMENT FUND THE GIFT OF Hentii m. S^gc 189X r.p/)3/.&. A-rl^..^A.^.. - MUSIC 11. On Reading at Sight 70 12. Exercises; Studies -.-.--- 71 13. The Order in which the Sonatas of our Classical Masters should be studied - - ■ " * 73 14. Classification of Composers ; their Styles and Schools - 74 15. Concluding Remarks - ------ 73 Appendix. — The Pianoforte and its Predecessors - 77 Vocabulary of Technical Terms and Expressions connected with the Pianoforte -.--.. 79 Chronological Table of Composers. Novello, Ewer <2f Co.'s Music Primers Edited by Dr. Stainer. PRICE TWO SHILLINGS. HARMONY BY D r. staine r. CONTENTS. Subjects included in the study of Harmony : Scales, Intervals, Chords, Progressions — The different kinds of Scales .' Diatonic, Chromatic, Enharmonic — Variety of forms of Minor Scale — Relation of Scales — Diagram of Division of Scales — Key — Relation of Keys — Cycle of Keys — Method of reckoning and naming Intervals — Major, Minor, and Diminished Intervals- — Table of Diminished Sevenths — Simple and Compound Intervals — Diagram of threefold Division of Intervals — The Construction of Chords — Common Chords — Rules governing the Succession of Common Chords — Examples and Exercises. — Inversion of Chords — Figuring of Chords — Distribution of Parts — Treatment of Leading-Note — Examples and Exercises. — Different kinds of Motion — Rules governing the filling in of Bass Parts — Examples and Exercises. — Analysis of Simple Harmony — Chorals to be Analysed — Chord of the Dominant Seventh — Its inversions — Their figuring and treatment — False relation — Examples and Exercises. — Suspensions — Suspension of nine to eight — Inversions of nine to eight — Examples and Exercises. — Chord of Dominant Ninth — Its inversions, treatment, and figuring — Examples and Exercises. — Suspension of four to three— Its resolutions and inversions — Dominant Eleventh — Its inversions and resolutions — Suspended Leading-Note — Its resolutions and inversions — Exam- ples and Exercises. — Double Suspensions — Triple Suspensions — Examples and Exercises. — Different Triads — Their nature and treatment — Chords of the A ugmented Sixth — Suspension six-four to five-three on the Tonic — Six to five on Dominant — Neapolitan Sixth — Passing-Notes, Diatonic and Chromatic — Cadences — Attendant or Relative Keys — Modulation — Exercises, — Conclu- sion. I Cornell University Library ML 108.S78 1924 021 631 712 Novello, Ewer & Co!s Music Primers Edited by Dr. STAINER. THE VIOLIN BY BERTHOLD TOURS. Price Two Shillings; or, in paper boards, Two Shillmgs and Sixpence. ILLUSTRATED LONDON NEWS. "... In the compass of little more thran a hundred quarto pages, and at the price of Two Shillings, we have here a comprehensive course of instruc- tion, from the simplest directions to mere beginners to the acquirement of high technical skill." ATHEN^UM. " The Primer is a well digested and complete tutor, and is thoroughly practicable, by a thoughtful and careful compiler. Every material point is illustrated, so that the eye can catch the author's intention." ACADEMY. "... The exercises and the general directions given are admirable, and if it were possible to learn the violin without personal instruction this would be the book that we should recommend for the purpose." MONTHLY MUSICAL RECORD. " Within the compass of some hundred pages or so there is in this volume so much information and instruction of a valuable and useful kind as is necessary for complete guidance in the subject of which it treats. It is also one of the most trustworthy elementary works for the violin now before the public." LONDON & NEW YORK : NOVELLO. EWER & CO. FIFTEENTH THOUSAND. NOVELLO, EWER AND CO.'S MUSIC PRIMERS. Edited by Sir JOHN STAINER. A DICTIONARY OF MUSICAL TERMS SIR JOHN STAINER M,A,, MUS. Do'c, ETC., PROFESSOR OP MUSIC IN THE UNIVERSITY OF OXFORD W. A. BARRETT HVS. DOC, TRINITY COLLEGE, TORONTO [COMPRESSED FROM THE IMPERIAL 8vo EDITION BY K. M. ROSS.] PRICE ONE SHILLING. In Paper boards, One Shilling and Sixpence. LONDON &■ NEW YORK NOVELLO, EWER AND CO. LONDON : NOVELLO, EWER AND CO., PRINTERS. PREFACE. In reducing this little book from the authors' larger work, the Editor has endeavoured to omit only such terms as are not in general use ; but, on the other hand he has of course been compelled to eliminate a vast mass of interesting details and facts, in order to keep it within reasonable limits. Those who have the wish or leisure may be glad to refer to the larger work when available, but to the general public it is hoped this Primer will be found of practical utility. The Editor's best thanks are due to Mr. Kenneth M. Ross for his valuable assistance. Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924021631712 ABBREVIATIONS USED IN MUSIC. The following is a list of the abbreviations in most corjimon use ; the explanation of each term may be found on reference to the words themselves in their proper places : — Accel. . Accel" . Ace. . . . Accora. . Accomp. Accpt. . Ace' . . . Aceres. Accelerando Accompani- ment , Accresciamento Adg° or ad° Adagio Adl. Ad lib. AfFett" Affrett" Ago ., Agit" I Ad libitum .Aifettuoso . . Afirettando I Agitato Ali° Allegro Allgtt" Allegretto A}loJ^-;;}All.ottava Al seg Al segno And"" .... Andantino And Andante Anim" Animato ^^'^ JArc^to Ard° Ardito Arp" Arpeggio At. A tem. . A temp. . Aug. ... A tempo By augmenta- tion T, fBass (voice) JBassoon „ I Basso continuo Bass, con.j Brill Brillante C.B. C.S. fCol basso ' jContrabasso CD Colladestra C.F Canto fermo C.L Col legno fCoUa sinistra ■ ■■ I Con sordini Ca:d .Cadence Cal Calando Can Cantoris Cant Canto Cantab. . . Cantabile Celli Violoncelli Cello Violoncello Cemb Cembalo Ch Choir organ Chal.... Clar. . . Clar. . . Clar"" Co. So. ColC. . Col ott» Col vo. Com. . . . Con esp, Cor. .., Crem. Cresc 1 Cres I C. 8™.. Co. i"° C*" Chalumeau . Clarinet . Clarino . Clarinetto , Come sopra , Col canto .Col ottava . Colla voce . Comodo . Con espressione .Cornet or horn Cremona Crescendo Coll' ottava Canto primo Come primo Concerto D. (Destra, droite ■•■t (right) D.C Da capo Dec Decani Decres Decrescendo Delic Delicamente Dest Destra Diap Diapasons Dim By diminution Dim Diminuendo Div Divisi D. Mus Doctor of Music Dol Dolce Dolcis, .. ..Dolcissimo Dopp. ped. .Doppio pedale D.S Dal segno . Energicamente Espressivo Energ. . Esp. .. Espr. . . Espres. F. oj-For. ..Forte Fag Fagotto Falset Falsetto Ff. orFmo. Fortissimo Fif. Fortississimo Fin Finale Fl Flauto F.'Org.";;l^""°'Sa" j^°"-;-;;|Forzando F.p Forte-piano G Gauche G.O ] G. Org. . . I- Great organ Ot ) Grand° .... Grandiose Graz° . . . . Grazioso Gr Grand ' Hauptwerk Hautboy Hauptw. Hptw. ., h£ Haut. .. H.C Haute centre Incalz Incalzando Intro Introduction Inv Inversion L Left Leg Legato Leggo Leggiero L.H Left hand Lo Loco Luo Luogo Lusing Lusingando M Main. . . Mano. Maest" Magg. , Man Mane. . , Man*" . , Marc. , M.D. .. Men Met Mez Mf. or US. M.G M.M M.M. «=g2 Manual . Maestoso . . Maggiore . . Manuals ' [ Mancando Marcato Main droite Mano destra Mano diritta Manu dextra .'Meno .Metronome .Mezzo .Mezzo forte . Main gauche JMaelzel's me- ( tronome The beat of a crotchet is equal to the pulse of the pendulum of the metro- Aome said to b^ Maelzel's, w i t h the weigbt set at 92 ABBREVIATIONS. Mod" Moderate Mor Morendo M.P Mezzo piano ^„ (Manuscript or * (Mano sinistra Mus. B. . . 1 Bachelor of Mus. Bac.j Music JJ"=-°-"lDoctorof Music Mus. Doc./ M.V Mezzo voce n, fOboe, or haut- O'' i bois Obb Obbligato Oberst Oberstimme obr;.::}°^^--'' Oh. ped. . .Ohne pedale Org Organ Ott ) Ov* • Ottava 8™o»-8>..J 8" aha Ottava alta 8™ bas Ottava bassa P Piano, pouss^ Ped Pedal Perd 1 Perden. . . ■ Perdendosi Perdendo. P.P. or Pf. . Piano-forte P.f. Piu forte Piang Piangendo Pianiss Pianissimo Pizz Pizzicato pp ° I Pianissimo PPP 1 ppp'p r Pianississimo I"" Prima 1"° Primo Prin Principal 4."" Quartet 5"« Quintet Raddol. . Rail Recit. . . . Rf., rfz., rinf., or rinfz. . . R.H Rilasc. . . Ritar. . . Riten. . . . Raddolcendo . Rallentando . Recitative • Rinforzando . Right hand • Rilasciando .Ritardando . Ritenuto Segno, senza, sinistra, solo, subito X "Segno Scherz Scherzando 2''° Seconda 2^° Secondo Seg Segno, segue i:mp."::ls-p- Sen Senza 7" Septet 6" Sestet Sf.oySfz...Sforzando ofP I Sforzato piano Sim Simile Sin Sinistra Sinf. Sinfonia „ . , f Senza interru- S-'"'- ■■{ zione Smorz Smorzando Sos. I sostenuto Sos' / Spir Spiritoso i:lord.:".}s="^^'°'^^"' . . Senza tempo . . Staccato /Stopped diapa- \ son . . Stentato S.T. . Stacc. St. diap. Stent. . String Stringendo Sw Swell organ Sym Symphony Tenor, tutti, tempo, tendrej, tire, tasto T.C .'Tre corde Tern Tempo Tem. 1°. . . . Tempo primo Ten TenutO' Timb Timbales Timp Timpani Tr Trillo Trem Tremolandd 30 Trio Trill Trillando Tromb. .... Trombe Trorab Tromboni . Tromba. ..Trombone fTrompete,trom- \ -pette T.S Tasto solo Tromp. U; Una U.C Una corda Unis Unison! -- fVerte,voce,voci, \ volta, voiti Va. Of V*.. Viola Var Variation Velio Violoncello Viv Vivace Viol- ....) Vno \ Violino Vo ) \T a /Voce solo ^•^ tVolti subito v°v.'!;;;}"^'°""' V' Violini primi V^ Violini secondi There are other abbreviations employed in manuscript or printed music, the chief 01 vifhich are as follows : — In time, a dash with a figure above signifies the length of the pause in bars, e.g- : — 24 In notes, the trouble of writing a passage in full is saved by the use of abbreviations, e.g. : Written. ftc. vf ^=i: 1 ^ *i « 4 ^ |=a=^ : ll-l-^ S. H Played. V^ ^<' Jjj^hj^ihjnj- 4=^ ^#1 -^n-^^^-^^g^ ABBREVIATIONS. vS Written. Repetition phrases are thus shortened : — Written. Abbreviations, by signs, of musical graces : — Written. Pefformed, DICTIONARY OF MUSICAL TERMS. "^0^ *»* The following abbreviations are used : ^., African; ^y., Arabic; i4.-S., Anglo- Saxon; C, Chinese; D., Danish; E., English; Eg., Egyptian; F., French; G. German; Gc, Gaelic; Gk., Greek; H., Hebrew; I., Italian; Ir., Irish; L., Latin; med. L., mediaeval Latin; P., Portuguisse; Pol., Polish; Pn., Persian; R., Russian ; S., Spanish ; Sc, Scottish ; T., Turkish ; W., Welsh. A. -AB INITIO. A (i) The normal minor scale of modern music. (2) The normal sound, because the instruments of an orchestra tune to this note, as given by the oboe or organ. (3) The key-note of the major scale which has three sharps for its signature. (4) The name given to a string tuned to the sound A. The A-string of a violin is its second string; of a viola, its first string; of a violoncello, its first string; of a double-bass, its third string; of a guitar, its fifth string. (5) The actual sound gjj - is in some sys- tems represented by A (capital letter), while AA represents the note one octave below that sound, and AAA the note two octaves below it. Pro- ceeding upwards, the note one octave above A is represented by a (italic] ; that two octaves above it by a (once underlined) ; that three octaves above it, by a (twice underlined), and so on. A (7.) At, by, in, for, to, with, towards, &c. ; a prima vista, at first sight ; a tempo, in time. A (F.) For, by, on, with, &c. ; d, deux mains, for two hands. A ballata (/.) In the ballad style. Abbandonamente (7.) With self-aban- donment, despondingly. Abbandonarsi (7.) To abandon oneself (to the influence of the music). Abbandono, con (I.) With self-aban- donment, passionately. Abbassamento (7.) A lowering. Ah- bassamento di mano, a lowering of the hand ; abbassamento di voce, a lowering of the voice. A battuta (7.) In strict time. Used when a break in the time of a movement has occurred, and it is desirable to resume the original pace " by the beat." Abbellimento (7.) A decoration, orna- ment, or embellishment. Abbellire (7.) To overload a plain melody with ornaments. Abbellitura (7.) Ornament, embellish- ment. Abblasen (G.) To sound a trumpet-call. Abbreviare (7.) To shorten. Abbreviature (7.) Abbreviations. Abbreviazione (7.) An abbreviation, Abcidiren (G.) (i) To use a system of solmisation. A series of exercises in which the names of the notes are used instead of words. (2) A method of in- struction for sight-singing. Abendglocke (G.) The curfew, evening bell. Abendlied (G.) An evening song. A bene placito (7.) At pleasure. The. performer may alter the time, introduce ornaments, cadenzas, &c., according to fancy. Abenteuerlich (G.) Strange and uncouth. Abgeleiteter Akkord (G.) An inversion of a chord. Abgestossen {GJj Struck off. Staccato. Ab initio (L.) From the beginning. ABKURZUNGEN ACOUSTICS. Abkurzungen (G.) Abbreviations. Abnehmend (G.) [Diminuendo.] Abreger {F.} To shorten, curtail, abridge. Abreissung (G.) A sudden pause. Abrupt cadence. An interrupted cadence. modulation. A sudden change of key for which no preparation has been made. Absatz (G.) Cadence, Abschnitt (G.) Section. Absetzen 1 (G.) To render music "stac- Abstossen j cato." Abwechselnd (G.) Alternating; mit ab- wechselnden Manualen, alternately from one manual to another. Academie de Musique (F.) An aca- demy of music. Royale de Musique (F.) The Opera-house in Paris. spirituelle (F) A concert or per- formance of sacred music. A cappella {/.) (i) In the Church style ; vocal pieces unaccompanied. (2) Church music in duple time. A capriccio (/.) At v^^ill; according to individual fancy. Accarezzevole (/.) Literally, Flattering. Agreeable, pleasing ; used occasionally to describe the anticipation of notes. Accarezzevolmente (/.) In a caressing style. Accelerando or Accelerate (/.) Gra- dually increasing the pace. Accent (F.) A sign (a) used in old French music for the harpsichord. Accent. The stress laid on certain notes which recur at regular intervals of time. By the proper grouping of a series of accents, rhythm is produced. Accentato ] (/.) Accented ; with em- Accento, con| phasis. Accentuare (/.) l ™ Accentuiren^G.)}^"^^""'- Accentuation. The act of accenting, or giving to certain notes their due em- phasis. Accentus ecclesiasticus (L.) In Plain- song, the inflexions or intonations of the voice on reaching a comma, semicolon, or other stop. According to its position in the sentence, accent was said to be immutabilis^ medius^ gravis^ acutus^ moderatus, interrogativus, and Jinalis. Accessory stops and movements. Those acting only on the mechanism of an organ, not having pipes in con- nection with them, as. Couplers, Tre- molo, &c. Acciaccatura (/.) A short grace-note, e.g. .- 7 r rXjr< . _ ^ , .._* : lightly yet clearly to be sung, or played. Accidentals. Sharps, flats, or naturals, introduced into a piece of music, beyond those already in the signature. Accolade {F,} A brace, uniting several staves, as in pianoforte or organ music, or in a score. Accommodare (/.) To tune an instru- ment in agreement with another. Accompagnamento {I.) 1 [Accompani- Accompagnement (F.) J ment.] Accompaniment. A separate part or parts, for voices or instruments, added to a solo or concerted piece. Accompaniment ad libitum. Accom. paniment at will. That is, one which can be either played or omitted. obbligato. [Obbligato.] Accompanist. The player who accom- panies. Accoppiato (/.) Joined or connected together. Accord (F.) (i) The series of notes to which an instrument is tuned, e.g. : Accord du Violon, ■ P ■ hence, Accord d, I'ouvert, open strings, q.v. (2) A chord ; concord, hence d'accord, in tune. Accord de sixte ajoutee (F.) The chord of the Added Sixth. Accordamentol ,r \ « ..- l Accordanza \ t^") Agreementm tune. Accordando (/.) Tuning. Accordare (Z.) To tune. Accordato (/.) Tuned. Accordatura {/.) [Accord.] Accorder (F.) To tune an instrument. Accordeur [F.) A tuner. Accordion. A simple musical instru- ment, of oblong form, invented by Damian, of Vienna, in 1829. The tone is produced by the inspiration and respiration of a pair of bellows acting upon metallic reeds or tongues. Accordoir [F.) A tuning key or hammer. Accresciuto [I.) Increased. Augmented, as applied to intervals. Acetabulum (L.) Literally, A vinegar jar. An ancient instrument, originally made of earthenware, afterwards of metal, which, when struck with a rod, produced a sweet sound. Achromatic. Not chromatic. Achtel (G.) Eighth ; octave. Achtelnote (G.) A quaver, -r The eighth part of a semibreve. Achtelpause (G.) A quaver rest, *! A Chula (P.) A dance similar to the Fandango, q.v. A cinque (/.) In five parts. Acoustics. The scienee which treats oi the nature and laws of sound. ACT AFFLITTO. Act. A distinct division in the plot or de- sign of a drama or opera, forming an inci- dent complete in itself, but bearing refe- rence to the general idea of the whole. Act Music in Oxford. Cantatas com- posed by the Professor of Music, to words written by the Professor of Poetry, and performed at grand com- memorations in the University. Act-tunes. [Playhouse-tunes.] Acte (F.) An act in an opera or drama. Acta de cadence (F.) Certain chords by means of which the final cadence is introduced. Action. The mechanism of an organ or pianoforte, or other compound instru- ments. Acuta (/.) (i) Acute, shrill. (2) An organ-stop of shrill tone. Acute. High as to pitch ; opposed to grave. Adagietto (/.) A diminutive of Adagio ; slower than Adagio. Adagio (7.) Slowly ; also a name given to a movement written in that time ^l°rui}(^-) very slowly. cantabile (/.) Very slow, and sus- tained, as if being sung. patetico {/.) Slow and with pathos. pesante (7.) Slow and weighty. sostenuto (7.1 Slow and sustained. Adagiosissimo 1 (7.) More than usually Adagissimo j slow, very slow indeed. Additato (7.) Fingered ; having signs pointing out what fingers are to be used for certain passages. Addition. The old name for a dot or point. Additional accompaniments. Farts not in an original score, but added by another hand. Additional keys. Keys added to en- large the compass of any instrument. Addolorato (7.) In an afSicted manner, sorrowfully. Adel, mit (G.) Nobly, with grandeur.- A demi-jeu (F.) With half the power of the instrument. A demi-voix (F.) With half-voice. A deux {F.) I For two voices or instru- A due (7.) ) ments. [Divisi.] A deux mains (F.) For two hands. A deux temps (F.) In common time of two in a bar. Adiaphonon (Gk.) An instrument of the pianoforte class, not liable to get out of tune. Invented by Schuster, of Vienna, in 1820. Adiratamente } ,t \ t Adirato J (•'^•) ^" ^" ^"Sry manner. Adjunct notes. Short notes, not essen- tial to the harmony, occurring on unac- cented parts of a bar. Ad libitum (L.) At will. In passages so marked the time may be altered, or the music rendered, at the will of the performer. A'dotnamento (7.) An ornament, or grace. Ad placitum (L.) At pleasure. A list part. A due corde (7.) On two strings. cori (7.) For two choirs. stromenti (7.) For two instruments. tempi (7.) In common time of two in a bar. voci (7.) For two voices. A dur (G.) A major. Ad videndum (7,.) A species of coun- terpoint, which was written down or noted, as opposed to that which was alia mente or improvised. Aengstlich (G.) Anxiously, fearfully. /Eolian harp. [Eolian.] ^olian mode. [Eolian.] Eolian piano. A piano having wooden bars, instead of strings. .ffiolodicon, ^olodion (Gk) A musical instrument, the sounds of which, are produced by the striking of steel springs by hammers set in motion by an ordi- nary keyboard. .ffiolomelodicon. (Called also a Cho- raleon.) An iEolodicon having brass tubes over the metal springs, for the pur- pose of giving more power to the tone. .ffiolopantalon. A pianoforte in con- nection with the J&o\oi\con . Aeolsharfe (G.) iSolian harp. .ffiquisonae voces (7-.) Equal sounds, but not unison ; that is, a note and its octave, or super-octave. Aeusserst (G.) Extremely ; dusserst rasch, extremely quick. AEVIA. The vowels in the word Alle- luia, used in mediaeval "prick song" as an abbreviation for that word, espe- cially in Antiphons, and endings of Chants. AffabilUi M^-) In a phasing kindly AffabilmenteJ "anner. Affannato (7.) In a distressed manner. Affanno, con (7.) Mournfully, in a dis- tressed manner. Affannosamente (7.) Restlessly. Affannoso (7.) Mournfully, with grief. Affetto, con (7.) With affection. Affettuosamente (7.) Affectionately, with tenderness and pathetic feeling. Affettuoso (7.) Affectionately, lovingly. Affezione, con (7.) With love, tender- ness. Affinity. Connection by relation. Keys of affinity. Afflizione, con 1 (7.) Afflictedly, with Affiitto J sadness. AFFRETTANDO ALLEGRO. (/.) Hastening the time. Affrettando Affrettato AfTrettore Affrettoso A fior di labbre (7.) Speaking or singing very softly and lightly on the lips. A Fofa (P.) A dance like the Fandango. ApvolLza 1(^) With facility and Aievolmentej ''g^tness. Aggraver la fugue (F.) To augment the subject in a fugue. Agiliti, con (/.) With sprightliness. Agility (F.) Lightness and freedom in playing or singing. Agilmente ) (I.) Cheerfully, in a lively Agilmento / manner. Agitamento {/.) Restlessness. Agitato (I.) An agitated or restless style of playing or singing, in which the time and expression is broken and hurried. Afittzione, con} (^"^ ^''^^ agitation. Agnus Dei (L.) A movement in a Mass. A grand choeur (F.) For the fiiU chorus. orchestre (F.) For the full or- chestra. Agrgments (F.) Turns, graces, and em- jjellishments in music ; music and danc- ing in a play. Aigu (F.) Acute, high. Air. A tune or melody. Ais (G.) The note A sharp. Akkord (G.) A chord ; as Nonen-akkord, chord of the ninth, &c. Akt (G.) An act. A la (F.) 1 Like, in, at, in the A1,A11', Alla(i-.)J style of. A la meme (F.) In the original time. A la mesure (F.) In time. A la mi re. The name of the note a in the acute and super-acute hexachords of the Guidonian system. Alarum, AH' armi {I.) A call to arms. Originally a general shout ; afterwards, a recognised signal by trumpets and drums. Alberti bass. A bass consisting of arpeggios or broken harmony. Albumblatter (G.) Album leaves; short pieces. Alcuna licenza, con {!.) With a little license ; that is, the power of altering the time at will. Aliquot tones. Overtones or harmonics. A livre ouvert (F.) At sight. AH' antico (/.) In the old style. Alia breve (/.) A direction that the notes are to be made shorter ; that is, the pace taken quicker than usual. It is generally found attached to move- ments having four or eight minims in a bar, and is expressed in the signature by the sign (ft Alia caccia {!.) In the hunting style. camera (/.) In the style of cham. ber music, q.v. cappella (I.) [A cappella.] diritta (/.) By direct intervals. hanacca. In the style of the hanaise ; a sort of polka or polacca polonaise. marcia (I.) In the style of a march. mente (/.) A barbarous species of counterpoint in thirds and fifths, im- provised upon the Plain-song, called in France "Chant sur le livre," and in England " Fa burden." militare (I.) In a military manner. moderno (/.) In the modern method. polacca (/.) Like a polonaise. quinta (I.) At the fifth. rovescio \ ,r\ -o - riverso J ^ > ^^ contrary motion. — - siciliana (I.) In the style of the siciliana, q.v. stretta (/.) Bringing closer and closer, alike as to subject and movement. Alia zoppa (I.) Lamely, halting, against time, syncopation. All' 8" alta (I.'\ In the octave higher. All' 8" bassa (/.) In the octave lower. AUargando (I.) Extended, enlarged ; with breadth and boldness. AUegramente (/.) Joyfully, cheerfully. Allegretto (/.) Diminutive of Allegro. Slower than Allegro. A movement in this time. AUegrettino (I.) Diminutive of Alle- gretto. Not so fast as Allegretto. A short allegretto movement. Allegretto scherzando (I.) Moderately playful ; in a cheerful, sportive manner. AUegrezza 1 ,j . AUegria j V: Joy, rejoicing. AUegrissimo (/.) Extremely quick. Allegro (I.) Literally, Joyful. Quick, lively. The word is occasionally em- ployed to describe a whole movement of a quartet, sonata, or symphony. In music it is sometimes qualified as : — Allegro agitato (/.) Quick and in an excited manner. Allegro assai (7.) Literally, Fast enough. A quicker motion than simple allegro. Allegro commodo or comodo (7.) An easy, graceful allegro. Allegro con brio (7.) Quickly and with spirit. Allegro con fuoco (7.) Rapidly and with fire. Allegro con moto (7.) With sustained joyfulness. Allegro con spirito (7.) Joyfully and with spirit. Allegro di bravura (7.) A movement full of executive difficulties intended ALLEIN- -AMABILITA. to exhibit the capacity of the singer or player. Allegro di molto (/.) Exceedingly quick. Allegro furioso (/.) Rapidly and with fury. Allegro giusto (/.) In quick but steady time. Allegro ma graziosa (/.) Lively and with graceful motion. Allegro ma non presto (Z.) Rapidly, but not too fast. Allegro ma non tanto (I.) Quickly, but not too much so. Allegro ma non troppo (I.) Lively, but not too fast. Allegro moderato (/■) Moderately quick. Allegro molto (/.) Very quick. Allegro risoluto (Z.) Lively and with firmness and decision. Allegro veloce (/.) Lively and with speed. Allegro vivace (I.) Lively and brisk. Allegro vivo (/.) Quick and lively. Allein (G.) Alone; as Sanfte Stimmen allein, soft stops only. Alleluia. L. for Hallelujah (H.), Praise ye the Lord. AUemande (F.) Alemain, Allemaigne, Aimain. A dance in duple time. Scarlatti, Corelli, Bach, Handel, and others, incorporated the measure of this dance in their Suites, Sonatas, and Lessons, in which it was written in common time of four crotchets in a bar. Allentamento 1 (/.) Yielding, slackening Allentato j the time, giving way. Allentando {I.) Gradually slackening the time. AUmahlig (G.) Gradually, by degrees ; poco apoco. All' impro wista (7.) Without prepara- tion, extemporaneously. Al loco (/.) Literally, In the place, (i) A term which is used to counter- order H. previous direction to play an octave higher or lower. (2.) A direc- tion to a violinist to return from a shift to his previous position. AUonger rarchet (F.) To prolong the stroke of the bow. Air ottava (/.) At the octave, a direc- tion to play an octave higher, or lower, than is written. AH' unisono (/.) In unison or octaves. Alphorn. Alpine horn. A long tube of fir-wood played by the herdsmen of the Alps. Al piacere (/.) At pleasure. Al rigore del tempo 1 ,^ , ^^ ^^^.^^ ^.^^_ di tempo ) ^ ' Al riverso \ (7.) By contrary motion, Al rovescio J that is, answering an ascending interval by one descending a like distance. Al segno (7.) To the sign. Dal segno (7.) from the sign ^ Directions that the performer must return to that portion of the piece marked with the sign '% and conclude with the first double tar which follows, or go on to the word Fine, or to the pause /rs Alt IG.) Alto voice, part, or instrument. Alt (7.) The notes in the octave begin- ning with G above the treble stave, are said to be in alt. Alta (7.) High or higher; as, 8"" alta, an octave higher. Alterata (L.) A name given to those scales into which notes were introduced foreign to the old Church modes. Alteratio (L.) In mediaeval music the doubling of the value of a note. Alterato 77.) \ Altered, augmented (with Alt^rfi (F.) J reference to intervals). Altemamente \ (7.) Changing by turns. Altemando [■ To choose one of two Alternativo ] ways of performing a passage. The tenor violin, the (G.) Altgeige viola. Altieramente haughtily. Altisono (7.) Altissimo (7.) (7.) Proudly, grandly, Sonorous, ringing. The highest. The notes in the octave beginning with G on the fourth leger line above the treble stave are said to be in altissimo. Altist ^ Alti^tk tT\ ^ "^""^ formerly given to ^^fp])] an alto singer. Alto-basso (7.) An ancient Venetian stringed instrument, a Hackbret, q.v. Alto clef. The C clef, placed upon the third line of the stave The Alto clef is used for the tenor violin 01 viola and the alto trombone. viola (7.) The tenor violin, called alto, tenor, or viola. voice. The deepest tone of voice among women and boys, and the high- est among men. Altposaune (G.) The alto trombone. Altra,/«»». 1 Altri, pi. ■ (7.) Other, another, others. Altro, mas. J Altschliissel (G.) Alto clef. Altviole (G.) [Alto viola.] Altzeichen (G.) The alto clef. Alzamento di mano (7.) Raising the hand in conducting. Alzando (7.) Lifting up, raising, ele- vating. Amabile (7.) Lovely, gentle, tender. Amabilita, con (7.) With gentleness, tenderness. AMARAMENTE ANDARE IN TEMPO. Amaramente > (/.) With sadness, bit- Amarezza, con J terness. Amarevole (/.) Sad, bitter. Amarissimamente "I {I.) Very bitterly. Amarissimo j In a mournful, sorrowful style. Amateur (F.) A lover of music ; not a professional. Ambira (A.) A kind of drum or pul- satile instrument, made of wood, in cylindrical form, upon which a series of tongues of iron or wood are so arranged that they may be made to vibrate upon pressure. Ambitus (L.) Literally, Circuit. The compass of an ancient Church tone ; the proper steps which lie between the extreme limits of the tone. Ambo or Ambon (Gk.) A desk or pulpit. The raised platform in East- ern churches, on which the singers mounted when they sang. Ambrosian Chant. The system of Church song introduced by Ambrose, Bishop of Milan, in the fourth century. It formed the basis of the Gregorian system. Ambrosian Hymn. The Te Deum so called, because its authorship is at- tributed to Bishop Ambrose. Ambrosian Te Deum. A musical set- ting of the Te Deum in Plain-song, called after Bishop Ambrose. Ambulant {F.) Wandering. Applied to strolling musicians. Ame (F.) The sound-post of a violin, or other stringed instrument of its kind. American organ. An instrument having one or more manuals, and registers which control series of free reeds. In the harmonium air is blown from the bellows through the reeds, but in the American organ air is sucked through the reeds into the bellows A mezza aria (/.) A compromise between air and recitative. A mezza voce (J.) (i) With half the strength of the voice. (2) The quality between the chest and head voice. (3) The subdued tone of instruments. A moll (G.) A minor, the tonality of the relative minor to the key of C. A monocorde [F.) On one string. Amore, con (/.) With love, affection, tenderness,, ardour. A Moresco (7.) In the Moorish style. Amorevole (/.) Affectionately. Amorevolmente (I.) Tenderly. Amorosamente {/.) Lovingly. Amoroso (J.) In a loving style. Amorschall. A horn of peculiar con- struction, invented in the year 1760, by Kolbel, one of the musicians of the Emperor of Russia ; now obsolete. Amphibrach {Gk.) A metrical foot con- sisting of a long between two short syllables, ^- ^ Amphimacer. A foot consisting of a short between two long syllables, - o - Ampollosamente 1 (7.) In a bombastic, AmpoUoso J inflated style. Ampoule (F.) Bombastic. Amusement (F.) A short and lively piece of music. Anabasis {Gk.) A succession of ascend- ing sounds. Anabathmi (Gk.) The name given to certain antiphons in the Greek Church, Anacreontic. In the manner of the Greek poet Anacreon; joyous; a drink- ing song, glee, or other piece of music. Anakampsis I (Gk.) A succession oi Anakamptos J descending sounds. Anakara (Gk.) The ancient kettledrum. Anakarista (Gk.) A drum-player. Anapest. A metrical foot consisting of a long preceded by two short syllables, Anche (F.) The reed in the mouth- piece of a hautboy, bassoon, &c.; the name is also applied to a reed in an organ. Ancia (7.) [Anche.] Ancor piii mosso (7.) Still quicker, more motion yet. Ancora (7.) Again, once more, encore. Andacht (G.) Devotion. Andachtig (G.) Devotionally, devoutly. Andamento (7.) (i) An accessory idea, or episode; an accessory part, in a Fugue. (2) In the style of an Andante. Andante (7.) Literally, Walking. Slow, graceful, distinct, and peaceful; some- times used as the name of a movement or separate piece. affettuoso. Slow, and in an easy, pathetic style. cantabile. style. con moto. dante. grazioso. motion. maestoso. non troppo. too slow. pastorale. Slow, graceful, and with pastoral simplicity. sostenuto. Moderately slow, and very smoothly. Andantemente (7.) Easily, fluently, without interruption ; in the manner of an Andante. Andantino (7.) Diminutive of Andante ; slower than Andante. Andar diritto (7.) Go straight on. Andare in tempo (7.) To go in time, Keep to the time. Slow, and in a singing An uninterrupted An- Slow, and with graceful Slow, and with majesty. Moderately, but not ANELANTEMENTE ANTIPHONER. Anelantemente (/.) Ardently, eagerly, pantingly. Anelito i ^^'^ Shortness of breath. Anemochord. A variety of the Eolian harp, made by Jacob Schnell, in Paris, 1789. Anemometer. An instrument which shows the pressure or weight of wind in an organ. Anfangsgriinde (G.) Rudiments, prin- ciples, beginnings. Anfangsritomell (G.) Introductory sym- phony. Ang^lique. An obsolete instrument of the lute class. Angenehm (G.) Pleasing, agreeable. Anglaise (F.) 1 The English country Anglico (/.) ) dance. Anglican Chant. [Chant.] Angore (/.) Anguish, grief, distress, passion. Angoscia (/.) Sorrow, anxiety. Angosciamente 1 (7.) Sorrowfully, anx- AngosciamentoJ iously. Angosciosamente (7.) Sorrowfully, anxiously. Angosciosissimamente (/.) With ex- treme sorrow. Angoscioso (Z.) Anxious, painful. Anhaltende Cadenz (G.) A lengthened cadence, an organ or pedal point. Anhang (G.) A coda. Animando" } f^-) With animation, spirit. Animato (/.) Animated, lively. Animazione (/.) Liveliness, animation. Animo, con (I.) With courage, spirit, dash, and fire. Animo corde (I.) [Anemochord.] Animosamente (/.) Spiritedly, ener- getically. Animosissimamente 1 (7.) Exceedingly Animosissimo / bold, energetic, and spirited. Animoso (/.) Lively, energetic. Anklang (G.) Tune, harmony, accord. Anklingeln (G.) To sound or ring a bell. Anklingen (G.) To accord in sound, to be in tune. Anlage (G.) Indication of talent ; the sketch of a musical thought; also the plan or design of a composition. Anlaufen (G.) To increase or swell in sound. Anleitung (G.) Instruction, guidance, direction, preface. Anmuth (G.) Charm, sweetness, grace, agreeableness. Anmuthvoll (G.) Gracefully, charm- ingly, sweetly. Anonner (F.) To stutter, to hesitate, to stumble in performing, to play in an unskilful style. Anpfeifen (G.) To whistle at, to hiss at ; in music, to condemn. [Fiasco.] Ansatz (G.) (i) Attack, q.v. (2) The adjustment of the mouth in singing, and of the lips in playing wind instruments. Anschlag (G;) (i) Touch, or the pro- duction of tone upon such keyed instru- ments as the organ, pianoforte, or harmonium. (2) The clash of a dis- cord before resolution. [Percussion.] Anschwellen (G.) [Crescendo.] Ansingen (G.) To welcome with song. Ansiosamente {!.) Anxiously. Ansioso {I.) Anxious ; con ansietd., with anxiety. Ansprechen ) (G.) To sound, to sing, to Anstimmen J give out tone. Anstimmung (G.) Intonation, sounding, singing. Antecedent, (i) A phrase or point pro- posed for imitation, (z) Any passage which is answered. (3) The subject of a fugue. Anthem. A sacred composition for voices, with or without organ or other instrumental accompaniment, used in the Anglican Church Service. Anthema (Gk.) Ornaments or apparatus of a feast ; music and dancing. Anthropoglossa (Gk.) [Vox humana.] Antibacchius. A foot consisting of two long syllables followed by one short, " Anticipation. The introduction of notes before they are naturally expected in the harmony. Antico {/.) Ancient. tnllfona£lA'»'^-.-''P'^- Antifonario (/.) Antiphonary. Antiphon. (r) In ancient Greek music antiphony meant " sounds in octaves" as being responsive to, or over against each other. (2) The alternate singing of choirs. (3) A short sentence, gene- rally from Holy Scripture, sung before and after the Psalms for the day, or the Canticles. (4) The greater Antiphons (Antiphonse raajores) are sung on the eight days preceding Christmas-Day, before the Magnificat. (5) In the early Greek Cburch, the word Antiphon was specially applied to the three Canticles which preceded the lesser Introit. Antiphona (L.) An anthem. Antiphonaire (F.) 1 Antiphonier (F.) ■ [Antiphonary.] Antiphonarium (L.)) Antiphonary.1 A service-book of the Ro- Antiphoner. /man Church, containing Antiphons, Invitatories, Hymns, Re- sponses, &c. 8 ANTISPASTUS ARIE AGGIUNTE. Antispastus. A foot, consisting of two longbetween two short syllables,^ " Antistrophe. [Strophe.] Antode (GA.) Responsive singing. Anwachsend {G.J Swelling, crescendo. Aoidoi (Gk.) Minstrels, bards. Aperto (/.) Open. The use of the damper-pedal in pianoforte music. A piacere ) {I.) (i) At pleasure. Not A piacimento J strictly in time, ad libi- tum. (2) The introduction of a cadenza. Aplomb (F.) Steadiness, self-possession. A poco a poco (/.) More and more ; by degrees. Applied to the increase of time or expression. A poco piil lento (7.) A little slower. A poco piu tnosso (/.) Somewhat faster. Apollo-lyra. [Psalmmelodicon.] Apollonicon. An organ which imitated the sounds of a full orchestra. It had about I, goo pipes and six sets of keys, so arranged that it could be played in the ordinary manner by six performers, or by mechanical appliances. Invented in 1800, by John Henry VoUer, of Hesse Darmstadt. Apotome (GA.) A major semitone, B to C. Appassionamento (7.) With passion, love. Appassionatamente (7.) Passionately. Appassionato (7.) With feeling, passion, or affection. Appenato (7.) With an expression of suffering ; with bitterness or grief. Appeno (7.) In a distressed manner. Application (F.)) (i) The art of using the Applicatura (7.) ■ fingers freely upon a Applicatur (G.) j musical instrument of any kind. (2) Shifting, q.v., and re- covering the original position. Appoggiando (7.) Drawing out, length- ening, leaning upon. Appoggiato (7.) Supported, dwelt on. Appoggiatura (7.) A note leant upon in singing or playing, as a grace note. Apprestare (7.) 1 To make ready, to pre- Appretiren (G.) j pare for playing, to set in tune. A^rrr^Lu^^J:!} At first sight. A punta d'arco (7.) With the end of the bow near the point. A punto (7.) In exact time, precise, strict, accurate. A quatre mains {F.) \ For four hands on A quattro mani (7.) j one instrument — that is, as a duet for two performers on the pianoforte or organ. A quatre seuls {F.' ' A quattro soli (7.) [ For four soloists. A quatre voix (F.) 1 For four voices in A quattro voci (7.) j harmony. A quattro parti (7.) In four parts. Ai-bitrio (7.) Will, pleasure ; « suo ar. bitrio, at his pleasure. Arcato (7.) With the bow, as opposed to pizzicato, plucked with the finger. Arched viall. An instrument somewhat like a hurdy-gurdy, invented about 1664. Archeggiamento (7.) (i) The same as arcato, or coW arco. (2) The use of the bow. Archet(F.) The bow with which stringed instruments are played. Archicembalo (•'^•HA cembalo with Archicembaluni (L.)/ an enharmonic scale, invented about 1537. Archiluth (F.)) Archlute. ■ [Theorbo.] Arciliuto (7.) ) Arco (7.) The bow. Ardente (7. a«(i 7?.) Ardently; with fire. Ardentemente (7.) Vehemently; with ardour. Arditezza, con (7.) With boldness, energy. Ardito (7.) Bold and energetic. Ardore, con (7.) With ardour. Aretinian syllables. The names Ut, Re, Mi, Fa, Sol, La, given to the Hexachord by Guido d' Arezzo (Guido Aretinus). Arghool. A wind instrument, used in Egypt, made of common cane, and played by mouthpieces containing reeds. Aria (7.) An air, tune, song, or melody ; a movement for a single voice or instru- ment, with an accompaniment. — — buffa (7.) A song with some degree of humour in the words, or in the treat- ment of the music. cantabile (7.) An air in a graceful, flowing style. concertante (7.) An air in the concert style, accompanied by instru- ments having obbligato or solo passages assigned to them. d' abilita (7.) A song of difficult execution. d' entrata (7.) The first or entrance air sung by any character in an opera. di bravura (7.) An air with florid, bold, and energetic passages and phrases. fugata (7.) A song or air, in which the accompaniment is written in fugal style, or in imitation. parlante (7.) A declamatory air, sung in strict time. sortita (7.) [Aria d' entrata.] tedesca (7.) An air in the German style— that is to say, in whieh the ac- companiment is inseparable from the melody. Arie aggiunte (7.) Supplementary songs introduced into a work after the first performance or representation. ARIETTA ATTACCO. Arietta, Ariettina (I.) The diminutive of aria; a short air or melody. Ariette (F.) [Arietta.] Arioso (I.) In the style of an air. A direction that the music is to be per- formed tunefully, sweetly. Armarius. [Precentor.] Armer la clef {F.) To indicate the key by the number of sharps or flats in the signature. Armoneggiare (7.) To harmonise, to sound in chords. Armonia [I.) Harmony. Armonica (I.) Armonicon. (i) The musical glasses, a series of glass cups, capable of producing the notes of tiie diatonic scale by friction upon the edges. (2) A harmonicon. Amonioso} t^") Malodious, harmonious. Armoniosaniente (/.) Harmoniously. Armonista (7.) A harmonist. Arpa (7.) [Harp.] Arpa doppia (7.) A double harp. Arpanetta or arpanella (7.) A small harp. Arpege {F.) [Arpeggio.] Arpeggiando (7.) Playing arpeggio, q.v. Arpeggiare 1(7.) To strike the notes Arpeggiato J of a chord in succession, as in harp-playing. Arpeggiatura (7.) [Arpeggio.] Arpeggio (7.) In the style of a harp. A term applied to the notes of a chord when they are struck consecutively, instead of simultaneously. Arpicordo (7.) A harpsichord. Arrangement. A selection or adaptation of the parts of a composition, to fit them for performance by other voices or in- struments than those originally designed. Arsis {Gk.) A raising, an elevation, as opposed to thesis, a depression or lowering. There are two kinds of arsis. (i) Of accent. (2) Of metre. In the former, arsis corresponds to the down- beat of a bar in music; in the latter, arsis (or raising of the voice) often represents a. short or non-accented syllable. Art (G.) Species, kind, sort ; as auf folnische Art, a sort of polonaise, &c. Articolato (7.) Articulated ; bene artico- lato, well or clearly articulated. Articulation, (i) In singing, the art of distinct pronunciation. (2) In instru- mental music, the art of producing proper tone by a right adjustment of the fingers or the lips. Artist. One who possesses in a high degree that appreciation of the beautifiil and that refined temperament, which, when duly trained and educated, become active faculties, and render their owner an able and influential exponent of Art. Artista(7.)) . . Artiste (F.)]'^'^"®'- As (G.) The note Aj? Ascaules {Gk.) A player on the ascaulos, Ascaulos (Gk.) A bagpipe. As dur (G.) The key of A flat major. Ashantee trumpet. An instrument formed of the tusk of an elephant care- fully hollowed, the embouchure being in the side. As moll (G.) The key of A flat minor. Asosra (77.) [Chatzozerah.] Aspirando, Aspirare, Aspirat% (7.) To take breath audibly; bad management of the breath in singing. Aspiration (F.) (i) The sign ' for shortening the duration of a note. [Spiccato.j (2) A former name for an appoggiatura. Asprezza (7.) Harshness, severity. Aspro (7.) Harshly. Assai (7.) Very. Allegro assai, very quick. Assemblage (F.) (i) A series of rapid passages executed on wind instruments. (2) Double-tongueing on the flute or cornet. Assez (F.) Very ; as assez lent, very slow. Assonance. Agreement of tone, conso- nance. A suo arbitrio (7.) At his judgment or pleasure. bene placito (7.) At his pleasure. comodo (7.) At his leisure. luogo (7.) At his position or place. Atabal. A Moorish tambour. A table sec (F.) The performance of vocal exercises without the accompani- ment of an instrument. A tempo (7.) In time. [A battuta.] comodo (7.) In a convenient, easy, moderate time. di Gavotta (7.) In the time of the Gavotte, q.v. giusto (7.) At a just pace ; at a moderate tempo. di Minuetto (7.) In the time of the Minuet, q.v. ordinario (7.) At an ordinary pace. primo (7.) In the time first given. rubato (7.) Robbed time; time made slightly irregular for the sake of exnression, A tre (7.) For three voices, instruments, or parts. Attacca (7.) Commence at once, without a pause. Attacca subito (7.) 1 To be begun at Attaccato subito (7.) J once. Go on. Attacco (7.) A term given to a short and well-defined theme, or passage, in fugal imitation. ATTACK AZIONE SACRA. Attack, (i) A vigorous entry of voices or instruments at a leading point. (2) A courageous rendering. Attendant keys. Relative keys, keys of afBnity. Atto (i.) An act in an opera. Attore or Attrice (J.) An actor or actress ; the chief singers in an opera. Aubade [F.) An open-air morning con- cert; the antithesis of a serenade. Audace (/.) Audacious, bold ; con audacia^ with boldness, vigour. Audace, con (/.) With vigour, boldness. Auferions (old E.) Wire-strings. Aufgeregt (G.) Agitated. [Agitato.] Aufgeweckt (G.) Brisk, lively, sprightly, cheerful. Aufgewecktheit (G.) Sprightliness, live- liness. Aufhalten (G.) To stop, to keep back, retard. Aufhaltung (G.) Suspension. Auflebend (G.) Reviving. Auflosung (G.) Resolution of a discord. Aufschlag (G.) Unaccented beat. Aufstrich (G.) An up-bow in violin- playing. Auftakt (G.) The unaccented part of a bar. Augmentatio {med. L.) The lengthen- ing of a note by the addition of half its length. Augmentation. The introduction of the subject of a Fugue or Canon, in the course of its progress, in notes of longer duration than those in which it was first proposed. Augmented interval. Intervals one semitone greater than major are aug- mented. Thus C to D|| is an augmented second, C to Gft an augmented fifth, and so on. Augmented subject. [Augmentation.] Aulaeum (L.) The curtain of a theatre. Auletes (Gk.) A player on the Aulos or flute. Auletrides (Gk.) Female players on the Aulos or flute Aulos (Gh.) The most important wind instrument of the Greeks. Though generally rendered fiuie, there is much reason for supposing that the term in- cluded instruments of the oboe family. A una corda (/.) With or on one string. A direction in pianoforte music to use the soft pedal. Ausarbeitung (G.) The working out of a theme ; the climax of a composition. Ausdriick (G.) Expression, q.v. AusdrucksvoU (G.) With expression. Ausfiihrung (G.) (i) Performance Or execution. (2) The working out of a subject in composition. Ausgabe (G.) Edition. Aushalten (G.) To hold ; to sustain a note. Aushaltung (G.) The duration of a note ; sustaining a sound. Aushaltungszeichen (G.) A pause ^^ Ausweichung (G.) Change, modulation. Authentic cadence. A perfect cadence, formed by a progression from the chord of the dominant to the chord of the tonic. Authentic mode. The name given to those modes on which were afterwards constructed other modes called Plagal, by an alteration of the pitch to a fourth below. Authentic part of the scale, in counter, point and fugue, is that which lies be- tween a note and its dominant. Autos sacramentales (S.) One of the early forms of Spanish drama. Auxiliary notes. Notes not essential to the harmony. Auxiliary scales. The scales of rela- tive or attendant keys, q.v. Ave Maria (L.) Hail, Mary! A hymn to the Blessed Virgin Mary. Avena (L.) An oaten pipe ; the syrinx or pan-pipes, reeds joined together with wax. A vista (/.) At sight; used instead of a prima vista, at first sight. Azione sacra (I.) Sacred dramas. -BANDORE. B. (i) The seventh note of the normal scale C ; the note Si, in Tonic Sol-fa system Te. (2) The major scale having five sharps in its signature. (3) The note B|? in Germany, where Bfa is known as H. Baas or Base dance. A dance similar to the Measure, or the Minuet. Baccalaureus Musicae (L.) Bachelor in Music. Bacchanalian song. (i) Songs sung during the worship of IJacchus. (2) Any song in praise of wine. Bacchia. Kamtschatdale dance, in | time. Bacchius. A metrical foot consisting of one short and two long syllables, u - - Bacciocolo (7.) Tuscan musical instru- ment of the guitar kind. Bachelor of, or in. Music. The first of the degrees in music at the Univer- sities of Oxford, Cambridge, and Dublin. Backfall, (i) A turn in lute or harpsi- chord music. (2) A horizontal lever in an orga:n. Bagana. The ten stringed lyre of the Abyssinians. Bagatelles (F.) Sketches, short pieces, trifles. Bagpipe. An ancient wind instrument of almost universal adoption, formerly in use in every part of Europe, but now only found in parts of Italy, Sicily, Calabria, Brittany, Poland, Ireland, and Scotland, in form more or less varied. It consists of a leathern bag, which contains the wind, two or three pipes called drones, which produce always the same sound, and a chanter, furnished with a reed, and bored with six or eight holes, which are stopped by the fingers. In some countries the wind is supplied by the mouth, in others by a bellows pressed by the arm. Baguettes (F.) Drumsticks. Batafo. A musical instrument popular among the negroes of Senegambia. It is made of a series of graduated pieces of wood, placed over gourds, which act as resonance-boxes, is struck with ham- mers, and has a scale of two octaves. Balalaika (R.) A Russian instrument, in form like a guitar; it has two strings. Balancement (F.) Tremolo. Balg ((?.) Bellows, wind-chest. Balgentreter) (G.) The bellows-treader. Balgetreter J In old organs the blower worked the bellows by standing on them in turns. Balken (G.) The bar under the belly of a violin. Ballabile (/.) A piece of dance-music used in ballets. Ballad. A song designed to suit popular tastes. A simple narrative of events set to a tune which might be also used for one of the original purposes of a ballad, namely, a dance-tune. Ballade (G.) A dance, also a ballad. Also a descriptive musical setting of a popular poem in the form of a cantata. Balladenmassig (G.) In the manner of a ballad. Ballata (/.) A short popular song ; the melody of any song which may furnish a tune for dancing. [Ballet.] iailtuni'}(^-) Diminutive of Ballata. lamsTif1(^0 Songs in dance-style Ballerina (7.) A female ballet-dancer. Ballerino (7.) A male dancer. Ballet. A madrigalian part-song with a fa la chorus. [Ballata.] Ballet (F.) A representation in dancing and gesticulation, of some story, with- out words. Ballet-master. One who directs the motions of the ballet, and the order of the performers. Balletto (7.) A ballet, a dance. Balli (7.) Dances ; balU delta Stiria, Styrian dances. Ballmassig (G.) In dance time. Ballo (7.) A dance, a ball. Ballonchio (7.) Italian country dance. Ballonzare 1 (7.) To dance wildly, reck- Ballonzolare J lessly, without rule. Band (G.) A part, a volume, anything sewn together. Band. Instrumentalists collected together for the performance of music, as brass band, string band, &c. Also the chief divisions of an orchestra, as wood wind band, &c. Banda (7.) A band. Bandora. \ An English form of the an- Bandore.J cient Greek Pandoura, having twelve strings of steel wire. BANDURRIA BASSE DE VIOLON. Bandurria (S.) A form of guitar, strung with wire instead of catgut. Banja or Banjo. A species of guitar, of supposed African origin, popular with the negroes of America. Bar. A line drawn through the stave to denote the division of the time in a piece of music. The music comprised within two of these lines is also called a bar. Bars are placed immediately before the notes having primary accent. Barbet. 1 An ancient Greek instrument Barbiton.J in the form of a lyre. The name was applied to instruments of the violin class in the sixteenth and seven- teenth centuries. Barcarola (/.) ] A simple melody in imi- Barcarole. tation of the songs of Barcarolle (F.) J Venetian gondoliers. Bardone. [Viola di bardone.] Barem (G.) An organ-stop, consisting of closed flute-pipes of 8-ft. or i6-ft. pitch. Barginet, Berginet, Bargaret, or Ber- geret. Shepherd's songs, to accom- pany dances ; songs relating to pastoral matters. Baribasso. A deep bass voice. Bariolage (F.) A medley; a cadenza, or series of cadenzas, whose appearance forms a design upon the music paper, " a waistcoat pattern " as it is called by performers. Baritenor. A deep tenor. Bariton or Baryton. [Viola di bardone.] Bariton clarinet. An instrument used in military bands, the tone of which is between the clarinet and bassoon. Bariton [F.) la,,.-. Baritone (/.) | ^^^ baritone voice. Baritone. A brass instrument of deep tone. Baritone clef. The F clef placed upon the third line of the stave : obsolete. Baritone voice. [Barytone voice.] Barocco (7.) \ Unusual, singular, eccen- Barock (G.) [• trie, whimsical, irregular. Baroque (F.)J Applied to a composition with over-chromatic harmonies, or un- rhythmical melodic phrasing. Barquarde (F.) An obsolete term for barcarolle, q.v. Barre (F.) In guitar or lute playing, the pressing of the forefinger of the left hand across all the strings, so as to alter temporarily the pitch of the in- strument. Barre de luth (F.) The bridge of the lute. Barre de mesure (F.) [Bar.] Barre de rgp^tition (F.) A double bar with points, marking a repeat. Barrel-organ. An organ in which a wooden cylinder furnished with pegs or staples, when turned round, opens a series of valves to admit a current of air to a set of pipes, producing a tune either in melody or harmony. Barypycni {med. L) (i) Lowest strings of tetrachords in the chromatic or en- harmonic scale. (2) In ecclesiastical music, those modes which have the pycnon or semitone at the bottom of the tetrachord. Barytenor. A deep tenor. Barytone voice. A voice of fuller qua- lity than a tenor and lighter than a bass, having a compass partly included in both, namely; — to Baryton, Barytone. [Viola di bardone.] Bas-dessus (F.) Mezzo-soprano, or second treble. Base. Old form of the word bass. Bass. Low ; as bass trombone, bass viol, bass voice, &c. flute. The lowest in pitch of in- struments of the flute family: now obsolete. It was a.Jlute-ci-bec. horn. English bass horn, corno- basso ; a brass instrument, the precur- sor of the ophicleide, but smaller. Also the Bp basso horn of the orchestra. lute. [Theorbo.] trumpet. An old instrument, now superseded by the trombone. tuba. A brass instrument, a spe- cies of bombardon, having a compass of three octaves from FFF. viol, (i) A familiar name for the violoncello. (2) The largest and deepest in tone among a chest of viols, which had five and sometimes six strings, and a fretted finger-board. voice. The lowest register of the human voice, having a compass ranging between two octaves from lower D : — w Bass-bar. A piece of wood fixed inside the belly of violins, &c., to support the pressure of the left foot of the bridge. Bassa ottava (/.) At the lower octave. Basse (F.) Bass. ■ chantante (F.) A barytone voice. chiffrge \ (F.) A figured bass, a continue J bass part, the accom- panying harmonies of which are ex- pressed by numbers. contrainte (F.) [Ground bass.] contre (F.) A deep bass voice; also the double bass. de cremone (F.) The bassoon. d'harmonie (F.) The ophicleide. de hautbois (F.) Corno inglese. de viole (F.) The violoncello. de violon (F.) Double-bass. BASSE DOUBLE- -BEISSER. 13 (F.) Large double-bass. ^) Figured bass. Basse double figur€e (F., fondamentale (F.) Root-bass or generator. recitante {F^ [Basse chantante.] taille (F.) The barytone voice. Basset-hom. A transposing instrument of beautiful, soft, and rich quality, in form like a long clarinet, with a curved and bell-shaped metal end. Its compass is — Bassetpommer (G.) A deep-toned in strument of the oboe family, precursor of the bassoon. Bassetto (I.) (i) The diminutive of basso. A name sometimes given to the tenor violin. (2) A reed-stop in the organ of 8 ft. or 16 ft. in length. Bassgeige (G.) Bass fiddle, violoncello. Basslaute (G.) [Bass lute.] Basso (/.) A bass singer the double- bass ; the bass part. buffo (/.) A comi singer with a bass voice. cantante {I.) [Basse chantante.] concertante (/.) The principal bass, that which accompanies solos and recitatives. continuo (I.) A bass part figured for the organ or pianoforte. figurato (/.) (i) Basso continuo. (2) A bass part with running passages. fondamentale (I.) The funda- mental ground bass, or root. — ^ — numerato (/.) A bass, the harmo- nies to which are indicaw."d by numbers. ostinato (I.) [Ground bass.] ripieno {I.) The bass of the full or chorus parts. Basson (F.) [Bassoon.] quinte {F.) A bassoon, the pitch of which is five notes higher than that of the common bassoon. Bassoon. A reed wind instrument of deep pitch, with a compass of more than three octaves from low B flat. It ordi- narily forms the bass or deepest tone among wood wind instruments, and is capable of excellent independent effects. Bassposaune (G.) Bass trombone. Bassschliissel (G.) The bass clef. Bassthema (G.) [Ground bass.] Batillus. An instrument formerly em- ployed by the Armenians in their Church service to supply the place of bells. A board struck with a hammer. B^ton (F.) (i) A stick used in beating time. (2) The method of a conductor is called his bdton. (3) A pause of two or more bars. Battement (F.) An ornament in singing, opposed to the cadence. [Beat.] Battere, il (7.) The down-stroke in beating time. Batterie (F.) A roll upon the side-drum ; a method of playing the guitar, by striking the strings instead of pulling them. Battery. An effect in harpsichord music, written and played -5 Battimento (I.) [Battement.] Battuta (/.) (i) In correct time. (2) A bar. Bau (G.) The structure of musical in- struments. Bauernleyer (G.) [Hurdy-gurdy.] Bauerflote (G.) An orgSi '-stop of 8-ft. length, of a small scale. Baxoncillo (S.) Literally, A little bassoon. A Spanish organ-stop like an open diapason. Bayles (S.) Comic dancing songs. B cancellatum (L.) The cancelled B, The note 'B\> as altered by means of a jl or ft in old music. B dur (G.) The key of Bb major. B durum (L.) B natural. [B quad- ratum.] Bearbeitet (G.) Arranged, adapted. Bearings. Those few notes which a tuner accurately tunes or lays down before proceeding to adjust the whole compass of the instrument. Beat, (i) A short shake, or transient grace note, played or sung before the note it is desired to embellish. (2) The portion of a bar of music occupied by the movement of the hand in counting time. (3) The peculiar "throbbing" heard when sounds not quite identical in pitch are sounded together. Bebisation or Labecedation. The syl- lables La, Be, Ce, De, Me, Fe, Ge, which Daniel Hitzler, 1630, used in teaching the notes. Bebung (G.) Trembling, shaking; the tremolo stop in an organ. [Vibrato.] Becarre (F.) The sign t] Bee (F.) \ Literally, A beak. A mouth- Becco (J.) J piece. [Flute-a-bec] Becco polacco (I.) A large bagpipe. Becken (G.) A cymbal. Be don (F.) An obsolete term for a drum, or tambour. Begeisterung (G.) Spirit, excitement, enthusiasm. Begleiten (G.) To accompany. Begleitende Stimmen (G.) Accom- panying Voices or parts. Begleitete Fuge (G.) A fugue with free parts. [Free parts.] Begleitung (G.) Accompaniment. Beisser (G.) [Mordente] • BEITONE- -BIZZARRIA. Beitone (G.) Aliquot tones. [Harmo- nics.] B^lebr'^tC^-) Animated, lively. Belebtheit] (G.) Liveliness, vivacity, Belebung J animation. Bell. The lov/er termination of any tubular musical instrument which by the outward turning of the rim assumes the form of a bell. diapason. An organ-stop consisting of open metal pipes with bell mouths. gamba. An organ-stop, the pipes of which are conical and surmounted by a bell. harp. A small wooden box, with eight or more strings of steel- wire. The fingers of each hand grasp the body of the box, leaving the thumbs free to strike the strings. The player swings the instrument as he strikes, producing the effect of the sound of a peal of bells borne on the wind. metronome. A metronome in which the recurrence of a set number of beats is marked by the sound of a bell. piano. [Glockenspiel.] Bellezza (/.) Beauty of expression and tone in playing and singing. Bellicosamente) ,,, ,-, ... ^. , , Bellicoso P^-) Warlike, martial. Bellows. In the harmonium, organ, concertina, &c., that contrivance by means of which wind is^upplied to the pipes, tongues, or reeds.| Bells. Musical instruments of percussion, consisting of a series of taetal basins or cups, sounded by the blow of a hammer or " clapper." Belly. The upper plate of the resonance- box. ' In the violin, guitar. Sec, the strings are stretched over the belly. Bemes or Beemes. Saxon trumpets or bugles. Bemol (F.) 1 tu • u Bemolle(i.)| The sign 1> Ben (7.) Well. Ben marcato, well and clearly marked ; ben sostenuto or ben tenuto, well sustained. Benedictus {L.) [Mass.] Bene placito (/.) At pleasure, ad libitum. i:^uate°,^'.j}Thesign[, Bequem (G.) Accommodating. [Comodo.] Berceuse (F.) A cradle song. Bergamasca (7.) I A lively dance in triple Bergomask. J time, in imitation of the dances of the country people of Ber- gamo, who were considered the least graceful of the Italians. Bes (G.) The note B double flat, B\i\> Besaiten (G). To string an instrument. Beschleunigen (G.) Gradually increas- ing the p'ace. Beseelt (G.) Animated. Bestimmt lo.) With decision. Bewegt (G.) Moved. Bevyegter (G.) Quicker. Piu mosso. Bewegung (G.) Motion, emotion; as mit heftiger Bewegung, with extreme emotion. Bhat. A Hindu bard. Bianca (7.) A minim, J The white note, as opposed fo the J, or black note (nero) . Bibelregal (G.) A regal shaped like a Bible. Bichord. Having two strings to each note. Bichordon. [Colachon.] Bicinium (L.) A duet ; a composition in two parts. Bien rhythm^ (F.) Strongly accented. Bifara (L.) An organ-stop, with two pipes to each note, producing a tremu- lant effect. [Vox Angelica.] Bilancojel. An Indian flute with seven holes, played by a mouthpiece. Bimmolle (7.) The sign p Bina, or Vina. An Indian guitar, with a long finger-board, and a gourd at- tached to each end. Binary form. The form of a movement which is founded on two principal themes or subjects. measure. Common t ime. Bind, (i) A sign,-" ^,or ' I placed over two or more notes of the same name, to show that they are to be sus- tained as one. (2) A brace which binds together the separate parts of a score. Binde (G.) [Bind.] Bindebogen(G.) Thebind-bow. [Bind.] Bindung (G.) Syncopation, suspension. Bindungszeichen (G.) A' slur or bind. Birn (G.) That portion of a clarinet or similar instrument in which the mouth- piece is inserted. Bis (Z-.) Twice. (1) A direction that a passage is to be twice played or sung. (2) Again, encore. ^ unca {L.) A semiquaver, •*, or note with two hooks. Bischero (7.) The peg or pin with which the strings of an instrument are secured. Biscrotna (7.1 1 . • 6 Biscrome(k)|^ semiquaver, -< Bisdiapason. The interval of a double octave, or fifteenth. Bissex. A kind of guitar with twelve strings, invented by Vanhecke, in 1770. Bit. A small piece of tube used for supplementing the crook of a trumpet, cornet-a-piston, &c., so as to alter the pitch. Bizzarramente (7.) Fantastically, won derfully. Bizzarria (7.) Singularity, affectation. BIZZARRO- Bizzarro (I.) Odd, droll. Blanche (F.) A minim, d [Bianca.], Blanche pointee (F.) A dotted minim. Blasbalg (G.) The bellows of an organ. Saxon, Bles-belg, a wind-bag. BlasinstTument (G.) Wind instrument, flute, oboe, bassoon, cornet, trumpet, trombone, &c. Blasmuslk (G.) Music for wind instru- ments. Blatt (G.) A vibrating tongue or blade. [Reed.] BlechinstTumente (G.) Metal wind in- struments. B moll (G.) The key Bj? minor. B molle (i.) The note B^ Bobibation or Bocedisation. Solfeggi taught by Huberto Walraent at the end of the sixteenth century for scale prac- tice, which were Bo, Ce, Di, Ga, La, Mi, Ni. [Bebisation.] Bocal (F.) The mouthpiece of the horn, serpent, trombone, &c. Bocca {/.) The mouth. Can bocca chiusa, with closed mouth, humming. ridente (/.) Smiling mouthy the position of the mouth needful for the production of pleasing tone. Bocchino (/.) A mouthpiece of wind instruments. Bockpfeife (G.) Bagpipe. , Bockstriller (G.) A goat-like tremolo upon one note ; a bad shake. [Vibrato.] Boden (G.) [Body.] Body. The resonance -box of a string instrument. That part of a wind instrument which remains after the removal of mouthpiece, crooks, and hell. Bogen (G.) Bow. Bogenclavier (G.) [Tetrachordon.] Bogenfiihrung (G.) The art of playing with a bow upon stringed instruments. Bogenstrich (G.) The stroke of a bow. Bolero (S.) A Spanish dance in triple measure, accompanied with singing and castanets. [Chica.] Bombard. 1 A bass reed-stop on the Bombarde (F.l J organ, of i6-ft. tone. Bombardino (l.) A small bombardo. Bombardo {/.) A mediaeval wind instru- ment, the precursor of the oboe. Bombardon [F. and G.) A brass instru- ment, in tone not unlike an ophicleide. Bombaulius (Gk.) A facetious name for a bagpiper. Bombyx (Gk.) A Greek flute, a reed instrument of powerful tone. Bonded notes. [Ligaturae.] Bon temps de la mesure (F.) The accented portion of the bar. Bones. Four pieces of the ribs of horses or oxen, held in the hands by twos and struck together for the purpose of mark- -BRBAK. 15 ing time, in accompaniment to the voice or an instrument. Bordone (/.) [Bourdon.] [Viola di bardone.] Bouche ferm^e, k (F.) With closed mouth ; humming ; con bocca chiusa. Boulou. A harp used by the negroes of Senegambia and Guinea. Bourdon {F.). (i) A drone-bass, a burden such as that produced by bagpipe, or a hurdy-gurdy. [Burden.] (2) An organ-stop, consisting of stopped wooden pipes, generally of i6-ft. tone. Bourree (F.) A dance-tune in common time, said by Hawkins to come from Auvergne. Boutade (F.) (i) A dance which was supposed to be impromptu. (2) An old caprice, or fantasia. Bow. An instrument of wood and horsehair, employed to set the strings of the violin, &c., in vibration. It was originally arched like a bow. Bowing. The art of managing the bow, so as not only to bring out the best tone the instrument is capable of, but, also so to phrase the passages played that the best possible character may be im- ■ parted to the music. Boyau {F.) Catgut strings. B quadratum (!>.)] B natural. The B quadrum {L.} V name of B quad- B quarre (F.) J ratum or B square was given by reason of its shape, which was originally that of a gothic B. [B cancellatum.] B quadro (/.) The sign H Braban^onne. The Belgian patriotic song. Brace, (i) The accolade connecting two or more staves together. (2) The leather slides upon the cords of a drum. Bransle, Branle (F.) [Brawl.] Bratsche (G.) The tenor violin, alto,, or viola. So called from the viola da braccia, or viola held on the arm, as distinguished from the viola da gamba, or viola held between the legs, the pre- cursor of the violoncello. [Viola.] Brautlied (G.) Bridal hymn or song. Bravour (G.) Dash, brilliancy. Bravura (/.) Dash, brilliancy. [Aria di bravura.] Brawl. An old round dance in which the performers joined hands in a circle. A country dance. Break. (i) The point of junction in the quality of tenor, soprano, and alto voices. (2) In the clarinet the break in the tone occurs between B flat and B natural. (3) Break, in an organ-stop, is the sudden alteration of the proper scale-series of the pipes by returning to those of an octave lower in pitch. i6 BREAST BYSSYNGE SONGES. Breast (old E.) The voice. Breath marks. Signs used in vocal music to show where breath should be taken, • A . ). I &c. Breit (G.) Broadly. Largamente. Brettgeige (G.) A pocket fiddle. Breve. In mediasval music, the note equal to half the value of a long, and one quarter of the double long or maxi- ma. Its shape was ■. It is now written thus, M. IMI . H- Breviary. A book containing the daily service of the Roman Catholic or Greek Churches. Bridge. A piece of wood which, on instruments having a resonance-box, performs the double duty of raising the strings above the belly, and of terminating at one end their vibrating portion. Brillante (/. and F.) Brilliant, in a showy, sparkling style. assai (7.) Very brilliant and sparkling. Brillantissimo (J.) As brilliant and sparkling as possible. Brillenbasse (G.) " Spectacle basses ; '' music for the drum, so called from its resemblance to a pair of spectacles : — Brillo {!.) Joy, gladness. Brindisi (J.) A drinking song. Brio, con (/.) With spirit, vigour, and force. Brioso (/.) Joyfully, vigorously, forcibly. Brise {F.) Broken chords, arpeggios. Broderies (F.) Ornaments used to cover any simple melody ; graces, embellish- ments. Broken cadence. An interrupted cadence. chords. [Arpeggio.] music. Probably music played on harps, guitars, or lutes, because the sounds of these instruments cannot be sustained at will. Brontium (L.) A contrivance for imi- tating thunder, used in the Greek theatre. B rotundum (L.) Bflat. [Bcancellatum.] Brummeisen (G.) Jew's-harp. Bruscamente (J.) Coarsely, roughly, strongly accented. Brusco (J.) Coarse, rough. Buccina (I.) \ A crooked horn or trumpet Bucina (L.) j of the ancient Romans, tuba being the straight trumpet. Buccinator. A muscle in the fleshy part of the cheeks, the contraction of which forces the air from the mouth. It derives its name from Buccinare (L.) to blow a trumpet. Buccolica (/.) \ Rustic. A la bucolique, Bucolique {F.) J in a rustic manner. Biichse (G.) The boot or foot of an organ-pipe. Buffa, /«»». I (7.) Comic. Aria buffa, a Buffo, ma^. I humorous melody ; opera buffa, a comic opera Buffet (F.) An organ case; keyboard case. Buffone {I.) A comic singer in the opera. Buffonescamente (7.) In a burlesque or humorous style. Bugle, (i) A hunting-horn of a straight or curved form. (2) A copper instru- ment of the horn quality of tone, but of less compass, furnished with keys. Buonaccordo (7.) A small triangular spinet for the use and amusement of children. Buonamente (7.) Justly, truly. Buona nota (7.) Accented note. Buon gusto (7.) In good taste. Burden, ^i) The chorus or refrain of a song. (2) The drone of the bagpipe. (3) The tune sung as an accompaniment to a dance when there were no instru- ments. Burgomask. [Bergomask.] Burla (7.) A jest; raillery. Burlando ^ (7.) In a jesting, comic Burlescamente ■ manner ; facetious, Burlesco ) merry. [Buffo.] Burlesca (7.) A jest, a movement in a jocular style, cf. scherzo. Burletta (7.) A comic operetta ; a farce interspersed with songs. Busain. 1 A reed-stop on the organ, Busaun. t generally of i6-ft. length Buzain. j and on the pedal organ. Bussone (7.) An obsolete wind instru. ment, cf. bassoon. Buxea tibial (L.) A flute made of box- Buxus J wood. Byssynge songes (early E.) Lullabies, cradle songs. -CALCANTENGLOCKE. U c. C. (i) The note Ut in the Guidonian system and in modern French and Italian nomenclature. (2) The letter whose original form was afterwards modified into the C clef. (3) The first, or key-note, of the modern normal scale. (4) A capital letter C signifies the note in- the second space of the bass stave (Tenor C). A small c signifies the note one octave above this, middle C. C barre {F.) The term for the time indicator, C, with a dash through it, 0. C clef. The clef showing the position of middle C, in which are written the alto, tenor, and (in old music) other parts :• — Soprano Mezzo- Alto Tenor Clef. Soprano Clef. Clef. "' " dur (G.) C major- C moll (G.) C minor. C Schlussel (G.) The C clef. Cabaletta (/.) A simple, pleasing, short melody. Cabaletta (S.) A melody in rondo form, at first sung simply, afterwards with variations. Cabinet d'orgue {F.) Organ case. pianoforte. An old - fashioned upright pianoforte, about six feet high. C^biscol°i'} '^^^ precentor in a choir. Caccia (/.) Hunting. Music accom- panied by horns, or in praise of field sports, is said to be alia caccia, in the hunting style. Cachucha (S.)ASpanish dance. [Bolero.] Cacofonia (/.) | Harsh-sounding Cacophonie (F.) ^^^-^^ Cacophony. ; Cadence, (i) A vocal or instrumental shake or trill, run or division, introduced as an ending, or as a means of return to the drst subject; (z) The end of a phrase. (3) There are four principal forms of cadence in harmony, the whole or authentic, the half, the interrupted, and the plagal cadence. When the last chord-;— the major or minor chord of the key-note — is preceded by the major chord of the dominant, such cadence is called whole or perfect. The cadence called plagal is that in which the chord of the tonic is preceded by the major or minor chord of the subdominant. If the last chord is the dominant and is- preceded by the chord of the tonic, the cadence is called half or imperfect. When the last chord of the phrase is other than the tonic chord and is pre- ceded by tliat of the dominant, the cadence is said to be interrupted, false, or deceptive. Cadence imparfaite (F.) An imperfect cadence. parfaite (F.) A perfect cadence. perlee (F.) A brilliant cadence. rompue (F.) A broken or inter- rupted cadence. Cadenz (G.) [Cadence.] Cadenza {I.) (i) A passage introduced towards the close of the first or last movement of a concerto. (2) A running passage at the end of a vocal piece. d'inganno (/.) A deceptive ca- dence. fioritura [I.) An ornamental ca- dence. sfuggita (/.) An interrupted or broken cadence. sospesa (I.) A suspended cadence. Caisse (-F.) A drum. roulante (F.) Tenor drum, larger thart a snare-drum. Caisses clalres (F.) Snare-drums. Calamaulis (GA.) A player on reed-pipes. Calamaulos (Gk.) A flute made of reed. Calamus {Gk.) A reed-flute, probably like our oaten-pipe. (Ja ira (F.) " That will do." The refrain of a song popular during the Revolution in France in 1793. Calando (/.) With decreasing volume of tone and slackening pace. Calandrone {I.) A small reed instrument of the clarinet character, with two- holes, used by the Italian peasantry. Calascione (I.) [Colascione.] Calata {I.) An Italian dance in | time, of a sprightly character. Calcando (7.) Hurrying, pressing the time. Calcant (G.) Treading. The bellows- treader (Balgetreter) of the old Germiit organs. Calcantenglocke (G.) Bells sounded by means of pedals. i8 CALL- -CANTOR. Call, (i) A military term for the notes played on a trumpet or bugle, or a beat upon the drum, each call being the signal for a definite duty. (2) A toy instrument made by winding a narrow tape round two small oblong pieces of tin, so that one fold of the tape may be set in vibration when blown through. Calma, con (/.) With calmness. Calmato (/.) Calmed, quieted, appeased. Calore, con (/.) With heat, warmth. Caloroso (7.) Warmly, full of pas- sionate feeling. Cambiare (/.) To turn, change, alter. Cambiata (/.) [Nota.] Camera, musica di (/.) [Chamber jausic] Camminando andante. {I.) Walking, flowing, Campana (/.) 1 (/.) A small bell. Campane (F^ ' ^ ''^"- Campanella' Campanello Campanellino (7.) A very small bell. Canvpanetta (7.) A set of bells tuned to a scale, and played with hammers or keys. [Glockenspiel.] Campanista (7.) A bellringer. Campanology. The knowledge of the construction and use of bells. Canaries. A dance probably of English invention. The melody was a lively air of two phrases. Cancrizans. [Canon cancrizans.] Canon, (i) A rule; a term applied to the measurement of the ratios of intervals by means of the monochord, hence the system of Pythagoras was called the canon of Pythagoras. (2) A composition in which the music sung by one part is, after a short rest, sung by another part note for note. cancrizans. A canon by retro- gression ; a canon so constructed that it may be read backwards. Canone al sospiro (7.) A canon, the subject of which is answered at the half- beat. aperto (7.) A canon written out in full. chiuso (7.) A close canon ; one written in liddle form. infinito or perpetuo (7.) Never- ending canon ; infinite canon. sciolto (7.) A free canon, not strict. Canonici. A name given to followers of the Pythagorean system of music. Canonik (G.) The science of calculatmg musical intervals. Cantabile (7.) In a singingstyle. Cantadour (old F.) 1 A street singer ; a Cantambanco (7.) J mountebank. Cantamento (7. The air or melody of a phrase. Cantando (7.) [CantaMle.l Cantante (7.) A singer. Cantare di manieratal (7.) To sing in a Cantare di maniera J florid or orna- mental style. Cantare (7.) To sing. a aria (7.) To sing with a certain amount of improvisation. [Penillion singing.] a orecchio (7.) To sing by ear. Cantata (7.) A cantata consisted origin- ally of a mixture of recitative and me- lody, and was given to a single voice, but it is now understood as. a short work in the musical form of an oratorio. Cantate (F. and G.) [Cantata.] Cantatilla j7.) ] Cantatille (F.) ■ Thediminutive of cantata. Cantatina (7.) Cantatore (7.) A male singer. Cantatorium (L.) A music-book. Cantatrice (7.) A female singer. Cantellerando (7.) Singing in a suTj- dued voice, trilling. Canti carnascialescil {7.)Songssungdu- Canti carnivali J ring the carnival. Cantici (7.) Another name for the Laudi spirituali, or songs sung in the cJd Romish Church. Canticle. A song or hymn in honour of God, or of some special sacred event. Cantico (7.) Canticle. Cantilena (7.) An oft-repeated, old song; a ballad. Cantilenaccia (7.) _Bad singing. Cantilenare (7.) To sing without ac- Declamation in a sing- compamment. Cantillatio [L.) ing style. Cantino (7.) The smallest string upon the violin ; the E string. Cantique (F.) A sacred song or melody; a canticle. Canto (7.) The upper voice-part in con- certed music, so called because it has the melody or air. a cappella (7.) Sacred music ; can- tore di cappella, the precentor. armonico (7.) A part-song. CTOmatico (7.) A scale or song in chromatic style. fermo (7.) [Cantus firmus.] figurato .(7.) Florid melody, ,ot melody varied. [Cantus iiguratus.] Gregoriano (7.) Gregorian chant piano (7.) Plain-chant. prime (7.) First soprano. recitativo (X.) Declamatory sing ing ; recitative. ripieno (7.) Additional soprano chorus-parts. [Ripieno.] • secondo (7.) Second soprano. Cantollano (S.) Plain-chant. Cantor. [Precentor.] CANTOR-CHORALIS CATCH. 13 Cantor-choralis (L.) Chorus-master. Cantore (/.) A general name for a singer. Cantoris (L.) (From the word Cantor.) The side in a cathedral choir upon which the Precentor sits, usually the north side, opposite to Decani. Cantus Ambrosianus (L.) Ambrosian chant. coronatus (L.) [Cantus fraqtus.] durus {L.) Music which modulated into a key having one or more sharps in its scale. ecclesiasticus (L.) (i) In a general sense, Plain-song and other early Church melodies. (2) The method oisinging as opposed to saying lections, collects, &c. figuratus (L.) Florid Church song, in which more than one note of music was sung to a syllable. firmus iL.) (i) The tenor or chief melody, originally sung by the tenor- voices, afterwards transferred to the treble-part, hence called Canto. (2) A fragment of Plain-song, to which counter- point has been added. {3) Any subject chosen for contrapuntal treatment. fractus (L.) A broken melody. When accompanied by a faburden, or fauxbourdon, it was called Cantus coronatus. Gregorianus (L) The Gregorian system of Church song. mensurabilis (L.) Mensurable song; regular, measured song planus (L.) Plain-song. Romanus (L.) Roman chant or song. The Gregorian system of music. Canun. An instrument strung with cat- gut, in form like a dulcimer. Canzonal (/.) (i) An old form of song. Canzone} (2) An instrumental compo- sition in two, three, or four parts, con- taining contrapuntal devices. Canzonaccia {/.) A commonplace song. Canzoncina (/.) A short poem or air. Canzonet I A diminutive of can- Canzonetta(7.)j zona," denoting a little short song, tune, cantata, or suonata." Canzoniere (/.) A lyric poem or song. Caoinan (Ir.) A funeral song. [Keeners.] Capellmeister (G.) The musical direc- tor of a church or chapel ; a conductor of a band or an opera.. Musik (G.) A term of contempt for music made and not inspired. Capischol ] Capiscol ■ (L.) [Precentor.] Capiscolus j Capistrum (L.) A muzzle. A sort of bandage wound round the head and face of the ancient trumpeters, to pro- tect the cheeks while playing their instru- ments, on account of the exertion neces- sary for the proper production of tone. Cappella, alia (/.) In the ecclesiastical style. In duple time. [A cappella.] Capo {/.) Head, commencement. da (/.^ A direction to return to the first or other indicated movement. — — d' opera (/.] (i) The principal song or the masterpiece in an opera. (2) A chef-d'oeuvre. Capodastro) (/.) Literally, Head-stop. Capotasto J A mechanical arrange- ment by which the pitch of the strings of a guitar is raised at once. It is screwed over the strings on to the finger-board and forms a temporary nut. Capriccietto (/.) A little caprice, or fancy. Capriccio (/.) A freak, whim, fancy. A composition irregular in iorm. Capriccioso (/.) Whimsical, humorous. Caprice (F.) [Capriccio.] Caput scholse (L.) [Precentor.] Caracteres de musique (F.) The signs used in music. Caral (old E.) [Carol.] Carattere (7.) Character, dignity, quality. Carezzando 1 (/.) Caressingly, singing Carezzevolej or playing with a frequent introduction of notes of anticipation or appoggiatura. Caricato (I.) Loaded, over-displayed. Carillon {F.) A set of bells that may be played either by hand or by machinery. Carillonneur (F.) Bell-player. [Carillon.] Carit^, con (/.) With tenderness. Carmagnole. A dance accompanied by singing, named from Carmagnola in Piedmont. Carnyx (Gk.) An ancient Greek trumpet. Carol, (i) To sing or warble, to cele. brate in song. (2) A song of praise; applied to a species of songs sung at Christmas-tide. It originally meant a song accompanied with dancing. Carola (/.) A dance accompanied by singing. Cartellone {I.) The prospectus of an operatic season. Cassa.grande (I.) The big drum. Cassatio. [Gassatio.] Cassazione (/.) A serenade or diverti- mento consisting of several movements. Castagnetta (/.) ] Castagnettes (F.) ■ [Castanets.] Castaiiuelas (S.) ) Castanets. Instruments of percussion, of shell-like shape, made of hard wood, and sounded to accompany dancing. Castrato (I.) A male singer with a soprano voice. Catch. A species of canon or round for three or four voices, in which the words are so contrived that by the union of the voices a different meaning is given by the singers catching at each other's words. [Round, Canon.] c 1 CATENA DI TRILLI CHANTANT. Catena di trilli (/.) A chain, or succes- sion, of short vocal or instrumental shakes. Catgut. The material of which the strings of many musical instruments are formed ; it is made from the intes- tines of the sheep and the horse, but never from those of the cat. Cathedral music. Music which has been composed to suit the form of service used in our cathedrals since the Reformation. It includes settings of canticles and of anthems. Catlings. The smallest sized lute-strings. Cauda (L.) The tail of a note. Cavaletta (I.) [Cabaletta.] Cavaletto (/.) (i) A little bridge. (2) The break in the voice. Cavalquet (F.) A trumpet-signal to cavalry. Cavata {I.) [Cavatina.] Cavatina (7.) A melody of a more sim- ple form than the aria. A song without a second part and a " Da capo." Cebell. An air or theme in common time of four-bar phrases, forming a subject upon which to execute " divi- sions " upon the lute or violin. Celere {f.) Quick, swift. Celerita, con (/.) With speed, haste. Quickly. Celeste (F.) A direction for the use of the soft pedal. voix (F.) A stop on the organ or harmonium. [Vox Angelica.] Celli. Abbreviation of violoncelli. Cello. Abbreviation of violoncello. Cembalista (7.) A pianoforte-player. Cembalo. A harpsichord. Cembanellal ,t\ n ■ a ^ Cennamella} t^") ^ P'P^ °' ''"«• Cento (L.) \ Patchwork. A musical Centone (7.) | work made up of extracts from an author's compositions, as a cento was from an author's poems ; cf. Pasticcio. Cercar la nota (7.) To feel for a note, to reach it by slurring. Cervalet or Cervelat. An ancient reed wind instrument, in tone similar to the bassoon. Ces (G.) The note C flat. Ces dur (G.) The key of C flat major. Cetera (7.) A citara or guitar. Chacona (S.) ] A slow dance in | time, Chaconne {F.) ■ frequently constructed Ciaccona (7.) J upon a ground bass, and sometimes formerly introduced as a movement of a sonata. [Chica.] Chair organ. A name given to the pre- stant or choir-organ. Chalameau or Chalumeau (F^ Stem, or straw-pipe, from the Latin calamus, a. reed. 'The lower register of the clarinet and the basset-horn is called the chalumeau tone. Chal. or Chalumeau, in clarinet music IS used to show that the passage is to be played an octave lower than it is written. The music is restored to its proper pitch by the sign Clar. or Clarinet. Chain. [Khalil.] Chamber music. Vocal or instrumental compositions suitable for performance in a chamber, as opposed to a concert- room. Chang. A Persian harp. Changeable chant. A single or double chant which can be sung either in the major or minor mode. Changer de jeu (7?.) To alter the stops on an organ or harmonium. Change-ringing. [Changes.] Changes. The altered melodies produced by varying the order of a peal of bells. Changing notes. Passing notes or dis- cords which occur on the accented parts of a bar. Chanson (7''.) (i) A song. (2) A national melody. (3) A part-song. Chansonnette (F.) A little song. Chant. A short musical composition to which the Canticles and the prose ver- sion of the Psalms are sung, either in unison or in four-part harmony. There are two kinds of chant in common use — the Anglican and the Gregorian. Anglican chants are chiefly of two sorts, single and double. A single chant is in two strains, the first of three, and the second. of four bars. A double chant has the length of two, a triple chant of three, and a quadruple chant of four, single ones. A Gregorian chant con- sists of five parts — the intonation, re- citing-note, mediation, second reciting- note, and the ending. There are eight Gregorian tones used in chanting, each having various mediations or endings. Chant (F.) (i) Song, tune. (2) The voice part or melody. en ison, or Chant 6gal (7*".) (i) A species of chant, consisting of two sounds only, which was adopted by many of the old religious orders. (2) Monotone. Gregorian (F.) Plain-song. pastoral (7"".) A shepherds song, or melody in imitation of one. sur le livre (7^.) A system of descant by which the part sung by one voice could be accompanied by another voice in counterpoint more or less free, according to the movement of the canto fermo. Chantant (7^.) Singing, musical, as cafi chantant, a musical cofiee-house. CHANTER- -CHOIR. Chanter. A name given to the singing priest on duty. [Lay vicars.l Chanter k livre ouvert (F.) To sing at sight. Chanterelle (F.) (i) The first or highest string upon instruments played with a bow. The E string of die violin and the A of the viola and violoncello. (2) The highest string of a guitar or lute. Chanterres (F.) A name given to ballad or poem singers in mediaeval times. Chanteur (F.) A male singer. Chanteuse (F.) A female singer. Chantries. Endowed foundations in the Romish Church, instituted for the due performances of requiem masses for the repose of the soul of the founder and his family. Chant-royal (F.) A form of early French poetry set to music. A song in honour of God, the Virgin, or the saints. Chantry priest. A singing priest at- tached to a chantry. Chapeau chinois(F.) A set of small bells arranged in the form of a Chinese hat. Characteristischer Ton (G.) The lead- ing-note. Characters. A general name for the signs employed in music. Characterstiicke (G.) Pieces of music written with the intention of describing certain impressions by means of sound. Charivari (F.) Mock music, clatter. Chasse (F.) Hunting; d la chasse, in the hunting style. Chatzozerah (H.) A straight trumpet, with a bell or pavilion. It was chiefly used in the Hebrew ritual, but was also blown as a battle-call in warfare. Check-spring. A small spring added to assist the return of action in the mechanism of an organ. Chef-d'attaque (F.) The leader of an orchestra or chorus. Chef-d'ceuvre (F.) The master-work of any composer. Chef-d'orchestre (F.) (i) The leader. {2) Conductor of an orchestra. Chelidonizing (Gi.) Singing the swal- low-song, a popular song sung by Rhodian boys in the month Boedromian, on the return of the swallows, and made into an opportunity of begging. Chelys (GA.) (i) The lyre of Mercury. (2) In the sixteenth and seventeenth centuries a bass-viol and division-viol. Cheng. The Chinese organ, which con- sists of a series of tubes havingfree reeds. It is held in the hand and blown by the mouth. Cherubical hymn. The tef sancius, or trisagion in the service of the Holy Communion, " Holy, holy, holy," &c. Chest of viols. A set of instruments necessary for a "consort of viols." They were six in number, namely two trebles, two tenors, and two basses. Chevalet (F.) The bridge of a stringed instrument. Cheville (F.) A peg for a violin, guitar lute, &c. Chevroter (F.) To skip, quiver, to sing with uncertain tone, after the manner of goats. Alia vibrato, Chiara (/.) Clear, distinct, pure, e.g. : chiara voce, clear voice ; chiara quarta, a perfect fourth. Chiaramente (I.) Clearly, purely, dis tinctly. Chiarezza, con (/.) With brightness, clearness. Chiarina (/.) A clarion or trumpet. Chiave (/.) (i) Key or clef. (2) A failure. [Fiasco.] Chica. The name of a dance popular among the Spaniards and the South American settlers descended from them. Chiesa (/.) Church. Sonata di chiesa, a sacred sonata. Chiffres (F.) Figures. Basse chiffree, figured bass. Chikarah. A kind of fiddle used by the Hindoos. Chime, (i) To play a tune on bells by means of hammers, or swinging the clappers, the bell remaining unmoved. It is opposed to ringing, in which the bells are raised, that is, swung round (2) A carillon. Chirimia (S.) An oboe; the portion of the oboe in which the mouthpiece is inserted. Chirogymnast. Finger-trainer. A con- trivance for strengthening the fingers. Chironomy (GS.) Gesticulation by the use of the hands. Directions given by movements of the hand. Chiroplast. Finger-former. An instru- ment invented by Logier, in 1810, to facilitate the proper method of playing the pianoforte. Chitarone. [Theorbo.] Chitarra (/.) A guitar. col arco (/.) A violin with sides gently curved, as in a guitar ; without corners, as in an ordinary violin. Chitarrina (7.) A small Neapolitan guitar. Chitema. [Quinterna.] Chiudendo {I.) Closing, ending. Chiuso (7.) Close, hidden, concealed. Canone chiuso, a close canon. Choeur (F.) [Chorus.] Choir, (i) A part of a cathedral or chapel set apart for the singers. (2) The choristers or other singers taken col- lectively are spoken of as the choir. 22 CHOIR ORGAN CISCIS. Choir organ. The part of a complete organ, intended for tlie accompaniment of voices, and containing stops of a delicate and subdued quality of tone. Chor (G.) Chorus. Choir of a church or concert-room, Choragus (L.) (i) The leader of the chorus in the ancient Greek drama. {2) The title of a mus.'cal official at Oxford University. Choral, (i) Of or belonging to the choir, concert, or chorus. Choral service, a service with music. {2) A hymn or psalm tune. Chorale (G.) Hymn-tunes. Choraleon. [.lEolomelodicon,] Chor:}i^ssig((«)I"-^-'f°-- Choral music. Vocal music in parts, as opposed to instrumental. vicars. [Lay vicars.] Choramt (G.) Choral service. Cathe- dral service. Choraules (GA.) (i) A player on the flute in the Greek theatre. (2) One who keeps a chorus and plays in it himself. Chord, (i) A combination of musical sounds, consonant or dissonant. [Har- mony.] (2) A string. Chorda characteristica. A chord of the 7th in which a leading note appears. Chordae essentiales (Zai«L.) The tonic and its 3rd and 5th. The key-chord. Chordaulodion. A self-acting musical instrument, invented by KauSmann, of Dresden, in 1812. Chordienst (G.) [Choramt.] Chordometer. A gauge for measuring the thickness of strings. Chords etouffes (F.) (i) Chords played on the pianoforte with the sordino pedal held down. (2) Chords on the harp, lute, guitar, or dulcimer, damped by placing the hand gently on the strings. Choriambus. A metrical foot consisting of two short between two long syllables. Choriste'S-'.U A "^""^^^ °^ ^ '=1>°''- °'- Chorister: '} "^l^"™^- Chorstimmen (G.) Chorus parts. Chorion (G.) (i) The ancient ecclesi- astical pitch in Germany. (2) The melody of a hymn or psalm tune. Chorus. (i) A band of singers and dancers employed on certain occasions in the ancient Greek theatres, and other public places. (2) An ancient musical instrument variously described by dif- ferent writers. (3) A composition for a number of singers with or without accompaniment. (4) The union of a number of voices for the joint perform- ance of a composition. (5) The refrain Chromatic. or burden of a song whether sung by one or by many voices. (6) The name given to the mixture and compound stops in an organ. Choutarah. [Tamboura.] Christe eleison (Gk.) A portion of the Kyrie in the Mass. [Mass.] Chroma (Gk.) The name of one of the modifications of the Greek musical scale- (L.) A quaver ; a sharp, duplex (L.) (i) A semiquaver. (2) A double sharp. Chromatic. That which includes notes not belonging to a diatonic scale. A chromatic scale is one which consists of a succession of semitones. Chromatique (F.) 1 Chromatisch (G.) J Chrotta. [Crowd.] Church modes. The Church modes are formed of the seven natural notes of the scale and their octaves, beginning upon any one of the seven, and extending to its octave, subject to the rule that the fifth and fourth lying between the first and eighth degree must be perfect. Ciaccona (/.) [Chaconne.] Cicogna (7.) Literally, A stork. The mouthpiece of a wind instrument. Cicuta (L.) A flute or pan-pipes, made from the stalks of the hemlock plant. Cimbales (F.) \ Cinellen (G.) \ Cymbals. Cinelli (/.) I Cimbalo [I.) (i) Harpsichord. (2) Cim- bali, cymbals. (3) A tambourine. {4) A dulcimer. Cimbel (G.) A mixture-stop in German organs. Cimbelstem (G.) Literally, Cymbal-star. A mechanical contrivance in some German organs, consisting of star- shaped cycahaXs attached to a wheel which is set in motion by a pedal. Cink (G.) A small reed-stop on foreign organs. Cinq (F.) \ A fifth part in concerted Cinque (/.)/ music. Cinyra (I.) An old term for a harp. Cipher. The constant sounding of an organ-pipe, owing to some derangement of the mechanism. Circular canon. A canon that closes in the key one semitone above that in which it commences. Hence twelve repetitions would take it through all the known keys. Circulus (L.) A circle. One of the time signatures of early music. Cis (G.) The note C sharp. • dur (G.) The key of C sharp major, moll (G.) The key of C sharp minor. Ciscis or Cisis (G.) The note C double sharp. CISTELLA CLEF. 23 Cistella (L.) Literally, A little box. A dulcimer ; cf. citole. Cistre (F.) [Cittern.] Cistrum. [Sistrum.] Citara (7.) A cittern, guitai, cither. Cithara (GA.) The ancient lute. bijuga. A guitar or lute having a double neck. Citharis. [Theorbo.] Citharoedus. One who sings^ whilst play- ing the cithara, whereas a citharista only played. Cithern. [CiUern.] Citole. An old instrument similar in form to the dulcimer, but played by the tips of the fingers and not by means of hammers. Cittern. An old English name for a guitar strung with wire insteadof gat. Civ-etteria, con (7.) In a rajquettish manner. Clairon (F.) [Clarion.]; Clang. 1 (i) Quality of tone. (2) Clangor (i.) J The peculiar " ringing " noise or din produced by the clash of metals, or the blast of loud, wind instru- ments. Clang-tint. [Klangferbe.] Clapper. [Bells.] [Bones.] Claque (F.), A body of hired applause- makers. Claq»e-bois (F.) An instrument con- sisting of bars of wood of different lengths, widths, and depths, resting at their nodes upon a cord. When struck with a hammer, musical sounds are produced. Instead of the cord, the bars may rest on bands of twisted straw, and it is then called the straw- fiddle. When strips of glass or metal are used instead of bars of wood, it is called the harmonica. Clarabella. An organ-stop of open wood pipes, invented by Bishop. It is of a soft and sweet quality of tone, and is usually of 8-ft. pitch. Clara voce (/.) A clear voice. Claribel flute. An organ-stop similar to the Clarabella, but generally of 4-ft. pitch . Clarichord.] A stringed instrument of Claricolo. mediaeval times, by some Clarigold. J writers presumed to be identical with the clavichord, the pre- cursor of the spinet, harpsichord, and pianoforte. Claxtn (O.) A species of trumpet, a plarion; also an organ reed-stop of 4-ft. pitch. Clarinblasen (G.) The sound of a trumpet. Clarinet, Clarinette {^F. Clarinetto {].' Clarionet, A wood wind instru- ment of cylindrical shape, with a single reed. It is said to have been invented by J. C. Denner, about 1659, but in reality is' only a modification and improvement of the more ancient shawm or chalumeau. Its compass is about 3^1 octaves from tenor E, including all theintermediate semi- tones. Clarinets of three pitches are in use in the orchestra, namely,, in C, B?, and A. In military bands; a smaller instrument in E|7 is also found. Clarinettista (7.)iA performer on the Clarinettiste (F.) J clarinet. Clarino (/.) (i) A trumpet. (2) An organ - stop, consisting of reed - pipes generally of 4-ft. pitch. Clarion. A trumpet ; a reed-stop in the organ ; the trumpet parts in a full score. Clarseach \ Clarscat (/f.) The ancient Irish harp. Clarseth j Clausula (L.) A close or cadence ; e.g. . elausttilafalsa, a false cademse,; c^usulw finalis, a final cadence, &c. Clavechord. 1 Names given to the Clavecimbalo. J harpsichord. Clavecin (F.) (i) A harpsichord-. (2) The keys by means of which the'CuW/^ lonneur play«^ upon the bells. Claviatur (G.) (i) The keyboard' of an organ or pianoforte, (z) Fingering, Clavicembalo (7.) 1 Names given to Clavicembalum (i.)J the harpsichord. Clavichord. [Clarichord.] Clavicylinder. An instrument in the form of tubes or cylinders of glass, invented by Chladni. Also an instru- ment of plates of glass of graduated lengths, the tone of which was pro- duced by hammers set in motion by a keyboaret. Clavicytherium [ClariehordiJ)' Clavier (G.I I (i.)' The pianoforte. (2) A Clavier (F)] row of keys on an organ. Clavierauszug (G.) A pianoforte score, as opposed to ParUtur, a full score. Clavierstiick (G.) A piece for the piano- forte;. Claviglissando. An instrument inven- ted by- C. W. Le Jieune, intended to combine the properties, of the violin and harmonium.. Clavis {L. and G.) A key ; a clef. Clavycymbal, [Clarichord]. Clef. The sign placed at the commence- ment of a stave, showing the absolute pitch of the notes. The clefs in com- mon use are. G or treble clef. Hfe C, alto or tenor clef. F or bass clef. In Plain-song, twa clefs are used tne C (is). andF (1-;; ^) cleft. 24 CLOCCA CO.VIPOSTO. Clocca {med. L.) A bell. Irish Clog, a small bell. Cloche (F.) A bell. Clocherre (old F.)\ . , ,, CloVetrs (old E.)'\^^^^^y- Clochettes (F.) Hand-bells. Clock, to. To set a bell in vibration, by swinging the clapper to and fro till it strikes the side of the bell which re- mains stationary. Close harmony. Harmony produced by drawing the parts which form it closely together. • play. A direction in lute-playing score. [Short score.] Clynke-bell. [Chime.] Coalottino. [Concertino.] Coda (J.) (i) The tail of a note. (2) An adjunct to the ordinary close of a piece, or song, for the purpose of enforcing the final character of the movement. Codetta (/.) Diminutive of Coda, (i) A short coda. (2) A short figure or phrase lying between the close of the subject in a fugue and the entry of the answer. Codon .(Gk.) (i) A small bell. (2) The bell of a trumpet. (3) A trumpet with a bell-mouth. Cogli (I.) With the ; cogli stromenti, with the instruments. Coi (I.) With the ; e.g. : cot bassi, with the basses ; coi violini, with the violins. Col, Coir, CoUa, Collo (I.) With the; e.g. :— Col arco, with the bow. Col basso, with the bass. Col canto, with the melody. Coir arco, with the bow. CoUa destra, with the right hand. CoUa parte, with the principal part. CoUa punta dell' arco, with the point of the bow. Colla sinistra, with the left hand. CoUa voce, with the voice. Col legno (I.) With the wood. A di- rection to strike the strings of a violin with the back of the bow. Colachon (F.) \A species of guitar, Coloscione (i.) J called also Bichordon or Trichordon, according to the num- ber of strings used. Collet de violon (F.) The neck of a violin. CoUinet (F.) A flageolet, so called after a celebrated -player of that name. ~ Resin. The gum .used for making the hair of bows rough. A term variously employed in mediaeval treatises on music to represent — a repetition of a sound in part-music ; purity of tone ; a Colophane (F.) Colofonia (I.) Colophoniutn (L Colophony. Color (L.) Colour, other florid passages in movement of the voice from the part ; an alteration of rhythm by different voices ; a discord- purposely introduced for the sake of variety. Coloratura (/.) Divisions, runs, trills, cadenzas, and • vocal music. Come (/.) As, like; e.g.: come prima, as at first ; come sta, as it stands ; come sopra, as above. Comes (L.) The answer to the Dux or subject in a fugue. Comma. The small interval between a major and a minor tone, that is between a tone whose ratio is 8 : g and one whose ratio is g : 10. Common chord. A note accompanied by its major or minor 3rd and per- fect 3th. Common or duple time. Time with two beats in a bar, or any multiple ol two beats in a bar. Common time is of two kinds, simple and compound. The signs used to express simple common time are the following: 2_ |, |, |> g, and the characters Q and 0. [Com- pound times.] Comodamente (I.) Literally, In a convenient manner. Easily, quietly. Comodo (/.) Easily, at will, without haste. Company of Musicians. One of the chartered companies of the City of London. Instituted on April 24, in the ninth year of the reign of Edward IV. (1472-3). Compass. The whole range of sounds capable of being produced by a voice or instrument. Compiacevole {/.) Pleasant, agreeable, charming. Complement. The interval which must be added to any other interval, so that the whole shall be equal to an octave ; e.g. : the complement of a 3rd is a 6th ; that of a 4th, a 5th, and so on. Compline. The short evening service which completes the day-hours. [Horae canonicae.] Composer. (i) An duthor of music; one who " finds out musical tunes.' (2) An inventor and arranger of a series of changes in bellringing. Composition, (i) A piece of music foi voices or instruments, or both. (z) The art of composing music. (3) In an organ, the particular combination ■ of sounds which form a compound stop. (4) A pedal which pulls in or out certain groups of registers. Composizix>ne (/.) A composition. di tavolino (J.) Table music. Con- vivial compositions. Composto (/.) Composed, quietly. COMPOUND INTERVALS CON SORDINI. 25 Compound intervals. Intervals greater than an octave, as opposed to simple intervals, which are less than an octave. stops. Organ stops having more than one rank of pipes. times. Times in which the bar is divided into two or more groups of notes, e.g. : g which consists of two groups of three notes ; ^ which consists of three groups of three, &c. Compound times are classified as duple or triple, according to the number of groups in each bar ; e.g. : g is a duple time ; § a triple time ; 1„2 (four groups of three) a duple time, &c. Compressed score. Short score. Comprimaria (I.) An assistant prima donna. A lady who takes parts only second in importance to prime donne, such as Adalgisa in Norma, and Lisa in La Sonnambula, &c. Con (I.) With ; e.g. ; con amore, with affection ; con moio, with spirited move- ment ; con sordini, with the mutes on, &c. (See the words to which it is pre- fixed.) Concento (7.) Harmony. Concentus (L.) Musical harmony; part music ; consonance. Concert (G.) A concerto. A performance of vocal or instru- mental music in which several exe- cutants are employed. rConcertante (I.) (i) A composition suitable for performance at a concert. (2) A composition in which several of the parts are in turn brought into pro- minence. Concerted music. Music for two or more performers, either vocal or in- strumental, as opposed to a iolo per- formance. Concertina. A portable musical instru- ment of hexagonal form, invented by Professor Wheatstone; consisting of a series of vibrating metal reeds acted upon and set in motion by the current of air caused by a bellows placed in the body of the instrument ; the hands move the bellows, while the fingers press the stops or keys which cause it to sound. The compass is three and a half octaves, and it can be played in any key. The German concertina is an instrument similar in shape to the above, but of less finished appearance and more limited compass. The scale is single, that is, the respiratory note is different to the inspira- tory note, and it can only be played in the one key in which it is tuned. Concertino (7.) (i) The principal in- strument in a concerto, as violino con- certino, (a) The diminutive of con- certo. Concertmeister (G.) The leader of the band, the conductor. Concerto (7.) (i) A concert. (2) A com- position for some especial instrument, accompanied by an orchestra. grosso (7.) A grand concerto. spirituale (7.) ) A concert of vocal spirituel (F.)j and instrumental pieces of a sacred character. Concertspieler (G.) A performer; a solo-player ; the player of a concerto. Concertstuck (G.) A concert-piece, a concerto. Concha [L.) A trumpet in the conven- tional form of a shell-fish ; Triton's horn ; a conch. Concitato (7.) Moved, disturbed, agi- tated. Concord. Harmony; a chord not con- taining a dissonant interval. Concordant. Harmonious, consonant Conductor. The director of an orchestra or chorus who wields the b&ton. Conductus (£,.) The name given to a certain vocal composition in parts, in the thirteenth and fourteenth centuries. It has been described as a composi- tion having descant on an original melody. Cone gamba. [Bell gamba.] Confrerie de St. Julien. A Society of musicians in France, formed in Paris in the year 1330, and finally suppressed in 1761. Congregational music. Music in which the people or congregation take part. Conjunct, (i) One of the Greek systems of music. (2) Conjunct motion, a succession of sounds proceeding by single degrees. Consecutives. A forbidden progression of parallel fifths or octaves. Consecu- tives are said to be hidden when the progression of two parts gives the im- pression that they have occurred, although they have not actually been written. Consequent. 1 The answer to a Consequenza (7.)/ fugue subject or any subject proposed for imitation. Conservatoire de Musique (jF.) ] A Conservatorio (7.) publit Conservatorium (L.) j music- school. Consolante (7.) In a consoling, com- forting manner. Consonance. ^ Consonanz (G.) [ [Harmony.] Consonanza (7.) J Consonant. } Concordant ; harmoni- Consonante (7.)/ ous. Con sordini (7.) (i) With the mutes on (2) With the soft pedal of the pianoforte held down. a6 CONSORT CORNET. Consort, (i) A consort of viols was a complete set, the number contained in a chest, usually six. [Chest of viols.]. (i) To sound together, to form agreeable sounds by combination. (2) To form a concord. Con stromenti {/.) With the instru- ments. Continuato (/.) Sustained, held down. Con^iSu^VS^ItB— '--•] c:;;::urs.*^-'}[T™"''^'i°--] Contra (I.) Against. In compound words this signifies an octave below; e.g. : Cotttra-gamba, a 16-ft. gamba ; Contra-basso, a double-bass; Contra- fagotto, a double bassoon. Contra-bassist. A double-bass player. Contra-basso (I.) [Double-bass.] Contra-danza (I.) [Country-dance.] Contra-fagotto (/.) [Double-bassoon.] Contralto voice. The voice of deepest tone in females. It is of a quality allied to the tenor voice in men, and the usual compass is within two octaves. Contraposaune. An organ-stop of 16-ft. and 32-ft. pitch. Contrappuntista {/.) A writer on, or a composer of counterpoint. Contrappunto (I.) [Counterpoint.] — — alia mente [I.) Impromptu counter- point. [Alia mente.] doppio {/.) Double counterpoint. Contrapunkt (G.) Counterpoint. Contrapuntal. Belonging to counter- point. Contrapuntist. A writer on, or a composer of counterpoint. Contr' arco (/.) False or incorrect bowing on the violin, &c. Contrary motion. Melodies or chords proceeding in opposite directions. Contrassoggetto (/.) [Counter-subject.] Contra tempo (I.) Against time, (i) The part progressing slowly while another is moving rapidly. (2) Syn- copation. Contra-tenor. [Alto.] Contratbne (G.) Deep tones of the bass voice. Contraviolone (/.) Double-bass. Contrebasse (F.) Double-bass. Contredanse (F.) [Country dance.] Contrepartie (F.) Counterpart, opposite. The entry of a second voice with a different melody, making harmony with the first. Contrepoint (F.) Counterpoint. Contrepointiste (F.) Contrapuntist. Contresujet (F.) [Counter-subject.] Contretemps (F.) Against time. Syn- copation. Conversio [L.) Inversion. Coperto {/.) Covered, concealed. Tim- pani coperti, muffled drums ; quinti coperti, concealed fifths, hidden fifths. Copophone. [Musical glasses.] Copula (Z/.) (i) In mediasval music a free use of slurred running notes in descant. (2) In organs the mechanism by which one manual can be attached to. another or to the pedals. Copyright. The exclusive right or privi- lege of printing or reprinting, copying, publishing or selling his original work which is allovred by the law to an author. Cor (F.) A horn. anglais (F.) English horn. A reed instrument of the hautboy charactei, possessing a compass of like extent but of lower pitch. Its scale is two octaves and a fifth from tenor E with the inter mediate semitones. de chasse (F.) A hunting-horn de vaches (F.) Cow-horn, used in many places to call the cattle home. omnitonique (F.) A horn on which, by the use of valves, a chromatic scale can be played. Corale (/.) Choral, hymn or psalm tune. Coranach\ /^ 1 » r , Coranich I ^°f^ ^ *H."r^'i?° "jF, ^T"^ Coronach r *^ Scotch Highlanders. Cronach J LKeeners.} Coranto (/.) (i) An Italian form of the country dance. A running dance. (2) A movement in a suite or sonata of the early writers. Corda {I.) A string,; sopra una corda, upon one string. Cordatura (/.) [Accordatura.] Corde (F.) Astring; unecorde,,onts'tx'mg. Corde a boyau (F.) Catgut; violin or harp strings, &c. Corde 5 jour 1 /.„ 1 , Corde k vide J t^-' ^" °P«" ^trmg. Corde fausse (F.) A false or bad string. Cor de signal (F.) A bugle. Cordiale (/.) Sincerely, heartily; with cordiality. Corifeo (I.) [Coryphsus (i).] Cormuse. \ Comamusa (I.\ ■ [Bagpipe.] Cornemuse (F.)J Cornare {/.) To sound a horn. Comet, (i) An obsolete reed wind, instru. ment not unlike a hautboy, but larger and of a coarser quality of tone. It was of three kinds, treble, tenor, and bass,, and its outline was gently curved, hence the Italian name cornetto curvo. (2) A reed stop on the pedals of some German organs, of 4 or 2 feet in length. (3) Mounted cornet. A solo stop on old organs. (4) Echo cornet. A stop often found in swell organs. (5) A cornet-a- pistons. CORNET-A-PISTONS CREPITACULUM. Cornet-ii-pistons. A modern brass in- strument of the trumpet family, but having valves or pistons by means of which a complete chromatic scale can be produced. Domer (F.) [Cornare.] — curvo}(^-) [Cornet.] Corni (/.) Horns. Corno (7.) [Horn.] alto (/.] High horn in B. basso (/.) Low horn in B di bassetto (7.) [Basset-horn.] di caccia (7.) Hunting-horn. inglese (7.) [Cor anglais.] storto (7.) Cornetto turvo. Cornopean. [Cornet-a-pistons.] Comu (L.) A horn. Core (7.) [Chorus.] ' della chiesa (7.) Church choir or chorus. primo (7.) The first chorus or choir in eight-part music. Corona (7.) A pause '^ Coronach. [Coranach.] Corps de voix {F.) The quality or the fulness of the voice. Corrente (7.) [Coranto.] Corr6p6titeur (F.) } The instructor of Correpetitore (7.) J the chorus; one who teaches the choral body to sing their several parts by ear. §o°S1 [Co--'-] Coryphaeus (Z..) (i) A leader or con- ductor of the dances or chorus. (2) An officer in the University of Oxford, whose duty it is to give instruction in music ; now a sinecure. Coryphee (F.) (i) A leader of the groups of dancers. (2) A female dancer. Cotillon (F.) A lively, spirited dance, originally performed by a male and a female; now danced with any step by an unlimited number of dancers, and with various additions of ceremonial. Couac (7.) An onomatopoeic word for the sound made by bad blowing on the clarinet, oboe, or bassoon. The quack- ing sound, the goose note. Couched harp. A spinet. Coule (F.) A glide, (i) Slurred notes. (2) A slide in dancing. (3) An orna- ment in harpsichord music. Counterpoint, (i) " The art of adding one or more parts to a given melody." (2) " The art of harmonising a theme by adding parts which shall be in them- selves melodious." Counterpoint is simple or double ; simple when it com- bines two or more independent melodies together, and double " where the parts are inverted in such a manner that the uppermost becomes the lowermost, and 27 vice versd." Notes were formerly called points, and adding a counterpoint means the setting one point or note against another. Counterpoints, triple and quadruple, as their names show, are the due con- struction of three or four melodies re- spectively, in such a manner that they can be interchangeable without involv- ing the infringement of the laws of musical grammar. Counter-subject. An accompaniment of the answer or of the subject in a fugue. Counter-tenor clef. The C clef placed upon the third line of the stave for the use of counter-tenor or alto voices, the viola, &c. voice. The old name for the alto voice. [Alto voice.] Country-dance. A rustic dance, of English origin, in which the performers are arranged face to face. It is danced to tunes in duple as well as triple measure. Coup d'archet (F.) Stroke of a bow. Couper le sujet (F.) To abbreviate or curtail a musical subject or theme. Coupler. The mechanism in an organ which connects pedals with the manuals ; or different manuals together. Couplet. Two lines in rhyme, which contain a complete sentence. (2) A verse of a song. (3) Two notes occupy- ing the time of three. Courante (F.) [Coranto.] Couronne (F.) The sign of a pause ^^- ; so called because of its resemblance to a crown. Courtal ),^, An ancient instrument cZlllt] ofthe bassoon kind. Covered consecutives. Hidden con- secutives. [Consecutives.] strings. Strings of silk, wire, or gut, covered with a fine wire. Cownterynge yn songe [oldE.) Singing an accompaniment to a tune. [Des- cant.'] Crackle. A direction in lute-playing. ^^^nrifSlAO-einftime. Credo (L) One of the movements in a mass. [Mass.] Crembalum. [Jew's-harp.] Cremona, (i.) A violin made in the town of Cremona. (2) A reed-stop in the organ. A corruption of the word Krumm- horn or Crom-horn. Cremome (F.) [Krumm-horn.] Crepitaculum or Crepundia (L.) An. ancient instrument like the castanets, but with sound produced more by fric- tion than striking. 28 CRESCENDO DACHSCHWELLER. Crescendo (J.) Increasing ; a gradual increase in the force of sound, expressed by the sign - , or the abbrevia- tion ores. Crescendo Zug (G.) The swell-box in the organ. Creticus (L.) A metrical foot consisting of one short syllable between two long syllables, - o - Croche (F.) A quaver, » , the hooTted note. Croma (/.) A quaver, • Cromatico (/.) Chromatic ; a.s, fuga cro- maiica, a chromatic fugue ; fantasia cromatica, a chromatic fantasia, &c. Crom-hom. [Krumm-horn.] Crooks. Short tubes, either straight or curved, adapted for insertion between the mouthpiece and the body of the horn, trumpet, or cornet-a-pistons, for the purpose of altering the key. Crotalum (L.) A rattle, or clapper, used sometimes to mark the rhythm of danc- ing, inthe worship of Cybele. Crotchet. A note J one-fourth of the value of a semibreve. The derivation of the word is doubtful. Croupeza (GA.) High wooden shoes worn by flute-players or others, with which the time was marked by striking with the foot. Crowd. 1 An ancient instrument, like Crwth(W.)Ja violin, with six strings, four of which were played upon by a bow, and the other two played, or plucked with the thumb, as an accom- paniment. Crowle. [Crowd.] Cs^rd^s. [Czardasch.] Cue. The last notes or words of other parts inserted as a guide to singers or players who have to make an entry after rests. Cum sancto {L.) A portion of the Gloria in the Mass. Cupo (/.) Darkly, mysteriously ; deep, hollow ; con voce eupa, with a deep or hollow-sounding quality of voice. Currende (G.) Children carol-singers in Germany. Current traverse [old E.) The country- dance. Cushion-dance. An old English round dance, in which each woman selected her partner by placing a cushion before him. Custos (L.) (i) The chief of a college of minor canons. (2) A direct, the sign ■w or ^/ Cyclische Formen (G.) Rondo forms. Cymbales (F.) ] Musical instruments of Cymbals. J percussion, consisting of two metallic basins, which are set in vibration by being clashed together. Cymbalista. A cynxbal-player. Cymbalum (L.) Cymbals. Czakan. A flute made of cane or bam- boo. Czardasch. A Hungarian national dance. Czimken (Pol.) A dance similar to the country-dance. D. D. (i) The second note of the normal scale C. (2) The scale having two sharps in its signature. D dur (G.) D major. D moll (G.) The key of D minor. D string. The third open string on violins; the second on tenors, violon- cellos, and three-stringed double-basses ; the fourth on the guitar. Da (/.) From, by, of, for, &c. Da ballo (/.) In dance style. Da camera (7.) For chamber use. In the style of chamber music. Da capo or D.C. (7.) From the begin- ning. A direction that the performer must recommence the piece, and con- clude at the double bar marked Fine. Da capo al fine {!.) From the beginning to the sign Fine. — — al segno (I.) Repeat from the sign X at the beginning. Da cappella (/.) In the Church style. Da chiesa (J.) For the Church. In the Church style. Da lontano (I.) In the distance; e.g.. corni da lontano, horns heard in the distance. Da teatro (7.) After the theatrical style. D'accord (F.) In tune. Dach (G.) Sounding-board. Resonance- body of an instrument. Dachschweller (G.) Swell-box. DACTYL DEHNUNGSTRICHE. 29 Dactyl. A metrical foot, consisting of a long syllable followed by two short syllables, - u u Dactylion {Gk.) An instrument invented by Henri Herz, for strengthening the fingers for pianoforte-playing. Daina or Dainos. A term given to some little Lithuanian love-songs. Daire (T.) A tambourine. Dalecarlian melody. Dance-tunes of the Swedish Dalecarlians. Dalecarles, " inhabitants of the dale or valley." Dal segno (J.) From the sign ^_ [Al segno.] Dalzimr. An Egyptian instrument of the oboe or reed kind. Damenisation. The syllables Da, Me, Ni, Po, Tu, La, Ba, which Graun em- ployed for the notes of the scale in his vocal exercises. [Solmisation.] Damp, to. (i) 'On instruments played by plucking the strings, as the harp, guitar, &c., to check the vibrations by placing the hand lightly on the strings. (2) To apply mechanical dampers. Damper. Certain pieces of mechanism in a pianoforte, which, after the finger has struck the key and left it, immedi- ately check the vibrations of the strings. (2) The mute of a horn and other brass wind instruments. , Dampfer{G.) A damper. A violin-mute. Danklied (G.) Hymn of thanksgiving. Darabooka or Darabukkeh. An Egyp- tian and Arabian drum. Darm (G.) Catgut. Darmsaiten (G.) Strings of catgut. Dash, (i) A line drawn through a figure in thorough-bass, showing that the in- terval must be raised one semitone. e.g.:- / j t-^ I I |h-^i — y e (2) A line drawn through the duple time-sign, e.g. : (j», implying a division either of measurement or of pace. (3) A short stroke, placed above notes or chords, directing that they are to be played staccato. (4) In harpsichord music, a dash passmg between two notes, called a slur, or coule: ~ ? I was thus 5 ^^^^^3E played : Das selbe tempo (G.) The same time. Z/' istesso tempo. Dauer (G.) Duration or continuance of notes or sound. Debile (7.1 Languidly, feebly. Debut [F.) A first appearance. Debutant ) (F.) A performer who ap- DebutanteJ pears for the first time. Decachordon (Gh.) An instrument with ten strings. Decani (L.) A term used in cathedral music to signify that the part so dis- tinguished is to be sung by the singers on the dean's or south side of the choir, in contradistinction to "cantoris," the cantor's or praecentor's side. Deceptive cadence. [Cadence.] Decide [F.) Firmly, with decision. Decima (L.) A loth, an interval of a loth ; decima plena de tonis, a major loth ; decima non plena de tonis, a minor loth ; decima quarta, a r4th or octave of the 7th ; decima qiiinta, a 15th or double octave ; decima tertia, a 13th or octave of the 6th. On organs, the stop tierce. Decimole. [Decuplet.] Deciso (I.) Determined, decided, with ■ firmness ; con decisione, with firmness and decision. Decke (G.) (i) Cover, an upper or lower plate of a resonance-box. (2) The cover 01 stopped metal organ-pipes, eg.: lieblich Gedackt, the sweet-toned stopped diapason. Declamandol (/.) In a declamatory Declamato J style. Declamation. The proper rhetorical rendering of words set to music. D6compos6 {F.) Unconnected, inco- herent. Decoration {F.) Signature of a piece of music. Decrescendo (J.) Decreasing gradually the volume of tone. Indicated in music by the abbreviations dec, decres., or the sign z==— Decuplet. A group of ten notes played in the time of eight or four. Dedication. An address or inscription to a patron or friend, prefixed to a work. Deductio (L.) The succession of notes as they appear in their proper places in the hexachords, which are in conse- quence called prima deductio, secunda, &.C., up to septima. Deficiendo (/.) Gradually dying away. Degr6 (F.) Degree of a scale. Degree in music. The rank or title con- ferred by an University on a candidate who has matriculated and passed through the necessary examinations. They are of two kinds. Bachelor in [or of) Music, and Doctor of Music. Degree of a scale. A step in the tone- ladder ; it may consist of a semitone, a tone, or (in the minor scale) of an aug- mented tone. Dehnung (G.) Expansion, extension. Dehnungstriche (G.) A long stroke with the bow. 3° DEI -DIAPENTISSARE. Del, della, delle, dello (/.) Of the, e.g. .■ sopra il soggetto della fuga seguente. on the subject of the fugue which fol- lows. Delassement (F.) A light trifling enter- tainment. Deliberatamentel ,,, ,-, it, ^ i Deliberato | (^O Deliberately. Delicatamentel ,,> r, ,. . , Delicate | f^-) Delicately Delicatesse (F.) Delicacy of performance. Delicatezza, con (7.) With delicacy. Delicatissimamente (/.) With great delicacy. Delicatissimo (/.) Very delicately. D^lie (F.) Delicate, light. Delirante {/.) Excited. Delirio, con (J.) With excitement, with frenzy. Delyn (W.) The harp. Demancher (F.) To cross hands, in pianoforte-playing. To shift, in violin- playing. Demande {F.) The subject, rf«;tr, or pro- position of a fugue. Demi-baton [F.) A semibreve rest. Demi-cadence {F.) A half-cadence, or the cadence on the dominant. Demi-jeu (F.) Half-power. Mezzo forte, applied to organ or harmonium playing. Demi-mesure) ,™ , , Demi-pause | (^•) A minim rest. Demi-quart de soupir (F.) A demi-semi- quaver rest. Demisemiquaver. A note of the value of one-fourth of a quaver Q Demi-soupir {F.) A quaver rest. Demi-ton {F.) A semitone. Demoiselle {F.) A coupler in the organ. Denis d'or. An instrument having a finger-board like a piano and pedals like an organ, capable of producing a vast number of different qualities of sound. It was invented in 1762 by Procopius Divis, in Moravia. Derivative, (i) The actual or supposed root or generator, from the harmonics of which a chord is derived. (2) A chord derived from another, that is, in an inverted state. An inversion. Des (G.) D flat. Descant (L.) 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 earlier system of organum or diaphony. Elabo- rate rules for descant are to be found in old treatises on music. Desdes or Deses (G.) D double flat. Dessin (F.) The design or plan of a composition. Dessus (F.) One of the old names for the treble or upper part in vocal music. Desto [I.) Sprightly. Destra (/.) The right ; as destra mano, the right hand. D£tach6 (F.) Detached, or staccato notes. Determinate (/.) Resolutely, definitely. D^tonnation (F.) False intonation. Detonner (F.) To sing out of tune: to sing harshly or coarsely. Detto {!.) The same ; as, il detto voce, the same voice. Deutsche Flote (G.) The German flute. Deutscher Bass (G.) An instrument of the viol kind, with five or six gut-strings, midway in size between a violoncello and a double-bass. Deuxieme position (F.) (1) The second position or half-shift on the violin. (2) The second fret on a guitar. Development of a subject. The elabo- ration of a given theme according to the rules of art. Devoto 1 (/.) With devotion Devozione, con J affection. Dextra (L.) The right, e.g.: dextra manu, the right hand. Dextrae tibiae (L.) Pipes held in the right hand ; generally, the shorter of the tibi. ; also the Discantus (L.) ] canto or upper part in polyphotiic music. Discantgeige (G.) An old term for the violin. Discantschliissel (G.) The soprano clef. Descant clef. Discord. A chord which, when struck or sung, requires to be resolved into a concord. Discreto ) (/.) Prudently, dis- Discrezione, con J creetly, with judg- ment. Disdiapason (Gk.) An interval of two octaves ; a 15th. Disinvolto \ (I.) Free, unfettered, Disinvoltura, con) naturally. Disis. D double sharp. Disjunct motion. [Motion.] Disperato 1 (/.) Despairing, with Disperazione, conj desperation. Dispersed harmony. Harmony in which the notes composing the chord are at wide intervals from each other. Disposition. Arrangement (i) of the parts of a chord, with regard to the intervals between them ; (2) of the parts of a score, with regard to their relative orders (3) of voices and instru- ments with a view to their greatest efficiency or to the convenience of their positions ; (4) of the groups of pipes in an organ, or of the registers or stops bringing them under control. Dissonance. lui^^^^j_ Dissonanza (/.) j Dissonare (/.) To jar, to make discord, Distanza (i'.) Distance, an interval. Distinto (I.) Clear, distinct. Dithyrambus (Gk.) A song in honour of Bacchus. Dito (/.) A finger. grosso (/-) The thumb. 32 DITONE- -DOUBLE. 1 An interval of two major Ditone. Ditonus(L.)J tones. Ditty. A short, simple air, implying or containing a moral application. Divertimento (I.) (i) An instrumental composition of a light, pleasing charac- ter, generally consisting of several movements. {2) A Pot-pourri. Divertissement (F.) [Divertimento.] Divisi (7.) Divided. A direction that instruments playing from one line of music are to separate and play in tvi'o parts. The reunion of the parts into unison is directed by the words a due. Division, (i) An elaborate variation for voices or instruments upon a simple theme. (2) A course of notes so con- nected that they form one series. A vocal run. viol. A violin with frets upon the finger-board. Divotamente ) ,t\ t\ ^i j Divoto '^'^i^^T,,?' r Divozione, con J tedly, with devot.on. Dixieme {F.) The interval of a tenth. Do. The first of the syllables used for the solfeggio of the scale. The note C, to which it is applied, was originally called Ut, and is still called so in France. Doctor of, or in, Music. The highest degree in Mtftic conferred by a Uni- versity. It is generally taken by bachelors of several years' standing ; but in special cases candidates are allowed to take both degrees at the same time. Dodecachordon {Gk.) An instrument with twelve strings. Dodecuplet. A group of twelve notes to be played in the time of eight. DoigtS ( F.) Fingered. Marking the manner in which a piece should be fingered. Also (subs.) fingering. Dolcan. [Dulciana.] Dolce. A soft-toned 8-ft. organ stop. {I.) Softly, sweetly ; dolce maniera, in a sweet and delicate style. Dolcemente \ (I.) With softness and Dolcezza, con J sweetness. Dolciano^ Dolcin ■ (/.) [Dulciana.] Dolcino J Dolcissimo (/.) With the utmost degree of sweetness and delicacy. Dolente \ Dolentemente Dolentissimo Dolore, con Dolorosamente Doloroso Dolzildte (G.) The old German flute, with seven ventages and one key. (J.) In a plaintive, sorrowful style ; with sadness. Domchor (G.) The choir or body oi singers in a cathedral church, usually consisting of boys and men. Dominant, (i) The fifth degree of the scale. (2) The reciting-note of Gre- gorian chants. Dominante {F.) Dominant. Donna, prima (/.) The principal female singer in an opera. Dopo (7.) After. Doppelbe (G.) A double flat, bb Dt^pelces (G.) C double flat. Doppelchor (G.) Double chorus. Doppelcis (G.) C double sharp. Doppelflote (G.) An organ-stop, con- sisting of wood pipes having each two mouths. Doppelfuge (G.) A double fugue; a fugue with two subjects. Doppelgeige (G.) One of the names by which the viole d'amour is known in Germany. Doppelgriffe (G.) Double-stopping on a violin ; playing on two strings at once. Doppelkreuz (G.) A double sharp, x Doppelschlag (G.) A double beat or grace note. [Beat.] Doppeltriller (G.) Double shake. Doppelvorschlag (G.) Double appoggia- tura. Doppio (7.) Double, e.g. .- doppio movi- mento, at double the pace ; dofpio pedale, the pedal part in octaves. Dorian mode. The first of the authentic Gregorian modes, commencing on the note D. Dot. (i) A point added to a note or rest, which lengthens its value by one- half. When a second dot is used, it adds one-half of the value of the pre- vious dot. (2) When placed over notes, the dot means that the sounds are to be detached. (3) When two or four dots are placed on either side of two double bars, they are a direction to repeat the music between them. (4) When placed under a slur, dots are a direction to play staccato.' {5) Dots were formerly placed over a note to show its subdivision into lesser re- peated notes, e.g., "ij" would be equal to .^ !» !» * r Double (F.) A turn. b6mol (F.) Double flat, bb croche (F.) A semiquaver. diese [F.) A double sharp, x Double, (i) An old term for a variation. (2) The repetition of words in singing was also called the " doubles or ingemi- nations thereof." (3) An artist who prepares a part on the chance of the accidental absence of the principal. (4) That which is an octave below the DOUBLE BACKFALL DREIGESTRICHEN OCTAVE. 33 unison in pitch, e.g. : double-bass, an instrument whose sounds are an octave below those of the violoncello. Double backfall. An ornament in old music. bar. A sign formed of two single bars showing the end of a piece or move- ment of a work ; the end of a portion to be repeated; the commencement of a change of key or of time ; the end of a line of words set to music, as in a. hymn-tune. [Bar.] bassoon. The deepest- toned in- strument of the bassoon family. Its compass is from the B|? below CCC to tenor F, and its sounds are actually an octave below those written. ^^— beat. An ornament of old music, consisting of a beat repeated. ■ bourdon. An organ-stop of 32-ft. tone. . chant. [Chant.] chorus. A chorus for two separate choirs. counterpoint. [Counterpoint.] demisemiquaver. A note whose value is one half of a demisemiquaver. diapason. An organ-stop of i6-ft. pitch. drum. A drum with two heads, used in the bands of foot regiments, and beaten at both ends. flageolet. A flageolet having two tubes and one mouthpiece, admitting of the performance of simple music in thirds and sixths, &c. flat. A sign (t^t^) used before a note already flat, which depresses it another half-tone. It is contradicted by a natural and a flat. fugue. A fugue on two subjects. harp. A harp with two rows of strings. octave. The interval of a 15th. pedal point. A portion of a fugue or melody in which two notes are long sustained. ■ quartet. A composition for two sets of four voices or instruments soli. reed, (i) The vibrating reed of instruments of the oboe class. (2) A reed-stop on an organ of i6-ft pitch. relish. An ornament in old music. sharp. A sign (x) used before a note already sharp, to raise the pitch by a semitone. It is contradicted by a natural and a sharp. sonata! A sonata for two solo instruments, as pianoforte and violin, or two pianofortes, &c. — ^ stopped diapason. [Bourdon (2).] stopping. The stopping of two strings simultaneously with the fingers in violin-playing. Double-tongueing. A peculiar action of the tongue used by flute-players, to in- sure a brilliant articulation of staccato notes ; the rapid repetition of notes in cornet-playing. trumpet. An organ reed-stop similar in tone and scale to, but an octave lower in pitch than, the 8-ft. trumpet. travale. An effect in tambourine- playing produced by drawing the wetted thumb across the skin. Double-action pedal harp. The harp now generally used for concert or or- chestral purposes ; invented by Erard. The compass is 6J octaves, and the pitch of each note can be raised two semitones by means of the pedals. Double-bass. The largest of the stringed instruments played with a bow. The strings are usually tuned a fourth apart to the following notes when three strings are employed :- with the addition of the lower E, when there are four strings. The actual sounds produced are an octave lower than written. Double concerto. A concerto for two solo instruments and orchestra. Doublette (F.) A compound organ-stop consisting of two ranks, generally a twelfth and fifteenth. Douce 1,^> Soft, sweet. Doux j^ ' Doucement (F.) Softly, sweetly. Douzieme (F.) A twelfth. Down -beat. The first beat in each bar. Down-bow. The bow drawn over the strings from the heel or holding part of the bow to the point. Doxologia magna (L.) The version of the angels' hymn, " Gloria in excelsis Deo," sung at the celebration of the Holy Eucharist ; the greater doxology. Doxologia parva (L.) [Doxology.] Doxology (Gk.) The hymn or song of praise — the Gloria Patri— used at the end of the Psalms in the Christian church ; also any metrical form of the same. Drag, (i) An ornament consisting of descending notes in lute music ; stras- cino, portamento, glissade. (2) A rallen- tando. Dramma lyrica or per musica (J.) [Opera.] Drammaticamente) (/.) In a dramatic Dramniatico | style. Dreichorig (G.) The triple stringed grand pianoforte; a trichord. Dreigestrichen Octave (G.) The notes of the octave above C in alt. 34 DREIKLANG DUX. Dreiklang (G.) A chord of three sounds. [Triad.] Dreistimmig (G.) Music in three parts. Dringender (G.) Pressing on the time. Dritta (/.) Right; mann dritta, the right hand. Driving notes. S3mcopated notes ; notes driven through the ensuing accent. Droite (F.) Right ; as main droite, the right hand. Drone, (i) The monotonous bass pro- duced from the larger of the three tubes of bagpipes, which serves as a continu- ous bass to any melody. (2) The chorus or burden of a song. Druckbalg fG.) A reservoir of wind, as in an orgaii, &c. Drum. An instrument of percussion, with one or more discs of vellum or parchment. There are several kinds of drums : (i) The side-drum (or snare- drum), with two heads, the upper one only being played upon ; the lower head has strings of catgut (snares) stretched over its surface to produce a rattling sound. (2) The tenor drum is of the same shape (cylindrical), but larger and without snares. It serves for rolls in military bands where there are no kettle-drums. (3) The kettle-drum is hemispherical in shape, and has one vellum head ; two are always employed, sometimes three. (4) The big drum, grosse caisse, a large cylindrical drum played on both ends. Cymbals are often attached to it. Dudelsack (G.) The bagpipes. Due, a (7.) [Divisi.] Due corde (/.) (i) Two strings; a direc- tion that the same note is to be played simultaneously on two strings of a violin or other instrument of its class. (2) A direction to cease holding down the soft pedal of a pianoforte. Due volte (/.) Twice. Duet. ) A composition for two voices. Duett (G.)J or instruments, or for two performers upon one instrument. Duettino (7.) A little duet. Duetto (7.) A duet. Dulfaynas (S.) The name of a larger sort of oboe, or small bassoon. Dulcian, or dulcino (7.) The name of a species of small bassoon. Dulciana. A soft and delicate-toned organ-stop consisting of very small-scale flue pipes. Originally, a dulciana (dul- can, dulcian, dolcan, dolcin, or dulzain) was a kind of hautboy, and these terms are still found on some foreign organs as the names of soft reed-stops. Dulcimer. One of the most ancient mu- sical instruments. It consists of a resonance-box, strung with wire strings, which are struck by two hammers held in the hands of the performer. Dulzaginas (S.) [Dulciana.] Dump or Dumpe. The name of an old dance in slow time with a peculiar rhythm. Duo (7.) A duet. Duodecimo (7.) The interval of a twelfth. Duodecimole (7.) A group of twelve notes. Duodramma (7.) A dramatic piece for two performers only. Duolo, con (7.) With grief, sadness, pathos. Duple time. [Common time.] Dur (G.) Major, as C dur, C major. {F.) Hard, coarse. Durate ^^'^ With harshness, Duro ) roughly. Durchaus (leise) zu halten (G.) Softly and slowly throughout. Durchfuhrung (G.) The development of a theme or subject, in a movement in sonata-form ; called also the free fantasia. Durchgehend (G.) Passing, transient. Durezza (7.) Rigour, harshness. Dux {L.) The proposition, theme, or subject of a fugue, the answer being called Comes. -EMPFINDUNG. 25 E. E. (i) The E above tenor C, the octave above it being represented by e, the octave below it by EE. (2) The key having four sharps in its signature. E dur (G.) The key of E major. E moll [G.) The key of E minor. E poi (/.) And then, after; as, e poi la coda, then go to the coda. Ecclesiastical modes. The Church modes. Echelon (Gk.) (i) A hollow vessel, generally of metal, used as a drum or gong. (2) Metallic vases so arranged behind the seats of the ancient theatre as to reinforce the sound of the actors' voices. (3 J The resonance-box of a lyre. Echelle (F.) A scale; as, echelle chro- matique, chromatic scale; echelle dia- fonique, diatonic scale. Echo. A sound produced by rever- beration ; an imitation of a sound so produced, (i) In old organ music a passage so marked was to be played upon the echo-organ, a set of pipes inclosed in a box, by which a soft and distant effect was produced. (2) Echo- stop on a harpsichord was a contrivance for obtaining a soft and distant effect. Echo (F.) An imitation of a previous passage. Eclisses {F.) The sides of a lute, guitar, or violin. Eclogue (F.) A shepherd's song; a pastoral piece. Ecole (F.) A school or style of music. Ecossaise (F.) In the Scotch style. Edel (G.) Noble. iPafezr1(^-) Equality, even„ess._ Eguale (I.) Equal ; as, voci eguali, equal voices, Egualmente (/.) Equally, evenly. Eiferig (G.) Zealously, ardently, pas- sionately. Eighth. The interval of an octave. Einchorig (G.) Having only one string to each note. Einfach (G.) Simple ; as, einfache In- tervalle, simple intervals ; dnfacher Contrapankt, simple counterpoint. Einfalt (G.) Simplicity; as, mit Einfalt und Wurde, with simplicity and dignity. Eingang (G.) Introduction. Eingestrichen (G.) Having one stroke, as c', d', &c. Einigen Pomp, mit (G.) In a somewhat pompous manner. Einklang (G.) Unison, accord, harmony. Einleitungs Satz (G.) An- opening phrase, or introduction ; an overture. Einschlafen (G.) To slacken pace and diminish the power. Einschlagend (G.) Literally, Striking inwards, as is the case with a percussion reed ; whereas aufschlagend> iS' used with reference to afne reed. Einschmeichelnd (G.) Insinuattve, agreeably. Einschnitf (G.) An incomplete- musical sentence or motive. Ein wenig lebendig (G.) Rather lively. Un poco allegro. Eis (G.) E sharp. Eiseis or Eisis (G.) E double shaiip. Eisenvioline (G.) Iron fiddle, q.v. Eisteddfod (W.) A congress or session for the election of chief bards, Ela. The name given by Guido to the highest note in his scale. Electric organ. An organ, the key and stop-action of which are connected with the pallets and sliders by the force of an electric current. Elegant (F.) ] Elegante (/.) Elegantly, with Elegantemente (/.) ' elegance of style. Eleganza, con (/.) J Elegia (/.) ) A composition of a mourn- EUgie (F.) ■ ful and commemorative Elegy. J character. Elegiac. In the style, of an elegy? of a mournful character. Elevazione (/.) A composition founded upon a special theme, as Elevazione sopra il Pange lingwa. Elfeve (F.) A pupil. Eleventh. The mterval of an octaive and a fourth ; a compoondi fourth. Embellimenti (/.) EmbelKshmentsi. Embouchure (F.) The mouthpieee of a wind instrument. Bmmeleia (GA.) (i) Cansonance, con- cord in musical soond's. (2) A tragic dance accompanied hy music. (3) Tlie music of the tragic dance. Emozione, con, (I.) With emotion. Empater les sons (F.) T» si«vg tegatot, or with a portamento, Empfindurag (G.) Emotion, passion, feeling. EMPHASIS EROTIQUE. (/.) With energy, for- cibly. Emphasis. Accent, stress. Emporte IF.) Passionate, hurried. Empresse (F.) Eager, hurried. Enarmonico (/.) Enharmonic. En badinant (F.) Scherzando. [Scherzo.] Energia, con Energicamente Energico Energisch (G.) With energy. Enfasi, con (/.) With emphasis. Enfaticamente (/.) With emphasis. Enfatico (/.) With emphasis, earnestly. EnflcT (F.) To swell ; to increase in sound. Enge (G.) Narrow, close, straight. A term used in reference to the small scale of organ-pipes, or to the closeness of subject and answer in a stretto. Engelstimme (G.) [Vox angelica.] InSish'ho "°" '""-'K^- ^"^'^'^-^ Enharmonic. (i) One of the three genera of Greek music, the other two being the diatonic and chromatic. (2) Having intervals less than a semi- tone, e.g. : an enharmonic organ or harmonium is an instrument having more than twelve divisions in the octave, and capable, therefore, of producing two distinct sounds where, on the ordinary instrument, one only exists, as, for instance, Gft and Ap, &c. An en- harmonic scale is one containing in- tervals less than a semitone. (3) An enharmonic modulation is a change as to notation, but not as to sound. Ensemble (F.) Together; the whole. (i) The general effect of a musical performance. (2) The union of the whole company of performers in a con- certed piece. Entr'acte (F.) Music played between the acts or divisions of an opera, drama, &c. Entrante (/.) ) r^ . • ^ j ..■ Entrata (7.) -^"^'y.' >nt™duct.on, or Entree (A) j P^^'""^^" Entrechats (F.) The peculiar bounds with which a dancer leaps across the stage on entering. Entremese (S.) A short musical interlude, of a burlesque character. Entremets (F.) Short dramatic or alle- gorical entertainments, given to the Crusaders in the thirteenth century. Now used to signify any small enter- tainment between two greater ones. Entschlossenheit, mit (G.) With de- cision, firmness. ISSac°o}(^-) With enthusiasm. Entwrurf (G.) A sketch. £olian harp. A long narrow box of thin deal, about five or six inches deep. with six or more strings stretched over bridges fixed at each end. The strings must be tuned in unison, and the box placed in a free current of air. A deli- cate combination of sounds is then pro- duced, increasing or decreasing in power with the force of the wind. Eolian mode. The fifth of the authentic Gregorian modes. It consists of the natural notes La, Si, Do, Re, Mi, Fa, Sol. Epicedion {Gk.) A dirge ; elegy. Epigonion {Gk.) An ancient musical instrument, described as having forty strings. Epilenia {Gk.) Vintage songs. Epinette (F.) [Spinet.] Episode. A term in fiigue writing, applied to those phrases which are supplemental to the main subjects or their answers. Epithalamium {Gk.) A nuptial song. Epode (Gk.) (i) An after-song ; the strain of a lyric song after the strophe andantistrophe. (2) A burden or refrain. Equabilmente (/.) Equally; similarly. Equal temperament. The system of tuning by which the octave is divided into twelve mean semitones. voices. A term for an assort- ment of men's voices or women's voices. Thus, a piece is said to be set for equal voices when the voices of men only are needed, and, in like manner, when the voices of women only are required. Equivocal or doubtful chords. Chords which are common to two or more distinct keys, and which, when heard, make the listener doubtful as to the particular key-tonality into which they are about to be resolved. Erhaben (G.) Exalted, sublime ; erhaben mit Majesidt, in a sublime and majestic manner. Erhohung (G.) Elevating, enhancing, raising ; a.s,Erhdhungs-Zeichen,the sign of chromatic elevation, a sharp or natural. Erloschend (G.) Extinguished; gradu- ally dying away. Ermattet (G.) Weariedly. Erniedrigung (G.) Lowering, depress- ing ; as, Erniedrigungs-Zeichen, the sign for chromatic depression, a flat or natural. imsthaft } ''^•) Earnest, serious. Ernsthaftigkeit (G.) Seriousness, gra- vity, earnestness. Ernstlich (G.) Earnestly, fervently, ardently. Ernstlichkeit (G.) Earnestness. Eroico (I.) Heroic. Erotique (F.) Amatory; as chanson erotique, a love-song. ERST EXTREME SIXTH. 37 Erst (G.) First; as,ersterSaiz, first part. Ersterben (G.) To die away, morendo. Erweitert (G.) Extended, augmented, amplified. Es (G.) E flat. Esatta (I.) _ Strict, exact ; as, esatta in. tonazione, just intonation. Esecuzione (/.) Execution. Eses (G.) E double flat. Espace (F.) A space of the stave, ilpafSuo/f (J.)} ^" *^ SP^"'^'^ ^'yl=- Espansione, con (7.) With breadth. Espirando (J.) Dying away ; gasping. Espressione, con (/.) With expression. Espressivo (7.) Expressive. Essential harmony. Harmony inde- pendent of grace, auxiliary, passing, syncopated, anticipating, or pedal notes. notes. Notes belonging to a key- chord. [Chordae essentiales.] Estinguendo ) (7.) Dying away, gra- Estinto J dually reducing both power and pace. Estremamente (7.) Extremely. Estropoetico(7.) Poetic rage or fervency. Etendue (F.) Extended. Etouff^ (F.) Literally, Stifled. Damped, by means of pedal, mute, or palm of the hand. [Damp.] Etouffoirs (F.) Dampers. Etude (F.) A study, exercise, or lesson. Et vitam venturi. One of the movements of the Mass. A part of the Credo. Etwas (G.) Somewhat ; as, etwas bewegt, rather lively; etwas langsam, rather slow; etwas rascher, rather quicker; etwas schnell, rather quick. Eufonia (7.) \ (i) Sweet sound. (2) A Euphonie (F.) ■ consonant combination Euphony. J of sounds. Euphonium. A brass bass instrument, properly belonging to a military band, but sometimes introduced into the or- chestra as a substitute for the third or bass trombone. Evacuatio (7,.) Literally, An emptying. In mediaeval music, the making of a note in outline only, by which its value was reduced by one-third, e.g. ; ^ O Eveilli (F.) Sprightly, quick, lively. Evirato (7.) [Castrato.] Evolutio (7,.) The working out or development of a subject. Evovae. The vowels of the words " seculorum amen " at the end of the Gloria Patri ; a name of the endings of Gregorian tones. Exercise. (i) Preparatory practice in order to obtain skill. (2) A composition intended for the improvement of the, singer or player. (3) A composition required of candidates for degrees in music in the universities. Expression. The power of rendering music so as to make it the vehicle of deep and pure emotion ; the spirit of music, as opposed to the mere mechani- cal production of sound. A true ex- pression involves the carrying out to the highest extent the fullest meaning of the composer. Expression-stop. In a harmonium the expression-stop, when drawn, closes the waste-valve of the bellows, and enables the performer, by regulating the supply of wind by his feet, to produce the most delicate contrasts of light and shade. Extempore. Musical improvisation. The art, or rather gift, of creating melody and harmony without premeditation. Extemporise. To play extempore. Extended compass. A range beyond the ordinary limit of a voice or instrument. harmony. [Dispersed harmony.] Extraneous modulation. A modulation to an extreme or unrelated key. Extreme, (i) Outside ; as, extreme parts, the highest and lowest parts in part- , music. (2) Expanded to its furthest limit; as, extreme intervals, intervals greater than major or normal. (3) Not closely related ; as, modulation into an extreme key. (4) An old term for any key having more than three sharps or flats. sixth, chord of the. A chord of modern growth, so called because the interval of an extreme or augmented sixth is contained in it, either directly or by inversion. 38 -FELDMUSIK. F. Xhe key-note of the major scale re- quiring one flat in the signature ; and the key-note of the minor scale related to A flat. F -clef The bass clef, '^ P Hat (G.) The key of F major. F holes. The openings in the upper plate of a violin Or other instrument. F Lo'cher (G.) £F holes.] F -mtjll (G.) The key of F minor. F SchlUssel (G.) The F or bass clef. Fa. The syllable used in solmisation for F. [Aretinian syllables.] ■Ta t>6mol (R) F flat. — fli^se (F.) F sharp. JJ'aburden. One of the early systems of harmonising a given portion of Pl^in- «ong, or a canto fermo ; a sort of har- mony consisting of tliirds and sixths added to a canto fermo. Faces d'un accord (F.) The positions or inversions of a cliord. "Pach (GO A rank of pipes, as in an organ. Facile (F.) Easy. Faciliti (J.) Facility ; readiness of exe- cution. J'acilite (P.) Made easy; an easy ar- rangement of a difficult passage. F^ackeltanz (G.) A torchlight procession which takes place at some German courts on the occasion of a royal wed- ding. The music is a Polonaise in march time. Facture (iF.) (i) The construction of a piece of music, (a) The measurement, dimension, or scaJe of organ-pipes. Fafottislitrl)} ^ bassoon-player. Fagottone (7.) A large bassoon. [Double bassoon.] Fal las. Short songs, harmonised melo- dies, or madrigals, having the syl- lables /ai la at the end of each line or strain. Fall (old E.) A cadence. Falsa musica (L.) False or feigned music was that in which notes were altered by the use of accidentals. False cadence. [Cadence.] False fifth. A fifth altered from its per- fect or major state. intonation, (i) The production of an unnatural or improper quality of tone, (a) Singing or playing out of tune. relation. A note which occurs in one chord, and is also found chromati- cally altered in the next chord, but in a different part. — — string. A badly woven string, which produces an uncertain and untrue tone. Falsett (G.) ) The artificial or supple- Falsetto (/.)/ menting tones of the voice, higher than the chest or natural voice. Falso bordone (7.) [Faburden.] Fancies, (i) An old name for composi- tions in an impromptu style ; a fantasy. (2) Short pieces of music without words. Fandango (S.) A lively Spanish dance in triple time, derived from the Moors. Fanfare (F.) A flourish of trumpets ; a call. Fantasia (/.) ] A composition in a style Fantaisie (F.) ' in which form is sub- Fantasie (G.) ) servient to fancy. Fantasiren (G.) To play as fancy directs ; to improvise. Fantastically; in a grotesque manner. Fantasticamente (/.) Fantastico {/.) Fantastique (F.) Fantastisch (G.) Farandola (/.) 1 An exciting dance, Farandoule {F.)j popular among the peasants of the south of France and the neighbouring part of Italy. Farsa in musica (/.) A musical burletta or farce. Fascia (7.) (i) A bind or tie. (2) The sides of a fiddle. Fastosamente|(,.) p,„,dly, haughtily. Fattura (7.) [Facture.] Fausse corde (F.) [False string.] Fausset (F.) [Falsetto.] Faux-bourdon (F.) [Faburden.] Federclavier (G.) Spinet. Feier (G.) A festival. Feierlich, in a festival style, grandly, solemnly. Feld (G.) The disposition of pipes in an organ. Feldflote (G.) A rustic flute or pipe. Feldmusik (G.) Military music. FELDPFEIFE FLAGEOLET. 39 Feldpfeife (G.) The alAflauto traverso. Feldton (G.) The key of E flat, in which military instruments are often set. Feldtrompete (G.) Military trumpet. Ferial. Non-festal ; as, fenal use, music for use on ordinary days. FeSa™'"'"} (^■) Krmly, with decision. Fermata (/.) 1 A pause. With firmness and Fermate (G.) , Fermezza, con (/. decision. Fermo (/.) Firm, fast ; as, canto fermo, the subject or part held iirmly. Feme (G.) Distance; as wie aus der Ferne, faintly, as if in the distance. Feroce ) Ferocemente [■ (/.) Wildly, fiercely. Ferocita, con) Fertig (G.) Quick, dexterous. Fervente (/.) Fervent. Ferventementel (J.) Fervently, vehe- Fervidamente J mently. Fervore, con {I.) With fervour. Fes (G.) The note F flat. Fest (G.) (i) A festival ; as Fesigesang, a festival cantata. (2) Firm ; as fester Gesang, canto fermo. [Fermo.] Festal. Festival. Festivamente (I.) Solemnly, pleasantly. Festiviti, con (/.) With joyfulness. Festivo (l.) Festive, solemn. Festoso (/.) Joyous, gay. Feuer (G.) Fire, ardour, warmth. Feurig (G.) Fiery, ardently. Fiacco (I.) Weak, weary, faint. Fiato (I.) (i) Wind; as, stromenti di fiato, wind instruments. (2) Breath, in singing, as in uu fiato, in one breath. Ficta musica (i.) [Falsa musica.] Fiddle. [Violin.] Fidicen (i.) A lute or harp player. Fidicula. An ancient strmged instru- ment of the cithara class. Fiedel (G.) Fiddle. Fier (F.) Proud, fierce. Fieramente Fierezza, con Fiero Fife. A smal! (7.) Proudly, fiercely, boldly. flute ; a flauto piccolo. An ancient musical instrument, the name being cognate with pipe. An organ-stop. A piccolo, generally of two feet in length. FifteTF^i^^'^^- Q"^'-Pf='fej FifteentB. The interval of a double octave; bis-diapason An organ-stop of 2-ft. length on the manuals and 4-ft. on the pedals, con- sisting of open metal pipes. Fifth. A diatonic interval of five notes. Figura {L.) A note. Figura simplex, a note standing by itself Figura ligata, a ligature, or a series of notes with contiguous sides. FifurW-^l^'^-^- Figure, (i) A form of melody or accom- paniment, (z) A musical phrase. (3) A florid melody. Figured bass. A bass having the ac- companying chords suggested by certain numbers above or below the notes. Filar la voce (Z.) ) To prolong a sound, Filer le son (F.) j swelling and dimin- ishing the tone by degrees. Filo {I.) Literally, A thread. Filo di voce, the softest voice possible. Fin (F.) The end. Finale (7.) The last movement of a concerted piece, sonata, or symphony ; the last piece of an act of an opera ; the last piece in a programme. Fine (7.) The end ; used to show the end of a piece, after a repeat. Finger-board. 1 (i) The piece of wood Fingerbrett {G.)j attached to the neck of instruments of the violin and guitar class, on which the strings are pressed when stopped by the fingers. (2) A manual or clavier. Finger cymbals. Cymbals attached to the fingers. Fingering. The art of placing and using the fingers properly in perform- ing upon a musical instrument. Fingerleiter (G.) [Chiroplast.] Fingersatz ]lG.) *1 . FingersetzungJV-' [Fingering.] Finite canon. A canon stopped at the close of the theme ; not repeated. Finito (7.) Finished, ended. Finto (7.) A feint ; a term applied to deceptive cadences. [Cadence.] Fiochetto (7.) Slightly hoarse. Fioco (7.) Hoarse. piorUo""*'}*^-) Ornamented, florid. Fiorituri (7.) Ornaments, cadenzas, florid passages in a melody or accompaniment. Fis (G.) F sharp. Fisfis or Fisis (G.) F double sharp. Fistula (7,.) A pipe. Fistula dulcis, afiHte-A-bec. Fistula, cui semper decres- cit arundinis ordo, pan-pipes. Fistula eburniola, the ivory pitch-pipe, from which an orator took the pitch for his voice. Fistula pastoricia, the shepherd's pipe, sometimes blown in the theatre as a sign of dissatisfaction. [Flute.] Fithele {old E.) The fiddle. Flageolet. A small pipe with a mouthpiece inserted in a bulb, producing a shrill sound similar, but much softer in quality, to that produced from the flauto piccolo. 4° FLAGEOLET TONES FORTE POSSIBILE. Flageolet tones. The natural harmonics of stringed instruments, so called from their pure flute-like quality of tone. Flageolettone (G.) Flageolet-tones ; harmonics of a string instrument. Flaschinett (G.) The flageolet. Flat, (i) The sign 1?, which lowers a. note a semitone. (2) Singing or playing is said to be flat when the sounds pro- duced fail to reach the true pitch. Flatter la corde [F.) To play expres- sively upon a stringed instrument with a bow. Flat tuning. One of the varieties of tuning on the lute ; called also French tuning, or French flat- tuning, because the French pitch was lower than that used elsewhere. Flautandol (J.) Like a flute; a direc- Flautato J" tion to produce the flageolet tones on the violin, &c. Flautino (/.) (i) An instrument of the accordion kind. (2) A little flute, pic- colo, or flageolet. (3) [Flautando.] Flauto (/.) [Flute.] amabile (I.) An organ-stop, con- sisting of sweet-toned pipes, generally of 4-ft. pitch. dolce {/.) An organ-stop of sweet tone. piccolo {I.) [Piccolo flute.] traverse (/.) The German flute held laterally, flutes having been for- merly played with a mouthpiece, whence they were called Jlutes-d-bec. Flautone (/.) [Bass flute.] Flebile \ (I.) In a mournful, plain- FlebilmenteJ tive manner. Flessibiliti (/.) Flexibility. Flexibility. The power of free and rapid execution, in vocal or instrumental music. Fliessend (G.) Fluently, softly, smoothly. Fling. A dance performed by Scottish Highlanders to a tune in common time. [Reel.] Florid counterpoint. A counterpoint not confined to any special species, but in which notes of various lengths are used. It is opposed to strict counterpoint. music. Music in which the melody and accompanying parts are of an ornamental and embellished style. Flote (G.) [Flute.] Flourish, (i) The execution of profuse but unmeaning ornamentation in music. (2) The old English name for a call, fanfare, or prelude for trumpets or other instruments. Fliichtig (G.) Light, rapid. Fliigel (G.) A grand pianoforte or harp- sichord, so called because of the wing- like shape of the top. FlUgelhorn (G.) A bugle, a valve horn. Flute. An ancient wind instrument formed of a hollow tube with openings in the side, which in playing are closed by the fingers or by keys. When played by a mouthpiece at the end it is calledjluie-d-bec, or beak flute ; and when blown by a hole in the side, Jtiite traversiere, or cross flute. The latter is now the recognised form, with a compass of three octaves, from middle C to the third C above. Flute-A-bec (F.) [Flute.] d'amour (F.) A low-toned flute, an A flute, sounding a minor third below the notes actually written. It is now obsolete. douce (F.) An organ-stop of soft tone. minor. A small flute-stop on the organ, of 4-ft. or 2-£t. pitch. traversiJre (F.) [Flute.] Fly. A hinged board which covers the keys of the pianoforte or organ when not in use. Foco (/.) Fire, spirit. ■ [Fuoco.] Focoso (/.) With spirit ; ardently. Foglietto (7.) A first violin part; the leader's part, which contains cues, &c., used by a conductor in the absence of a full score. Fois [F.) Time; as premiere fois, first time ; dernierefois, last time (of repeat- ing), &c. Folia (S.) A Spanish dance, similar to the fandango. Foliated. A melody is said to he foliated when ornamental notes have been added above or below the original sounds. FoUia (S. and I.) Variations upon an air or melody, in which ingenuity was held of more value than beauty. Fondamentale {F. and I.) Fundamental. Fondamento (Z.) (i) Fundamental bass. (2) The root or generator of a chord. Ponds d'orgue (F.) The foundation stops, the diapasons and 8-ft. flutes on English organs, the principals of foreign instruments. Foot, (i) A metrical measure. {2) A drone bass. (3) The chorus of a song. (4) The part of an organ-pipe below the mouth. (5) To foot, to dance. Forlana {/.) A lively dance in | time, much in favour with the gondoliers of Venice. Form. The shape and order in which musical ideas are presented. Also, the shape into which music of a certain character is moulded, as march-form, aria-form, sonata-form, &c. Fort (F.) \ Loud ; expressed in music by Forte (/.)J the abbreviations /oj-. or / possibile. (/). As loud as possible. FORTEMENTE FULL CADENCE. 41 French violin clef. The G clef, placed upon the first line of the stave. Frets. Small pieces of wood or ivory placed upon the finger-board of certain stringed instruments, to regulate the pitch of the notes produced, Fretta, con (/.) With speed, haste, hurry. Frettevole' Frettoloso ■ (/.) Hasty, hurried, quick. Frettoso J Frettolosamente (/.) Quickly, speedily. Frisch (G.) Lively. Frohlich (G,) Joyous, cheerful, gay. Frosch (G.) The nut of a violin bow ; am Frosch, near the nut. Frottola (7.) A ballad. Fuga {L.y A fugue; aqualis motus, a real fugue ; authentica, a fiigue with a subject in the authentic part of the scale ; canonica, a fugue in canon ; con. traria, a fugue by inversion ; impropria, or irregularis, a free or irregular fugue ; in contrario tempore, n fugue, the answer of which is differently accented to the subject ; libera or soluta, a free or irregular fugue ; per arsin et thesin, by inversion (i) of rhythm, (2)of interval ; retrograda, a fugue by contrary motion ; obstinata, a fiigue in which a definite figure is maintained, &c. (/.) A fugue ; as fuga doppia, a double fugue ; fuga ostinata, a fugue in which a definite figure is maintained ; fuga ricercata, a strict scientific fugue, a fugue without episodes ; fuga sciolta, a free fugue. Fugato (J.) In the fugue style ; a com- position containing fugal imitation, but which is not in strict fiigue form. Fuge (G.) A fugue. FSge!:^S}AshortfUgue. Fugue. A polyphonic composition con- structed on one or more short subjects or themes, which are harmonised according to the laws of counterpoint, and introduced from time to time with various contrapuntal devices ; the in- terest in these frequently heard themes being sustained by diminishing the interval of time at which they follow each other (the stretto), and monotony being avoided by the occasional use of episodes, or passages open to free treat- ment. A fugue is generally brought to a close by a pedal-point and coda. renversee (F.) An inverted fugue. Fahrer (G.) (i) Subject of a fugue, {2) A leader, director. Full anthem. An anthem in which there is neither solo nor verses. cadence. A perfect cadence. Fortemente (I.) Loudly ; vigorously ; with force. Forte-piano or fp. (1) Loud, then soft ; strongly accented. (2) The pianoforte. Fortissimo {I.) Very loud. The letters ff or ff or. are used as abbreviations of the word. Fortississimo (/.) As loud as possible. The letters/)^ are used as an abbrevia- tion. Fortsetzung (G.) Continuation ; further development or expansion of an idea. Forza, con (/.) With emphasis. Forzando (J.) Literally, Forcing. Em- phasis or musical accent upon specified notes or passages, marked by the signs fz., sf. or >-. Forzato (I.) [Forzando.] Fourchette tonique (F.) Tuning-fork. Fourlane (F.) [Forlana.] Foumiture (F.) A mixture stop on an organ. Fourth. An interval of four notes. flute. [Quart flute.] Fran;aise (F.) A dance in triple measure, similar to the country-dance. Francamente (I.)\ Franchezza {I. ) ■ Freedom, confidence. Franchise (F.) ) Franzton (G.) French pitch; lower than the recognised English concert-pitch. Frase larga (/.) With broad phrasing. Frasi {!.) Phrases. Freddamente 1 {/.) With coldness, in- Freddezza, con J difference. Fredon (F.) (i) Vocal ornaments at the will of the performer; a tremolo or quavering upon every note. {2) The humming of a tune. Free fugue. A fugue in which the answer and general treatment are not according to strict rules. parts. Additional parts to a canon or fiigue, having independent melodies, in order to strengthen or complete the harmony. reed. A reed which passes fireely in and out of the aperture in which it is placed. style. Composition not absolutely according to the strict riiles of counter- point. Fregiatura (/.) An ornament, embellish, ment. Freie Schreibart (G.) Free writing; composition in a free style. French horn. [Horn.] flat-tuning. [Flat-tuning.] sixth. The name of a chord containing a bass note accompanied by a major third, a fourth, and a sharp sixth : 42 FULL CHORD GARBATO. Full chord, (i) A chord some of the essential notes of which are doubled. (2) A chord for the full power of an instrument, orchestra, or voices. score. A score in which all the parts for voices and instruments are displayed. — =— service. (i) A setting of the canticles for voices in chofus, with or without organ accompaniment. {2) An office in which music is used to the fullest extent allowed by the rubrics. stop, (i) In lute-playing, a full chord followed by a pause. (2) A chord in which all available fingers are occu- pied in stopping the strings. Fullstimmen (G.) Additional chorus parts either of voices or instruments. Fundamental bass. A bass consisting only of the roots of chords. tones. The tones from vyhich harmonica are generated. Funebre [F.) \ Funereal, mournful, in the Funerale (/.) J style of a dirge; as, marche funebre, a funeral march. Funffach (G.) Fivefold. Often applied to a mixture-stop of an organ having five Tanks. FUnfstimmig (G.) In five parts. Funzioni {/.) Functions, duty. The general title for services, oratorios, &c., performed in the Roman Church. Fuoco, conl ,j, .^jjjj fire, spirit, dash. Fuocoso J ^ ' Furia, con \ Furibondo I (/.) With fury, energy, Furiosamente [ vehemence. Furioso j Furlano (7.) A dance. [Forlana.] Furniture. The name of one of the mixture-stops in an organ. Furore, con {/.) With fury, passion, enthusiasm. . Fusa (L.) A quaver, * Fusee (F.) Rapid division, shake or roulade. Fusella [L.) A semiquaver, ** ' Fuss (G.) Foot, (i) The part of an organ-pipe below the mouth. (2) The measure by which the pitch of organ- stops is determined ; as S-fussig, of 8-ft. or unison pitch. G. G. (i) The fifth note of the normal scale of C, called Sol. (2) The lowest or fourth string of a violin, the third of the viola and violoncello. (3) The key-note of the major scale having one sharp in the signature. (4) The letter name of the treble clef. G clef. The treble clef. [Clef.] G Schlussel (G.) The G or treble clef. G string. The name of the first string on the double-bass, the third on the violoncello, viola, and guitar, and the fourth on the violin. Ga. The fourth syllable in the system of bobibation. Gabel (G.) A fork ; Stimmgabel, a. tuning-fork; Gabelton, the note A, as given for the pitch. Gagliarda (/.) [Galliard.] Gai tP.) 1 r . , Gajo(/.)|'^'^^'y''"^"y'e^y- Gaiement (F.) | Gaily, cheerily, mer- Gajamente (I.) ] rily. Gaillarde (F.) \ An ancient dance, in triple Galliard. J time, so-called because of its gay rhythm and motion. (I.) Gracefully, in good taste, bravely. A lively time. dance in Galante Galantemente Galanteria, con Galop. Galopade (F.) Galopp (G.) Galoppo {I.) Galoubet [F.) A small flute of a primi- tive character with three holes, similar to the picco pipe. Gamba, viol da (/.) (i) A stringed instru- ment of the viol sort, with six strings, weaker in tone and smaller in size^than the violoncello; so called because it was held between the knees of the player. [Viol da Gamba.] (2) An or- gan-stop. Its tone is pungent, and not unlike that of a violin or violoncello. Gamma (I.) 1 . Gamme (F.)J Gamut. The scale. Ganz (G.) (i) Entire, whole ; Ganzion, a whole tone ; ganz Note, a semibreve. (2) Very, as ganz langsam, very slow. Garbatamente 1 {!.) With elegant sim- Garbato J plicity. ► Gamut. GARBO, CON GITTRON. 43 Garbo, con (/.) With grace; politely. Garrire (/.) To warble, to chirp, to chatter. Gassatio. A street serenade ; a iare- well or final piece. [Cassatic] (i) A street ballad. [Passacaglio.] as, la main gauche. Gassenhauer (G.) (z) A dance-tune. Gauche {F.) Left ; the left hand. Gauge. A small instrument for measur- ing the thickness of strings for violins, guitars, &c. ; a disc of metal with a graduated slit and engraved table. Gavot. 1 A dance-tune of a lively Gavote or I yet dignified character. Gavotte [F.) \ said to be of French Gavotta {I.) ) origin ; the dance of the Gavots, inhabitants of the town of Gap. Gebrochene Akkorde (G.) Distributed harmony or arpeggio. Gebunden (G.) Connected, bound, sus- tained. Gedackt (G.) Covered or closed. [Decke.] Gedehnt (G.) Lengthened, sustained. Gefabrte (G.) The answer to a fugue subject (Fiihrer). Gefiihl, mit (G.) With feeling, expression. GegenbewegTing (G.) Contrary motion. Gegengesang (G.) Antiphonal music. Gegenpunkt (G.) Counterpoint. Gegensatz (G.) Counter-subject. Gehalten (G.) Sustained. T^enuto. Gehend (G.) Andanie {I.) Literally, Going. At a moderate pace ; etwas gehend, andantino. Geige (G.) A violin. Geigen-blatt, the finger-board ; Geigen-bogen, the bow ; Geigen-harz, resin ; Geigen-saite, fiddle- string ; Geigen-sattel, bridge ; Geigen- wirbel, peg. Geist (G.) Spirit, genius, soul. Gekneipt (G.) [Pizzicato.] Gelassen (G.) Calm, tranquil. Gemassigt (G.) Moderate. Moderate. Gemessen (G.) Measured, i.e., not too •fast. Gemshom (G.) (i) An instrument made of the horn of the chamois goat. (2) An organ-stop generally of 8-ft. tone, though sometimes of 4-ft., and in the pedal organ of i6-ft., of a thin, bright quality of tone. Gemilth (G.) Sentiment, emotion ; as mit Gemuth, with feeling. Generalbass (G.) Thorough-bass. Generalprobe (G.) General rehearsal ; the final rehearsal before a performance. Generator. A ground note ; funda- mental bass, root, derivative. Genere (/.)) (i) Manner or style. {2) Genre (F.)\ K'nd or class (of scales). (ieneroso ] G entile • '/.) Noble, with dignity. lientilezza,con, Gentilmente (/.) Gently, elegantly. Genus (L.) Sort or class, especially used with reference to scales ; as the diatonic, chromatic, and enharmonic genera. Gerade Bewegung(G.) Similar motion. Taktait (G.) Common time. German flute. [Flute.] sixth. The name of a chord contain- ing a bass note accompanied by a major third, a perfect fifth, and a sharp sixth : Ges (G.) The note G flat. Gesang (G.) Singing, song, cantata, hymn, &c. Gesangartig (G.) In a singing style. Gesangverein (G.) Singing club or society, Geschmachvoll (G.) With taste, deli- cately. Geschwind (G.) Quick, rapid. Geschwindmarscb (G.) A quick march; a quick step. Gestossen (G.) Staccato. iTol] ^"IdE.) Guitar. Getragen (G.) Sustained. [Sostenuto.] Gewichtig (G.) Heavily. Pesante. Geytarah. The ancient Eastern guitar. Ghazel (Ar.) A term used by Dr. Hiller to describe a piece in which a. simple theme is constantly recurring. Ghlribizzi (I.) Fantastic devices. Gigue(ii'.)J '•J'S-J Gigelira (I.) A musical instrument made of a series of pieces of wood supported on bands of straw. The tone is pro- duced by striking. Gingras. A small ancient flute, of Phoe- nician origin, afterwards adopted by some European nations. Gingrina [L.) [Gingras.] Giochevole (/.) Merry, jocose. . Gioco, con \ Giocosamente V (I.) Sportively,playfully. Giocoso ) Giocondamente {/.) Joyfully, merrily. Giocondato (/.) Happy, joyful. Giocondezza (/.) Mirth, jocundity. Giocondo {/.) Jocund. Gioja, con \ Sosrmente(^-)Withmirth,joyfully. Giojoso ) Gioviale (/.) Jovial, pleasant. Giovialiti, con (/.) With jolhty. Giraffe. An ancient form of the spinet. Gis (G.) The note G sharp. Gittern. Gitteron. j- Old terms for the guitar. Gittron. 44 GIUBILANTE- -QREAT ORGAN. Giubilante ] [I.) With rejoicing, in a Giubilo, con J jubilant manner. Giubiloso (/.) Jubilant. Giustamente (/.) Strictly, accurately. Giusto (7.) Strict, correqt, moderate; a tempo giustv, at a moderate pace. Glanzend (G.) Brilliant. Glee. A composition for voices in har- mony, consisting of two or more con- trasted movements, with the parts so contrived that they may be termed a series of interwoven melodies. It may be written for three or more voices, either equal or mixed ; but it is neces- sary that there should be only one voice to a part. Gli (/.) The; as gli stromenti, the instruments. Glissando ^ (J.) (i) Playing a rapid Glissato passage, in pianoforte Glissicando music, by sliding the Glissicato j tips of the fingers along the keys instead of striking each note with a separate linger. (2) A rapid slur in violin-playing, Glisser (F.) To slide. [Glissando.] Glocke (G.) A bell. Glockenspiel (G.) (i) An instrument maile of bells tuned diatonically and struck with hammers, or by levers acted upon by a keyboard. (2) An organ stop of two ranks. Gloria (L.) A movement of the Mass. Glottis [Gk.) The reed used in some of the ancient flutes. Gnaccare (I.) [Castanets.] Gong. An Eastern pulsatile instrument, of circular shape, and made of bronze (eighty parts of copper to twenty of tin). Gong drum. A bass drum in the form of a gigantic tambourine. Gorgheggi 1 (/.) Trills, quaverings, GorgheggiareJ warblings. Gosba. An Arabian flute. Goto. A Japanese dulcimer. Grabfiir''} (G-) F-eral hymn, dirge. Grace notes. [Graces.] Graces. A general term for ornamental notes or short passages, introduced as embellishments into vocal or instru- mental music, not actually essential to its harmony or melody. Gracieux (F.) Graceful ; in a graceful style. Gracile (/.) Small, thin ; as, voce gracile, a thin voice. Grad (G.) A degree or step of a scale. Gradatamente (I.) Gradually, by degrees. Gradation {F.) 1 Gradation ; by degrees Gradazione (7.) J of the scale. Gradevole \ (7.) Pleasantly, grace- Gradevolmente J fully. Graditissimo (7.) Most gracefully. Gradleiter (G.) A scale. Grado (7.) Degree or step of a scale ; as, di grado, by conjunct motion, as opposed to di salio, by a skip. Gradual modulation. A change of key by diatonic progression. Graduale {L.) A piece of music per- formed between the reading of the Epistle and Gospel in the Roman Church ; a book containing graduals, tracts, introits, &c., with their Plain- song melodies. Graduate in music. One who has taken a degree in music at a university. Graduellement (F.) By degrees. Gran (7.) ] Large, great, complete ; as. Grand [F.) ■ grand bourdon, a double Grande (7.) J bourdon ; d, grande or- chestre, for a complete band. Gran cassa (7.) The big drum. gusto (7.) Elevated taste or ex- pression. tamburo (7.) The big drum. Grand barr6 (F.) In guitar-playing, to alter the pitch of the instrument by making a temporary nut of the fore- finger laid across the strings. chantre. (F.) [Precentor.] jeu (F.) The power obtained by the use of the whole of the stops in an organ or harmonium. Grand stave. The stave of eleven lines. Grande mesure k deux temps {F.) Common measure of two beats. Grand orgue (F.) (i) Full organ. (2) The great organ. Grandezza (7.) Grandeur. Grandioso (7.) Grand ; in a lofty manner. Grandisonante (7.) Loud, sonorous. Grappa (7.) Literally, A stem. A brace which connects staves. Grave (L., I., F.,E.) (i) Deep in pitch. (2) Slow in pace, solemnly. Gravecembalum (L.) ) The harpsi- Gravicembalo (7.) j chord. Gravement {F.) Slow, and in a solemn style. Gravemente (7.) earnestness. Gravity, con (7.) majesty. Grazia, con (7.) Grazios (G.) Graziosamente (7.)| Grazioso (7.) Great octave. The sounds lying be- tween With dignity, gravity. With dignity, weight, With grace; elegance. '4 Gracefully, gantly. ele- m .^ and organ. The organ used for grand effects, and usually the middle row where there are three rows of keys. It GREATER HALF-SHIFT. 43 contains the large scale diapasons, a complete set of octave, twelfth, super- octave, mixture stops, and a propor- tionate number of large scale reed- stops. Greater. Belonging to the major scale ; as, a greater third, a major third, as C to E. Gregorian. [Plain-song.] Griff bret (G.) Finger-board of a stringed instrument. Groppo (/.) A bunch or group of notes. Gros tambour (F.) The big drum. Gros-fa. The square notation used in old Church music. Grosse (G.) (i) Major, applied to inter- vals. {2) Grand, or great ; ' as grosse Sonate, grand sonata. (3) Double in pitch; as, grosse Nazard, a quint, an organ-stop, an octave below the twelfth ; grosse Quinie, a pedal stop of loj ft. in length. Grosse caisse (F.) 1 ^.u „ . . j„,„ .Grosse Trommel (G.) [^'^^ ""^ ^'^'^- Grosso (I.) Great, full, grand; as con- certi grossi, grand concertos. Grottesco (/.) Grotesque, comic, hu- morous. Ground-bass. A bass passage of four or eight bars in length, constantly repeated, each successive time accompanied with a varied melody and harmony. Group. (I) A series of notes, of small time-value, grouped together ; a division or run. (2) The method of setting out band parts in score. Grundstimme (G.) The bass part. Grundton (G.) (i) The bass note. (2) Fundamental bass. Gruppetto 1 (/.) A series of notes grouped Gruppo j as a cadenza, division, or ornament. Guaracha (S.) A lively Spanish dance in I or I time. Gviddok (R.) A Russian fiddle. Guerriero (/.) Warlike, martial. Guet (F.) A flourish of trumpets. Guida(/.) (i) A guide, a direct. (2) The subject of a fugue. Guide-main (F.) A hand-guide, a me- chanical contrivance for regulating the position of the wrist in pianoforte-play- ing, invented by Kalkbrenner. Guidon (F.) A direct, q.v. Guidonian syllables. [Aretinian syl- lables.] Guimbarde (F.) [Jew's-harp.] Guitar. A stringed instrument, played by plucking the strings with the right hand while the left is engaged in form- ing the notes by " stopping " the strings against the frets on the finger-board. The modern or Spanish guitar as it is called has six strings. The accordatura is as follows : (Sounding an octave lower.) Guitare (F.) Guitarra (S.) ■ [Guitar.] Guitarre (G.)J Gunibry. A kind of guitar with two strings. Gusto, con) (7.) With taste and ex- Gustoso J pression. Guttural. Tones produced in the throat. Gytarah. [Kissar.] barbaryeh {Eg.) The guitar of the Berbers. H. H. The note B natural in the German system of nomenclature, the letter B being used only for B flat. Ilackbrett (G.) The dulcimer; also a worn-out and poor-toned pianoforte. Halbcadenz (G.) Half-cadence, or half- close. [Cadence.] Halbnote (G.) A minim. Halb stark (G.) Uezzo forte. Halbton (G.) A semitone. Half-cadence. When the last chord is the dominant and is preceded by the tonic, the cadence is called half or im- perfect. [Cadence.] Half-close. [Half-cadence.] Half-note, (i) A minim. (2) A semitone. Half-shift. A position of the hand in violin-playing. It lies between the open position and the first shift. It is now generally termed the second tosition- 46 HALIL- -HAUPTSATZ. Halil. [Khalil.] Hallelujah. [Alleluia.] Hailing. A Norwegian dance somewhat of the character of a country dance. Hals (G.) The neck of an instrument. Halt (G.) Pause. Hammer, (i) A piece of wood having a padded end or a nob, with which strings are struck. (2) The iron or wood striker of a bell. Hammerclavier (G.) [Pianoforte.] Hanaise. A kind of polka, or polacca polonaise. Hand-guide. [Guide-main.] Hand-horn. The horn without valves or pistons. Hardiment IF.) Boldly, daringly. Harfe (G.) [Harp..] Harke (G.) An instrument for ruling the stave. Harmonic flute. [Harmonic stops.] scale. The scale formed by a series of natural harmonics. stops. Organ-stops, both flute and reed, having tubes twice the normal length, but pierced with a small hole in the middle. triad. The common chord ; a note with its third and perfect fifth. Harmonica, (i) An instrument, the tones of which are produced by striking rods or plates of glass with hammers. It has a compass of about two octaves. (2) A name sometimes given to a mix- ture stop on foreign organs. [Arraonica.] Harmonichord. An instrumenl played like a pianoforte, but sounding like a violin. The tone is produced by the friction of a revolving cylinder of wood, covered with leather and charged with rosin, upon wire strings. Harmonicon. A toy instrument which consists of free reeds inclosed in a box in such a way that inspiration produces one set of sounds, respiration another. Harmoni-cor. An instrument invented by Jaulin of Paris, consisting of a series of free reeds similar to those used in the harmonium, placed in a tube shaped like a clarinet. The compass is two octaves, with intermediate semitones. Harmonics. The sounds produced by a vibrating string or column of air, when it is subdivided into its aliquot parts. Harmonics are produced on the violin, &c., by lightly pressing the strings in playing. Harmonie Musik (G.) Music for wind instruments. Harmonique {F.) Harmonic. Harmonium. A keyed wind instrument whose tones are produced by the forcing of air through free reeds. The better class of harmoniums have; several sets of vibrators of different pitch and oi various qualities of tone. Harmonometer. An instrument for mea- suring the harmonic relations of sounds. Harmony, (i) An agreeable combination of sounds heard at the same time. (2) The just adaptation of the parts of a composition to each other. (3) The grammar of part-music. Harp. An instrument of triangular form, furnished with gut stringSf which are plucked by the fingers. Its compass varies from three to six and a half octaves, according to si^e. There, are several kinds still in use : the triple or Welsh harp, with three rows of strings; the double harp, with two rows; the single-action pedal harp, with one row, and pedals which alter the pitch of the notes ; the double-action pedal harp, the invention of Erard, which has a compass of six and a quarter octaves, and the power of changing the pitch of each note two semitones. This last- named harp is the one now generally employed for concert or orchestral pur- poses. The harp, in various forms, may be traced to a very remote an- tiquity. Harpe (F.) A harp. Harpist {E., G.) A player upon the harp. Harpsecol. [Harpsichord.] Harpsichord. A stringed instrument with a keyboard, similar in form to a modern grand pianoforte. As the pres- sure of the fingers upon the keys, when heavy or light, made no difference in the quantity of tone produced, the harpsichord sometimes had two key- boards, one for the loud, the other for the soft tones. There were also stops in some instruments, by means of which the tone could be modified by connecting the mechanism with or de- taching it from the three or even four strings with which each tone was fur nished. The keys were attached to levers, which at their ends had slips of wood, called "jacks," furnished with plectra of crowquill or hard leather; these struck or twanged the strings and produced the tone, which has been likened to " a scratch with a sound at the end of it." Hastig (G.) Quick. Haupt (G.) Principail, chief, head; as Hauftnote, the essential note in a turn, or shake, &c. Hauptmanual (G.) The great organ. Hauptnote (G.) An essential note. Hauptperiode (G.) Principal subject. HauptsatzL (G.) Principal theme or subject. HAUPTSCHLUSS- -HUNTS UP. 47 Hauptschluss (G.) A perfect cadence. Hauptstimme (G.) Principal part. Hauptwerk (G.) The great organ. Hausse {F.} The nut of a violin bow. Hausser (F-) To raise, lift, to sharpen. Haut {F.) High ; as, haute contpe, the alto part ; hduie dessus, treble part ; haute taille, first or high tenor. Hautbois IF.) \ r^. „„ , Hautboy. ' | [Ol'oe.] Hautbois d'amour [F.) A small species of oboe, now obsolete. Haute-contre (F.) (r) An alto, the highest of men's voices. (2) An alto- viola. Head, (i) The laenibrane stretched upon a drum, (a) That part of a violin in which the pegs are inserted. (3) The portion of a note which deter- mines its position upon the stave, and to which the tail is annexed. Head-voice. [Falsetto.] Heftig (G.) Boisterous, impetuous. Heimlich (G.) Mysteriously. Heiss (G.) Hot, ardent. Heiter (G.) Clear, calm. Feierlich heiter, solemn and calm. Hell (G.) Clear, bright. Kemidiapente. An imperfect fifth. Hemiditone. The lesser or minor third. Hemiolios (Gk.) (i) The ratio 3 to 2. The same as the sesquialtera in Latin treatises on music. {2) A kind of metre. A verse consisting of a foot and a half. Hemiopus {Gk.) Having a small num- ber of holes. ■^iiLQTTOi aiKot, small flutes with three ventages. Hemitone. A semitone. Heptachord, (r) A series of seven notes ; a diatonic octave without the upper note. (2) An instrument with seven strings. Herabstrich > (G.) The down-stroke of a Herstrich. J bow. Heroisch (G.) In a heroic manner. Herunterstrich (G.) Down-bow, fl Hexachord. A series of six sounds. The system of hexachords immediately preceded the modern octave-system. Hey de guise. A country-dance. Hidden fifths or octaves. [Consecu- tives.l Hiefhorn^ Hifthom y(G.\ HuntfBg-hom. Hafthom) ginS^'='}(«-) Anup.bow,V His (G.) The note B sharp. Hoboe (G.) [Oboe.] Hoboy. [Oboe. Waits.] Hochzeit3marseli(G.) A wedding march. Hocket \(old E.) A species of part music Hoket I in which the voices seem to have had to keep a large number of rests, the notes being divided into several parts for the purpose. On this account it also received the name trun- catio. It was popular in the fifteenth century. HohlflSte (G.) Hollow-toned flute; an organ-stop, Hold. An old English name for the sign of a pause /T^ Holding note. A note sustained in one part, while the others are in motion. Homophony. Unison of voices or instru- ments of the same character. Hopser or Hops-tanz (G.) A country, dance. Horse canonical. The canonical hours at which religious services are held. The following is their order : lauds, at daybreak; prime, or first hour, a later service ; tierce, or third hour, at nine a.m. ; sext, or sixth hour, at noon ; nones, or ninth hour, at three p.m. ; vespers, or evening service ; compline, or final service, at bedtime. Horn. A metal wind instrument, formed of a continuous tube twisted into a curved shape, and having a mouthpiece and a bell. Additional pieces of tubing called crooks can be added in order to alter the pitch, and the bell is sufficiently wide to admit the hand of the player for the purpose of producing closed notes. It is sometimes called the French horn, to distinguish it from the English horn (Cor anglais). HSmer (G.) Horns ; as Horner in Es horns in E flat. Hornpipe, (i) The name of an old wind instrument of the shawm or waits character, so called because the bell or open end was sometimes made of horn. In Wales and Ireland it was called pib-corn. (2) A dance of English origin, so called from the instrument which played the tune to which it was danced. It is now danced by a single performer, to a tune in duple measure. Hosanna. (1) An exclamation, " Save, I pray," formed from Ps. cxviii. 25. (2J A portion of the Sanctus in tlie Mass. HUbsch (G.) Pretty, prettily. Huchet (F.) A postman's horn. HUlfslinien (G.) Leger lines. HUlfanote (G.) An auxiliary note. Hummelchen (G.) A kind of small bagpipe ; a drone. Humor (G.) Humour. Hunting. A term in change-ringing. Hunting-horn. [Horn.] Hunts up or Hunt's up. A morning song, of a noisy boisterous character. 48 HURDY-GURDY IMPRESARIO. Hurdy-gurdy. An instrument of ancient origin. It consists of a flat oblong sounding-board, with four gut strings, two of which are tuned a fifth apart to form a drone bass; the other two are tuned in unison, and are so arranged that they may be shortened by the pressure of the keys. The instrument is thus capable of sounding a scale of ten or twelve notes. The strings are set in vibration by the friction of a wooden wheel charged with rosin, and turned by means of a handle at one end. Hurry. The technical or stage name for a tremolo passage on the violin, or a roll on the drum, generally played as a pre- paration for the culminating point of a dramatic incident, the leading to a " picture," during stage struggles or like exciting actions. Hurtig (G.) Nimble, quick, agile. Allegro. Hydraulic organ. An organ in which water was employed to regulate the pressure of the wind. Hypate (GA.) The longest string of the lyre, giving the lowest sound. Hyper (GA.) Above. A prefix to the names of modes one fourth above the authentic ; as Hyper-Eolian, &c. Hyper-dlapason. Super-octave. Hypo (Gk.) Below. A prefix to the names of modes commencing one fourth beloai the authentic, otherwise called Plagal ; as, Hypo-Dorian, &c. Iambic. Having a short and a long syllable alternately. Iambus. A metrical foot consisting of a short syllable and a long, ^J - lastian. Ionian. Idyl. (i) A poem of elegant struc- ture, generally on a pastoral subject. (2) Music set to a poem of this character. (3) An instrumental piece which may be interpreted as an idyllic narrative. II doppio movimento (/.) Double time ; twice as fast. II fine (/.) The end. II piti (/.) Literally, The most. II piii piano possibile, as soft as possible. Imboccatura (/.) The mouthpiece of a vrind instrument. Imitando (7.) Imitating ; as, imitando la voce, imitating the voice part. Imitation. The repetition of a short subject by another part. The subject is called the antecedent, and the imita- tion the consequent. When the conse- quent follows the antecedent at an exact interval, the imitation is said to be strict or canonic ; when the consequent is only an imitation of the general out- line of the antecedent, the imitation is called yy«^. Im klagenden Ton (G.) In a mournful style. Im lebhaftesten Zeitmasse (G.) In the quickest possible time. Im legenden Ton (G.) In the style of a legend. Immer (G.) Always ; as, immer langsam, slow throughout. Impaziente ] (/.) Impatient, im- Impazientemente J patiently. Imperfect. Not perfect, (i) An imperfect interval is one which is a semitone less than perfect. (2) The imperfect conso- nances are the third and sixth, as opposed to the fourth and fifth. (3) An imperfect cadence is one which does not give complete rest in key. (4) An imperfect stop on an organ is one the pipes of which do not extend through the whole compass of the manual. A short stop. (5) Duple measure was formerly called imperfect, as opposed to tempus perfectum, triple time. Imperiosamente) {!.) With grandeur, Imperioso J dignity, imperiously. Impeto, con ] Impetuosamente ■(!.) Impetuously. Impetuoso J Impetuosity, con (I.) With impetu- osity. Implied discord. A discord, the actual percussion of which is not found unless other parts be added to the chord. intervals. Intervals not expressed in thorough-bass figuring, because one number generally implies two or more to complete the chord. Imponente {/.) Imposingly ; in an em- phatic, pompous style. Impresario (/.) A designer, conductor, or manager of a concert or opera party. IMPROMPTU INTROITUS. 49 Impromptu (/.) (i) A piece of music written or played without previous pre- paration of the subject. [Extempore.] {2) A piece in the style of an impro- visation. Improvisateur (F.) 1 One who has the Improwisatore (/.)/ gift of improvis- ing. [Extempore.] Improvise. ITo found an extem- Improwisare' {/.) ) pore piece upon a suddenly suggested subject. Improviser (F.) To iinprovise. Improwisamente (7.) Unprepared, un- premeditated, extempore. Im Studententon (G.) In the student's style. In alt (7.) All notes in the first octave beyond the range of the treble stave. In altissimo (7.) All notes beyond the range of the first octave in alt. Incalzando (I.) Pressing on the time and increasing the tone. Inchoatio [L.) The intonation or intro- ductory notes of a Plain-song chant. Indeciso (7.) Undetermined ; in an undecided manner. Indifferente (7.) With indiffer- ence, or unconcern. Indifferentemente IndifTerenza, con In fretta (7.) In haste; hurriedly. nomine. A free fugue ; a piece in fugal style ; they were popular in the sixteenth century. Inferior (L.) Lower; at an interval below; as, Inversio in octavam in- /«Wo«»8, inversion at the octave below. Infinite canon. An endless canon, without a formal close. [Perpetual canon.] Inflexion. A departure firora the mono- tone in chanting. Inganno (7.) Literally, Deception. As, cadenza d'inganno, a deceptive cadence. In gehender Bewegung (G.) Somewhat quicker than Andante. Andante con moto. In modo popolare (7.) In a popular style. Inner parts. Those portions of the harmony that are not at the top or bottom. pedal. A sustained note in one of the inner parts. [Sustained note.] Innig ) (G.) With deep, fervent InnigkeitJ feeling. Inno (7.} A hymn. Innocente Innocentemente Innocenza, con Inquieto (7.) Insensibiie (7.) Innocently ; in a childlike, artless manner. Restless, agitated. (7.) Imperceptibly ; by Insensibilmente J degrees. Instrument 4 archet (F.) An instru- ment played with a bow. Instrument k cordes (F.)) A stringed in- Instrumento a corda {7.) J strument. Instrument k vent (F.) ) A wind in- Instrumento da fiato (7.) J strument. Instrumentation. The art of using several musical instruments in combi- nation ; also, the style or treatment of orchestral instruments with a view to the production of special effects. Instrumentiiung (G.) Instrumentation. Intavolare {/.) To set in notes, to score, to copy. Intavolatura (7.) [Tablature.] In tempo (7.) A tempo; in strict time. Interlude. 1 A piece of music play- Interludium (7-.) J ed between the acts of a drama, the verses of a canticle or hymn, or between certain portions of a Church service. Interm^de (F.) 1 . ■ » 1 j Intermedio(7.)}^'"'^^'"'^^- Intermedietto (7.) A short interlude. Intermezzo (7.) An interlude. Interrupted cadence. [Cadence.] Interruzione, senza (7.) Without hin- drance ; without pause. Interval. The distance or difference in pitch between any two sounds. lSS}o'S}[I-rval.] Intimo (7.) With inward emotion. Intonaie (7.) To tune ; to sing. Intonation, (i) The method of produc. ing sound from a voice or an instrument. (2) Singing or playing in perfect tune. (3) The method of chanting certain, portions of the Church services. (4) The notes which precede the reciting- note in a Gregorian chant. Intonator. An instrument with a single string and a movable bridge, by means of which the true sounds of a scale can be produced. Intonazione (7.) Intonation. Intoning. The monotoning or chanting of certain parts of the Anglican Church service by the minister. Intrada (7.) An interlude or entr'acte. Intrepidamente (7.) Boldly, daringly; with courage. Intrepidezza, con Intrepido Introducimento (7.) An introduction. Introduction. A preparation for, or preamble of, a movement or series of movements. Introduzione (7.) Introduction. Introit. 1 An antiphon sung while Introito (7.) ■ the priest proceeds to Introitus {L.)] the altar to celebrate Mass. In the Anglican Church, a short anthem, psalm, or hymn, sung while the minister proceeds to the table to administer the Holy Communion. E 5" INVENTION JUSTESSE. Invention, (i) The gift of finding new melodic phrases, or new combinations in harmony. (2) Suites de pieces. [Suite.] (3) The name of a piece of music of a fanciful character. Invenzione {I.} Invention. Inversion. The transposition of the component ^arts — (i) of chords ; (2) of intervals; (3) of subjects. Invitatorium (i.) A sort of introductory sentence or antiphon. Invitatory. [Invitatorium.] Invocazione (/.) An invocation, a prayer. Ionian mode. The Church mode com- mencing on the note C. Ira, con Iratamente ■(/.) WrathfuUy ; with anger. Irato J Irish bagpipe. [Bagpipe.] . harp. [Harp.] Irlandais (F.) In the Irish style. Iron fiddle. A wooden tray, in which a number of small iron rods of varying lengths are fixed, arranged in a semi- circle. When a violin bow sets these rods in vibration musical sounds are produced. Ironia, con (/.) With dissimulation. Ironicamente|(,.) j,,„;,,„y. Irresolute (7.) Uncertain ; without set- tled purpose ; in an undecided manner. Ison {Gk.) The key-note or tonic of a chant. Istesso (/.) The same ; as, I' istesso tempo, at the same pace. Istrumento. An old form of stromento, an instrument. Italian sixth. The name of a chord containing a bass note accompanied by a major third and a sharp sixth : — strings. Catgut strings for violins and similar instruments, mostly made in Rome. llaliennefi* 1' (F.)]^" *^ ^*^''^" ='y'^- Ite missa est (L.) The concluding words of the Mass in the Romish Church, from whence the name of that service (Mass) is derived. Jaclc. The name of the hoppers attached to the keys of a harpsichord. The end of the jack was furnished with a quill, as plectrum, to pluck the strings. Jagerchor (G.) Hunting chorus. Jagerhom (G.) Hunting-horn. Jaleo. A national dance of Spain. Janitscharen-Musik (G.) Janissary music ; noisy music on instruments of percussion. Jeu d'anche (F.) Reed-stop. d'ange (F.) The vox angelica stop. de flute (F.) Flute-stop. d'orgue (F.) An organ-stop. Jeux doux (F.) Sweet or soft stops. forts {F.) Loud stops. Jew's-harp. | A simple musical instru- Jew's-trump.} ment held between the lips, the musical sound coming from the vibrations of a tongue of metal bent at a right angle, which is set in motion by being twitched with the forefinger, the interior of the mouth acting as a reso- nance-box. The name is probably a corruption of yaw-harp. Jig. A lively dance for one or more dancers, popular among many nations, and called by various names. Jingles. Discs of tin, brass, or bell metal, fastened at intervals round a tambourine. Jobel (H.) ■ A word applied in the Holy Scriptures to certain trumpets or horns. Jodelnl (G.) A peculiar method of Jodl singing adopted by the Swiss Jodie J and Tyrolese, by the rapid alternation in melodic progressions of the natural and falsetto voice. Jongleurs. Wandering musicians of the eleventh, twelfth, and thirteenth cen- turies. Jota. A Spanish dance. Jubilus (L.) The neuma or succes- sion of notes added to certain anti- phons, &c. Jump. Another name for the dance called a dumpe. [Dump.] Junk. An Arabian harp. Just intonation. The correct sounding of intervals in singing or playing. Juste (F.) Just. In tune. Justesse (F.) Equality, purity, and correctness; as justesse de la voix, purity of intonation. KABARO KLAVIERAUSZUG. 5« K. Kabaro. A small drum used by the Egyptians and Abyssinians. Kalamaika. A Hungarian dance. Kammer (G.) Chamber, e.g, .- Kammer- concert, chamber-concert ; Kammer- musik, chamber-music {q.v.) ; Kammer- tun, concert-pitch. [Chorion.] Kandele or Kantele. The ancient minstrel's harp of the Finns. Also, a species of dulcimer. Kanon. [Canon.] Kanonik. [Canonik.] Kanun"} (^•' ^ dulcimer. [Canun.] Kapelle (G.) A word formerly applied to a private band, but now used to denote any band ; an orchestral band. Kapellmeister (G.) The leader or con- ductor of a band of music. [Capell- meister.] Keckheit (G.) Boldness, audacity, vigour. Keeners. Irish singing mourners, who were hired to howl at funerals. Kent bugle. A keyed bugle invented about the year 1814 or 1815 by James Halliday, and so called out of compli- ment to the Duke of Kent. Kerana or Kerrena. The name of the Persian horn, which is sounded at sunset and at midnight. Keras (GA.) A horn. Originally, any instrument made out of the horn of an animal. Keren. A Hebrew trumpet. Kermangeh. An Arabian instrument of the fiddle class. Kern (G.) The language of an organ-pipe. Kessel (G.) The mouthpiece of a brass instrument. Kesselpauke (G.) A kettle-drum. Kettentriller (G.) [Catena di trilli.] Kettle-drums. Instruments formed of shells of copper or brass, over the top of which parchment is stretched. The ordinary drum of the orchestra. Key. (i) A mechanical contrivance for closing or opening ventages, as in flutes, clarinets, ophicleides, &c. (2) A lever which controls the pallets of an organ. (3) A lever which controls the striking apparatus of a key-stringed instrument. (4) The wrest or key used for tuning instruments having metal pegs. (5) The clef v/as originally called a clavis or key. (6) Key, in its modern sense, is the starting point of the definite series of sounds which form the recognised scale. Keyboard. The range of keys upon a pianoforte or organ, &c. Key-bugle. [Bugle.] Key-chord. The common chord of the tonic, e.g.: C, E, G is the key-chord of C. Key-note. The note which forms the starting point of the scale ; the tonic ; the doh. Key-trumpet. [Trumpet.] Khalil. The flute or oboe of the He- brews. Kielflugel (G.) The wing-shaped harpsi- chord. Kin. A Chinese musical instrument, a sort of dulcimer. King. A Chinese instrument of percussion. Kinnor. One of the most ancient of the Hebrew string instruments, being the first mentioned in the Bible. It has been variously described as a small harp, a lyre, and a guitar. It was probably the last-named. Kintal. Small Indian cymbals. Kirche (G.) Church; as Kirchencompo- nist, Church composer ; Kirchenmiisik, Church music ; Kirchenstyl, Church style. Kirchengesange (G.) Sacred soa""- hymns or psalms. Kissar. A Nubian guitar or lyre. Kit. A small violin used by dancing- masters because of its convenience for carrying in the kit or pocket. Kithara {Gk.) A portable lyre ; played partly by the ends of the fingers, partly by a plectrum. Kitra. An instrument of the guitar kind, popular in Morocco. Klagend (G.) Mournfully, plaintively. Klageton (G.) Plaintive voice or tune. Klang (G.) Sound; quality of sound, timbre {F.) Klangboden (G.) Soundboard ; re- sonance-box. Klangfarbe fG.) Quality of sound. Klanggeschlecht (G.) A kind or genus of sounds; as diatonisches,chromatisckes, und enharmonisches Klanggeschlecht, the diatonic, chromatic, and enharmonic genera. Klanglelter (G.) A scale. Klappe (G.) The key of any wind instru- ment ; a valve. Klappenfliigelhorn (G.) Keyed bugle. Klappentrompete (G.) Keyed trumpet. Klavierauszug (G.) A pianoforte score. 52 KLEIN- -LARGAMENTE. Klein (G.) Small, (i) Minor; as kleiner Halbton, a minor semitone ; kleiner Nonenakkord, the chord of the minor ninth, &c. (2) Small ; as klein Bass, or kleine Bassgeige, a violoncello ; klein Gedackt, a small stopped diapason, a stopped flute. Kleine Flote (G.) (i) Piccolo flute. (2) A small flute-stop on the organ, of 4-ft. or 2- ft. pitch Klingel (G.) A small bell. Knee-stop. A mechanical contrivance on harmoniums, by which a crescendo and diminuendo are produced. Knell. A stroke upon a bell made at periodic intervals, at the time of a death or funeral. Knicky-knackers. The common instru- ment of percussion known as bones. Kniegeige (G.) A viola da gamba. Knoll. [Knell.] Kopfstimme (G.) Head voice. Voce di testa (I.) Koppeln (G.) Couplers in an organ. Koto. A Japanese dulcimer. [Goto.] Kraft (G.) Energy, vigour. Kraftig (G.) Energetically. Kreislieder (G.) Acircle or series of songs. Kreol (D.) A dance similar to the reel. Kreuz (G.) The sign for a sharp. Dop- pelkreuz, a double sharp. Kriegerisch (G.) In a martial style. KSrer^}(G-) A battle-song. Krome (G.) A quaver, m Krotalon. [Crotalum.] Krummhorn (G.) Literally, Crooked horn, (i) A mediaeval instrument. (2) An organ-stop, of reed-pipes and of 8-ft. pitch. Krustische Instrumente (G.) Instru- ments of percussion. Kuhhorn (G.) A cow-horri. The com- mon Alpine horn. Kuhreihen (G.) [Ranz des vaches.] Kuitra. [Kitra.] Kunstpfeifer (G.) Town musician. Kurz (G.) Shoit. Kyrie eleison (GA.) [Mass.] Kyrriole (A.-S.) [Carol.] L. The letter employed as the abbrevia- tion of the word left or linke (G.), as L.H., left hand or linke Hand. La. (i) The solfeggio name for the sixth degree of the scale. {2) The key-note of the minor scale without a signature. La bemol {F.) The note A ilat. La destra {/.) The right hand. La diese (F.) The note A sharp. Labecedation. [Bebisation.] Labial. Organ-pipes with lips; flue pipes. Labialstimmen (G.) Stops belonging to the flue work. Lip-stops. Labium. The lip of an organ-pipe. Lacrimoso (I.) Mournfully. Lade (G.) Wind-chest of an organ. Lage (G.) [Shift.] Lagrimando 1 (/.) Mournfully, sadly, Lagrimoso J tearfully. Lai (F.) A lay, song. Lied. Lament. The name given to some Scotch melodies of a mournful character, or to tunes set to words of a melancholy cast. Lamentabile N Lamentabilmente Lamentando I (/.) Mournfully, Lamentevole ( plaintively. Lamentevolmente Lamentoso / Lampons (F.) Drinking songs. Lancers. An arrangement of a set of dances. Landler (G.) A dance popular among the Styrian peasants. The tune is of a lively, graceful character, in | or I time. Lange halten (G.) A long pause. Langsam (G.) Slow; etwas langsam, rather slow. Langsam und getragen (G.) Slow and sustained. Language, of organ-pipes. A flat piece of metal fastened to the top of the foot, vvhich permits the air to leave in one direction only. The name is probably a corruption of lingua. Languemente ,t\ ■, , ■ , • Languendo !•(■'•' ^" ^ languishmg Languente j "tanner. Languettes (F.) (i) The vibrating tongues attached to the reed-pipes of an organ or harmonium. (2) The keys or valves of wind instruments generally. Languidamente) ,, , t -i, Languido | (^-^ Languidly. Languore, con (/.) With languor. Lantum. A modern instrument in form not unlike the hurdy-gurdy. Largamente (/.) Slowly, widely, freely, fully. LARGE- -LENTO. 53 Large. A note formerly in use, of the value of two longs, or four breves. [Nota.] Largement {F.) [Largamente.] Larghetto (7.) Literally, Rather broadly, widely. At a slow pace, but not so slow as largo. Larghezza, con {I.) With a full, broad expression. Larghissimo (J.) Exceedingly slow, as slow as possible. Largo (7.) Slow, broadly. assai (7.) Quite slow. di molto {I.j Very slow. ma non troppo (7.) Slow, but not too slow. Larigot (F.) (i) An old name for the flageolet, (z) An organ-stop of i6-in. pitch. Laringe (7.)') The organ by means of Larynx. J which we produce vocal sounds. Laud (S.) Lute. Lauda Sion. The name of a sequence sung at High Mass on the Feast of Corpus Christi. Lauds. [Horae canonicse.] Lauf{G.) (i) The peg-box in guitars or violins. (2) A run or division in sing- ing or playing. A roulade. Lauftanz (G.) Literally, A running dance. A coranto. Laut (G.) hoMd, forte; sound. Laute (G.) Lute. Lautenist (G.) A performer upon the lute. LavoUa (7.) An old Italian dance. Lay. A song ; a ballad. Lead. A point or passage to be given out by one particular part. Leader. The principal first violinist in an orchestra ; the chief clarinettist in a military band; and the chief cornet- player in a brass band. Leading-note. The seventh degree of the ascending major scale. It is called leading because of its tendency to rise or lead up to the tonic. Lebendig (G.) Lively. Allegro. Lebewohl (G.) Farewell 1 adieu ! Lebhaft (G.) Lively, vivace. Lebhaft, aber nicht zu sehr (G.) Lively, but not too much so. Lebhafter (G.) More lively. Piii vivace. Lebhaftesten (G.) With extreme liveli- ness. Lebhaftigkeit, mit (G.) With liveliness, vivacity. Le^on (F.) A piece intended to develop the taste, skill, and power of the per- former. A study. Ledger lines. [Leger lines.] Leere Saiten (G.) Open strings. LegandoH-'^') '^'^'^ connected, smoothly. Legatissimo (7.) Exceedingly smooth, close, and connected. Legato (7.) Bound, close, connected; in an even, smooth, and gliding manner. Legatura (7.) A bind, brace, or tie. Leger lines. Literally, Light lines. Short lines drawn above or below the ordinary stave. Legerement (F.) Lightly, easily, grace- fully, rapidly. Lt||eretia'(7.)} Lightness, rapidity. Leggeramente (7.) Lightly. Leggiadramente (7.) Beautifully, de- lightfully, charmingly. Leggiadro (7.) Handsome, beautiful. Leggieramente (7.) Easily, lightly, swiftly. Leggiere (7.) Very lightly, rapidly. Leggierezza, con (7.) With much light- ness. Leggierissimo (7.) Extremely light. Leggiermente (7.) With lightness. Leggiero (7.) Light, easy, swift. Legg^erucolo (7.) Rather easily and lightly. Legno (7.) Wood. [Col legno.] Leicht (G.) Easy, light. Leicht und Luftig IG.) Light and airy. Leidenschaftlich (G.) Passionately ; with intensity of feeling. Leidenschaftlichen Vortrag, mit (G.) With passionate expression. Leise (G.) Softly, lightly. Leise, vrie fiir sich (G.) Softly, as if to oneself. Leitakkord (G.) A guiding chord. A chord which suggests an immediate re- solution into another, as the chord of the dominant seventh, &c. Leiter (G.) Literally, A ladder. The scale. Leitereigene Akkorde (G.) Chords pro- per to the scale; that is, chords made up of the notes of any particular diatonic scale. Leiterfremd (G.) Notes foreign to the scale. Leitmotiv (G.) A theme constantly re- curring in association with a particular person or action throughout an opera. Leitton (G.) [Leading-note.] Leno (7.) Faint, weak, dull, flexible pliant. Lent (7''.) Slow, lento. Lentamente (7.) Slowly. Lentando (7.) Becoming slower by de- grees ; slackening the time. SzzVconSts-'y- . Lento (7.) Slow ; lento assai, or lento di molto, very slowly. 54 LESSER LYRE. Lesser. Minor; as, with the lesser third, in the minor key ; lesser sixth, a minor sixth. Lesto (I.) Light, lively, cheerful, gay. L'et6 (F.) A movement in a quadrille. Leziosamente (/.) Affectedly. Libretto. The book of the vi^ords of an oratorio, opera, or other musical work. Licence. Permission to break one of the rules or supposed rules of the art of music. Lichanos (Gk.) The third or foreiinger string of the lyre. Li^ (F.) Tied, bound. [Legato.] Liebesfiote (G.) [Flute d'amour.] Lieblich (G.) Lovely, sweet-toned ; as lieblich Gedackt, lovely stopped diapa- son. Lied (G.) A composition of a simple character, which is complete in itself; a song. The modern Lied is a complete IjTic. Liedchen (G.) A little song or tune. Liederbuch (G.) Song-book. tiederkreis (G.) A series of songs. Liedersammlung (G.) Collection of songs. Liederspiel (G.) A play with songs of a popular character introduced into it. Liedertafel (G.) Literally, Song-table. A society meeting for the practice of part-songs for men's voices. Ligato (7.) [Legato.] Ligaturse (L.) Ligatures. An old sys- tem of connecting notes together for singing. tigne (F.) A line. Ligneum psalterium (L.) A series of pieces of wood supported on two strings, running the length of the instrument, which is sometimes made in the shape of a boat. The tone is produced by striking. Lilt {Sc.} To sing, pipe, or play cheer- fully ; a gay tune ; a lay or song. Limtna (Gk.) A minor semitone, A to Bj?. Lingula (Z-.) [Glottis.] Liniensystem (G.) The stave of five lines. Linke Hand (G.) Left hand. Lip, to. To adjust the lips so as to produce the proper tone of wind instru- ments. Lira (/.) A lyre. This word was formerly applied to many instruments of the viol class, as lira da braccio, a sort of large tenor violin; lira da gamba, or perfetia, a sort of violoncello ; lira rustica or tedesca, or mendicorum, a hurdy-gurdy. Lira Barberinawas ahowed instrument, invented by John Baptist Doni, so named in honour of his patron. Cardinal Barberini. Lire (F.) A lyre or harp. Liressa (7.) An inferior lyre or harp. Liscio (7.) Polished, smooth. L' istesso (7.) The same ; as I' isiesso movimento, the same movement ; I' is- tesso tempo, the same time. Lituus (7/.) A crooked trumpet, used chiefly for giving military signals. Liuto (7.) A lute. Loco (7.) In its proper place. A direc- tion to return to the proper pitch after having played an octave higher. Locrian (GA.) A name sometimes applied to the Hypodorian mode. Logeum (L.) [Pulpitum.] Long. An ancient musical character equal to two breves. Long drum. [Drum.] Lontano (7.) Distant. Tromba lontano, a trumpet played in the distance. Lo stesso tempo (7.) At the same pace. Loure or Louvre (F.) A dance ; a kind of jig, or a waltz. Luftig (G.) Airy, aerial. Lugubre (F. and I.) Dismal, doleful, lugu- brious. Lu-lu (C.) The Chinese official collection of treatises on the art of music. Lunga pausa (7.) A long pause. Luogo (7.) [Loco.] Lures. Ancient Scandinavian trumpets. Lusingando ] Lusingante (7.) Caressingly, in Lusinghevole a coaxing manner. LusinghevolmenteJ Lulinlhiero [("^-^ Caressing, coaxing. Lustig (G.) Merry, merrily. Lute. An instrument of the guitar family, formerly very popular in Europe. It was used for accompaniments and the performance of solos, duets, &c. It had four to six pairs of strings, each pair tuned in unisons or octaves. Music for the lute was written in Tablature. Lutenist. A performer upon the lute. Luth (F.) A lute. Luttuosamentel ,, , ,, , „ ,, Luttuoso j(^-) Mournfully, sadly. Lydian mode. The Church mode begin- ning on the note F. Lyon catlins. Thick spun strings for the basses of lutes or viols. Lyra. [Lyre.] mendicorum (7,.) [Hurdy-gurdy.] viol. An obsolete instrument, in form like the ordinary viol, having six strings and seven frets. Lyre. One of the most ancient stringed instruments. The distinction between a citharis (or guitar) and a lyre, is that the neck of the former runs behind the upper part of the strings, while the strings of the latter are free on both sides. [Guitar. Lute.] M- -MANIEREN. 55 M. M. Abbreviation of mexxo, mano, main, manual. M.M. stands for Maelzel's metronome, q.v. Ma (/.) But ; as, vivace ma non troppo, quick, but not too quick. Machine-head. An arrangement of rack and pinion for the purpose of tightening and keeping in tension the strings of the double-bass and the guitar. Machwerk (G.) Composition, construc- tion, the result of labour rather than spontaneity. Madriale (/.) A word derived from madrigal, and applied to any species of intermezzo. Madrigal. A word of doubtful origin. It became a general term for secular compositions, of which there were three classes : the solo madrigal ; the madrigal in parts, for voices unac- companied; and the ma5rigal accom- panied by several instruir ents, " apt for viols and voyces." The second class obtained the greatest popularity in England, after having been introduced by means of copies printed in Flanders, in 1588 ; and the English composers of the time produced works which far exceeded in beauty of idea and con- struction all their prototypes, and so far exhausted the style, that the Eliza- bethan madrigals have never been ex- celled for beauty and fancy in harmony and counterpoint. The madrigal proper is a chorus unaccompanied, thus differing from a glee, which is for solo voices, often with accompaniment. Madrigale (/.) [Madrigal.] Madrigaletto or Madrialletto (/.) A short madrigal. Maestli, con \ M^^^r U^-) .Wf dignity. Maestevolmente ™ajesiy. Maestoso ; Maestosamente (/.) Majestically. Maestrale (J.) A term sometimes applied to the stretto of a fugue. A stretto in canon. Maestri secolari (/.) Teachers of secular music. Maestria (/.) Skill, address, authority. Maestro (/.) Master. Maestro al piano (/ ) The pianist in an opera orchestra. Maestro del coro, or di cappella (/.) Choirmaster, leader, or conductor. [Capellmeister.] Maggiolata (/.) A May song. A song sung in celebration of the month of May. Maggiore {I.) Major. Maggot. One of the later names given to fancies, airs, and pieces of an im- promptu character. Magistrate {I.) [Maestrale.] Magrepha. An organ mentioned in the Talihud as having been in existence in the second century. Main (F.) The hand; as main droiie, the right hand; main gauche, the left hand. Maitre de chapelle (F.) Choirmaster. [Capellmeister.] chanteur (F.) [Meistersinger.] Maltrises {F.) [Psallettes.] Majestat (G.) Majesty. Majestatisch (G.) Majestically. Majeur (F.) | Greater. A major third Major. I consists of four semitones, minor third of three. mode. 1 The ordinary diatonic modus (L.)/ .scale, having semi- tones between the third and fourth, and seventh and eighth degrees. Mai (G.) Time ; as zum ersten Mai, for the first time. Malakat. [Ashantee trumpet.] Malinconia, con \ Malinconicamente (7.) With sadness, Malinconico ■ sorrow, or melan- Malinconioso choly. Malinconoso ] Mammets. Puppet-shows, usually ac- companied with music on a dulcimer. Mancando (/.) Decreasing, dying away- Manche {F.) The neck of a violin or guitar, &c. Mandola (7.) ] An Italian fretted Mandolina (/.) ■ guitar, so called Mandoline. J from its almond shape. There are several varieties, each with different tunings. The Nea- politan, considered the most perfect, has four strings tuned like the violin, i.e., G, D, A, E. Mandora (7.) A kind of guitar. Manica (7.) Fingering. M^ichord. [Clarichord.] Manico (7.) The neck of a violin or guitar, &c, Maniera (7.)) Manner, style, method; Maniere {F.)j as maniera affettata, an affected style; maniera languida, a. languid, lifeless style. Manieren (G.) [Graces.] 56 MANNERGESANGVEREIN MELOGRAPH. Mannergesangverein (G.) A society formed for the performance of music for men's voices. Mannerstimmen (G.) Men's voices. Mano (/.) Hand ; as mano destra or diritta, right hand ; mano sinistra, left hand. Manuals. Keys played by the hands. Manuductor. The man who beats time by striking the left hand with the right. Oyster-shells or bones were sometimes used as accessories. Marcando (/.) Marking the time or expression. Marcatissimo (/.) Very marked. Marcato {/.) Marked or emphasised. March. A musical composition so ar- ranged as to be suitable for accom- panying troops in walking. Marche (F.) (i) A march. (2) A sequence; as marche des accords, a sequence of chords. redoublee (F.) A double-quick march. triomphale (F.) A triumphal march. Marimba. [Balafo.] Markirt (G.) 1 Marked, emphasised. Marque {F.)] Marcato. Marks of expression. Certain words or signs used in music to regulate the degrees of accent, power, time, or tone, required by the composer to produce the proper eiTect of his composition. Marsch (G.) A march. Marschmassig (G.) In march-style. Marseillaise (F.) A national French song, written by Rouget de Lisle. Martel6 (F.) 1 Literally, Hammered. Martellato (/.)/ Notes played or sung with especial force. Martellare (7.) To hammer. A term applied to staccato bowing on the violin and to the strong percussion of notes of a pianoforte. Marziale (7.) In a martial style. Masque. A species of dramatic enter- tainment in which the performers origi- nally wore masks suggestive of the allegorical characters assumed. After- wards, a sort of stage-cantata founded generally on some legendary or mytho- logical subject. Mass (G.) Measure, time. Massig (G.) Moderate, temperate. Mdssig langsam, modeisitely slow; massigbewegt or mdssig geschwind, moderately quick. Massima (7.) A semibreve. Mastemote. An old term for the sensible or leading note. Mastersinger. [Meistersinger.] Masure (G.) Masref{^''.f-'i[M-rka.] Masurka (G.) Matelote (F.) A sailor's dance. [Horn- pipe.] . Maultrommel (G.) Jew s-harp. Maxima (7,.) A note equal to four breves. Mazourk (G.)] A Polish dance of lively Mazurek (G.) • grotesque character, the Mazurka. ) music of which is in | or I time, with a peculiar rhythm. Mean. The name formerly given to the tenor part as being the mean in pitch between the bass and treble. The middle strings of instruments were also called mean. clef. The C clef. Measure, (i) A general name for a slow and stately dance supposed to be like the minuet. {2) Time, pace. (3) Rhythm. (4) The contents of a bar. Mechanism, (i) That part of an instru- ment which forms the connection be- tween the player and the sound- producing portion. (2) The physical power of performance as distinguished from the intellect or taste which directs it. Medesimo movimento (7.) The same movement. tempo. The same time. Mediant. } The third degree of any Mediante (7''.)) scale. Mediation. That part of a chant which lies between the reciting-note and the next close. [Chant.] Medius (7,.) The tenor part. [Mean.] Mehrstimmig (G.) In many parts. Polyphonic. Meisterfuge (G.) A master-fugue, highly elaborated, and containing ail possible scientific feats. [Ricercata.] Meistersangerl (G.) A title given to the Meistersinger J most renowned musi- cian of a township or district in Ger- many during the Middle Ages. Melange {F.) A medley. Melismatik (G.) The art of florid vocalisation. Melodia (7.) Melody. (Gk.) (i) The singing of an ode to a melos. (2) The tune to which lyric poetry was sung. Melodico 1 Melodicoso (7.) Melodiously, sweetly. Melodioso j Melodicon. An instrument made of steel bars in different lengths tuned to the diatonic scale, struck with ham- mers. Melody organ or Harmonium. An organ or harmonium so constructed that the upper note of the chords played is louder than the rest of the sounds. Melograph. An instrument invented for the purpose of writing down melodies when played upon a pianoforte. MELOPIANO MISERERE. 57 Melopiano. An invention by which sustained sounds can be produced on a pianoforte. It consists of a series of small hammers set into very rapid vi- bration by the winding up of a spring. When a note is struck and held down, the constant repetition of the blows of the hammer causes a continuous vibra- tion of the string which is of a most charming character. Meme mouvement (F.) The same movement. Men \{I.) Less; as meno forte, not so MenoJ loud; meno piano, not so soft; meno presto, less rapid; meno vivo, not so quick. M^nestrels (F.) Minstrels. Menschenstimme (G.) The human voice. [Vox humana.] Mensur (G.) (i) The measurement of intervals on stringed instruments. (2) The scale of organ pipes. Mensurable music. \ [Cantus mensu- Mensuralgesang (G.)\ rabilis.] Mensuralnotenschrift (G.) Notation of time measurement. Menuet iF.) 1 r»»- ^ t Minuetto (/.)}[**'""«*■] Merula. [Vogelgesang.] Mescolanza (/.) Cacophony. Mese (Gk.) The middle string and key- note of the lyre. Mesochorus. [Cor3T)haeus (i).] Mesopycni (med. L.) Church modes hav- ing the close interval or semitone in the middle of their primary tetrachord : cf. Barypycni, Oxypycni. Messa (J.) 1^ Messe (F. and G.)]'^^^^- Messa bassa {!.) Low mass. Messa di voce (/.) The swelling and diminishing of the sound of the voice upon a holding note. Mestizia, con (/.) With sadness. Mesto ) IT \ o J Mestoso}(^-) Sad, pensive. Mesure (F.) Measure, time ; as mesure d, deux temps 01 trois temps, duple or triple time. Metallo (I.) Literally, Metal. The ringing quality of tone, as bel metallo di voce, a clear brilliant voice. Methode (F.)) Method; system of teach- Metodo (7.) J ing; school or style of music. Metre. Verse ; harmonic measure or arrangement of syllables. Metrometer. 1 An instrument for mea- Metronome. J suring the relative dura- tion of the notes in a piece of music. The various grades of time are indicated by the motions of a pendulum, the speed being regulated by a shifting or sliding weight. The metronome of Maelzel, when the index stands at 60, beats once each second. The metronomic sign shows therefore how many beats (of the value of the note prefixed) occur in one minute. Mette (G.) Matins. Metzilloth \ (H.) Ancient Hebrew Metzillthaim) cymbals. MezzaWJ.) Half or medium ; as messza MezzoJ bravura, semi-bravura style ; mezza manica, half-shift ; mezza orches- tra, with half the orchestra ; mezza voce, half the power of the voice ; mezzo carattere, with a moderate degree of expression or execution; mezzo forte, moderately loud ; mezzo piano, mode- rately soft ; mezzo soprano, a voice lower in range than a soprano and higher than a contralto ; mezzo staccato, slightly de- tached ; mezzo tenore, a voice of tenor quality and baritone range ; mezzo tuono, half the power of the voice ; &e. Mi. (i) A syllable used to indicate E, the third note in the scale of C [Aretinian syllables]. (2) In old English solmisation. Mi always indicated the leading note. bemol [F.) The note E flat. contra fa. The name given by the old contrapuntists to the tritone. difese {F.) The note E sharp. Middle C. The note standing on the first leger line above the bass and below the treble staves. The note c'. Minaccevole ■> {!.) In a menacing, threatening man- ner. Minaccevolmente Minacciando Minacciosamente Minaccioso Mineur (F.) Minor. Minikin. A small sort of gut string for- merly used on the lute, viol, and other stringed instruments. Minim. 1 A time character of the value Minima {I.) J of two crotchets, p Minnesingers. The German name for poets of the Troubadour character, who wrote love-songs (Minnelieder). Minor. Less; smaller, (i) Intervals are minor when they contain one semi- tone less than major. (2) A scale is in the minor mode when its third and sixth are minor. Minore {I.) Minor. Minuet. 1 The name of a graceful Minuetto (7.) J dance in triple time, said to have been invented in Poitou about the middle of the seventeenth century. Minuge (7.) Catgut strings. Miscella. A mixture-stop of an organ. Miserere. The 51st Psalm sung in the Tenebra service in the Roman Catholic Church. 58 MISSA MOTION. Missa (L.) A Mass; as, Missa pro de- functis, a.r&qa\em Mass; Missa solemnis, a solemn Mass. MiSif l'^-) Dissonant, discordant. Missklang (G.) Discord, cacophony. Misteriosamente Misterioso ■ (/.) Mysteriously. Mistero, con j Misura (I.) A measure, a bar; senza misura, not in strict time. Misurato (7.) Measured, in strict time. Mit (G.) With; as mit Begleitung, v/ith accompaniment; mit Bewegung, con moto ; mii Emfjindung, with feeling. Mit Bewegung (G.) With animation. Mit halben Stimme (G.) With half voice. Mezza voce. Mit heiliger Ruhrung (G.) With devout feeling. Mit innigster Empfindung (G.) With deepest emotion. Mit Kraft (G.) Powerfully. Conforza. Mittelcadenz (G.) An imperfect ca- dence, or half-close. [Cadence.] Mittelstimmen (G.) Inner parts. Mixed cadence. An old name for a cadence, consisting of a subdominant followed by a dominant and tonic chord. . voices. The union of the voices of men and women. Mixture. An organ-stop, consisting of several ranks of pipes to each note. It consists of high harmonics of the ground tone. Mode. A scale ; a species of scale, as major mode^ minor mode. Moderatatnente . Moderato ■ (/.) Moderately. Moderazione, conj Moderatissimo (/.) Very moderate. Modificazione (I.) Modification, light and shade in expression. Modinha. A Portuguese love-song. Modo (7.) A mode. Modulation. Movement or graduation of sound ; a change of key. Moduliren (G.) To modulate. Modus (i.) Mode, (i) One of the three divisions of mensurable music. Modus was the subdivision of a long into breves, or of a maxim into longs. (2) A scale ; modus major, a major scale ; modus minor, a minor scale. Moglich (G.) Possible; so rasch wie moglich, as quickly as possible. Moll (G.) Minor. Mdle (L.) Soft. A term applied to B flat, as opposed to B natural, which was called B durum. Mollemente (7.) Softly, sweetly. Moll-Tonart (G.) The minor mode. Molossus. A metrical foot consisting of three long syllables, Molto (7.) Much, very ; as, molto adapo, very slow; molto allegro, very quick; molto sostenuto, much sustained. Monaulos (Gk.) A Greek single-pipe. Monferina (7.) An Italian peasant dance. Monochord. A single stringed instru- ment, with a movable bridge, for mea- suring intervals. Monocorde, k IF.)} -„ „„„ ^^ • Monocordo (7.) ' | On one stnng. Monodia (7.) ) A song for a single voice, Monodie (7''.) ■ generally of a plaintive Monody. J character. Monodrama. A dramatic piece for one performer only. Monotone, to. To recite words on a single note without inflections. Montant (F.) Ascending. Monter in ut, re, &c. (F.) To sing an ascending scale of c, d, &c. Montre (F.) Mounted diapason. An organ-stop whose pipes form part of the case or are placed away from the sound- board. Morceau (F.) (1) A piece; a small com- position of an unpretending character. (2) An excerpt. Mordente (7.) A beat, or turn, or pass- ing shake. Morendo (7.) Dying away; gradually softening the sounds, and slackening the pace. M^r^squftkll^'^^^--'^--- MorfeXr"} («•) Morning song. Morisco (7.) In the Moorish style. Moriscoe, to. To dance the Morris- dance. Mormorando \ (7.) In a gentle, mur- Mormorevole [ muring, or whispering Mormorosa J manner. Morris-dance. A rustic dance, performed in spring and summer time, said to be derived from the Moors. Mosso (7.) Moved ; as, piii mosso, more moved or faster ; meno mosso, less fast. Mostra (7.) A direct, \/" Motet. A vocal composition in harmony, now generally set to sacred words. Motetto (7.) [Motet.] Motiv (G.) \ (i) The sort of movement Motive. • indicated by the opening Motive (7.) J notes of a sentence. (2) A subject proposed for development. Motion, (i) The movement of a single part with reference to intervals taken by it. Conjmict motion takes place when the sounds move by single degrees of the scale, e.g., C, D, E, F ; disjunct mvtio-i is when they move Isy skips, e.g., C, F, D, G. (2) The movement of two MOTO- -NACHSPIEL. 59 or more parts with relation to each other. Similar or direct motion is when parts move in the same direction either by single degrees or by skips ; contrary motion is when parts move in opposite directions ; oblique motion is when one part remains stationary while another moves. Mote (I.) (i) Motion, movement; as con moto, with spirited movement. Hence con moto has become a time- sign, signifying rather fast. (2) Moto continuo, continuous motion. (3) Moto contrario, contrary motion ; moto ob- i/ifuo, oblique motion; moto retto, direct or similar motion. {4) Moto precedente, at the preceding pace ; moto primo, at the first pace. Motteggiando (/.) In a bantering, jest- ing, jocose manner. Motus (L.) Motion; contrarius, con- trary ; obliquus, oblique ; rectus, direct or similar ; conjunctivus, conjunct ; dis- junctivus, disjunct. Mounted cornet. A solo stop in old organs, consistingof a stopped diapason, principal, twelfth, fifleenth, and tierce, on a small separate soundboard raised or mounted above the ordinary level. On German organs it extended to tenor C ; on English organs to middle C. Mouth. The speaking part of an organ pipe, as opposed to the foot, through which the wind enters. organ. [Pan's-pipes.] Mouthpiece. That part of a wind-instru- ment which is put into the mouth of the performer. The embouchure. Mouvement (i?.)] (i) Motion of melody. Movement. or of parts. (2) A Movimento (/.) J division or definite portion of a work, as first movement, slow movement, &c. (3) A portion of a musical piece separated from the rest by a complete change of time or key. Mund (G.) Mouth of a pipe or musical instrument. Mundstiick (G.) Mouthpiece. Mundtrommel (G.) A Jew's-harp. Munter (G.) Lively, allegro. Murky. A piece of harpsichord music, having a bass consisting of broken octaves. Musars. Ballad-singers of the Trouba- dour period. Musetta (I.) \ (i) A small bagpipe. (2) Musette (F.)] The name of a melody, of a soft and sweet character, written in imitation of the bagpipe-tunes. {3)' Dance-tunes and dances in the measure of those melodies. (4) A reed-stop on the organ. Musica {/.) Music. Musica di camera, chamber music ; musica di chiesa,. Church music ; musica da teatro, ope- ratic music. — ^ ficta [L.) [Falsa musica.] Musical box. A portable instrument,, the sounds of which are produced by a steel comb having teeth of graduated length. Projecting pegs or stops, in a; metal barrel which is turned by clock- work, set the teeth in vibration. glasses. A series of goblets of graduated sizes fixed in a case. The tone is produced by the friction of the fingers of the player on the edge of the glass. Musico (/.) A musician ; a term for- merly applied to a castrato, q.v. Muta {I.) A direction to a player on a horn, trumpet, &c., or on drums, to change the key of his instrument, as, muta in A, B, &c. Mutation (F.) 1 „, „ Mutazione(7.)|<^^^°g^- Mute. A small instrument of brass,, wood, or ivory, made to fix upon the bridge of a violin or violoncello, to damp or deaden the sound. A leather pad of a pear shape is employed as a mute for brass instruments, which, inserted in the bell, produces the effect of sound at a distance. Muth (G.) Spirit, courage. Muthig (G.) With spirit. N. Nacaire (F.) A large drum. Naccare or Gnaccare (/.) [Castanets.] Nacchera{J.) A military drum. [Nakeres.] Naccherone (7.) A large military drum. Nachahmung (G.) Imitation. Nach Belieben (G.) [Ad libitum.] Nachdruck (G.) Emphasis, accent. Nachlassend (G.) Slackening the time. Nachlassig (G.) Carelessly. Nachschlag (G.) Added, or after-note; a turn added after a shake. Nachspiel (G.) A postlude. 6o NACHSTVERWANDTE- -NINTH Nachstverwandte Tone (G.) The near- est relative keys, q.v. Nachthom (G.) Literally, Night-horn. An organ-stop consisting of stopped wood-pipes of a moderately large scale, the tone of which is somewhat like that of a horn. NachtstUcke (G.) Night-visions. The name of four pianoforte pieces by R. Schumann. Nach und nach (G.) By little and little, by degrees. Nxnia (L.) A funeral song, a. dirge. Nafiri. An Indian trumpet. Nagarah. The drum of the Arabs and Moors. Nagaret or Nagareet. An Abyssinian drum; a kind of kettledrum. [Nakeres.] Nagelgeige (G.) [Nail violin.] Naguar. An Indian drum with one head only. Nail violin. [Iron fiddle.] Naivement (F.) Artlessly, unaffectedly. Naked fifth. The interval of a fifth with- out a third. fourth. The interval of a fourth without the addition of any other in- terval. Naker. A drum. [Nakeres.] Nakeres [old E.) Most probably nakeres were small metal drums, used in pairs. Nanga. A negro harp. Narrante (/.) As if narrating. A direc- tion that the music is to be subordinate to the recitation of the words. N asard. An organ-stop sounding a twelfth above the foundation-stops. It will therefore be 2J feet in length. Nason flute. A stop of 4-ft. tone, some- times found in old organs. It is of a soft and delicate quality of sound, and consists of stopped pipes. Nassat. [Nasard.] , National air, or National music. Popu- lar music peculiar to or characteristic of a particular nation. Natural, fj. A sign which restores to its place in the normal scale of C a note which has been raised by a sharp or lowered by a flat. • — - harmonics. The sounds found by dividing a string into aliquot parts. ■ key. Key of C. modulation. Diatonic modula- tion, as opposed to chromatic. pitch. The pitch of a pipe before it is overblown. Nay. A flute used in modern Egypt, but almost identical with the long flute anciently employed in that country. Nazard. [Nasard.] Neapolitan sixth. A chord occurring on tlie subdominant of a minor key, and consisting of a minor third and minor sixth : — Nebel (H.) An ancient Hebrew stringed instrument. Nebendominant (G.) The dominant of the dominant, as D is in the key of C. Nebengedanken (G.) Accessory ideas, or subordinate subjects. Nebenstimmen (G.) (i) Unessential parts. (2) Accessory stops of an organ. Nechiloth {H.) The generic name for wind instruments. Neck. That part of instruments of the violin and guitar class which lies be- tween the peg-box and the belly. To its upper surface is attached the finger- board or fret-board. Nefer. An Egyptian guitar. Neghinoth. [Nechiloth.] Negligente | (/.) In a negligent Negligentemente ■ or careless man- Negligenza, con J ner. Nel battere (/.) At the down-stroke of the bar ; on the beat. stilo antico (J.) In the old manner or style. tempo (/.) In time (after an ad libitum), or in the previous time. Nenia (L.) [N^nia.] Nero (/.) A crotchet, J The black note as opposed to the d or white note (bianca). Nettamentel ,, 1 v, ti -.^i. • • Netto f( ' Neatly, with precision. Neumes. The musical notations em- ployed from the eighth or ninth to the twelfth century. Neuvifeme (F.) The interval of the ninth. Nicht (G.) Not; as nicht schnell, not quick. Nicht zu geschwind (G.) Not too quick. Nicht zu rasch (G.) Not too quick. Niederschlag (G.) The accented part of a bar. Nineteenth. An organ stop. [Larigot.] Ninna nanna {/.) A cradle song. Ninth, chord of the major. A chord formed by a combination of thirds starting with the dominant or fifth of the scale. Called also the added ninth. , chord of the minor. A chord consisting of a dominant, its major third,major (perfect) fifth, minor seventh, and minor ninth. , chord of the suspended. A name given to the chord of the ninth on the tonic, as opposed to that of the ninth of the dominant. NINTH OBOE LUONGA. 6i Ninth, interval of a. A compound in- terval, equal to a second in the superior octave. Nobile ),., „,.., , Nobilmente .(^•) With grandeur, Nobilita, con] "°'''y- Noch (G.) Still more; as tioch schneller, still quicker. Nocturne (F.) [Notturno.] Noctums. Services of the Church held during the night. [Horffi canonicse.] Nodus (L.) Literally, A knot. A canon. Noel(F.) 1" Good news." A word Nowell (oldE.)) used as a burden to carols at Christmas. Hence, carols are sometimes called noels or nowells. Probably derived from the Latin natalis. [Carol.] Nofre. [Nefer.] Noire (F.) A crotchet, J The black note. Noise (old E.) Music, or a performance of music. Nomenclature. In music the terms applied to the various signs employed to stand as the representatives of time, sounds, pitch, pace, and expression. Non (I.) Not ; as non troppo presto, not too fast. Nona (/.) A ninth. Nonenakkord (G.) The chord of the ninth. Nonetto (/.) A piece of music for nine voices or instruments. Nonny or Hey nonny. A common burden to old English ballads, as " Fa, la, la," was to madrigals. Nonuplet. A collection of nine notes to be played in the time of eight or six. Nonnalton (G.) The standard sound. [A (2).] Nornialtonleiter (G.) The normal scale, C major and its relative minor A. Nota (I.) A note; as, nota buona, an accented note ; nota cambiaia, in counterpoint, the proceeding from a discord to a concord by a skip; nota caratteristica, a leading or characteristic note ; nota cattiva, an unaccented note ; nota d' abellimento, a grace note, note of transition ; nota di passaggio, a passing note ; nota sensibile, the lead- ing note or subtonic. or Figura (L.) (i) In general, any musical sign. (2) In particular, the signs placed upon the stave which showed by their shape and position the duration and pitch of sound. bianca (I.) White note ; a minim. Notation. The system of representing musical sounds, and their various modi- fications as to pitch and duration, by letters or notes. Note. A sign of a sound made of various shapes to denote relative duration. (F.) A note; as, note diesee, a sharpened note ; note d'agrement, a grace note, note of transition ; note de passage, a passing-note; note sensible, the leading note or subtonic; notes de gotit, notes of embellishment. Notturno {/.) Originally, a kind of serenade; now a piece , of music of a gentle and quiet character. Notula {L.) The notes used in writing ligatures. Noursingh. An Indian horn or trumpet, formed of a straight metallic tube. Novemole. [Nonuplet.] Nuances (F.) Shades of musical ex- pression. Nuovo, di (J.) Again. Nut. The fixed bridge formed by a slight prominence or ridge at the upper end of the strings of instruments of the violin and guitar family. o. O (/.) Or ; as Jlauto violino, fiute or violin. Oaten-pipe. The simplest form of a reed-pipe, a straw with a strip cut to form the reed, at the end closed by the knot. Obbligato (7.) An instrumental part or accompaniment of such importance that it cannot be dispensed with. Ober{G.) Over or upper; as, Obermanual or Oberwerk, the upper manual ; Ober- stimme, and Obertheil, upper part. Oblige (F.) [Obbligato.] Oblique motion. When one part moves and the other remains stationary. Oboe. A wood wind instrument, with a double reed. Its extreme compass is two octaves and a fifth, with the inter- mediate semitones, commencing from b. An organ-stop consisting of reed- pipes, of 8-ft. pitch. da caccia. The "hunting" oboe, a large kind of oboe. d' amore. The oboe " of love." A small oboe. luonga. A small oboe. 62 OCARINE ORGAN. Ocarine (/.) Musical instruments made of terra cotta pierced with small holes. Ochetus. [Hocket.] Octave, (i) The interval of an eighth. It may be major, minor, or augmented. It was the diapason of the Greek system. (2) The first note of the harmonic scale. (3) An organ-stop of 4-ft. pitch on the manuals, or 8-ft. on the pedals. (4) The eight days following a great festival of the Church. Octett (G.) [Ottetto.] Octiphonium (Z,.) [Ottetto.] Octochord. An instrument with eight strings. Octuor (F.) [Ottetto.] Octuplet. A group of eight notes to be played in the time of six. CEuvre (F.) Opus or work; as premier ceuvre, Opus i ; chef-d'ceuvre, a master- piece. Offen (G.) Open ; as, Offenflote, open flute, an organ-stop. Offertoire (F.) 'j (i) The collection of Offertorio (/.) alms during the cele- Offertorium (L.) bration of Holy Com- Offertory. munion. (2) A piece of music performed during the offertory. Oficleida (/.) [Ophicleide.] Ohne (G.) Without ; as, o/i«« P«(iaZ«, with- out pedals; ohne Begleitungen, without accompaniments. Oioueae. The vowels of " World without end. Amen," an imitation of the Evovae, q.v. Oliphant. A trumpet made of a tusk of an elephant; whence its name. Ombi. A harp used by negroes in Western Africa. Sah^-) Chorus or tutti. Omquad. The name of the refrain of some old Danish ballads. Onagon. A Chippawa drum. Once-marked. [Pitch.] Ondeggiamentol (/.) With an undu- Ondeggiante J lating or quivering sound ; making a tremolo. Ondule (F.) Undulating. [Ondeggia- mento.] Onduliren (G.) To make a tremolo, or produce an undulating tone. Ood or Oud. An Egyptian instrument of a similar character to the guitar. Open diapason. The chief open founda- tion-stop of an organ. It is of 8-ft. or i6-ft. length, and is made of wood or metal. harmony. Chords formed by as equidistant a disposition of the parts as possible. notes. Of stringed instruments, the notes of the open strings. Of wind instruments, the notes produced without slide, key, piston, or the hand. Open pipe. An organ-pipe open at the top, as opposed to one closed at the top. score. When each part has a separate line assigned to it. strings. Strings when not stopped by the pressure of the fingers. Oper (G.) [Opera.] Opera (1.) A dramatic entertainment of Italian origin in which music forms an essential and not merely an accessory part. It consists of solos, recitatives, duets, trios, quartets, or other pieces for single voices, choruses, and finales, with instrumental accompaniments, Overtures or introductions precede the whole work or its several acts in nearly every case. A work. [Opus.] buffa (7.) A comic opera. drammatica (/.) A romantic opera. seria (/.) A grand opera. Operist (G.) An opera-singer. Ophicleide. A keyed serpent. A brass instrument of large compass and great power, but having a peculiar quality of tone. There are two sorts, alto and bass, with a compass of three octaves and one note, but the alto sounds one octave higher than the bass. Opus (L.) A work. Composers number their works for purposes of distinction and reference. Opusculum {L.) A short work. Oratorio {/.) A composition for voices and instruments illustrating some sacred subject. The music consists of sym- phonies -or overtures, airs, recitatives, duets, trios, choruses, &c., with accom- paniments for orchestra or organ. Orchesis (GA.)l The art of rhythmical Orchestik {G.)j dancing as it existed in the Greek theatre. Orchester (G.)! (i) The place where tha Orchestra. j band, or band and chorus, are placed in modern concert- rooms, theatres, &c. (2) The collection of instruments which constitutes a full band. Orchesterstimmen (G.) Orchestral parts. Orchestrion. An instrument played mechanically, which imitates the sounds of an orchestra. Ordinario (I.) Ordinary ; as a tempo ordinario, in the usual time, or at a moderate pace. Orecchia musicale (/.) 1 An ear for music, Oreille musicale {F.) \ or musical ear. Organ. An instrument of ancient origin, It consists of a number of wood or metal pipes, which are of two kinds, reed ORGAN SCORE PANTALEONE. 63 and flue. The sound is produced by ad- mitting air from the wind-chest to the pipes by means of the keys, of which there are one, two, three, or four rows, according to the size of the instrument. The keys played by the fingers are called manuals, and those worked by the feet, the pedals. The different rows of keys can be connected by means of stops called couplers. Organ score. [Pianoforte score.] Organetto (/.) A little organ. Organic music. A mediaeval name for instrumental music. Organo {/..) Organ. Organo plmo, the fiill organ. di legno. A claquebois. [Xylophone.] portabile (I.) A portative organ. A small organ capable of being easily carried about. Organochordium. An instrument hav- ing pipes and strings ; invented by Vogler. Organophonic. The name assumed by a band of Polish performers, who imi- tated the sounds made by various instru- ments with their mouths. Organ-point, f Pedal point.] Organum, (i) An early form of har- mony, called also diafhony. [Descant.] (2) An organ. hydraulicum [L.] Hydraulic organ. pneumaticum (i.) The common organ. [Pneumatic organ.] Orgel (G.) An organ. Orgelgehause (G.) An organ-case. Orgelpunkt (G.) [Pedal point.] Orgue (F.) Organ or harmonium. expressif (F.) Harmonium. portatif [F.) A portable organ. Oriiicium (L.) The mouth of an organ- pipe. Ornament! {/.) \ Grace notes and other Ornements (F.)\ embellishments. Ornatamentel (j.) With embellish. Ornato J ments. Orpharion. A kind of lute having wire strings. Osservanza, con (7.) With exactness. Ossia {I.) Or else; as ossia piu facile, or else in this more easy way. Ostinato (I.) Literally, Obstinate. Used in the sense of " frequently repeated," as basso ostinato, a ground-bass, q.v. Ottava (/.) An octave ; as ottava alta (to be played) an octave higher; ottava bassa, an octave lower. Ottavina {/. ) The little or higher octave. Ottavino flauto (I.) [Piccolo flute.] Ottemole. [Octuplet.] Ottetto (/.) A composition in eight parts. Ouvert (F) Open ; as, d, livre ouvert, at sight. Ouverture [F.) [Overture.] Overblow. A pipe is said to be over- blown when the pressure of air forces it to speak an upper partial instead of its fundamental note. Overtura di ballo (I.) An overture in the style of dance-music. Overtura (7.) 1 An instrumental piece Overture. J written as a prelude to an opera, oratorio, or other work. A "concert overture" is an independent piece, not forming part of a larger work. Oxypycni {med. L.) Church . modes having a pycnon or semitone high in the tetrachord. Psean {Gk.) The ancient choral song ad- dressed to Apollo. Sung before or after a battle. Paeon. A metrical foot consisting of one long and three short syllables, of four kinds, according to the position of the long syllable : ^j ^ ^, ^ - ^ ^, ^ ^ - ^, w w w *" Pair of organs. An organ having a complete set of pipes. Palalaika. [Balalaika.] Palco {/.) The stage of a theatre, &c. Palmula (L.) Manual of an organ. Pambe. A small Indian drum. Pandean-pipes. [Pan's pipes.] Pandora. > Pandore. • [Bandore.] Pandoura.) Panflote (G.) Pandean pipes. Pan's pipes, or Mouth-organ. The earliest form of a compound wind- instrument. It was formed of short hollow reeds, fixed together and cut in graduated lengths, so as to produce a musical scale. The lower ends of the reeds were closed and the upper open and on a level, so that the mouth could easily pass from one pipe to another. Pantaleone. An instrument invented by Hebenstreit in 1705. It was a sort of dulcimer, but strung with catgut and metal strings in two series. 64 PANTALON PEDAL-PIPES. Pantalon {F.) One of the movements of a quadrille, Parallelbewegung(G.) [Parallel motion.] Parallelen (G.) Consecutives. Parallel motion. The movement of two or more parts at fixed intervals, as thirds, sixths. Parlando {/.) In a declamatory manner, as if speaking. Parlante {/.) Literally, Speaking, (i) In the style of a recitative. (2) Played in the style of vocal recitation. Paroles (F.) Words ; as sans paroles, without words. Part, (i) So much of a piece of music or work as is performed by any one voice or instrument. (2) Division of a work. Parte (I.) 1 Part. Parte cantante, vocal Partie (F.) J part. Partial tones. Those sounds which in combination form an ordinary sound and cause its special quality of tone. Partimenti (/.) Figured basses, used as exercises. Partition (F.) Partitur (G.) Partitura (/.) Partizione (I.) Part-music. Music in two or more parts. Part-song. A vocal composition, having a striking melody harmonised by other parts. It is sung by a number of voices to each part. Pas {F.) A dance ; as pas seul, pas de deux, a dance by one or two performers. A step, as pas redouble, a quick step, or march. Paspy. The English name for the dance Passepied. I A dance in triple mea- sure, constructed on A full score. a ground bass. [Gas- senhauer. Cha- conne.] (2) A Passacaglia (/.) Passacagllo (I.) Passacaille (F.) Passacalle (S.) Passagallo (/.) Passe-rue (F.) Passage. 1 (i) A phrase of music. (F.) J figure. (3) A run. Passage-boards. Boards placed in dif- ferent parts of an organ, on which the tuner can walk, and from whence he can reach pipes or mechanism. Passamezzo (I.) [Passepied.] Passepied (F.) A lively dance in triple time, said to have been invented in Bretagne. It was a precursor of the minuet. Passing discord. ) A note not essential note. I to harmony, but which connects those which are. Passionatamente Passionate (7.) In an impas- Passionato sioned manner. Passione, con Passione (/.) A cantata founded on the incidents of the Passion, or on the seven last words. Passy-measure [old E.) A corruption of the word passamezzo. [Passepied.] Pastete (G.) ] An opera, cantata, or Pasticcio (/.) ■ otherwork, the separate Pastiche (F.) j numbers of which are gleaned from the compositions of various authors, or from several disconnected works of one author. Pastoral. l (i) A simple melody in § Pastorale (!•)) time in a rustic style. (2) A cantata, the words of which are founded on pastoral incidents. (3) A complete symphony, wherein a series of pastoral scenes is depicted by sound- painting, without the aid of words. Pastorella (/.)). ^ ^ . , Pastorelle {F:)P=^°^'P^^'°^^'- Pastorita. A shepherd's pipe ; an organ stop, the Nachthorn. Pastourelle (F.) One of the movements of a quadrille. Pateticamente {/.) \ Patetico (/.) (i) Pathetic. (2) Path^tique (F.) r ^" ^ pathetic Pathetiquement (F.) manner. . Pathetisch (G.) ) Patimento {/.) Suffering ; as co« ei/rei- sione di patimento, with an expression of suffering. Pauken (G.) [Kettle-drums.] Pausa (L.) A sign for silence ; a rest. (/.) A rest or pause. Pausa gene- rale, a rest or pause for all the per- formers. Pause (F. and G.) (i) A rest or pause. {2) A bar's rest. Pavan. ^ A dance-tune of a stately Pavana (/.) • character, deriving its Pavane (F.)J title from Padua, where it is said to have been invented. Paventato 1 (/.) With an expression Paventoso J of fear. Pavilion (F.) The bell of a horn, or other instrument of a like kind. Pa- vilion chinois, an instrument consisting of little bells attached to a staff. Ped. Abbreviation of pedal. In piano- forte music a direction to press down the pedal which raises the dampers. In organ music a direction that the lowest part is to be played by the feet. Pedalclaviatur ' (G.) The pedal key- board of an organ. Pedal-coupler. An accessory stop of an organ, by means of which the pedal keys are enabled to draw down the keys of a manual. Pedal-pipes. The name formerly given to the one register allotted to the feet, whether an open stop of i6-ft. pitch, or closed and of i6-ft. tone. PEDAL-POINT PIACEVOLMENTE. 65 Pedal-point. In a fugue, a long-sustained note, on which imitation, subject, and answer are constructed. Pedale (/.) (1) A pedal-key of an organ. (2) A pedal-note or pedal-point. (3) The pedal of a pianoforte, which raises the dampers. Pedalfliigel (G.) A pianoforte to which a set of pedal-keys is attached. Pedaliera (/.) The pedal-keys of an organ. Pedalion. A set of pedals acting upon strings, producing notes of a deep pitch, so constructed as to be capable of being used with a pianoforte. Pedals, (i) On the pianoforte, projec- tions worked by the feet, of which there are usually two — the soft pedal, which causes the hammers to strike one string only {una corda), and the loud pedal, which removes the dampers {sordini). (2) On the organ there are combination pedalij, which alter the arrangement of the registers, and a pedal keyboard, on which the feet play. (3) On the harp there are pedals which alter the pitch of the notes. Pektis. A Greek instrument of the lute or dulcimer kind. Penillion singing. A Welsh custom of singing improvised verses. Penor9on. An obsolete instrument of the guitar family. Pentachord. A series of five notes ascending or descending diatonically. Pentatone. An interval of five whole tones ; an augmented sixth. Pentatonic scale. The name given to the ancient musical scale, which is easiest described as that formed by the black keys of the pianoforte. It con- sists of the first, second, third, fifth, and sixth degrees of a modern diatonic scale. Per {L.) By ; as per diminutionent, by diminution ; per inversionem, by in- version. (/.) By or for; as, per il violino, for the violin. recte et retro. A species of imita- tion in which the antecedent is repeated at the unison, reading the notes back- wards. Percussion. An ingenioujs contrivance whereby a hammer strikes the tongue of a reed and sets it in motion simul- taneously with the admission of air from the wind-chest, thus securing the rapid speech of the reed. of a discord. The striking of a discord, which takes place after its pre- paration, and which is followed by its resolution Perdendo ) (/.) Losing time and power,. Perdendosi j implying Both diminuendo' and rallentando. Perfect. Complete, (i) Perfect cadence,, an authentic or plagal cadence. {2) Perfect concord, a common chord in its original position. (3) Perfect con- sonance, the consonance produced by the intervals fourth, fifth, or octave. (4) Perfect interval, one of the divisions of intervals. (5) Perfect time. An old name for triple time. P^rigourdine. A song-dance, a ballad, named after the district in which it was used. ^"° ■ A complete musical sen- tence. Periode [F.) Periodo (/.) Periodenbau (G.) The construction ot musical periods. Perle (F.) Pearled, brilliant. Cadence perlee, a brilliant cadence. A pearly touch is a delicate and bright touch in playing the pianoforte. Perpetual canon. A canon which may- be repeated constantly without a breaa in the time or rhythm. Pesante (Z.) With weight or importance; impressively. Petit chceur {F.) The chorus which ori^ ginally consisted of three parts only. Petite flute {F.) [Piccolo. Flute.] mesure a deux temps {F.) | time. Petto {I.) The chest. Voce di petto, the chest voice. Peu k peu (F.) Little by little ; gradually. Pezzi (/.) Pieces; aspezzi concertanti, concert pieces or concerti ; pezzi di bravura, pieces for the display of rapid execution and manual dexterity. Pezzo (/.) A piece. Pfeife (G.) Pipe, fife, little flute. Pfeifenwerk (G.) The pipe work (of air organ), including both reed and flue: pipes. Phantasie (G.) [Fantasia.] Phantasiestiicke (G.) Fancy pieces. Phantasy, pi. Phantasies {old E.\ [Fancies.] Phonascus (i.) A master who trained the voices of orators, singers, &c. Phonometer. An instrument for ascer- taining the number of vibrations of a given sound. Phorminx. (GA.) The ancient lyre ot cithara. Phrase. A musical sentence. Phrasing. The proper rendering of mu- sic with reference to its melodic form. Piacere, a (7.) At pleasure (the time can be modified at the performer's pleasure). Piacevole \ (I.) In a playful oj Piacevolezza, coa \ light style ; Piacevolments j santly. plea- 66 PIACIMENTO PLAGAL. Piacimento (J.) [Piacere.] Pianette (F.) A small pianoforte. Piangendo (/.) As if weeping; in a plaintive manner. Piangente Piangevole Piangevolmente Pianino (/.) [Pianette.] Pianissimo (7.) Extremely soft. Pianississimo {I.) As softly as possible. Piano (/.) Softly ; piano assai, very soft- ly; piano, forte, soft, then loud. Piano k queue (F.) A grand pianoforte. Carre (F.) A square pianoforte. droit {F.) An upright pianoforte. violin. [Harmonichord.] Pianoforte. A stringed instrument with a keyboard. It is a development of the harpsichord, which was an improve- ment on the clavichord and spinet. The strings are struck by hammers, set in motion by means of the keys. The compass ranges from 6J to 7J octaves. The first pianofortes were made at the beginning of the eighteenth century, by Bartolommeo Cristofori. score. A score of a vocal or instrumental composition, under which is written in two lines a condensed form of the harmonies for a pianoforte. Pianograph. An ingenious machine, which on being attached to a piano- forte inscribed what is played. In- vented by M. Guerin. Piatti {/.) Cymbals. Pibcom. [Hornpipe.] Pibroch. The wild, irregular martial music of the Scottish Highlanders played on the bagpipe. Picchettato or Picchiettato (I.) De- tached, pointed, staccato. Picciolo (/.) Small ; as violino piccioh, a small-sized fiddle. Picco pipe. A small pipe having two ventages above and one below, and l>lown like a Jiuie-a-bec or whistle. Picco, after whom it was named, produced from it a compass of three octaves. Piccolo. An organ-stop of 2-fl. length ; the pipes are of wood, the tone bright and piercing. flute or piccolo. A small flute, having the same compass as the ordinary orchestral flute, but whose sounds are ■one octave higher in pitch. Piccom. Literally, Hornpipe, q.v. Piece (F.) Apiece; as suites de pieces, .-sets of pieces. Piieds (F.) The feet ; as avec les pieds, ■with the feet, con pedale. Plena 1 (7.) Full ; as a piena orchestra, PienoJ for a full band. |i:Josr^"'1(^-) With pity, tenderly. Piffarari or PiflTerari (7.) Players on the piffaro. Piffaro (7.) The old form of the oboe, still in use in some districts of Italy and the Tyrol. [Oboe.] Pifferino (7.) Alittle piffero. Pileata (7,.) Capped (of an organ-pipe) ; stopped. Pileata major, i6-ft. stopped ; pileata minor, 4-ft. stopped ; pileata diapente, stopped quint. Pince (F.) Pinched, (i) A direction in French music equivalent to pizzicato, g.v. (2) The name of an ornament in harpsichord-playing. bemolis^ (F.) A pinc^ or trill with a flattened note. ■ ■ diese (F.) A pihcS or trill with a sharpened note. Pincement (F.) [Pince.] Piobaireachd {Gc.) Pipe-music. Pique (F.) On string-instruments a kind of staccato produced by allowing the bow to lie perfectly still on the string between each separate note. Piquiren (G.) To play pique. Pitch. The position of a sound with reference to the number of vibrations which produce it ; the relative height of a sound. The octave pitch is gene- rally thus represented : — Once marked Great Octave, Great Octave. Little Octave. Pitch-pipe. A wooden or metal pipe which sounds the different notes of the scale. Pivi (7.) More; as pill allegro, faster; piu forte, louder ; piu lento, slower ; piit piano, softer; piu presto, more rapid; piii stretto, more urged or closer; piu tosto allegro, rather quicker ; pin miio, more lively; piii mosso, quicker. Piva (7.) A bagpipe. Pizzicato (7.) Literally, Pinched. A direction to violinists to produce the tone by plucking the string with the finger instead of using the bow. Placidamente 1 ,7 , /-. . .., Placidezza, con -^^i u^''f%^ P^^"^' Placido J f"Uy. placidly. Plagal. The name given to those Church modes which were formed from the four PLAGAL CADENCE- -PORTUNAL-FLUTE. 67 older or authentic modes by taking the fourth below as the new key-note, and proceeding thence to the fifth above. Plagal cadence. The cadence formed when a subdominant chord immediately precedes the final tonic chord. Plagiaulus {Gk.) The cross-flute, or Jlauto traverse. [Flute.] Plain-chant. [Plain-song.] Plain-song. The most ancient species of Church music. It is a well-known form of musical accent, recitation and simple melody. There are eight princi- pal modes, tones, or scales in use, called the Gregorian tones; the first, third, fifth, and seventh of which were arranged by S. Ambrose, in the fourth century, and are termed authentic ; the Plagal, or collateral scales of a lower range, viz., the second, fourth, sixth, and eighth, were added by S. Gregory the Great, in the sixth century. In Plain-song the stave consists of four lines only, and the characters used are three in number, the long, ^, the breve, ■, and the semi- breve, #. Two clefs are used, the Ut or Do clef |>, and the Fa or F clef ti5, which may be placed on any one of the four lines, as required, to keep the melody within the range of the stave. Plainte (F.) An elegy or lament. Plaisanterie (F,) 1 A composition for Pleasantrie. J a solo instrument, in which various cheerful tunes or dance melodies were introduced. Planxties or Laments. Certain melo- dies were so called by Irish and Welsh harpers. They were not always of the doleful character their name would seem to imply. Plaque (F.) Struck at once ; a direction that a chord is not to be played arpeggio. Playhouse-tunes. Musical composi- tions performed between the acts of the tragedies or comedies in the old theatres of London. Plectrum (L.) A little staff made of ivory, horn, quill, or metal, with which the player on alyra or cithara, &c., sets the strings in vibration. Plein jeu (F.) With the full power. Plures ex una (L.) Many parts from one. The old name of a canon, because originally written only on one line. Plus [F.) More; as plus anime, more animated, with greater spirit. Pneuma. [Neuma.] Pneumatic organ. The ordinary organ as opposed to the ancient hydraulic organ, in which water was used to regulate the pressure of air. Pocetta (/, Poche (F.) Pochette [F.) A little fiddle used by dancing-masters. [Kit.] Pochettinol (/.) A little; as ritard un Pochetto ] ^ocAeifina, making a slight rallentando. Poco (/.) A little; as ^o<;o a /oco, little by little ; poco animato, rather ani- mated ; poco lento, rather slow ; mosso poco meno, rather less quick ; poco piano, rather soft ; poco piii allegro, rather faster ; poco presto, somewhat rapid. Poggiato (/.) Leant upon, dwelt upon. Pol (/.) Then ; as piano poi forte, soft then loud. Poi segue, then follows. Point (F.) A dot. d'orgue (F.) A pedal-point. de repos (F.) A pause. Pointe (F.) Dotted. Poitrine (F.) The chest ; ut de poitrine, the chest-note C. Polacca (/.) Polish. A title applied to melodies written in imitation of Polish dance-tunes. Polka. A Bohemian dance of world- wide popularity, the music to which is in I time, with the third quaver ac- cented. Polonaise or Polonoise (F.) [Polacca.] Polychord. An instrument invented by Fried. Hillmer, of Leipzig, in 1799. It was strung with ten strings. In shape it was not unlike a double-bass without a neck. Polymorphous. Of many shapes or forms. A term applied to canons, &c. PolyphoS'H"'''' '" "^"^ P'"'*'" Pommer. A corruption of Bombardo, q.v. Pompa, con V Pomposamente W/.) Pompously. Pomposo J Ponderoso (/.) With weight, impres- sively. Ponticello (/.) (i) The bridge of a violin or other instrument. (2) The break in the voice. Pont-neuf (F.) A common ballad, such as was formerly sold on the Pont-Neuf, Paris. Poogye. The nose-flute of the Hindoos. Port de voix (F.) (i) A kind of appoggia- tura. (z) Portamento. Portamento (7.) A lifting of the voice, or gliding from one note to another. Portando la voce (/.) Sustaining the voice, or gliding from one note to another. Portative organ. A little organ which could be carried about, as opposed to a positive organ, which was fixed. Portato (/.) Lengthened, sustained. Portee (F.) Stave. Porter la voix (F.) [Portando la voce.] Portunal-flute. An organ-stop the pipes of which are of wood, and are open and larger at the top than at the mouth. F 2 68 POSATO PRINCIPALE. Posato I/.) Quietly. Posaune iG.) [Trombone.] ' A reed-stop on the organ, of a rich and powerful tone. It is of 8 ft. on the manuals and of i6 ft. or 32 ft. on the pedals. Posement [F.) Gravely, sedately. Posilif [F.) A chamber organ ; a choir organ. Position, (i) A chord is in its original position when the ground-note is in the bass. (2) The position of a chord is the same as the disposition of its parts. A close position is close harmony; an open position, open harmony. (3) A position on a violin or other stringed instrument is to use the fingers other- wise than in their normal place. [Shift.] Positiv (G.) A chamber organ; a choir organ. [Positive organ.] Positive organ. An old name for the choir organ. Originally a positive organ was a fixed organ. [Portative organ.] Possibile (/.) Possible ; as il piii forte possibile, as loud as possible. Post-horn, (i) A wind instrument con- sisting of a simple metal tube without valves or pistons, blown by postmen. (2) A piece of music suitable to or in imitation of the notes or passages of a post-horn. , Postlude ) (L.) A concluding volun- PostludiumJ tary; a piece played at the end of service. Pot-pourri (F.) A medley ; a collection of various tunes linked together ; a ca- priccio or fantasia on popular melodies. Poule, la {F.) One of the movements of a quadrille. Pouss^ |F.) The up-stroke of a bow. Prachtig (G.) In a showy, pompous manner. Prachtvoll (G.) Pompously, stately, grandly. Pralltriller (G.) A transient shake, sig- nified by w Praludien (G.) Preludes. Preambulum. An introductory voluntary. Precentor. \ An officer in a cathedral Precentor. I who leads and directs Prechantre(F.) j the choir, &c. Precipitatamente (/.) \ ,,,.,, Precipitato (/.) \^'*-^. ?•■«<=!?'- Precipitazione, con (7.) I '^"°"' ™- Precipite li?.) petuously, Precipitoso (/.) j hurriedly. Precisione, con 1 (7.) With exactitude or Preciso j precision. Prefectus chori. Director of the choir ; precentor. Pregando (7.) Praying ; in a devotional manner. Preghiera (7.) A prayer. Prelude. A movement played before, or an introduction to, a musical work or performance. Preludio (7.) ) A prelude, introduction, Preludium {L.)j or introductory volun- tary. Premier ) (7*".) Fiist; as premier dessus, Premiere J first treble ; premiere fois, the first time. Preparation. ] The causing a discord Preparazione (7.) J to be heard as a con- cord immediately before its percussion, Presa (7.) A character used to mark the point of entry for the voices or instru- ments in a fiigue, &c. ; a lead. Pressante (7.) Pressing on, hurrying the time. Pressiren (G.) To hurry the time. Prestamente l (7.) Hurriedly ; with ra- Prestezza, con J pidity. Prestant. The open diapason of an organ, of 16 or 8 ft. in length. Prestissimamente (7.) As rapidly as possible. Prestissimo (7.) Very fast indeed. Presto (7.) Fast. Presto assai, very fast. Prick-song. Written music, as opposed to extempore descant. Prima (7. fern.) First ; as prima buffa, chief comic actress or singer ; prima donna, chief female singer in the opera ; prima viola, first viola: prima vista, at first sight ; prima volta, the first time, i.e., before repeating. Prime, (i) Tonic or generator, (z) The lowest note of any two notes forming an interval. (3) The first partial-tone. Primicerio (S.) i In cathedrals the pre- Primicerius (7,.)/ centor, succentor, or cantor. Primo (7. mnsc.) First; as, tempo prima, at the original pace or time ; violino primo, first fiddle; primo buffo, chief comic actor or singer ; primo musico and primo uomo, principal male singer in the The subject of a being termed the [Open opera. Principal (old E.) fugue, the answer reply. (G. and F.) An organ-stop. diapason.] (i) On English organs the chief open metal-stop, one octave higher in pitch than the open diapason. On the manual 4 fl., on the pedal 8 ft. in length. (2) Chief; as principal violin, the leader; principal vocalists, those to whom the solos are allotted. (3) The name given by Handel to the third trumpet in the " Dettingen Te Deum." subject or theme. One of the chief subjects of a movement in sonata form, as opposed to a subordinate theme Principale (7.) [Prmcipal (2) 13I.] PROASMA- -PYRRHIC. 69 Proasma. An introduction, or a short symphony. Probe iG.) A rehearsal. Proceleusmaticus. A foot consisting of four short syllables, or of two Pyr- rhics. Program. ■> A list of the names of Programm (G.) [ the pieces of music Programme. > to be performed at a concert or other musical entertainment. Progression. There are two kinds of progression, melodic and harmonic. The former is a " succession of sounds forming a tune or melody," the latter is "the movement of one chord to another." Progressionsschweller (G.) A contri- vance of Vogler for gradually drawing out, and then in, the stops of an organ in their harmonic order, thus producing a crescendo, forte, and diminuendo. Prolatio (L.) Prolation, one of the three divisions of mensurable music ; prolatio is the subdivision of a semibreve into minims. Promptement (F.)' Prontamente (7.) ■ Readily, quickly. Pronto (/.) Proper-chant. An old name for the key of C major which had its mi in B, that is which had B for its leading note. The normal key. Proportio (L.) The ratio of two num- bers to each other ; used in reference to intervals. Proposta (/.) The subject of the fugue. Prosa {L.} A hymn sung after the gradual and before the gospel in the Roman Church; ProssB sequentise (L.) [Prosa.] Prosarium (L.) A book of proses. [Prosa.] Proscenium. (i) The quadrangular space behind the logeum or stage, (z) The stage front ; £dl that part of the stage between the footlights and the curtain. Prose [F.) [Prosa.] Proslarabanomenos (Gk.) Acquired, or additional, note in the Greek scale system ; not belonging to any tetrachord. Prova (/.) A rehearsal. Provenfales. Troubadours of Provence, in which country the rhymers and minstrels of mediseval times seem to have had their origin. Psallettes. Schools in which descant was taught. Psalmistae. An order of singing clergy. Psalmmelodicon. A wind instrument with keys and ventages, imitating the tone of several orchestral instruments ; it was invented in 1828 by Schuhmacher Weinrich, and in 1832 it was improved by Leo Schmidt, and named the Apollo lyra. Psalmody. The practice of singing Psalms or hymns. Psalter. A book of Psalms. Psalterium (L.) (i) A Psalter, generally with musical notation above the words. {2) A Psaltery. Psaltery. [Nebel.] Psaltrias (L.) Female musicians who sang and played during a banquet. Pulpitum {L.) (i) The stage of the Greek theatre. (2) A motet. Pulsatile. A term applied to instruments of percussion, such as the drum, gong, cymbals, &c. Pulsator organorum. An organ-player, at the time when the keys were very large and had to be struck sharply. Punctus (L.) A point or dot; a neume. Punkt (G.) Dot. Punktirte Noten, dotted notes. Punta (/.) The point ; as colla punta dell' arco, with the point or tip of the bow. Puntato (7.) Pointed, detached, made staccato. Pupitre (F.) [Pulpitum (2).'l Pyknon (G*.) The close note, (i) Those half or quarter tones which came to- gether in the chromatic and enharmonic genera of the Greeks. (2) In mediaeval music, a semitone. Pyramidon. An organ-stop of i6-ft. 01 32-ft. tone, the pipes of which are closed at the top, and pyramidical in shape, the top being more than four times the width of the mouth. From a pipe only 2ft. gin. in length, 2ft. 3 in. square at the top, and 8 in. at the block, the note CCC is produced. Pyrophone. An instrument invented by Kastner, the sounds of which are pro- duced by jets of gas burning under tubes. Pyrrhic, (i) A dance among the Greeks, danced by boys in armour, accompanied on the lyre or flute. (2) A metrical foot consisting of two short syllables j u 70 QUADRAT QUINTERNA. Quadratum (i:) A breve, |HI Quadrible. [Quatrible]. Quadricinium or Quatricinium (L.) A composition in four parts. Quadrille. A well-known dance, consist- ing of five movements : Le -Pantalon, La Poule, L'Ete, La Trenise (or la Pastourelle), La Finale. Quadruple counterpoint. Counterpoint of four parts, so constructed that all the parts may be transposed among them- selves. croche (F.) A hemidemisemi- quaver. Quarte (F.) The interval of a fourth. Quart de mesure (F.) A crotchet rest. de soupir (F.) A semiquaver rest. Quarta {/.) The interval of a fourth. (L.) An interval of a fourth; as quarta major, minor, abundans [super- flua), a major, minor, or augmented fourth. ^ modil (/.) The fourth of the scale, 1 n i ] the modern subdominant. Quarte de nazard (F.) An organ-stop of 2-ft. length, so called because it is a fourth above the nazard or twelfth. du ton (F.) The subdominant. Quarter-note. A crotchet, « Quarter-tones. A general name of in- tervals less than a semitone, introduced into enharmonic instruments. Quartet. \ (i) A composition in four Quartett (G.) • parts, or for four per- Quartetto (7)J formers. (2) Part of a movement sung by four voices soli as opposed to coro. (3) A composition for four instruments, in complete sym- phonic form. Quartfagott (G.) A kind of bassoon, a. fourth lower than that commonly in use. Quartflote (G.)> A small flute, a fourth Quart-flute. J higher in pitch than the common flute. Quartgeige (G.) A small-sized fiddle. Quarto d' aspetto (/.) A semiquaver rest. Quasi {I.) As if, or in the style of. Used to qualify certain terms ; as quasi allegretto, somewhat allegretto ; quasi sonata, a composition in which sonata form is not strictly adhered to. Quatre mains, a (F.) For four hands. Quatrible {old E.) To descant by sing- ing fourth's on a Plain-song (see Quini- ble). Quatricroma (7.) [Quadruple croche.] Quattro mani, a (/.) For four hands. Quatuor (F.) [Quartet.] Quaver. The eighth part of a semibreve, ^ Querflote (G.) The flute played side- ways, as opposed to the flute which was blown at one end, and held straight in front of the performer. Querpfeife (G.) The Swiss fife; a small kind of flute, with six holes, but no keys. It has an incomplete compass of two octaves. Querstand (G.) [False relation.] Queue (F.) (i) The tailpiece of a violin or other instrument. (2) The tail of a note. Quick-step. A quick march. Quietatnente {/.) Quietly, calmly. Quieto {!.) Quiet. Quindecima. [Quinta decima.] Quinible (old E.) To descant by singing fifths on a Plain-song (see Quatrible). Quint 1 (J.) (i) The interval of a fifth. Quinta J (2) An organ-stop, sounding a fifth above the foundation-stops, of 5j ft. length on the manuals, lof ft. on the pedal. Quinta decima (I.) (i) The interval of a double octave. (2) An organ-stop, sounding the double octave of the foundation-stops, fifteenth. modil (/.) The fifth of the scale; toni J the modern dominant. Quintabsatz (G.) A half-close ; the imperfect cadence,the penultimate chord of which is a tonic triad ; the final chord, a dominant triad. [Cadence.] Quintaton (G.) An organ-stop consist- ing of closed metal-pipes, of a small scale, so voiced that the twelfth is heSrd with the ground-tone. Quinte (F.) (i) A viola or tenor. (2) The interval of a fifth. Quinte \{G-\ The E string of a QuintsaiteJ violin; treble string. Quinterna or Chiterna. A species of guitar not unlike a violin in shape, having three, or four, or five pairs of catgut strings, and sometimes two QUINTET RECITATIVE. single strings covered with wire in addition, played with the fingers. Quintet. \ (i) A composition in five Quintett (G.) ■ parts, or for five per- Quintetto (/.) J formers. (2) Part of a ' movement sung by five voices soli. Quintfagott (G.) [Basson quinte.] Quintfuge (G.) A fugue, the subject of which is answered at the interval of a fifth. Quintole. A group of five notes to be played in the time of four. Quinton (F.) The five-stringed viol. Quintoyer {old F.) To descant at the fifth ; to quinible. Quintuor [F.) [Quintet.] Quintviola. An organ-stop of the gamba species, but of the pitch of a quint, or of a twelfth. Quire {old E.) The collective title of the body of trained and authorised singers in a church. Quirister. A member of a quire, whether man or boy. [Chorister.] Quodlibet. (i) A sort of fantasia. (2) A pot-pourri. (3) A Dutch concert. Rabani or Rabanna. A kind of Indian drum, of a small size, beaten by the hand. Rabbia, con (/.) With fury. Raccontando (/.) Descriptive; as if narrating. Rackett. ) (i) An obsolete wind instru- Rankett.J ment of the double bassoon kind. (2) An organ-stop of i6-ft. or 8-ft. pitch, now obsolete. Raddolcendo ) (/.) With gradual soft- Raddolcente J ness and sweetness. Raddoppiamento ) (7.) The doubling of Raddoppiato J an interval or part. Radical bass. The fundamental bass, ground note, or root of a chord. Rallentamento (7.) At a slower pace. Rallentando 1 (7.) Getting gradually Rallentato J slower. Rank of pipes. A row of pipes (of an organ) belonging to one stop. Rant. An old dance ; a sort of country- dance; a dance-tune. Ranz des vaches (F.) The tunes or flourishes blown by Swiss shepherds on their cow-horns or Alpine-horns, as signals to the animals under their charge. Rapidamente ] Rapidity, con [• (7.) With rapidity. Rapido j Rapsodie (F.) [Rhapsody.] Rasch (G.) Quick. Rascher (G.) Quicker; as ein wenig rascher, a little quicker. Rasgado (S.) To sweep the strings of a guitar with the thumb, for the purpose of producing a full chord, arpeggio. Rastral. [Rastrum.] Rastrum (L.) A rake ; a five-pointed instrument for ruling the stave. Rathselcanon (G.) A riddle-canon. The subjects only being given, the correct entry of the answers have to be found. A stop in old organs of two ranks of pipes, consisting of a twelfth and fif- teenth, or a fifteenth Ratio (L.) Relation or proportion. The proportion between vibration-numbers by which intervals are classified. Rattenendo 1 (7.) Restraining or holding Rattenuto / back the time. Rauh (G.) Hoarse, rough. Rauscher (G.) A passage of repeated notes. Rauschflote (G.) Rauschpfeife (G.) Rauschquinte (G. Rauschwerk (G.) Ruszpipe. and octave twelfth. Ravanastron. A stringed instrument played with a bow; in use among the Buddhists. Rawivando] (7.) Reanimating, reviving. Rawivare Ravvivando il tempo, Rawivato J quickening the time. Re. The name of the second note of the scales. Real fugue. A strict fugue. One in which the answer is an exact trans- position of the subject at the interval of a fourth below, or fifth above. Rebab. ] A three-stringed instrument Rebec. ■ played with a bow, of Arabian Rebeck.j or Turkish origin. After its introduction into England, it gradually assumed the form of a viol. Rebibe. ) {old E.) A small rebec or Rebible./ three-stringed viol. Recheat. A hunting signal, which recalls the hounds. Recht (G.) Rignt ; as rechte Hand, the right hand. Recitando ) (7.) In the manner of a Recitante J recitative ; as if reciting. Recitatif (F.) [Recitative.] Recitative. Musical declamation ; a kind of half-speaking and half-singing; a composition vrithout any decided or rhythmical melody. 72 RECITATIVO RETROGRADUS. Recitative (/.I Recitative. AUarecita- tivo, in tlie style of a recitative. con accompagnamento. Recita- tive witli accompaniment. secco. A recitative supported only by a chord from a violoncello or double- bass, or by a cembalo. stromentato. Recitative accom- panied by a band. Reciting-note. The opening note of a chant, and also the first note after each double bar. Record, to (oZ Old-fashioned, queer. Rococo I ^ ' ^ Rock harmonicon. An instrument the sounds of which are produced by striking graduated lengths of rock-crystal with a hammer. Rohr (G.) A reed. Rohrflote (G.) Reed-flute ; an organ- stop consisting of closed pipes. Rohrwerk (G.) Reed-work, the collective name of the stops consisting of reed-pipes. Role (F.) The part in a drama assigned to an actor. Roll. ) The rapid beating of a Rollando (7.) ■ drum or tambourine so Rollo (7.) as to make the sound as far as possib e continuous. RoUe (G.) A run, a group or series of groups of short notes. Romance {F., S.) Romanza (7.' Romaunt (old E. romance or love-story. Any simple rhythmi- cal melody which is suggestive of a. 74 ROMANESCA- -SACKPFEIFE. Romanesca (/.) An Italian dance ; a galliard. Romanesque {F.) A galliard. Roman-strings. Fiddle- strings made in Italy, hence called Roman. Romantique {F.) ] In the style of a ro- tively. Romanzesco (J.) J mance ; imagina- (/.) A short rondo. Romera. A Turkish dance. Romischer Gesang (G.) Catholic Plain- song. Not correctly called Roman, be- cause common to the whole Church. Ronda (1.) A round. Ronde (F.) The round note, i.e.,a semi- breve. Rondeau (F.) [Rondo.] Rondiletta ' Rondinetta Rondino Rondolettaj Rondo {I.) A composition generally in two parts, with the principal subject often repeated. Root, called also fundamental note, gene- rator, and ground-note, (i) A note which, besides • its own sound, gives over-tones or harmonics. (2) A note on which a chord is built up. Rosalia (/.) The repetition of a phrase or passage raising the pitch one note at each repetition. Rota (L.) A round ; anything with frequent repeats, as, for instance, a hymn-tune. Rote {old E.) [Hurdy-gurdy.] Rotondo (/.) Round or full, with refer- ence to quality of tone. Rotruenges. Roundelays of the min- strels. Rotulse (L.) Literally, Little rounds. A term applied to Christmas songs or carols. Roulade (F.) An embellishment ; a flourish ; ornamental passage of runs. Round. A composition in which several voices starting at stated distances of time from each other sing each the same music, the combination of all the parts producing correct harmony. Round O. A rondo. Roundel. A rustic song; a dance in which all joined hands in a ring. Roundelay, (i) A poem, certain lines of which are repeated at intervals. (2) The tune to which a roundelay was sung. Rovesciamento )(/.) By inversion; the Rovescio J contrary motion be- tween two parts. Ruana. A Hindoo instrument of the violin class. Rubato (7.) Literally, Stolen or robbed. Tempo rubato represents the alteration made in the time when some notes are held for more and others for less than their strict duration. RUckfall (G.) A backfall, a kind of grace note. Ruckpositiv (G.) A back choir organ, i.e., a choir organ which is behind the player. Ruckung (G.) Syncopation. Ruhepunkt ] (G.) A point of rest, «'.«., RuhezeichenJ a pause. Ruhig (G.) Q'^iet, tranquil, calm. Ruhig gehend (G.) Gently moving. Andante moderate. Rule (old E.) A line of the stave. of the octave. A system of adding harmonies to the diatonic scale, using it as the lowest part. RuUante (/.) Rolling; as tamburo rullante, the small military drum, the side-drum. Run. A rapid succession of notes ; in vocal music usually sung to one syllable. Running. The improper sounding of an organ pipe or pipes from a defect in the soundboard, or other causes. Ruollo (/.) Literally, A roll. According to some an Italian dance, a waltz. Russian horn-band. A band of players whose instruments are so designed that each produces a single note only. For the performance of a simple theme at least twenty horns are required. The invention of this horn music is assigned to J. A. Maresch, a Bohemian. Rusticano) (/.) In a simple, rustic Rustico J manner. Rutscher (G.) Literally, The slider. The galopade. Ruvidamente (/.) Roughly, coarsely. Ruvido (I.) Rough. Rymour {old E.) A hard or minstrel. Sabeca. One of the musical instruments mentioned in the Bible ; a species of harp. Saccade (F.) Strong pressure of a violin bow against the strings, which enables the player to produce three or four notes simultaneously. Sackbut. (i) One of the Babylonian musical instruments mentioned in the Bible, a kind of harp. (2) The old English sackbut or sagbut was a bass trumpet, with a slide like the trombone. Sackpfeife (G.) [Bagpipe.] SACKING BELL- -SCHERZOSO. 75 Sacring bell. 1 A small bell which is rungin Saints' bell. [ order to mark the progress Sanctus bellj of the office of the Mass. Sacrist. An officer in a cathedral who copies music for the choir, and takes care of the books. Saite (G.) A string. Saitenhalter (G.) [Tail-piece.] Salamanie. An oriental flute. Salcional. 1 An organ -stop of soft and deli- Salicet. cate quality, generally placed Salicional in the choir organ, but some- Solcionellj times in the swell, in either case taking the place of the dulciana, to which it bears a strong resemblance. Salpinx. An ancient Greek trumpet. Saltando (I.) Jumping. In violin mu- sic, "with a dancing bow." Saltarello {I.) (i) A dance in triple time similar to the siciliano and forlana of Italy and the jig of England. (2) A harpsichord jack. Salto (/.) (i) A dance in which there is much leaping and skipping. (2) A leap or skip from one note to another beyond the octave. (3) Counterpoint in which the part added moves in skips. Satnbucistria (L.) A player on the sambuka. Sambuka {Gk.) A term applied to the lyre, the dulcimer, the triangular harp or trigon, and the large Asiatic harp, but chiefly to the last-named instrument. Satnpogna (/.) [Bagpipe.] Sancho. A negro instrument of the guitar species. Sanft (G.) Soft. Mit sanften Stimmen, with soft stops. Sans (F.) Without ; as sans pedales, without the pedals. Santoral (S.) Church choir-book. Saquebute {F.) [Sackbut.] Saraband. I A Spanish dance of Sarabanda (/.) [ Moorish origin, for a Sarabande {F.)j single performer, ac- companied with castanets. The tune is in Ij time, but slow and stately, and with a strong accent on the second beat in the bar. Sartarella, or Sartarello (J.) A quick Neapolitan dance in § time, somewhat like the tarantella. Sattel (G.) The nut of a violin, &c. Satz (G.) A theme, a subject, a com- position, a piece. Saun. The Burmese harp. Saut (F.) [Salto.] Sautereau {F.) The old name for the jack of a spinet. Sauterie {old E.) A dulcimer. Sautille (F.) Springing bow; in violin music indicated by dots over the notes. Sax-homs. Cylinder horns invented by -\ntoine Sax. They have three, four, or five cylinders, so that each horn is capable of playing all the notes of its scale. A sax-horn band comprises seven instruments — a small high horn, a soprano, an alto, a tenor, a baritone, a bass, and a double-bass. Saxophones. Brass wind instruments, the invention of M. Sax. They are played with a single reed and a clarinet mouthpiece. The quality of tone is soft, yet telling and expressive. They are six in number — the high, soprano, alto, tenor, baritone, and bass. Saxtrombas. Brass cylinder wind in- struments with wide mouthpieces, of a shrill and piercing tone, a combina- tion of the trumpet and the bugle quality. The complete set is six, divi- ded as the saxophones. Saxtuba. Deep-toned brass bass-instru- ments, of similar character to the sax- trombas. Saynetes (S.) Musical interludes per- formed in the Spanish drama. Sbalzo (/.) A leap, a skip. Sbarra (/.) A bar.' Sbarra doppia^ double bar. Scagnello (/.) The bridge of a stringed instrument. Scala (J.) A scale or gamut. Scale. The graduated series of sounds into which the octave is divided. Scemando (/.) An equivalent to diminu- endo, gradually decreasing in power. Scena (/.) (i) A scene. (2) A solo for a single voice, in which various dramatic emotions are displayed. d' entrata (I.) ) The first scene al- Sc^ne d' entree (F.)] lotted to a vo- calist in an opera. Scenario (/.) The plot or main incidents of an opera or drama. Scenici (L.) Games instituted, accord- ing to Livy, B.C. 364. They were the germ of the Roman play. Schaferlied 1 ,r-, > . „i„„i Schaferspielj'^-) A pastoral. Schalkhaft (G.) Roguishly, playfully. Schallbecken (G.) Literally, Sound-cups. Cymbals. Schallhorn 1 (G.) Bell ofa horn, cornet, SchallstiickJ trumpet, &c. Schalmey. [Chalumeau.] Scharf (G.) Literally, Sharp. A mix- ture-stop of an organ, formed of a com- bination of acute harmonics. Scharf betont (G.) With emphasis. Scherz (G.) Drollery, fun. Scherzandissimo'^ jj_) (i)Playfm, lively. Scherzando Scherz ante Scherzevole Scherzevolmfehte Scherzoso jokingly, merry. (2) A movement of a lively and droU character 76 SCHERZEND SCOZZESE. Scherzend (G.) Lively, playful. Scherzhaft (G.) Droll, fiinny. Scherzo (/.) A term meaning literally a jest, applied to a movement in a sonata or symphony of a sportive playful character. Schiettamente (I.) Pure, simple, neat. Schiettezza, con {/.) Simply, neatly. Schietto (I.) Pure, neat. Schisma (GA.) The small interval between a natural perfect fifth and the fifth of equal temperament. Schlag (G.) A stroke or beat, (i) of time, (2) of a vibrating reed, (3) of an instrument of percussion. Schlagfeder (G.) [Plectrum.] Schleifbogen \(Q.) Literally, Slide- SchleifezeichenJ bow. A slur ; the sign/~N Schleifen (G.) To slide ; to glide. Schleifer (G.) Slurred note ; a grace. Schleppend (G.) Dragging; as nicht schleppend, not dragging the time. Schlummerlied (G.) A slumber-song. Schluss (G.) The conclusion ; finale. Schlusschor (G.) Final chorus. Schlussel (G.) A clef. Schlussfall (G.) A cadence. Schlussreim (G.) The burden or refrain of a song. Schlussstiick (G.) Finale. Schlusszeichen (G.) Double bar. Schmachtend (G.) Languishing. Schmeichelnd (G.) Flattering, caress- ing, coaxing. Schmelzend (G.) Literally, Melting away. Dying away ; diminishing. Schmerz (G.) Grief. Schmerzhaft (G.) Sorrowful, dolorous. Schmerzvoll (G.) In a doleful manner ; sadly. Schnabel (G.) The mouthpiece of the clarinet, fliite-a-bec, and instruments blown in like manner. Schnarrpfeifen 1 (G.) Reed pipes or stops Schnarrwerk J in an organ. Schnell (G.) Quick. Mdssig schnell, moderately quick ; schnell und beweg- lich, quick and with emotion. Schneller (G.) Quicker. Nach und nach schneller, quicker and quicker. Schneller or Schnelzer (G.) A trill. Schnelleres tempo (G.) In quicker time. Schnellwalzer (G.) A quick valse. School. (i) A method or system of teaching; as Rink's organ school, Cri- velli's vocal school, Spohr's violin school, &c. (2) Style; SiS the madrigal school, ecclesiastical school, operatic school, &c. (3) The manner or characteristics of a composer or performer ; as Handel's school, Rossini's school. (4) A group of composers whose works mark an epoch in the history of music ; as the Venetian school, the Neapolitan school &c. Schottische (G.) Literally, The Scotch dance. A slow dance of modern in- troduction, written in | time. Schreibart (G.) Style. Schrittmassig (G.) Slowly ; andante. Schultergeige (G.) The shoulder-fiddle, or common violin, as opposed to the viola da gamha, the viol played between the legs. Schusterfleck (G.) A facetious name for a rosalia, q.v. Schwach (G.) Weak, feeble, soft; piano. Schwacher werdend (G.) Softer by degrees. Schwarmer (G.) Bombo. An old name given to four or more notes repeated rapidly on the same degree of the scale. Schweigezeichen (G.) A rest. Schweinskopf (G.) Literally, Pig's head. A name given to grand pianofortes be- cause of their outline, as viewed from the side of the instrument. Schweizerflote ) (G.) The name given Schweizerpfeife J in Germany to the old flauto traverse or Querpfeife. Schweller (G.) The swell organ. Schwermiithig (G.) Sad ; pensive. Schwindend (G.) Dying away. Schwingungen (G.) Vibrations. Scioltamente ) (/.) Freely ; with agil- Scioltezza, con ■ ity; easily. Fuga Sciolto J sciolta, a free fugue. Scolia. Short festive songs of the Greeks. Scordato (/.) Out of tune. Scordatura {I.) The mistuning of an instrument. When a violinist alters the accordatura of his instrument for a special purpose, he is sometimes said to make a scordatura. Score. A copy of a musical work in which all the component parts are shown either fully or in a compressed form. Printers of music use the word score to denote any lines (two or more) united by one brace. Scorrendo (7.) Gliding from one sound to another. [Glissando ] Scorrevole (/.) Running, flowing, gliding. Scotch scale. [Pentatonic scale.] Scotch snap. A peculiarity of the com- paratively modern Scotch melodies in which a short note precedes a long one : ^Js^ m^p- It is the characteristic of strathspey tunes. Reels and jigs are distinguished from the strathspey by the absence of the snap. Scozzese (/.) Scotch ; as alia Scozzese, in the Scotch style. SCRIVA SENTENCE. 77 Scriva (/.) Written. Si scriva, as written. Inff^n^r^'^.t.l (J-) Scornfully; dis- Sdrucciolando (I.) Sliding. Sdrucciolare {/.) To slide, by pressing down the keys of a pianoforte in rapid succession and lightly with the finger nails Glissando. Se (/.) As, if, &c. ; se ijiog-no, if required. place (/.) At will; as it pleases the performer. Sec (F.) \ Dry, unadorned, plain ; as Secco (I.)] recitaiivo secco, plain reci- tative, that is, without band accompani- ments. [A table sec] Seccarara {I.) A Neapolitan dance. Sechsachteltakt (G.) Six-eight time. Sechssaitig (G.) Six-stringed. Sechstheilig (G.) In six parts. Sechsvlerteltakt (G.) Six-four time. Sechszehnfussig (G.) Of i6 ft. ; the unison pitch of the pedal organ. Sechszehntheilnote (G.) A semiquaver; the sixteenth part of a semibreve. Second, chord of the. An old abbrevi- ation of the chord I Secondo (/.) Second ; as violino secondo, second violin ; seconda parte, the second part ; seconda volta, the second time. Sectio canonis [L.) A division of a string or monochord formed by a movable bridge or frets. A harmonic. Secundakkord (G.) [Second, chord of the.] Seele, mit (G.) With soul, with feeling. Segno (/.) The sign '%_ [Al segno.] Segue (/.) Follows, succeeds, comes after; as segue il coro, the chorus follows ; segue V aria, the aria follows. Seguendo) (/.) Following; as attacca Seguente ) subito il seguente, begin the following at once. Seg^enza (/.) A sequence. Seguidill£^ (S.) A lively Spanish dance, similar to the country-dance ; the tune is in I or I time. Seguite (/.) [Segue.] Sehnllch ) (G.) Ardently, with pas- Sehnsuchtig) sion. Sehnsucht (G.) Ardour, desire, fervour, longing. Sehr (G.) Very, much, extremely; as sehr lebhaft, very lively ; sehr langsam, very slow ; sehr zart, very Soft. Sehr anwachsend (G.) Greatly in- creasing. Crescendo molto. Sehr bewegt (G.) Very lively. Sehr frisch (G.) Very lively. Sehr gemassigt (O.) Ratherslow. Molto moderato. Sehr markirt (G.) Strongly accentuated. Ben marcato. Sei (/.) Six ; as sei stromenti, six instru- ments. Seitenbewegung (G.) Oblique motion. Seizi^me de soupir (F.) [Semiquaver rest.] Semibreve. Half a breve; the whole note o, equal to two minims. Semichorus. A direction that the pas- sage so marked is to be sung by half the chorus, or a selected portion of it. Semicroma. A semiquaver. Semidemisemiquaver. A half demisemi- quaver, the sixty-fourth part of a semi- breve. Semi-diapason (L.) An imperfect octave. Octava deficiens. Semi-diapente (L.) An imperfect or diminished fifth. Quinta deficiens. Semi-diatessaron (L.) An imperfect or diminished fourth. Quarta de- ficiens. Semi-ditonus (L.) A minor third. Semi-ditonus cum diapente. A minor seventh. Semifusa (L.) A semiquaver. Semiminima (L.) A crotchet. Semiquaver. The sixteenth part of a. semibreve. rest. The sign :) representing silence for the length of a semiquaver. Semisuspirium {L.) A quaver rest. Semitone. A half-tone, or an approxi- mate half of a tone. Semitonium (L.) A semitone. Senti- tonium modi, the leading-note, sensible, master-note, or major seventh called also subsemitonium modi. Semituono {I.) A semitone. Semplice (/.) Pure, plain, simple, un- adorned. Semplicemente (I.) Purely, plainly, simply, without ornament. Semplicita, con (/.) With simplicity, un- affectedly. Sempre (/.) Always, ever, continually ; as sempre forte, loud throughout ; sempre legato, smooth throughout ; sempre piano, always soft ; sempre piu affrettando il tempo, continually hasten- ing the time ; sempre piu forte, continu- ally increasing in loudness ; sempre ritardando, continually slackening the time ; sempre staccato, staccato through- out. Sennet. 1 (i) In old plays, the sounding Signet. of a note seven times. (2) A Synet. flourish on a trumpet or other Synnet.j tube instrument. Sensibile (/.) Expressive. Sensibilita (/.) Sensibility, feeling. Sensible (F.) The leading-note of a scale ; the major seventh, note sensible. Sentence. A short musical passage or phrase. 78 SENTIE- -SHARP. Sentie (F.) Expressed. Melodie Men senile, the melody well expressed or marked. Sentimentale ] ,,, ,i,.., j. ,- Sentimento, con 1 1^") ^'''^ ^^^''^S' Senza (/.) Without; as sema accom- pagnamento, without accompaniment; senza bassi, without the basses ; senza fiori, without ornaments, plainly, simply ; senza interruzione, without interruptionj go on without stopping; senza oboe, without the oboe ; senza organo, without organ ; senza oynamenH, without embel- lishments or ornaments ; senza pedale, without the pedal ; senza repetizione, senza replica, without repetition ; senza rigore, not in strict time ; senza riiardare without retarding the time ; senzasordini, without the dampers, in pianoforte-play- ing ; senza sordino, without the mute of a violin ; senza stromenti, without in- struments; senza tempo, without time, in no definite or exactly marked time. Separation. An old name for a grace or passing note. Septet. ] (i) A composition for Septetto (/.) ■ seven voices or instru- Septuor (F.)) ments. (2) A piece in seven parts. Septieme (F.) \ ^^ ; ] ^ ^ seventh. Septime (G.)J Septimenakkord (G.) The chord of the seventh. Septimole. A group of seven notes to be played in the time of four or six. Sequence. The recurrence of a harmonic progression or melodic figure at a dif- ferent pitch or in a different key to that in which it was first given. Seraphine. An instrument having free reeds of a coarse tone ; superseded by the harmonium. Serenade, (i) Originally a composition for use in the open air at night, gene- rally of a quiet, soothing character. The term in its Italian form, serenata, was applied to a cantata having a pastoral subject. (2) A work of large proportions in the form, to some extent, of a sym- phony. Sereno (/.) Calm, serene, tranquil. Seria (I.) Serious, grave, tragic ; as opera seria, a tragic opera. Serieti, con (7.) In a grave, serious manner. Serinette (F.) A bird organ. Serio 1 (I.) In a serious, thoughtful SeriosoJ manner Serpent. 1 A bass instrument of a Serpente(7.) J powerful character. It is of wood, twisted into a curved form, and covered with leather, with a mouth- piece like a horn or trombone, and keys for producing the notes. Serpentono (I.) [Serpent.] Serrata (I.) A concluding performance. Service. A musical setting of those por- tions of the offices which are sung by the choir, such as the Canticles, Sanctus, Gloria in excelsis, &c. Sesquialtera. (i) Nuiubers in the pro- portion 3 : 2. (2) An organ-stop con- sisting of several ranks of pipes. S}(^-) A sixth. Sestet. \ A composition for six voices Sestetto [I.)] or instruments. Settimol f^-' '^^^ interval of a seventh. Settimino (/.) A composition for seven performers. Seventh. An interval of seven diatonic degrees. , chords of the. Chords which contain an interval of a seventh as the highest numerical discord from their ground-note. Severamente \ (7.) Severely, strictly, Severo j exactly. Severita (7.) Severity, strictness, exact- ness. Sexquialtera (L.) [Sesquialtera.] Sext (G.) (i) A sixth. (2) The name of an organ-stop of two ranks, having the interval of a sixth between them, namely, a twelfth and tierce. irel-to.} [Sestet.] Sextolet or Sextuplet. A double triplet, six notes to be performed in the time of four. Sextuor (F.) A composition in six parts. Sforzandol (7.) Forced; a note or Sforzato J notes pointed out by the sign sf. axe to be strongly emphasised. Sforzato piano (7.) A sudden forte followed by a diminuendo or- piano. Indicated by the signs sfp., sfz.p., or Sfuggito (I.) Avoided, shunned ; as ca- denza sfuggita, an interrupted cadence. Sfumate (7.) Exhaling, exhausting the breath. Shading of pipes. The placing of any- thing so near the top of an organ-pipe as to affect the vibrating column of air which it contains. Shake. An ornament produced by the rapid alternations of two notes, either a tone or semitone apart, marked thus, tr. Sharp, (i) The sign |; which raises a note one semitone above the normal or natural pitch. (2) An augmented inter- val is said to be sharp. (3) Out of tune, by being higher in pitch than is just. (4) Shrill or acute, as sharp mix- ture, an organ-stop. SHAWM- -SLARGATO. 79 Shawm. [Chalumeau.] Shift. A change of the position of the hand in violin-playing, by which the first finger of the player has to tem. porarily become the nut. The old ao- called shifts are now named positions, numbered uniformly from the position of the first finger on the first string. Shophar. A Hebrew trumpet. Short octaves. A name given to the lowest sounds in old organs, in which, to avoid expense, some of the large pipes were omitted. score. Music with more than one part written in each line ; four parts compressd in two lines. Si. The name of the seventh degree of the scale of Do; the note B. bemol (F.) The note Bl? diese (F.) The note B| leva il sordino (/.) A direction that the mute {sordino) is to be taken off. piace (/.) At pleasure; ad libitum. replica (7.) To be repeated. — scriva (7.) As written, without im- promptu embellishment or alteration. segue (7.) As follows ; go on. tace (7.) Be silent. volta (7.) Turn over. Sicillana) (7.) A graceful dance of the Siciliano[ Sicilian peasantry, set to a melody in § or lg2 time, of a simple pastoral character. Side-drum. A small military drum sus- pended at the side of the player. Siebenklang (G.) (i) A chord of the seventh. (2) A heptachord or scale of seven notes. Siebenpfeife des Pan. [Pan's pipes.] Siegeslled (G.) A song of triumph. Siegue. [Segue.] Sifflote (G.) Whistle-flute; an organ- stop of i-ft. pitch. Signalist (G.) A military trumpet-player. Signatur(G.)1 The signs placed at the Signature, j commencement of a piece of music. There are two kinds, the time-signature and the key-signa- ture. Signe (F.) The sign 'g_ [Segno.] Siguldilla. [Seguidilla.] iilr„^ro',^:!}A-. Silhouettes (F.) Sketches ; recollec- tions. Silver strings. The covered strings used on violins, guitars, &c. Similar motion. [Motion.] Simile (7.) Like ; in the same manner. Simp\a.{lomL.) Semiminima. A crotchet. Simple, (i) Not florid; as simple counter- point. (2) Not developed ; as simple imitation. (3) Not exceeding an octave ; as simple interval. (4) Containing only one group of notes ; as simple measure, simple time. (5) Without valves or pistons ; as a simple tube. (6) That which cannot be resolved into consti- tuents ; as a simple tone. Sin' al fine (7.) To the end. Sincope (7.) Syncopation. Sinfonia (7.) [Symphony.] Singbar im Vortrag (G.) In a singing manner. Singend (G.) [Cantabile.] Singetanze (G.) Song-dances; ballads. Singhiozzando (7.) In a sobbing style. Singhiozzo (7.) A sob ; sobbing. Single chant. [Chant,] fugue. A composition in which only one subject is eirjployed. [Fugue.] relish. An old ornament in music. Singspiel (G.) [Opera.] Singstimme (G.) A vocal part. Sinistra (7.) The left hgnd. Sinkapace. [Paspy.] Sino (7.) To, as far as, until. Siren or Sirene. An acoustical instru- ment which shows the number of vibra- tions corresponding to a note of any given pitch. Sister (G.) An old German guitar having seven gut-strings. Sistro (7.) A triangle. Sistrum (Gk.) A rattle used by the ancient Egyptians, the Greeks, and Romans. It is not improbable sistrums were known also to the Hebrews. Its common form was that of a handle surmounted by a loop of metal, having cross-bars on which rings were some- times placed. Sitar. A Hindoo instrument of the guitar kind. Sitole. [Citole.] Six pour quatre [F.) A sextuplet, q.v. Sixifeme [F.) Tlie interval of a sixth. Sixte (F.) The interval of a sixth. Sixteen feet. The length of the open pipe which gives the unison of the pedal organ and the double of the manuals. Sixteenth note. A semiquaver, the six- teenth part of a semibreve. Sixth. An interval of six diatonic degrees. , chord of the. The first inversion of the common chord ; it consists of a note with its third and sixth. , Neapolitan. [Neapolitan sixth.] Skip. A movement from any one note to another which is at a greater interval than one degree. Skizzen (G.) Sketches; short pieces not in any prescribed form. Slancio, con (7.) With impetuosity. Slargando Slargandosi Slargato tando. (7.) Widening, opening, extending. Used as an equivalent for rallen- So SLENTANDO SOPRA. Slentando (/.) Slackening the time; becoming slower by degrees. Slide. (i) An arrangement in the trumpet and trombone by means of which the tube can be lengthened. (2) To slide is to pass from one note to another, without any cessation of sound or distinction between the intervals. (3) A slider of an organ. Sliding relish. A grace in old harpsi- chord music. Slur. A curved line placed over notes directing that they are to be played or sung legato. Small octave. The name given by the Germans to the notes between Tenor C and middle c; so called because represented by a small letter (italic), the octave below this being represented by capitals. [Pitch.] Smania (/.) Fury, rage. SmaSit?e^[('-) F""°'is. ^antic, with Smanioso J ''^S^' Smanicare (/.) To shift. [Shift.] Sminuendo] (/.) Diminishing; decreas- Sminuito [• ing gradually; lessening Smorendo J the time and tone. Smorfioso (/.) Affected; coquettish. Smorza"o^° } ^^'^ G"d«ally fading away. Snap. [Scotch snap.] Snare-drum. [Drum.] Soave ] (I.) Agreeably, delicately, SoavementeJ gently, softly, sweetly. Sobb. An old word for damping in lute playing. Soggetto (7.) Subject, theme, motive, proposition of a fugue. Sol. The note G. bemol (F.) The note G flat. difese (F.) The note G sharp. i:l:nn:mente}(^-) Solemnly. Solennelle (F.) Solemn. Solennitii (I.) Solemnity, pomp. Sol-fa (/.) A general name for the notes in music. Sol-faing. \ A vocal exercise in which Solfege (F.) the notes are called by Solfeggi {I. pi.) ' the several names Do, Solfeggio (/.) J Re, Mi, Fa, Sol, La, Si. Solfeggiamenti (/.) Solfeggi. Solfeggiare (/.) To practise solfeggi. Solist. [Soloist.] Solito (/.) Usual, used, accustomed; in the ordinary manner. Sollecito (/.) Careful ; a word directing a careful and attentive manner of per- formance. Solmisare (/. "To sol-fa. [Sol-faing.] Solmisiren {(?.' Solmizare (/.) SoImisatioD [Sol-faing.] Solo (/.) Alone. Soprano . soli), the soprano alone ; voci soli, voices alone ; soli, one to each part. pitch. The tuning of an instru- ment a little higher than the ordinary pitch in order to obtain brilliancy of tone. Soloist. One who sings or performs alone, with or without the aid o{ accompaniment. Solospieler (G.) A solo player. Solostimme (G.) A solo part. loSame^}(-^-) Sounding, resonant. Sonare (/.) To sound ; to play upon. alia mente. To play extempore. ilviolino. To play upon the violin. Sonata. A composition consisting of three or four movements, generally for a solo instrument, -and in symphonic form. da camera. A chamber sonata ; a sec^liar piece. da chiesa (/.) A Church sonata; ,an organ sonata. Sonate (F.) [Sonata.] Sonatina (7.) ] A short sonata ; one in Sonatine {F.)j which the subjects are not developed at length. Sonatore (/.) An instrumental performer. Sonevole (/.) Sonorous, sounding, re- sonant. Song, (i) A short poem intended for music. (2) A musical setting of a short poem or portion of prose. (3) The second subject of a sonata is sometimes- called the " song-theme." Song-men. [Lay Vicars.] Sonometer. An instrument for measur- ing the vibrations of sounds. Sonoramente {I.) Sonorously. Sonore (F.)l Sonorous, resonant, har- Sonoro {I.) j monious. Sonorita (/,) Harmony, resonance^ sonorousness. Sonorophone. A metal wind instrument of the bombardon class. Sons {F.) The name given by the Proven9al poets to their lyrical pro- ductions. Sons Stouffes (F.) Stifled, veiled, or muffled tones ; sojinds produced by a muted instrument. harmoniques {F.) Harmonic tones or sounds. pleins (F.) Full tones ; applied to the production of full round tones by a voice or instrument. Sopra (/.) Above, before, over, upon, upper ; as di sopra, as above ; come sopra, as above or before; nella parte di sopra, in the upper or higher part ; contrappunto sopr-a il soggetto, counter- point over the subject. SOPRAN- -STA. 81 Sopran (G.) 1 The highest kind of female Soprano {I.) J or boy's voice. Also, the singer possessing that voice. Soprana corda (J.) The highest or E string on the violin. [Chanterelle.] Soprano clef. The C clef upon the first line of the stave. Sordal (/.) Muffled, veiled, damped with Sordo J a mute ; as tromba sorda, clari- netto sordo, &c. Sordamente (/.) Softly, gently, silently. Sordini (J.) (i) Mutes, j.t). Con sordini, with mutes ; senza sordini, without mutes. (2) The dampers of a pianoforte. Sordino (7.) A mute ; also a small pocket- fiddle, a pochette or kit. Sordonol (/.) (i) An old form of wood Sordun J wind instrument. (2) A sort of mute for a trumpet. (3) An organ reed-stop of i6-ft. pitch. Sortie (F.) A voluntary played at the close of a service. Sortisatio {L.) Counterpoint alia mente. Sortita (T.) The first piece sung by any one character in an opera ; the opening air or aria d' entrata ; a concluding voluntary. Sospensivamente (I.) Doubtfully, irreso- lutely, waveringly. Sospirando \ Sospirante (/.) Sighing, subdued, Sospirevole " wretched, doleful. Sospiroso j Sospiro (/.) A sigh ; a crotchet rest. In old music, a minim rest. Sostenendol (/.) Sustaining; maintain- Sostenuto J ing the tone for the full duration gf the notes written. Sotto (I.) Below, under ; as sotto voce, in an undertone ; sotto it soggetto, below the subject. Soubasse {F.) Sub-bass. A stop in the organ of 32-ft. pitch. Souchantre (F.) Succentor. SovLSkrah {Pn.) The general name among the Persians and Arabs for wind instru- ments without reeds. Souffleur (F.) (i) A prompter in a theatre. (2) An organ-blower. Soum. A Burmese harp. Soundboard, (i) A piece of fir or other wood placed behind the strings of a pianoforte for the purpose of increas- ing the power of the sounds, (z) ,In an organ the soundboard is the chamber of air below the sliders. Sound-body. Sound-box. [Body. Re- sonance-box.] Soupir (F.) A crotchet rest, f de croche {F.) A quaver rest, 1 de double croche {J''.) A semi- quaver rest, ^ de triple croche (F.) A demi- semiquaver rest, ^ Sourdeline (F.) A small kind of bag- pipe or musette. Sourdine [F.] (i) A mute. {2) A stop on the harmonium which reduces the quantity of wind supplied to a chord. Sous (F.) Under; as sous-dominante, the subdominant or fourth of the scale ; sous-mldiante, the submediant, or sixth of the scale ; sous-tonique, the sub- tonic or seventh of the scale. Spaces. The intervals between the lines of the stave. Spagnolettal (/.) A dance in the Spanish Spagnuola J style. Spanischeskreuz (G.) The Spanish cross ; the sign of a double-sharp, x Spanish guitar. [Guitar.] Spart. [Sparto.j Spartito (I.) Scored. Sparto {!.) Scattered, distributed ; hence, a score, as the parts are arranged on several lines. [Score.] Spassapensiere (/.) Jew's harp. Spatium (L.)) (i) A space on the stave. Spazio (7.) J (2) An interval. Spianato (7.) Smooth, level, even. Spiccatamente (7.) Brightly, brilliantly. Spiccato (7.) Distinct, detached, pointed. SpieJart (G.) Manner of playing ; me- thod of performance. Spielmanieren (G.) Ornaments, graces, broderies. Spinas (7,.) Literally, Thorns. A name given to the quills and jacks of a spinet. Spindelflote 1 (G.) An organ-stop of 8-ft. Spitzflote I or 4-ft. pitch, consisting of open flue-pipes of a conical shape. Its tone is thin and reedy. Spinet. ") An ancient keyed instru- Spinett (G.) >■ ment similar in construc- Spinetta (7.) J tibn to, but smaller in size than, the harpsichord. The strings, which were placed at an angle with the keys, were sounded by means of leather or quill plectra. Spirante (7.) Expiring ; dying away. Spirito, con ] (7.) In a spirited, Spiritosamente - lively, animated, brisk, Spiritoso j manner. Spirituale (7.) Sacred, spiritual. Spirituel (F.) Ideal, pure, ethereal. Spitzquinte. A quint-stop or twelfth of conical pipes. Spondee (L.) A metrical foot, consisting of two long syllables, — — Spressione (7.) Expression. Sprung (G.) A skip. Squillante (7.) Ringing, sounding, bell- like in tone ; from squilla, a little bell. Sroutis. The name of the twenty-two parts into which the Hindu scale is divided. Sta (7.) As it stands ; to be performed as written. 82 STABILE STRATHSPEY. Stabile (/.) Firm, steady, Staccare (I.) To make staccato. Staccatissimo (/■) As staccato as pos- sible. Staccato (/.) Detached, taken off, sepa- rated. Stadtmusikanten (G.) Town musi- cians, [Waits.] Stadtpfeifer Stadtzinkenisten Staff. [Stave.] Stammakkord (G.) A key-chord or fun- damental chord. Standchen (G.) A serenade. Standhaft (G.) Firm, steady, steadfast. Stanghetta {I.) A bar-line ; the ver- tical line placed on the stave to mark the bars. Stanza (7.) A verse or subdivision of a poem ; a strophe. Stark (G.) Strong, loud ; as mit starhen Stimmen, with loud stops. Stave. ( i)The horizontal and parallel lines upon which the notes or rests are placed. The ordinary stave consists of five lines , the "grand stave " of eleven lines, and for Plain-song a stave of four lines is used. (2) A stanza; a portion of a song ; a verse. Steg (G.) The bridge of a violin, &c. Stellung (G.) Position, in violin-playing. Stem. The line attached to the head of a note. Stentando {!.) Delaying, retarding. Stentato (I.) Forced, emphasised. Steso {/.) Extended, spread, diffused. moto {I.) Slow movement. Stesso (/.) The same. L' istesso tempo, the same time. Sthenochire. A hand-strengthener ; a machine for imparting strength and flexibility to the fingers for pianoforte- playing. Sticcado or Sticcato. An instrument composed of pieces of wood of gradu- ated lengths, resting on the edges of an open box, and tuned to a diatonic scale. The tone is produced by striking them with a small hard ball at the end of a flexible stick. Stiefel (G.) Boot of a reed-pipe in an organ. Stift (G.) The jack of a spinet or harp- sichord. Stile (I.) \ Style ; SiS stilus choraicus {stilo Stilo (/.) [ coraico,/.), the dance style; Stilus (i.)) stilus ecclesiasticus [stile ec- clesiastico, I.), the Church style ; stilus familiaris (stile familiare, I.), the simple style, note against note; stilus hypor- chematicus, the theatrical style; stilus madrigalescus, the madrigal style ; stilus melismaticus, the florid style ; stilus motecticus, the motet style ; stilus phan- tasticus (stile fantastico, I.), the fantasia style ; stilus recitativus [stile rappresen- taiivo or drammatico, /.), the dramatic style ; stilus syllabicus, the syllabic style, in which sot more than one note is given to each syllable ; stilus symphoniaeus (ife'i;«i*«/'o»wo,7.),the instrumental style. StiUgedackt (G.) An organ - stop of soft tone. Stimme (G.) (i) The voice. (2) Sound. (3) The sound-post of a violin or violon- cello- (4) A part in vocal or instru- mental music. (5) An organ -stop or rank of pipes, Stimmgabel (G.) Tuning-fork. Stimmhammer 1 (G.) A tuning key or Stimmschliissel j hammer. Stimmholzehed (G.) Sound-post of a violin, &c, Stimmhom (G.) A tuning cone for organ pipes. Stimmpfejfe (G.) A pitch-pipe. Stimmstock (G.) The sound-post of a violin or violoncello. Stinguendo {/.) Fading away; dying away. Stiracchiatol (J.) Widening, enlarging, Stirato J retarding the time. Stockfagott. [Rackett,] Stolz (G.) Proudly. Stonante (/.) Discordant, untuneful. Stop, (i) The pressure by the fingers of the strings upon the finger-board of a stringed instrument. (2) A fret upon a guitar or similar instrument. (3) A collection, register, or row of pipes in an organ. Stopped diapason. An organ - stop having pipes covered, or stopped, at the top. It is of soft tone, and of the same pitch as the open diapason, but of half the length. Stopper. The plug inserted in the top of an organ-pipe, in order to " close " it. StortaW/.) A name formerly given to StortoJ the horn, serpent, &c., because of their twisted form. Stracantare (7.) To sing charmingly. Straccicalando (7.) In a prattling manner. Strain. A musical subject forming part of, and having relation to, a general whole. Strascicando (7.) Dragging or drawling. Strascicato (7.) Dragged, drawled. StrascinandQ (7.) [Strascicando.] 1' arco (7.) Drawing or dragging the bow over the strings so as to bimd. the notes together. Strascino (7.) A drag or slur; a slurring movement from sound down to sound, the pace at the same time being slightly slackened. Strathspey. A Scotch dance in duple time. STRAVAGANTE- -SULLA. 83 Stravagante (/.) Extravagant, capri- cious, fantastical. Stravaganza (/.) Extravagance, eccen- tricity. Straziante (/.) In a mocking, jeering manner. Streichinstrunaent (G.) A stringed in- strument played by the stroke of a bow. Streichquartett (G.) String quartet. Streichzither (G.) A zither played with a bow. Strene. The name given by Marbecke to a breve, probably because it might be used for recitation or a strain. Streng (G.) Strict, severe, rigid. Streng gebunden, strictly tied or legato, exceed- ingly smooth ; streng im Tempo, strictly in time ; strenge Fuge, a strict fugue. Strepito {I.) Noise. Strepitosamente (I.) Noisily. Strepitoso (I.) Noisy, impetuous. Stretta (/.) A coda ; a final passage taken in quicker time than the pre- ceding movements. Stretto (/.) Contracted, close. A stretto in a fugue is the bringing closely to- gether the subject and its answer. Strichart (G.) In violin-playing the particular way in which a passage or phrase is to be played, and the signs used in marking such. Strict fugue. [Real fugue]. Striking reed. A percussion reed. String. Prepared wire or catgut, plain or covered, used for musical instruments. band. (i) The stringed instru- ments in an orchestra, (2) A band consisting only of instruments played with a bow. ~ — organ. A musical instrument, the sounds of which are produced by the association of a free reed and a wire string. quartet, (i) A composition in four parts — for two violins, viola, and violoncello. (2) The group of stringed instruments in a band called also the string quintet. String-gauge. A small instrument for measuring the thickness of strings for violins, guitars, &c. Stringendo (/.) Pressing, hastening on the time. Strisciando) (/.) Creeping, gliding, slur- Strisciato J ring smoothly from one note to another. Strofa (/.) A strophe. Strohfiedel (G.) [Gigelira.] Strombettare (I.) To sound a trumpet. Strombettiere (/.) A trumpet-player. Stromentato (J.) Instrumented ; scored for an orchestra. Stromento. (/.) An instrument. Strophe. The portion of music sung by the Greek chorus when walking towards the thymele ; antistro^he, that sung whilst returning. Stuck (G.) A piece, air, composition. Study. A term applied to an exercise for the pianoforte or other instrument. Stufe (G.) A step, a degree. Stufe der Tonleiter, a degree of the scale. StUrmisch (G.) Boisterously, furiously, impetuously. Styl (G.) 1 Character, form, or tempera- Style. J ment of music. Suabe flute. An organ-stop of soft clear tone. Suave (/.) Sweet, agreeable, pleasant. Suavementel (/.) Sweetly; with deli- Suavita, conj cacy. Sub-bass. 1 A pedal register in the Sub-bourdon. ) organ, of 32-ft. tone. Subchanter. Succentor. Subdiapente. )The fifth below or the Subdominant.j fourth above any key- note. Subitamente) (/.) Suddenly; without Subito J pause. Volti subito, turn quickly. Subject. The theme or principal phrase of any movement. Submediant. The sixth of the scale. Suboctave. A coupler in the organ which pulls down keys one octave below those which are struck. Subprincipal. An organ-stop consisting of open pipes, of 32-ft. pitch on the pedals, and of i6-ft. pitch on the manuals. Subsemifusa (£..) A demisemiquaver. Subsemltone. [Leading note.] Subsemitonium modi (L.) The lead- ing-note. Subtonic. The leading-note. Succentor. An officer of the choir, the deputy of the precentor. Succession. The order in which the notes of a melody proceed. Sudden modulation. To modulate rapidly into a remote key. Sufflote (G.) [gifHote.] Suite {F.) A set, series, or succession of movements in music. The precursor of the sonata and symphony. Suivez (F.) Follow. A direction to an accompanist to watch the singer or soloist, and accommodate the accom- paniment to his singing or playing. Sujet {F.) A subject, melody, phrase, or theme. Sul ] {I.) On, upon, by. Sulla soprano SuU' • corda, upon the first string ; sul Sulla ) ponticello, by or near the bridge, in violin-playing; sulla tastiera, upon the keyboard. 84 SULTANA TABRET. Bultana A violin with strings of wire in pairs, like the cither or cittern. It was similar to the Streichzither. Suo loco (/.) In its own place; in the register as written. Suonare (/.) [Sonare.] Suonata (/.) A sonata. Super {L.) Above, over. Superdominant, the note next above the dominant, the sixth of the scale ; supertonic, the second of the scale. Superfluous intervals. Those intervals greater by a semitone than major or perfect. Superius (L.) A . name given to the upper part in a composition by the writers of the sixteenth century. Superoctave. (i) An organ-stop tuned two octaves above the diapasons. (2) A coupler pulling down keys one octave above those struck. Supertonic. ) The second of the Supertonique (F.)/ scale; the next note above the tonic or key-note. Supplicando \ (I.) In an implor- Supplichevole I- ing, supplicating Supplichevolmente) manner. Supposed bass. A term applied to any bass note forming one of the inversions of a chord, in contradistinction to the real bass or generator. Sur (F.) Upon, on, over. Sur la qua- irieme corde, upon the fourth string; sur une corde, on one string. Suspended cadence. An interrupted cadence. Suspension. The holding or prolonga- tion of a note in any chord into the chord which follows, so as to form a discord. Suss (G.) Sweet. Sussurando 1 (/.) Whispering, mur- Sussurante J muring. Sustained note. A name given to pro- longed notes which partake of the character of a pedal -point. Svegliato (/.) Awakened, brisk, lively. Svelto (/.) Swift, light, quick, free, easy. Swell. In an organ, a box which contains a number of pipes. The front consists of a number of shutters, which can be opened or closed by means of a pedal, and so a crescendo or diminuendo can be produced. Symphonie (F.)! (i) A composition for Symphony. J an orchestra, similar in construction to the sonata, which is usually for a single instrument. A sym- phony has several varied movements, generally four, never less than three. The first, an allegro ; the second, an adagio, or andante ; the third, a scheijzo, or minuet and trio'; and the fourth, an allegro. (2) Formerly overtures were called symphonies. (3) The introduc- tory, intermediate, and concluding in- strumental parts of a song or other vocal piece are also called symphonies. Symphonion. A combination of the pianoforte and harmonium, invented by KaufTman, of Dresden. Symposiac. A term applied to cheerful and convivial compositions for voices, as glees, catches, rounds, &c. Syncopatio (L.)'\ Suspension or altera- Syncopation. • tion of rhythm by Syncope (F.) ) driving the accent to that part of a bar not usually accented, Syncopiren (G.) To syncopate. [Syn- copation.] Syren. [Siren.] Syrinx. [Pan's pipes.] Szopelka (R.) A kind of oboe, made of elder wood, with a brass mouthpiece and eight large and seven small finger- holes. Taballo {/.) Kettle-drum. Tabarde or Tabarte (old E.) Tabor. Tabl. An Egyptian drum formed from a hollowed block of wood, or made of earthenware, with a skin stretched over one end. Tablatur (G.)\(i) A general name for Tablature (F.)/ all the signs and cha- racters used in music. (2) A peculiar system of notation employed for instru- ments of the lute class, for viols, and certain wind instruments. Now obsolete. Table d'harmonie (F.) (i) A table or diagram of chords, &c. (2) A sounding- board. Table d'instrument (F.) The belly of an instrument of the violin or guitar classes. The upper plate. music, (i) Compositions so arranged on one page that two or more persons sitting opposite each other at a table could sing from the same book. (2) German part-songs (from the word Liedertafel). Tabor. Tabour. Taboret. ■ A little drum. Tabouret (F.) Tabourin. Tabret. [Tabor. Tambourine.] TACE TEMPO. 85 Tacei IL ) I ^^ silent. C.B. tacet, let Taciasi // 1 1 '"^^ contrabasso be silent. Tact (G.) ' [Takt.] Tactus (L.) The stroke of the hand or bdton in beating time. Tafelmusik (G.) [Table music] Tail. [Stem.] Tail-piece. That part of the violin, &c., to which the strings are fastened at the lower end, usually made of ebony. Taille (F.) (i) The tenor voice or tqnor part. (2) The tenor violin, the viola. Takigoti or Takigoto. A species of dulcimer in use among the Japanese. Takt (G.) Time, measure, bar ; as Takt- art, the sort of time, whether duple or triple ; Takifest, steady in keeping time; Taktfiihrer, conductor; Takthalten, to keep time ; Taktmdssig, according to the time ; Taktmesser, a metronome ; Taktnote, a semibreve ; Taktfause, a bar-rest ; Taktschlagen, to beat time ; Taktstock, a bdton or stick for beating time; Taktstrich, a bar-line; Takttheil, a division of time ; Takizeichen, a time- sign. Talabalacco. A Moorish drum. Talah. Indian cymbals. Talon (F.) The heel of a bow. Tambour {F.) Drum ; the great drum. de basque (F.) A tabor with jingles ; a tambourine. major (F.) Drum-major. Tamboura. An Eastern instrument of the guitar species, with strings of wire, struck with a plectrum. Tambourin (F.) (i) A long narrow drum. (2) A lively stage-dance formerly popular in France. (3) A movement in a suite. Tambourine. An ancient pulsatile in- strument of the drum class. It is formed of a hoop of wood or metal, over which is stretched a piece of parchment or skin ; the sides of the hoop are pierced with holes, in which are inserted pieces of metal in pairs, called jingles. Tambourineur (F.) Drummer, tam- bourine-player. Tamburino (/.) A drummer. Tamburo (7.) A drum. Tamburone {I.) The great drum. Tam-tam (F.) [Gong.] Tandelnd (G.) In a playful style. Tangente (G.) The striking pin of a clarichord. Tanto (J.) So much; as much. Allegro non tanto, not so fast ; a tanto possibile, as much as possible. Tanz (G.) A dance. Tanzkunst (G.) The art of dancing. Tarantella (/.) A rapid Neapolitan dance in triplets, so called because it was thought to be a remedy against the supposed poisonous bite of the taran- tula spider. Tarau. I The Burmese fiddle. It has Theyaou. ■ three strings of silk, and a Thro. J nasal tone. Tardamente (J.) Slowly. Tardando (I.) Retarding the time. Tardo {/.) Slow, dragging. Taschengeige (G.) A pocket-fiddle. Tastame (/.) A The keyboard of a pianoforte or or- gan. A hand-guide, guide-main. Tastatur (G.) Tastatura (/.) Tastenbrett (G.) Tastenleiter (G.) Tastiera (J.) Tastenschwanz (G.) The extremity of the keys. Tastenwerk (G.) A keyed instrument. Taste (I.) (i) A key of a pianoforte; (2) The touch of a pianoforte or organ. Tasto solo (I.) One key alone ; a direc- tion to play the part without accom- panying chords ; in unison.- Tatto (/.) The touch. Tche or Tsang. A Chinese instrument strung with wire and plajred with the fingers, like a guitar. Teatro (/.) A theatre. Technik (G.) A general name for the systems, devices, and resources of musical art. Tedesca, alia (I.) In thp German style. Tell-tale. A movable piece of metal or bone attached to the bellows of an organ which shows the quantity of wind they contain. Tema{7.) A theme or subject ; a melody. Temperament. The division of the octave ; a system of compromises in the tuning of musical instruments. Tempestosamente {/.) Impetuously, furiously. ''\! ^ Tempestoso (/.) Tempestuous, moved, agitated. Tempete (F.) A dance in quick | time. Tempo (/.) Time or measure. Tempo comodo, convenient, easy, moderate time ;. tempo a cappella, in the time of Church music ; tempo di gavotta, in the time of a gavot ; tempo di ' marcia, in marching time ; tempo di memietto,\n the time of a minuet ; tempo dipolacca, in the time of a polacca ; tempo di prima parte, in the time of the first part or original movement ; tempo di valse, in waltz time ; tempo frettevole or frettoloso, in quick, hastened, hurried time ; tempo giusio, in just or moderate time ; tempo ordinario, in ordinary or usual time ; tempo perduto, lost, interrupted, broken, and irregular time ; tempo primo, first or original time ; tempo rubato, robbed or stolen time; time occasionally slackened or hastened for the purposes of expression. S6 TEMPO WIE VORHER TESTUDO. Tempo wie vorhev (G.) The time as before. Temporeggiato (7.) Accommodating the pace to the wish or caprice of a solo performer. Temps (F.) Time; the parts or divisions of a bar. Temfs foible, weak time, the unaccented parts of a bar ; temps fori, strong time, the accented parts of a bar ; temps frappe, the down-beats in a bar ; temps leve, the up-beats in a bar. Tempus (L.) Time ; one of the three early divisions of mensurable music. imperfectum {L.) The division of the breve into two semibreves. perfectum (L.) The division of the breve into three semibreves. Tendrement (F.) Tenderly, delicately. Tenendo il canto (/.) Sustaining the melody. Teneramente (I.) Delicately, tenderly. Tenerezza, con (/.) With ■tenderness, softness, delicacy. Tenero (I.) Tender, soft, delicate, sensi- ble, careful. Teneroso (/.) Tenderly, softly, delicately. Tenete (J.) Keep, hold, sustain. Tenor, (i) The highest of male chest voices. Its compass lies between c and a'. (2) The viola or alta-viola. (3) The largest bell in a peal or set. C. (i) Thelowest C in the tenor voice. (z) The lowest string of the tenor violin. clef. The C clef placed upon the fourth line of the stave. trombone. A trombone .with a compass of two octaves and a fifth, from E to b' flat. violin. The viola. . Tenore (/.) (i) Tenor voice. (2) A tenor singer ; tenore buffo, a tenor singer to whom is assigned a comic part in an opera; tenore Uggiero, a tenor singer with a voice of light, small quality; tenore robusto, a tenor singer with a full, strong, sonorous voice. Tenorist. One who sings the tenor part, or plays the tenor violin. Tenoroon. (i) The name of an old tenor oboe with a compass extending down- wards to tenor C. (2) A word affixed to an organ-stop to denote that it does not proceed below tenor C, as tenoroon hautboy. A tenoroon diapason is a double diapason which does not extend below tenor C. Tenorposaune (G.) Tenor trombone. Tenorschlussel(G.)l T^„„^ ^,^f Tenorzeichen (G.) J Tenth, (i) A compound interval com- prising an octave and a third. (2) An organ -stop, tuned a tenth above the diapasons, called also double tierce or decima. Tenue (i?.) I Held on; sustained; kept Tenuto (I.) [ down for the full time. Teoria (I.) Theory. Teoria del canto, theory of singing; teoria d'armonia, theory of harmony. Tepidamente (/.) In a lukewarm man- ner ; with indifference. Tepiditi (I.) Coldness, indifference. Ter (L.) Thrice. unca (L.) Thrice hooked. A demi- semiquaver. Tercet {F.) A triplet. Ternary form. Rondo form ; so called because the first principal subject is given three times. measure. Triple time ; perfect time. Terpodion. An instrument invented by David Buschmann of Hamburg, in 1816, resembling in appearance the piano- forte, but the tone was produced from blocks of wood struck with hammers, Tertia (L.) [Tierce.] Tertian. An organ -stop composed of two ranks of pipes, sounding a major third and fifth of the foundation-pipes, in the third octave above; a tierce and larigot on one slider. Terz (G.) [Tierce.] Terza (7.) The third. Opera terza, tiie third work ; violino terzo, the third violin. Terzdecime (G.) An interval of a thir- teenth, the octave of the sixth. Terzdecimole (G.) A group of thirteen notes to be performed in the time of eight, or of twelve. Terzettino (7.) A short composition for three performers. Terzetto (7.) A composition for three performers. Terzflote (G.) (i) A flute sounding a third above the notes written. (2) An organ-stop. [Tierce.] Terzina (7.) A triplet. Terzo mano (7.) Literally, A third hand. An octave coupler on Italian organs. Terzquartakkord l(G-) The | or Terzquartsextakkord J 4 chord; the second inversion of the chord of the dominant seventh. Terzquintsextakkord (G.) The | chord. Testa (7.) The head ; as voce di testa, head-voice. Testo (7.) (i) The text, theme, subject of a composition, (z) The libretto of an opera, or the words of a song. Testudo (7/.) A name for the lyre, be- cause the sounding part or hollow was made of the shell of the sea tortoise or turtle. TETRACHORD TIRADE. Tutrachord. A scale-series olfouf notes. The word in its modern sense signifies a half of the octave scale, e.g. .- — First Tetrachord. Second Tetrachordi Tetrachordal system. The early form of the system now known as " Tonic Sol-fa." Tetrachordon. An instrument similar in appearance to a cottage pianoforte, but the tone is obtained by means of a cylinder of india-rubber charged with resin, which sets the strings in vibra- tion. Theil (G.) (i) A part or division -of a bar. (2) A phrase, strain, or part of a piece. (3) A piece, composition, work. Theme, (i) A principal subject in a movement in sonata-form. (2) The cantus firmus on which counterpoint is l5uilt. (3) The subject of a fugue. (4) A simple tune on which variations are made. Theorbe (G.) [Theorbo.] Theorbo. An old stringed instrument resembling the lute in form or tone. It had two necks, to the longest of which the bass strings were at- tached. When the strings were double, or tuned in octaves or unison with the bass or treble notes, it was called the arch-lute or chitarone. Thesis. (Gk.) (i) In metre, the heavy tone or vocal accent. (2) In rhythm, the non-accent, or up-beat. [Arsis.] Thin, (i) Meagre and scanty harmony. (2) A poor quality of tone in a. voice or instrument. Third. An interval of three diatonic degrees. — - flute. [Terzflote.] stave. The stave upon which pedal music is written for the organ. Thirteenth, chord of the. A chord con- sisting generally of the third, seventh, and thirteenth of the dominant. Thirty-second note. A demisemiquaver. Thorough-bass. A species of musical shorthand. It consists of a bass part with the accompanying harmonies indi- cated by figures. Through-bass was a translation of basso continuo, or bass written below the whole piece. Threnody (Gk.) An elegy or funeral song. Thrice-marked octave. [Pitch.] " Thrum, (r) To play without skill upon a stringed instrument. (2) The sound so made. Thiirmer (G.) A town musician. Tibia (L.) The ancient Roman flute, formed out of a leg-bone. Tibia major. An organ flute-stop of i6-ft. pitch. obliqual (L.) Thej?a«to traverse, vasca I or cross-flute. Tibiae (L) The ancient name for flutes of all kinds. pares (L.) The ancient doable flute ; one held in each hand, and played by the same performer. utriculariae (i.) The ancient bag- pipe. Tibicen (L.) A flute-player. Tibicina, a female flautist; tibidnium, a piping; tibicino, to pipe. Tie. (i) A curved line placed over two or more notes in the same position On the stave, to show they are to be played as one. The tie is also called a bind, and the curved line, when used over notes representing diiferent sounds, is called a slur, (z) When two or more quavers, semiquavers, &c., are united, instead of being written with separate tails, they are said to be tied. Tief (G.) Deep, low. Tierce {F.) (i) A third. (2) An organ- stop tuned a seventeenth above the diapason. (3) One of the horse cano- nicae. (4) The natural harmonic pro- duced by One-fifth of a vibrating string. coulee (F.) A slurred third in old harpsichord music. de Picardie [F.) The sharpened third in the concluding chord of a composition in the minor mode. S::}iVf.!lA''->-<^™-- Timbre (F.) Quality of tone or sound. Timbrel. [Tabor. Tambourine.] Time, (i) The division of musical phrases into certain equal portions contained in a bar. (2) The pace at which a movement is performed is called its time or tempo. Timidamente ] Timidezza, con^(/.) Timidly, with fear. Timido J " Timore, con 1(7.) Timidly; hesita- TimorosamenteJ tingly; with fear. Timoroso (/.) Timorous ; with hesita- tion. Timpani (/.) Kettle-drums. Timpanista (/.) A drummer. Tintement (F.) The tinkling of a bell. Tintinnabulum (L.) A rattle formed either of small bells or little plates of metal. Tintinno (7.) [Tintement.] Tiorba (7.) [Theorbo.] Tipping. [Double-tongueing.] Tira tutto (7.) A pedal commanding the full power of the organ. Tirade. The filling up of an interval between two notes with a run. 88 TIRATO TOUQUET. Tirato (I.) (i) A down-bow. (2) A scale passage in notes of equal length. TiT6(F.) (i) Drawn, pulled. {2) A down- bow. (3) The drawing out of an accor- dion. Titty. ] Tziti. ■ An Indian bagpipe. Toutari.) Toccata (/.) (i) A prelude or overture. (2) Compositions written as exercises. {3) A fantasia. (4) A suite. Toccatina (/.) A short toccata. Todtenmarscli (G.) A funeral march. Tombestere {old E.) A female dancer, who accompanied herself upon a tam- bourine. Tom-tom. An Indian drum. Ton (F. and G.) (i) Tone, sound. (2) The interval of a second. g^nerateur (F.) [Root.] haut [F.) An acute sound. majeur (F.) Major key or mode. mineur (F.) Minor key or mode. Tonabstand (G.) An interval. Tonada (S.) A tune, air, or melody. Tonadilla (S.) A short tune, an inter- lude, ritornello, symphony to a song. Tonal fugue. A fugue in which the answer undergoes some slight modifica- tion in order to prevent a departure from the key-tonality of the subject. Tonality. 1 Mode, tune, key, scale- Tonart (G.)J system. Tonarion. ) A pitch-pipe used by the Tonarium. J Latin orators for the pur- pose of regulating the pitch of their speaking voice. Tonausweichung (G.) Modulation. Ton bas (F.) A deep, low tone. Tondichter (G.) A composer ; a poet in sounds. Tone, (i) Sound. (2) Quality of tone. (3) The interval of a second. (4) A Gregorian chant. Tonfall (G.) A cadence. Tonfolge (G.) A succession of sounds; a melody. Tonfuhrung (G.) (i) A melodic succes- sion. (2) Modulation. Tonfuss (G.) A foot. [Metre.] Tongang (G.) [Tonfiihrung.] Tongeschlecht (G.) The character of the modes (major and minor). Tonic. \ (i) The key-note of any Tonica (I.) scale ; the ground-tone Tonique (F.)) or basis of a scale or key. {2) The key-chord in which a. piece is written. Tonic Sol-fa. A letter system of nota- tion, in which the key-note of a piece is always called doh, the second of the scale ray, and so on, me,fah, soh, lah, te. Higher or lower octaves are shown by figures placed by the side of the notes, dS (?«, »t', and ij, »»„ rfj. The key- sound is stated at the beginning of a piece, as key G, key Ep, &c. Notes with the vowel e added are to be made sharp, and those with a to be made flat. Invented by Miss Glover, but largely improved and popularised by John Curwen. Tonkunst (G.) The art and science of music. Tonkunstler (G.) A musician ; a musi- cal artist. Tonleiter (G.) A scale. Tonmalerei (G.) Composition, inven- tion, sound-painting. Tonmessung (G.) Tone - measuring, metre, rhythm. Tons de la trompette (F.) Crooks used to alter the pitch of a trumpet. de I'eglise (F.) Church modes or tones. Tonsatz (G.) A musical composition. Tonschluss (G.) A cadence. Tonschlassel (G.) Key, key-note. Tonschrift (G.) (i) Written music. (2) Musical notes or characters. Tonsetzer (G.) (i) A composer. {2) In a sarcastic sense, a music-maker. Tonsetzkunst (G.) The art of musical composition. Tonsetzung (G.) A musical composition. Tonspieler (G.) A performer. Tonsprache (G.) The art of expressing thoughts and feelings in music. Tonstiick (G.) A piece of music ; a composition. Tonstufe (G.) A step or degree of a scale. Tonsystem (G.) (i) The systematic ar. rangement of sounds according to the rules of melody, harmony, and rhythm. {2) A scale. Tonverhalt(G.) Rhythm. Tonzeichen (G.) (i) A note or other character used in music. {2) Accent. Toomourah. An Indian tambourine. Toorooree. A trumpet used by the Brahmins in their religious processions. Toph (H.) A small drum ; a timbrel. Torcelli. A name anciently given to organs in Italy. Tosto (I.) Quick, swift, rapid. Piu tosto, more rapid ; tosiamente, quickly, rapid- ly ; tostissimamenie, tostissimo, very quickly, with great rapidity. Touch, (i) The resistance made to the fingers by the keys of a pianoforte or organ. (2) The peculiar manner in which a player presses the keyboard, whether light, pearly, heavy, clumsy, firm, &c. Touches (F.) The keys of a pianoforte, organ, harmonium, and concertina. Touquet (F.) [Toccata. ' Tucket.] TOURS DE FORCE- -TRIOLET. 89. Tours de force (F.) (i) Roulades, runs, or divisions for the voice. (2) Passages of rapid execution upon an instrument. Toutari. [Titty.] Toys. An old English name for dance- tunes and light and trifling pieces of music. Trackers. Pieces of light wood in the mechanism of an organ. Tractur (G.) [Trackers.] Tradotto (J.) Transposed, arranged, translated. Trains (F.) Slurred, bound, dragged. Trait (F.) (i) A run, or division ; trait de chant, a melodious vocal phrase. (2) A special passage or phrase for a body of instruments of the same class. (3) Trait d'harmonie, a sequence in harmony. (4) Trait d'octave, rule of the octave. Tranquillamente ) (/.) Tranquilly, Tranquillo J calmly, quietly Tranquillezza, con ) {I.) With tran- Tranquilliti, con ) quillity, calmness. Transcription. The arrangement or modification of a composition for some instrument or voice other than that for which it was originally written. Transient modulation. The temporary introduction of chords or progressions from an unrelated key. Transitio (L.) Change of key. Transition, (i) A modulation. {2) A passing note. Transponiren (G.) Alteration of the original key. [Transposition.] Transponirende Instrumente (G.) [Transposing instruments.] Transposing instruments. Instruments which do not produce the exact sounds written for them. Thus, a b1? clarinet is so called because the written note C, when sounded, is BJ?. piano, A pianoforte so constructed that its keyboard may be moved to admit of its giving sounds other than those which the scale used would seem to imply. Transpositeur (F.) A transposing key- board which can be fixed to a piano- forte. Transposition, (i) A change of key. (2) An inversion of parts in counterpoint. Traquenard (F.) A lively sort of dance. Trascinando (/.) Dragging, delaying the time. Trascritto (/.) Transcribed, copied. Trauergesang (G.) Funeral hymn ; dirge. Trauermarsch (G.) Funeral march. Trauermusik (G.) Mourning music. TrauervoU (G.) Mournful, sorrowful. Traurig (G.) - Sadly, sorrowfully, pen- sively, mournfully. Traversifere (F.) Across. Flute traver- siere, the flute held crossways, as is now usual, the Jlute-lt-bec being blown with a mouthpiece like a whistle. Traverse (/.) [Traversiere.] Tre (I.) Three. A tre voci, for three voices, or in three parts. corde (/.) Without the soft pedal. Treble, (i) The highest vocal or instru- mental part, sung by women or boys, or played by violins, flutes, &c. (2) The soprano voice. clef. The G clef on the second line of the stave. Treibend (G.) Hurrying the time. Tremando (7.j Trembling, waver- Tremolando mg. (i) A chord or Tremolate note played or bowed Tremolo J with great rapidity so as to produce a quivering effect. (2) Vibration of the voice in singing. Tremolant or Tremulant. An organ and harmonium stop which produces a trembling sound. ?"mo?o%o}(^-) [Tremolando.] Trenchmore. A lively old English country-dance, or hey-de-guy. Trenise (F.) The fourth figure in a quadrille. Tres (F.) Very. Trh animl, very ani- mated ; iris vif, very lively. Triad, (i) A chord of three notes. (2) A common chord. Triangle. An instrument of steel bent into a three-sided form. It is held by a string and struck with a small bar of iron or steel. Triangolo {/.) [Triangle.] Tribrach. A foot consisting of three short syllables, u c v> Trichord, (i) A small lute or man- doline with three strings. (2) A pianoforte with three strings to each note. Tricinium (L.) A composition in three parts. Trill. A shake. Trillando (I.) Shaking; a lengthened vocal or instrumental shake. Trille(F.) JA-hake Triller(G.)P^"^''^' Trillerkette (G.) A chain or succession of shakes. Catena di trilli. Trillo (/.) A trill or shake. caprino (/.) A goatlike shake. Trinklied (G.) A song in praise of drinking. Trio, (i) A composition for three voices or instruments. (2) A part of a minuet, march, &c. Triole (G.) ) Atriplet. Three notes played Triolet (F.)] in the time of two of the same name. go TRIOMPHALE TUNING FORK. ?SoS^"etr'}T-mphal. Triomphant (i''.)) rr. ■ . ^ Trionfante (A) ^| Triumphant. Trionfalmente (J.) Triumphatttly. Tripedisono. A capo tasto. Tripeltakt (G.) Triple time. Tripbonisch(G.) Having three sounds. Triple counterpoint. A counterpoint in three parts, so contrived that each part will serve for bass, middle, or upper part as required. croche (F.) A demisemiquaver. fug^e. A fugue having three sub- jects. harp. [Harp.] — - time. Time of three beats, or three times three beats in a bar. Triplet. A group of three notes per- formed in the time of two. Triplex 1(L.) (i) The name originally TriplumJ given to a third part when added to two other parts, one of which was a canto fermo, the other a counter- point; hence the treble. {2) A motet or other composition in three parts'. Trisagion (GA.) ) Thrice holy. The Ter sanctus {L.)j opening words of the Sanctus. Triste e dolce (/.) ■I.) Sadly and sweetly. With sadness, melan- An augmented fourth, containing three whole tones. Tristezza, con (7. choly. Triton (F.) Tritone. Tritono (7.) Tritonus(7, Tritt (G.) Tread, treadle, step. Trittschuh (G.) A place for the foot on the bellows of old organs. Trochee. A foot consisting of one long and one short syllable, — kj Troll. To take part in a catch or round. Tromba (7.) (i) A trumpet. (2) An organ reed-stop of 8-ft. pitch. bassa (7. ) A bass trumpet. cromatica (7.) A keyed trumpet capable of producing intermediate semi, tones. marina (7.) [Trumpet marine.] — — sorda (7.) A trumpet whose sound is stifled by the insertion of a mute in the bell. spezzata (7. ) An obsolete name for the bass trumpet. Trombetta (7.) A small trumpet. Trombone, (i) A large, deep and loud- toned instrument of the trumpet species, w-ith a sliding tube. There are three kinds, the alto, tenor, and bass trom- bones, and the general compass is a little more than two octaves. (2) A powerful reed-stop in the organ of 8-ft. or i6-ft. scale on the manuals, and i6-ft. or 32-ft. on the pedals. Trommel (G.) Military drum; the big drum. Trommelkiapfel or Trommelschlagel (G.) Drumstick. Trommelschlager (G.) A drummer. Trompe (F.) (i) A trumpet, (2) A hunting horn. de B£arn (F.) [Jew's-harp.] Trompete (G.) A trumpet. Trompetenzug (G.) Trumpet stop or register in an organ, Trompette (F.) (i) A trumpet. {2) A trumpeter. (3) A reed-stop in an organ. a clefs (F.) A keyed trumpet. a pistons (F.) A valve trumpet. Troop, (i) A march in quick time. (2) The second beat of the drum as the signal for marching. Troppo(7.) Too much. Troppo caricata, too much loaded, overloaded with orna- ments or accompaniment. Non troppo allegro, not too quick. Troubadours. Singing poets who flou- rished from the eleventh to the end of the thirteenth centuries, in Provence, Toulouse, Dauphin^, and other parts of France, and also in Spain and Italy. ?rouveur}(^-) ^ bard. [Troubadours.] Trub (G.) Sad, melancholy. Trugcadenz 1 (G.) An interrupted or de- Trugschluss J ceptive cadence. Trumbscheit(G.) [Trumpet marine.] Trummel (G.) [Trommel.] Trump. A poetical name for the trumpet. Trumpet, (i) A metal wind instrument of bright and penetrating tone. Its part is usually written in the key of C, with the treble clef, though by means of crooks it may be played in various keys. (2) A reed-stop in an organ, of 8-ft. tone. marine. An instrument formed of a triangular chest with a thick gut string. When played with a bow its sounds resemble those of the trumpet. Tuba (L.) (i) A trumpet. (2) A power- ful reed-stop in the organ. major. 1 A stop invented by W. mirabilis.J Hill, consisting of an 8-ft. reed on a high pressure of wind. Tucket. A flourish on a trumpet. Tumultuoso (7.) Tumultuous, agitated. Tune, (i.) A melody or air. (2) Just intonation. Tuning. The adjustment of the sounds naturally produced by any instrument to some standard pitch and to their proper relation to each other. fork. An instrument of steel, with two prongs, which when set in vibra- tion gives out a musical sound, used for determining the pitch of the voice and of instruments. TUNING HAMMER- -UNISON. g» Tuning hammer. An instrument for tuning pianofortes or harps. Tuono ecclesiastico (/.) A Church tone. maggiore (I.) The major key. Turbae (L.) The chorus part or voice of the multitude in a Passion Music. Turbinosamente (I.) In a stormy, furious manner. Turca (/.) Turkish. Alia Turca, in the Turkish style. Turkish music. Noisy music produced solely hy instruments of percussion such as cymbals, gongs, &c. Turn. An ornament in music formed by taking the adjoining notes above or below the principal note. Turr. A Burmese violin with three strings. Tusch (G.) A flourish. Tutta (7.) All; the whole. Tutta forza, the full power or force ; tutto arco, the whole length of the bow. Tutte corde (/.) A direction to play on all the strings, instead of una corda. Tutti (I.) All. Every performer to take part in the execution of the passage or movement. Tuyau d'orgue (F.) An organ-pipe. Tuyaux a anche (F.) Reed-pipes. a bouche (F.) Open pipes. Twelfth, (i) An interval of twelve diatonic degrees, the replicate of the fifth. (2) An organ-stop tuned twelve notes above the diapasons. Tymbestere (old E.) [Tombestere.] Tympani. [Timpani.] Tympanon (F.) A dulcimer. Tyro. A learner or beginner in music or any other science. Tyrolienne. (i) A song accompanied with dancing, (z) Popular songs or melodies in which the jodl, q.i}., is freely used. Tzeltzelim (H.) [Metzilloth.] Tzetze. An Abyssinian instrument oi the guitar kind. Tziti. [Titty.] u. Uebereinstimmung (G.) Consonance, harmony. Uebergang (G.) Passage, transition. Uebermassig (G.) Augmented. Uebung (G.) An exercise. Uguale (/.) Equal, like, similar. Canone a tre vaci uguali, a canon for three equal voices. Ugualmente (/.) Equally, alike, similarly. Umana j (/.) Human ; as voce umana, Umano J the human voice. Umfang (G.) Compass,, extent; as Umfang der Stimme, compass of the voice. Umkehrung (G.) Inversion. H" (/.) One; as una corda, one string; „"^ ' una volta, once, &c. Unoj Un peu plus lent (F.) A little more slowly. Un peu retenu {FA A little slower. Unpochettinol (X.) A little, a very Un pochino J little ; as un pochino piU mosso, a very little more lively. Un poco (/.) A little ; as un poco allegro, rather quick ; unpocopiU, a little more ; un poco riienuto, held back a little, slightly retarded. Una corda (/.) With the soft pedal. Unca (L.) A quaver. Uncoupled. In organ music a direction that the manual or pedal is to be detached from the row to which it was coupled. Unda maris. Literally, Wave of the sea. A name given to the Vox angelica organ -stop, because of its wavy un- dulating tone. Undecima [L.) An eleventh. Undecimole. A group of eleven notes to be played in the time of eight. Undersong. [Burden.] Undulazione (7.) The tremulous sound produced by violinists by the vibratory pressure of the finger upon the strings. Unequal temperament. An obsolete systefh of tuning, by which the keys having not more than three sharps or flats are made in perfect tune at the expense of the more remote tonalities. voices. Voices of mixed qualities ; those of women combined with those of men. [Equal voices.] Unessentials. Notes not forming a necessary part of the harmony ; pass- ing, auxiliary, or ornamental notes. Ungeduldig (G.) Impatiently. Ungerader Takt (G.) Triple time. Ungestum (G.) Impetuously, boister- ously. Unharmonischer Querstand (G.) [False relation.] Unison, (i) Having the same number of vibrations; homophonous. (2) Music in octaves for mixed voices or instru- ments. ga UNISONO VEZZOSAMENTE. In unison, octaves. Unisono (/.) Unisonous (£.) Unisonus (L.) Unitamente {/.) Together, unitedly. Uno a uno {I.) One by one ; severally. Unruhig (G.) Restlessly, agitated. Unschuldig (G.) Innocently. Unterbass (G.) A double-bass. Unterdoniinant (G.) Subdominant. Unierdominant-akkord, the chord of the subdominant. Unterhalbton (G.) The leading-note. Unterleitton (G.) The dominant seventh. Untersatz (G.) Sub-bass. Unterstimme (G.) An under-part. Up-beat. The beat of a bar at which the hand is raised ; an unaccented beat. Up-bow. The up-stroke of a bow. Urh-heen. The Chinese fiddle. Ut. [Aretinian syllables.] Ut b^mol {F.) The note C flat. Ut diese {F.) The note C sharp. Ut diese mineur, the key of C sharp minor. Ut supra (L.) As above, as before. Gloria Patri ut supra, the Gloria as before. Utricularias. [Tibiae utriculariae.] V. Va (/.) Go on ; as va crescendo, go on increasing the power ; va rallentando, go on dragging the time. Vacillandol (7.) Wavering; uncertain Vacillante J as regards the time or tone. Vago (I.) With a vague, indefinite ex- pression. v^isir^}^^^'*-] Valse k deux temps {F.) A form of waltz in which two steps are made td each measure of three beats. Vamp. To improvise an accompani- ment. Variamente {/.) In a varied manner. Variante (I.) An optional alteration. Variationen (G.)) Certain modifications Variations. ■ with regard to the Variazioni [I.) ] time, tune, and har- mony of a theme proposed originally in a simple form. Variato (/.)1 Varied, changed, altered; Vari6 (F) | with variations. Vaudeville (F.) A play with songs set to popular tunes. Veemente [I.) Vehement, forcible. Veemenza, con (7.) With vehemence, force. Velatal (7.) Veiled; as voce velata, a. Velato J voice the tone of which is not clear. Vellutata \ (7.) From velluta, velvet. In VellutatoJ a soft, smooth, velvety manner. Veloce (7.) Rapid, swift. Velocemente (7.) Rapidly, swiftly. Velocissimamente (7.) Very swiftly. Velocissimente (7.) Swiftly. Velocity, con ^7.) With swiftness, rapidity. Ventages. The small holes in flutes, &c. Ventil (G.) 1 (i) A valve, by means of Ventile (7.) J which brass tubes may be made to sound the semitones and tones between the natural open harmonics. Ventil horn, a valve-horn, (z) A con- trivance on an organ for shutting off the wind from a portion of the registers. Venusto (7.) Beautiful, graceful, fine. Veranderungen (G.) Variations. Verbindung (G.) Combination, union, connection, binding. Vergnugt (G.) Pleasantly. Verhallend (G.) Dying away, decres- cendo. Verhaltniss (G.) Proportion; ratio. Verilay {F.) [Vaudeville.] Verloschend (G.) Dying away. Vermindert (G.) Diminished ; as ver- minderter Dreiklang, diminished triad. Verschiebung (G.) The soft pedal of a pianoforte ; mit Verschiebung, una corda. Verschwindend (G.) Dying away. Verse, (i) Those portions of an anthem or service intended to be sung by a single voice to a part. (2) A separate stanza of a song or a ballad. Versette (G.) Short pieces for the organ intended as preludes or voluntaries. Versetzen (G.) To transpose. Versetzungszeichen (G.) Accidentals. Verspatung (G.) Retardation, delay. Verstarkt (G.) [Sforzando.] Verstimmt (G.) Out of tune. Versus Fescennini (7,.) Nuptial songs. Vertaturl .^ , ~ Verte | (^-^ Turnover. Verwandt (G.) Related ; as verwandte Tonarten, related keys. ' Verwechselung (G.) Changing ; alter- ing, as to tone, time, key. Verweilend (G.) Delaying, rallentando. Verwerfung (G.) Transposing. Verzierungen (G.) Ornaments, decora- tions, embellishments. Verzogerung (G.) Retardation. VerzweiflungsvoU (G.) With despair. Vezzosamente (7.) Tenderly, softly, gracefully. VEZZOSO VISTA. 93 Vezzoso (/.) Tender, sweet, graceful. Vibirante {I.) Vibrating, tremulous. VibratQ^ (/. ) A tremulous quality of tone. Vicar choral. Lay vicar of a cathedral Vido?:!}oP- fVuide.] [<=h°- Viel (G.) Much ; as mit vielem Tone, with much tone ; viel bewegter, much more lively. Vielle (F.) (i) Hurdy-gurdy. (2) Viol. Vielstimmig (G.) For many voices. Vierfach (G.) Fourfold; having four ranks of pipes. Viergesang (p.) Song for four parts. Vierhandig (G.) For four hands. Vierspiel (G.) A composition in four parts ; a quartet. Vierstimmig (G.) For four voices or instruments, or in four parts. Vierstiick (G.) A piece for four players; a quartet. Viertelnote (G.) Quarter-note ; a crot- chet, the fourth part of a semibreve. Viertheilston (G.) A quarter-tone; half a semitone. Viervierteltakt (G.) Duple time of four crotchets in a bar. Vierzweiteltakt (G.) Duple time of four minims in a bar. Vif(P'.) Lively, brisk, quick. Vigore, con (I.) With vigour, force. Vigorosamente (/.) Vigorously. Vigofoso (7.) Vigorous, bold, forcible. Vigttela (S.) A simple kind of guitar. Villancico (S.) A species of song formerly very popular in Spain ; motets which are sung during high mass on Christmas-eve. Villanella {I.) A lively rustic dance ac- companied with singing. Villotte (I.) The old name for secular pieces in harmony. Vina. [Bina.] Vinetten (G.) Drinking or vintage songs. Viol. A stringed instrument, a little larger than the violin. It had five or six strings, a fretted finger-board, and was played with a bow. — — da gamba (I.) One of the larger instruments among a chest of viols. It received its name from being held within the knees of the performer. It had a fretted finger-board and six strings. d' amore (I.)\ An obsolete instru- d'amour [F.)] ment of the violin family. In addition to catgut strings, metal strings were placed under the finger-board, which, by the production of sympathetic sound, gave A peculiar quality of tone to the instrument. Viola (J.) The tenor violin. It has four strings, tuned thus : — Viola di bardone (/.) An instrument of the violin kind, now obsolete. pomposa (I.) A species of viol da gamba, invented by J. S. Bach. It had five strings, the four lower tuned like the violoncello, and the fifth tuned to E. Improved skill on the part of violoncello-players made the viola pom- posa unnecessary. Violentemente} (7.) With passion, Violenza, con J violence. Violento (7.) Violent. Violetta. A little viol. marina) (7.) A stringed instrument piccola J similar in tone to the viol d'amour. Violin. The most familiar of all stringed instruments played with a bow. It has four strings, which are tuned in fifths : — The compass ranges between g and a'" in ordinary orchestral music ; but in solos it reaches four or five notes higher. '- clef. The G clef placed upon the first line of the stave ; now obsolete. piano. [Harmonichord.] Violino piccolo (7.) A small violin. principale (7.) Solo violin, or leader. Violino primo, first violin ; violono secondo, second violin ; violino riJ>ieno, a violin part required only to fill in and strengthen the tutti. Violinschlussel(G.) Violin clef. [French violin clef.] VioUnsteg (G.) The bridge of a violin. Violon (7''.) The violin. In Germany the same word is used for the double-bass. Violon de fer (7^.) [Iron fiddle.] Violoncello (7.) The little violone, held between the knees and played with a bow. It has four strings, which are tuned a fifth apart, thus : — The compass ranges between- Violone (7.) The double-bass. Virelay (F.) [Vaudeville.] Virginal. A stringed instrument with a keyboard. The virginal, also called spinet, was a precursor of the harpsi- chord, now superseded by the pianoforte. Virtuose (G.)1 A skilled performer on Virtuoso (7.) J some particular instru- ment, especially the violin. Vista (7.) Sight ; as a prima vista, at first sight. 94 VISTAMENTE VUIDE. Vistamentel (/.) Briskly, quickly, rapid- Vitamente j ly ; with life. Vitement (F.) Quickly. Vitula (Z,.) The viol. Vivace 1 (/.) Lively, quickly, VivacementeJ sprightly. Vivacetto (/.) Rather lively. VivacftT^l'^-) Liveliness, vivacity. Vivaclssimo (7.) Very lively, viv^mlntUol^-'y-''-^- Vive [F.) Brisk, quick, lively. Vivente (J.) Animated, lively. Vivezza, con (/.) With life, liveliness. Vivido {/.) Brisk, lively. Vivo (7.) Alive; brisk, lively, animated. Vocal, (i) For or by the voice; music intended to be sung. (2) Compositions so written as to be easy and effective for the voice. (3) The " singing " quality of tone obtained from an instru- ment. score. A score in which the voice parts are viTitten on separate lines. Vocale (7.) Belonging to the voice. Vocalezzo (7.) An exercise for the voice. Vocalisation, (i) Control of the voice and vocal sounds. (2) Method of pro- ducingand phrasing notes with the voice. Vocalizzare (7.) To vocalise. Vocalizzi (7.) Vocal exercises; solfeggi. Voce (7.) The voice ; as voce di camera, a voice for the chamber, a voice of small quality; voce di gola, a guttural or tiiroaty voice ; voce di petto, the chest voice, the lower register of the voice ; voce di testa, the head voice, the upper range of the voice, the falsetto; voce sola, the voice alone, unaccompanied. umana (7.) [Vox humana.] Vogelflote (G.) A bird-call, flageolet, or whistle. Vogelgesang (G.) A musical instru- ment composed of a series of small pipes standing in water, through which the wind had to pass ; a merula. Vogelpfeife (G.) [Vogelflote.] Voglia (7.) Ardour, desire, longing. Voice. Sound from the mouth ; the tone or character of uttered sounds. Voices are of seven kinds, bass, baritone, tenor, alto, contralto, mezzo-soprano, and so- prano. The first four are the voices of men, and the last three those of women. Voicing. The regulation of the tone and power of an organ-pipe. Voix (F.) The voice. de tete (F.) The head voice. [Falsetto.] humaine (F.) [Vox humana.] celeste (F.) [Vox angelica.] Volante (7.) Flying. Applied to the execution of a rapid series of notes, either in singing or playing. Volata (7.) A run or division; a light and rapid series of notes. Volksgesange (G.) Songs of the people. Volkslied (G.) A popular song, [Lied.] Voll (G.) Full; as Vollgesang, with the full chorus; mit vollem Werk, with the full power. VoUstimniig(G.) Full-voiced, fuU-toned. VoUstimmigkeit (G.) Fulness of tone. Volonte (F.) Will, pleasure ; & volonte, at will. Volta (7.) Turn, or time ; as una volta, once; due volte, twice; prima volta, first time; seconda volta, second time. Volta (7., F.) An old dance, [Lavolta.] Volteggiando (7.) Crossing the hands in pianoforte-playing. Volteggiare (7.) To cross the hands. Volti (7.) Turn; as volti subito, turn quickly. Voluntary, An organ solo played before, during, or after any office of the Church ; hence, called respectively introductory, middle, or concluding, Vom Anfang (G.) From the beginning. [Da Capo.] Vom Blatte (G.) At first sight, Vorausnahme (G,) (i) Anticipation, (z} Preparation- of a discord. Vorbereitung{G.) Preparation of discords, Vorgeiger (G.) Leader ; first fiddle. Vorfrfff """}(«•) Anticipation. Vorhalt (G.) (i) Syncopation, (2) Sus- pension. Vorigen}(«-) As before. Vorsanger (G.) [Precentor], Vorschlag (G.) Appoggiatura, beat, Vorspiel (G.) Prelude ; introductory movement; overture, Vorspieler (G.) A leader or principal performer upon any instrument. Vortanzer (G.) Leader of a dance, Vorzeichnung (G.) Signature, q.v. Vox (h.) (i) A voice; as vox humana, the human voice, (2) A part; as ires voces, three parts, {3) A sound. (4) A key. (5) A theme ; as vox antecedens, the subject of a fugue. angelica (L.) An organ-stop con- sisting of two ranks of pipes of small scale and delicate quality of tone, one of which is tuned slightly sharp, in order to produce a wavy and tremulous sound. humana (L.) A reed-stop in the organ, consisting of a large reed and short tube, intended to imitate the sounds of the human voice. Vuide (F.) Open ; as corde vuide, open string, on the violin or violoncello. W AJtlJN SIJN N lli- -XYLOPHONE. 95 w. Wahnsinnig (G.) Frantic, furious, with rage. Waits or Wayghtes. (i) A species of hautboy ; also the players on that instrument. {2) Musical watchmen who sounded the hours at night. (3) At the present time, bodies of nocturnal performers who sing and play in the streets for some weeks before Christmas. Waldflote \ (G.) Forest flute ; an organ- Waldflute V stopof4-ft. pitch, consist- Waldpfeife) ing of open wood pipes. Waldquinte or WaJdfliotenquinte is a similar stop one fifth higher in pitch. Waldhom (G.) A hunting-horn; a French horn. Walnika or Walynka {R.) A simple kind of bagpipe used among the Russian peasantry. Waltz. A dance said to have originated in Bohemia. The time is of triple measure in crotchets or quavers, and consists of eight or sixteen bar phrases. Walze (G.) A roll ; a ^mmetrical run or division. Walzer (G.) [Waltz.] Wankend (G.) In ajn uncertain, hesi- tating manner. Wasserorgel (G.) Hydraulic organ. Wechselgesang (G.) Responsive or antiphonal song. Wechselnote (G.) In counterpoint, proceeding from a discord by a skip. W^hmulhigkeit^'^-) Sadness, sorrow. Wehmlithig (G.) Doleful, sad, sorrowful. Weich(G.) (i) Minor. (2) Soft and rich. Weight of wind. [Wind gauge.] Weihnachtslieder(G,) Christmas songs; carols. Weinend (G.) With weeping, wailing. Weisse Note (G.) White note ; a minim. WeiteHarmonie(G.) Dispersed harmony. Welsh harp. [Harp.] Wenig(G.) Little; as «» iti^nig stark, rather loud. Wesentlich(G.) Essential; asieesentliche Septime, essential or dominant seventh. Wheel. The refrain or burden of a ballad. Whiffler. A wand-bearer to head a pTPcession ; a fifer. Whistle, (i) Tin whistle, penny whistle. The common wood or tin fliite-ci-hec having six ventages. (2) To make a musical sound with the lips and breath, without using the vocal cords. Whole note. A semibreve. Wie aus der Feme (G.) As if in the distance. [Lontana.] Wie oben (G.) As above. Wiederholung (G.) Repetition. Wiegenlied (G.) A lullaby ; a cradle-song Wild (G.) Furious, wild. Wind band, (i) A military band. (2) The wind instruments of an orchestra. gauge. [Anemometer.] instrument. A musical instrument whose sounds are produced by the breath of the player, or by means of a pair of bellows, trunk. The receptacle which feeds the wind-chest in an organ. Windharmonika (G.) [.lEolodion.] Windlade (G.) The wind-chest in an organ, from which the air is admitted to the pipes. Wirbel (G.) (i) A peg of a violin, &c. (2) The stopper of a closed organ-pipe. (3) Wirbehtock, a sound-board into which pegs are fixed, (4) Wirbeltanz, a whirling or circular dance. Wolf, (i) The bad effect produced when playing in certain keys on an organ tuned to " unequal temperament." {2) Some particular note often found on a violin, violoncello, or other stringed instrument, the intonation of which is not true. Wood wind or Wood wind-band. The flutes, oboes, clarinets, bassoons, and instruments of their nature, in an orchestra. stops. Organ-stops, the pipes of which are of wood. Wrest. The old name for a tuning hammer. Wrist guide. [Chiroplast.] Wiirde (G.) Dignity ; as niit einfalt und Wurde, with simplicity and dignity. Wuth (G.) Rage, fury, madness. Wiithend) (G.) In a furious, raging: WUthig J manner. X. Xanorphica. A key-violin. An instru- ment somewhat like the tetrachordon, invented by RoUig (1761-1804), the sounds of which were produced by bows set in motion by a pedal. Xyloharmonica.) An harmonicon con- Xylosistrum. J sisting of graduated blocks of wood, struck with hammers acted upon by keys. Xylophone or Xylorganum. [Ligneuni Psalterium.] 96 YANG KIN ZYMBEL. Yang kin. A Chinese instrument with brass strings, which are struck with hammers, like a dulcimer. Yo. An Indian flute. Yuekin. A guitar called by the Chinese " moon guitar." Za. Formerly a solfeggio name for B7. Zaleo. A Spanish national dance. Zampogna (/.) A bagpipe in use among Italian peasants. A rough-toned reed instrument without a bag is also called zampogna or zampugna. Zaner. [Zummarah.] Zanze. [Ambira.] Zapatadeo (S.) A dance in which the heel is struck violently on the ground to mark the rhythm. Zarabanda (S.) [Saraband.] Zarge (G.) The sides of instrunients like the violin or guitar. Zart(G.) Soft, delicate; asmitzartenStim- men, with soft stops ; sehr zart, very soft. JZartflote (G.) A delicate-toned flute. Zartheit, mit (G.) With tenderness, delicacy. Zartlich (G.) Softly, delicately. Zarzuelas (S.) A sort of drama, said to have been first produced at Zarzuela in the time of Philip IV. Zeichen (G.) A musical sign, note, or character. Zeitmass (G.) Time, measure. lelojf/}^^^'' ^°"gy- Zelosamente (J.) Zealously, ardently, earnestly. Zeloso (7.) Zealous, energetic. Zergliederung (G.) Literally, Dissec- tion. The reduction of a subject to its component figures, in order to expand it by their repetition. Zerstreut (G.) Dispersed, spread, open; as zerstreute Harmonie, dispersed or open harmony. Ziemlich (G.) Moderately ; as ziemlich langsam, moderately slow. Zierlich (G.) Gracefully, elegantly. Ziffem (G.) To cipher. Ziganka. A dance popular among the Russian peasantry, similar in its figures to the English country-dance. Zikrs. Religious dances of the dervishes in Egypt. Zingaresca. A gipsy song or dance. iiSken'f6*.^.)}f^°^"^'W-] Zither (G.) Cither. A flat stringed instrument, having brass strings played with the thumb of the right hand, while the melody is brought more prominently out by the use of a plectrum. They are also made so as to be played with a bow. Zittemd (G.) [Tremolando.] Zogernd (G.) Ritardando. Zoppa (7.) [Alia zoppa.] Zourna. A kind of oboe used in the East. Zufallige (G.) Accidentals. Zufolo (7.) A flageolet or whistle. Zug (G.) (i) A drawstop in an organ. (z) A pedal of a pianoforte. Zugwerk (G.) The mechanical appli- ances of an instrument. Zuklang (G.) Unison, consonance. Zummarah. An Egyptian wind instru- ment. [Bassoon.] Zunehmend (G.) [Crescendo.] Zunge (G.) (i) The tongue of a reed- pipe. (2) The metal tongue in the reed of a harmonium. Zuma. A Turkish wind instrument, similar in character to the oboe. IIT^^^V^) [Retardation.] Zusammengesetzer Takt. (G.) Com- pound time. Zusammengesetzt (G.) Compound. Zusammenklangl (G.) Harmony, con- Zusammenlaut J sonance. Zweifach (G.) (i) Twofold. (2) Having two ranks of organ pipes. (3) Cora- pound intervals. Zweifacher (G) A dance having alter- nate triple and duple time. Zweigestrichen(G.) Having two strokes. Zweihandig (G.) For two hands. Z weistimmig(G .) For two voices or parts. Zweiunddreissigtheilnote (G.) A demi- Bemiquaver. Zweivierteltakt (G.) Two-four time, ? Zweizweiteltakt (G.) Two-two time, | Zwerchflote (G.) The German flute. Flauto traverso. Zwerchpfeife (G.) The piccolo flute, or fife. Zwischengesang (G.) An interpolated song. Zwischenraume (G.) The spaces of the stave. Zwischensatz (G.) An episode; Zwischenspiel (G.) An interlude played between the verses of a hymn or choral. Zwolfachteltakt (G.) Twelve-eight time. Zwblfsaiter (G.) [Bissex.] Zymbel (G.) [Cymbal.] Novellds Original Octavo Editions of ORATORIOS, CANTATAS, MASSES, &c. FRANZ ABT, The Fays' Frolic t Female Voices) ... Springtime (ditto) ,„ Summer (ditto) The Golden City (ditto) The Wishing Stone (ditto) The Water Fairies (ditto) The Silver Cloud (ditto) Minster Bells (ditto) B. AGUTTER. MissA DE Sancto Albano (English) ... THOMAS ANDERTON. Yule Tide The Norman Baron Wreck of the Hesperus (Sol-fa, 4d.) W. I. ARGENT. Mass, in B flat P. ARMES. Hezekiah St. John the Evangelist St. Barnabas The Gipsies . Endymion Stabat Mater E. ASPA. ASTORGA. BACH. Mass in B minor MissA Brevis in a The Passion (S. Matthew) Ditto (Abridged as used at St. Paul's The Passion (S.John) Christmas Oratorio Magnificat God goeth up with shouting God so loved the world God's time is the best (Sol-fa, 6d.) ... My Spirit was in heaviness light Everlasting Bide with us A Stronghold sure Be- NOT afraid (Sol-fa, 4d.) Blessing, Glory, and Wisdom 1 wrestle and fray (Sol-fa, 2d.) Thou Guide of Israel Jesu, Priceless Treasure When will God recall my spirit ... Jesus, now will we praise Thee J. BARNBY. Rebekah (Sol-fa, gd.) The Lord is King (Psalm ^f^ LEONARD BARNES. The Bridal Day J. F. BARNETT. The Ancient Mariner (Sol-fa, 2s.) ... The Raising of Lazarus Paradise and the Peri iS/ia/oi s. d. 2 6 2 6 2 6 a 6 2 6 2 6 2 6 2 6 3 o I 6 I o 1 o 2 6 2 6 2 6 2 I o 4 1 o 2 6 1 6 2 1 6 2 O 2 O I I o I I I o I o I I o o 6 o 6 4 1 I o I o X I 1 6 2 6 3 6 6 6 BEETHOVEN. The Praise of Music Ruins of Athens Engedi; or, David in the Wilderness ... Mount of Olives Mass in C Communion Service in C ... Mass in D The Choral Symphony Ditto (the Vocal Portion) The Choral Fantasia (Sol-fa, 6d.) A Calm Sea and a Prosperous Voyage ... Meek, as Thou livedst, hast Thou departed KAREL BENDL. Water-Sprite's Revenge (Female Voices) WILFRED BENDALL. The Lady of Shalott (Female Voices) ... Ditto Sol-fa SIR JULIUS BENEDICT. St. Peter The Legend of St. Cecilia (Sol-fa, is. 6d.) Passion Music from St. Peter SIR W. STERNDALE BENNETT The May Queen, (Sol-fa, IS.) The Woman of Samaria (Sol-fa, is.) International Exhibition Ode (1862) G. R. BETJEMANN. The Song of the Western Men W. R. BEXFIELD. Israel Restored JOSIAH BOOTH. The Day op Rest (Female Voices) E. M. BOYCE. The Lay of the Brown Rosary Young Lochinvar J. BRADFORD. Harvest Cantata The Song of Jubilee Praise the Lord W. F. BRADSHAW. Caspar Becerra J. BRAHMS. A Song of Destiny CHARLES BRAUN. Sigurd . s. d. 1 6 2 z 6 z 6 J. C. BRIDGE. 5 Daniel ., RUDEL 4 J. F. BRIDGE. R0CK0PAGES(LATINANDENGLISH)(S0L-FA,4d.) I O Mount Moriah 3 o BOADICEA 2 6 Callirhoe (Sol-fa, is. 6d.) 2 5 Nineveh 2 6 The Repentance of Nineveh 2 6 DUDLEY BUCK. The Light of Asia 3 o EDWARD BUNNETT. Out of the Deep (Psalm 130) i W. BYRD. Mass for Four Voices (in F minor) 2 6 CARISSIMI. Jefhthah I o ORATORIOS, &c.— Continued, F. D. CARNELL. Supplication GEORGE CARTER. SiNFONiA Cantata (Psalm iiG) WILLIAM CARTER. Placida CHERUBINI. Requiem Mass, C minor (Latin and English ) Second Mass in D minor Third Mass (Coronation) Fourth Mass IN C E. T. CHIPP. Job Naomi FREDERICK CORDER. The Bridal of Triermain (Sol-pa, is.) SIR MICHAEL COSTA. The Dream H. COWARD. The Story of Bethany (Sol-fa, is. 6d.) ... F. H. COWEN. St. John's Eve (Sol-fa, is. 6d.) A Song of Thanksgiving Slefping Beauty (Sol-fAj is. 6d.) Ruth (Sol-fa, is. 6d.) J. MAUDE CRAMENT. I WILL magnify Thee, O God (Psalm 145) W. CRESER. Eudora (A Dramatic Idyl) W. CROTCH. Palestine W. H. CUMMINGS. The Fairy Ring W. G. CUSINS. TeDeum FELICIEN DAVID. The Desert (Male Voices) P. H. DIEMER. Bethany M. E. DOORLY. Lazarus F. G. DOSSERT. Mass in E minor ANTONIN DVORAK. St. Ludmila Ditto (German and Bohemian Words) The Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater Patriotic Hymn Ditto (German and Bohemian Words) Requiem Mass ... A. E. DYER. Salvator Mundi Electra of Sophocles H. J. EDWARDS. The Ascension The Epiphany Praise to the Holiest ROSALIND F. ELLICOTT. Elysium HENRY FARMER. Mass in B flat (Latin and English) MYLES B. FOSTER. The Lady of the Isles The Angels op the Bells (Female Voices) The Bonnie Fishwives (ditto) 6. d. 5 o 1 o 2 o I o I o 4 o 2 o z 6 1 o 2 6 2 6 X 6 2 6 4 o 2 6 2 6 3 o 2 6 I 6 1 6 4 o 2 6 5 5 o ROBERT FRANZ. Praise ye the Lord (Psalm 117) NIELS W. GADE. Psyche (Sol-fa, is. 6d.) Spring's Message (Sol-fa, 3d.) Erl-Kino's Daughter (Sol-fa, gd.) ZiON The Crusaders (Sol-fa, is.) Comala Christmas Eve (Sol-fa, 4d.) HENRY GADSBY. Lord OP THE Isles (SuL-FA, IS. 6d.) Alcestis (Male Voices) Columbus (ditto) G. GARRETT. Harvest Cantata (Sol-fa, 6d.) ' .. The Shunammitb R. MACHILL GARTH. The Wild Huntsman A. R. GAUL. ' Joan of Arc (Sol-fa, is.) Passion Service Ruth (Sol-fa, gd.) The Holy City (Sol-pa, is.) Teh Virgins (Sol-fa, is.) FR. GERNSHEIM. Salamis. a Triumph Song (Male Voices) F. E. GLADSTONE. Philippi Orpheus GLUCK. s. d. 2 6 o 3 I 6 i S 3 6 HERMANN GOETZ. By the Waters of Babylon (Psalm 137) NcENIA The Water-Lily (Male Voices) CH. GOUNOD. Mors et Vita (Latin or English) Ditto, Sol-fa (Latin and English) The Redemption (English Words) Ditto, Sol-fa Ditto (French Words) Ditto (German Words) Messe Solennelle ( St. Cecilia) Out of Darkness Communion Service (Messe Solennelle).,. Troisi^me Messe Solennelle De Profundis (Psalm 130) (Latin Words)... Ditto (Out of Darkness) The Seven Words of Our Saviour Daughters of Jerusalem Gallia (Sol-fa, 4d.) A. M. GOODHART. Earl Haldan's Daughter Arethusa C. H. GRAUN. The Passion of Our Lord (Der Tod Jesu) Te Deum ... J. O. GRIMM. The Soul's Aspiration G. HALFORD. The Paraclete HANDEL. Alexander's Feast Acis AND Galatea Ditto, New Edition, edited by J. Barney Ditto, ditto, Sol-fa Alcestb ] "^ Semele ", The Passion '. .'." ["^ The Triumph of Time and Truth !!* I I I 6 ORATORIOS, 8cc.— Continued. HANDEL — continued. s. d. Alexander Balus f ... ... 3 o HtkCULES 3 ° Athaliah 3 Esther 3 o Susanna 3 o Theodora 3 Belshazzar 3 o The Messiah, edited by V. Novello (Sol-fa, is.) 2 The Messiah, ditto. Pocket Edition ... i o The Messiah, edited by W. T Best ... 2 o Israel in Egypt, edited by Mendelssohn 2 o Israel in Egypt, edited by V. Novello. Pocket Edition i o Judas MACCABiEus (Sol-fa, IS.) 2 Judas Maccabeus. Pocket Edition ... i o Samson (Sol-fa, is.) 2 o Solomon 2 iEPHTHA 2 o oshua 2 lEBORAH 2 Saul 2 o Chandos Te Deum I Dettingen Te Deum i o Utrecht Jubilate i o O praise the Lord with one consent (Sixth Chandos Anthem) i o Coronation and Funeral Anthems. Cloth 5 o Or, singly : The King shall rejoice 8 ZADOK the PhlEST o 3 My heart IS inditing o 8 Let thy hand be strengthened ... 6 The WAYS of Zion i o Ode on St. Cecilia's Day i o LAllegro 2 o HAYDN. The Creation (Sol-fa, is.) 2 o The Creation. Pocket Edition i o The Seasons (Each Season, singly, is.) ... 3 First Mass in B flat (Latin) i o Ditto (Latin and English) i o Second Mass in C (Latin) x o Third Mass (Imperial) (Latin and English) i o Ditto (LATiN) i o Sixteenth Mass vLatin) i 6 The Passion; or, Seven Last Words ... 2 Te Deum (English and Latin) i o iNSANiE ET Van^ CvRM (DiTTo) O 4 BATTISON HAYNES. The Fairies' Isle (Female Voices) ... . ... 2 6 H. HEALE, Jubilee Ode i 6 C. SWINNERTON HEAP. Fair Rosamond (Sol-fa, 2s.) 3 6 EDWARD HECHT. Eric the Dane 3 o O MAY X join THE Choir Invisible i o GEORGE HENSCHEL. Out of Darkness (Psalm 130) 2 6 HENRY HILES. Favrb Pastorel . 6 6 The Crusaders 2 6 FERDINAND HILLER. Nala and Damayanti 4 o A Song of Victory i HEINRICH HOFMANN. Fair Melusina 2 o Cinderella 4 ° Song of the Norns (Female Voices) ... i o , HUMMEL. s. d. First Mass in B plat i o Communion Service, ditto z o Second Mass in E flat i Communion Service, ditto ... * 3 o Third Mass in D i o Communion Service, ditto z Alma Virgo (Latin and English) o 4 Quod IN Orbe (ditto) o 4 W. H. HUNT. Stabat Mater 3 H. H. HUSS. Ave Maria (Female Voices) x o F. ILIFFE. St. John the Divine i o JOHN V^ILLIAM JACKSON. I cried unto God i 6 W. JACKSON. The Year 2 o D. JENKINS. David and Saul (Sol-fa, 25.) 3 A. JENSEN. The Feast of Adonis 1 ' W. JOHNSON. EccE Homo 2 C. WARWICK JORDAN. Blow ye the trumpet IN ZioN i 6 N. KILBURN. The Silver Star (Female Voices) • i 6 ALFRED KING. The Epiphany 3 OLIVER KING. By the waters of Babylon (Psalm 137) ... i 6 The Naiads (Female Voices) 2 6 J. KINROSS. Songs in a Vineyard (Female Voices) ... 2 6 Ditto, Sol-fa o 6 H. LAHEE. The Sleeping Beauty (Female Voices) ... 2 6 Ditto, Sol-fa o 6 LEONA^RDO LEO. Dixit Dominus 1 H. LESLIE. The First Christmas Morn z 6 F. LISZT. The Legend of St. Elizabeth 3 o Thirteenth Psalm 2 C. H. LLOYD. Alcestis 3 Andromeda 3 o Hero and Leander i g The Song of Balder i o The Longbeards' Saga (Male Voices) ... 1 6 The Gleaners' Harvest (Female Voices) ... 2 6 A Song of Judgment 2 6 W. H. LONGHURST. The Village Fair 2 o HAMISH MACCUNN. Lay of the Last Minstrel (Sol-fa, is.6d.)... 2 6 Lord Ullin's Daughter (Sol-fa, 8d.) i G. A. MACFARREN. Songs in a Cornfield (Female Voices) ... 2 6 May Day (Sol-fa, 6d.) i The Soldier's Legacy (Operetta) 6 o Outward Bound i ORATORIOS, 8cc.— Continued. A. C. MACKENZIE. The Dream OF JuBAL The Story of Sayid Jason ... The Bride (Sol-fa, 8d.) The Rose of Sharon (Sol-fa, as.) Jubilee Ode The Cotter's Saturday Night The New Covenant Veni, Creator Spiritus F. W. MARKULL. Roland's Horn F, E. MARSHALL. Prince Sprite (Female Voices) • J. H. MEE. HoRATius (Male, Voices) MENDELSSOHN. Elijah (Sol-fa, is.) Elijah (Pocket Edition) As THE Hart pants (Psalm 42) Come, LET us sing (Psalm 95) When Israel out of Egypt came (Sol fa, gd.) Not UNTO us, O Lord (Psalm 115) St. Paul (Sol-fa, IS.) St. Paul (Pocket Edition) , Hymn of Praise (Lobgesang) (Sol-fa, is.) ... Lord, how long wilt Thou forget me Ditto, Sol-fa Hear my prayer (s. solo and chorus) Ditto ditto Ditto, Sol-fa Lauda Sion (Praise Jehovah) (Sol-fa, gd.) ... The First WAlpurgis Night ( Sol-fa, is.) ... Midsummer Night's Dream (Female Voices) Athalie (Sol-pa, is.) Antigone (Male Voices) (Sol-faj is.) Man IS Mortal (Eight Voices) Festgesang (Hymnsof Praise) Ditto (Male Voices) Christus (Sol-fa, 6d.) Three Motets for Female Voices Son and Stranger (Operetta) Loreley (Sol-fa, 6d.) CEdipus at Colonos (Male Voices) To THE Sons of Art (Ditto) Ditto, Sol-fa Judge me, O God (Psalm 43) (Sol-fa, ijd.) WHY rage fiercely THE HeATHEN My God, why, O why hast Thou forsaken me (Psalm 22) Sing to the Lord (Psalm gS) Six Anthems for the Cathedral at Berlin. For 8 voices, arranged in 4 parts Ave Maria (Saviour of Sinners). 8 voices MEYERBEER. Ninety-first Psalm (Latin) Ditto (English) B. MOLIQUE. Abraham MOZART. King Thamos First Mass (Latin and English) Seventh Mass in B flat Communion Service in B flat, Ditto Twelfth Mass (Latin) Ditto (Latin and English) (Sol-fa, gd.) Requiem Mass ' ... Ditto (Latin and English) Ditto Ditto, Sol-fa ... LiTANIA DE VeNERABILI ALTARIS (IN E FLAT) LlTANIA DE VeNERABILI SACRAMENTO (IN B flat) Splendente te Deus. First Motet O God, when Thou appearest. Ditto Have mercy, O Lord. Second Motet Glory, Honour, Praise. Third Motet s. d. E. MUNDELLA. 8. d. 2 6 Victory of Sonq (Female Voices) I 3 6 DR. JOHN NAYLOR. 2 Jeremiah v 3 I 5 2 J. NESVERA. 6 De Profundis 2 6 2 HERBERT OAKELEY. I 6 Selection from a Jubilee Lyric z 2 REV. SIR FREDK. OUSELEY. The Martyrdom of St. Polycarp « 6 2 6 R. P. PAINE. The Lord Reigneth (Psalm 93) z 2 6 The Prodigal Son I 6 Great is the Lord I I PALESTRINA. Missa Assumpta est Maria 2 6 2 MissA Pap/e Marcelli 2 Missa Brevis 2 6 Missa "O Admirabile Commercium" 2 6 H. W. PARKER. The Kobolds I C. H. H. PARRY. De Profundis (Psalm 130) 2 Ode on St. Cecilia's Day (Sol-fa, is.) 2 Blest Pair of Sirens (Sol-fa, 8d.) I 4 AjAX AND Ulysses Z I Prometheus Unbound 3 4 Judith 5 3 L' Allegro (Sol-fa, is. 6d ) a 6 2 Eton 2 DR. JOSEPH PARRY. Nebuchadnezzar (Sol-fa, is. 6d.) 3 B. PARSONS. The Crusader 3 6 T. M. PATTISON. May Day (Sol-fa, 6d.) z 6 The Miracles of Christ (Sol-fa, gd.) a The Ancient Mariner 2 6 The Lay of the Last Minstrel 2 6 3 A. L. PEACE. z St. John the Baptist 2 6 3 PERGOLESI. t Stabat Mater (Female Voices) (Sol-fa, 6d.^ z ° GIRO PINSUTI. 6 Phantoms— Fantasmi Nell' ombra ... T 8 A. H. D. PRENDERGAST. The Second Advent Z 6 8 E. PROUT. I Damon and Phintias (Male Voices) 2 6 The Red Cross Knight (Sol-fa, 2s.) 4 I The Hundredth Psalm 1 z Freedom I Hereward 4 3 Queen Aim4e (Female Voices) PURCELL. 2 6 Dido and ^neas 2 6 Te Deum and Jubilate in D I J. F. H. READ. 6 Harold 4 Bartimeus I 6 Caractacus 2 6 The Consecration of the Banner I 6 In the Forest (Male Voices) I Psyche 5 6 J. V. ROBERTS. Jonah 3 I 6 W. S. ROCKSTRO. ° 3 3 3 The Good Shepherd 2 6 ROLAND ROGERS. 3 Prayer and Praise 4 9 i5/:a;gi ORATORIOS, &c.— Continued. \ ROMBERG. „. d. The Lay of the Bell (New Edition, trans- lated BY THE Rev. J. Troutbeck, D.D.) i o Ditto, Sol-fa o 8 The Transient AND theEternal (Sol-fa, 4d.) i o ROSSINI. Stabat Mater (Sol-fa, is.) i o Moses in Egypt ... g o CHARLES B. RUTENBER. " Divine Love 26 C. SAINTON-DOLBY. Florimel (Female Voices) 26 CAMILLE SAINT-SAENS. The Heavens declare— Cceh enarrant (Psalm 19) .„ i q SCHUBERT. Mass in A flat 1 © Communion Service, ditto 2 o Mass in E flat 2 o Communion Service, ditto a o Mass in B flat i o Communion Service, ditto 2 o Mass in C x o Communion Service, ditto ... '.'.'. ..] a o Mass in G. 1 o Communion Service, ditto 2 o Mass in F i o Communion Service, ditto 2 o Song of Miriam (Sol-fa ,6d.) 10 SCHUMANN. The Minstrel's Curse i 6 The King's Son i o Mignon's Requiem 1 o Paradise and the Peri (Sol-fa, is. 6d.) ... 2 6 Pilgrimage of the Rose i o Manfred i o Faust 3 Advent Hymn, "In Lowly Guise" i New Year's Song (Sol-fa, 6d.) i H. SCHUTZ. The Passion of our Lord j BERTRAM LUARD SELBY. Choruses and Incidental Music to "Helena in Troas" 3 6 J. SHORT. Mass (S. George) 3 6 Mass (S. Joseph) a E. SILAS. Mass in C i o JOASH 4 o R. SLOMAN. Supplication and Praise 5 HENRY SMART. King Rent's Daughter (Female Voices) ..26 The Bride of Dunkerron (Sol-fa, is. 6d.) 2 o J. M. SMIETOisr. King Arthur 2 6 Ariadne (Sol-fa, gd.) 2 o ALICE MARY SMITH. The Red King (Men's Voices) i o The Song of the Little Baltung (ditto) i o Ditto, Sol-fa 8 Ode to the North-East Wind i o Ode to the Passions 2 A. SOMERVELL. Mass IN C minor z 6 CHARLTON T. SPEER. The Day Dream 2 SPOHR. Mass (Five Solo Voices and Double Choir) 2 o Hymn to St. Cecilia i o SPOHR. — continued. Calvary Fall of Babylon Last Judgment (Sol-fa, is.) The Christian's Prayer God, Thou art great (Sol-fa, 6d.) How lovely are Thy dwellings fair Jehovah, Lord OF Hosts JOHN STAINER. The Crucifixion (Sol-fa, gd.) St. Mary Magdalen (Sol-fa, is.) The Daughter of Jairus (Sol-fa, gd.) C. VILLIERS STANFORD. Eden The Voyage of Maeldune Carmen S-eculare The Revenge (SoL-FA,9d.) God IS our Hope (Psalm 46) CEdipus Rex (Male Voices) The Battle of the Baltic H. W. STEWARDSON. Gideon ,. J. STORER. The Tournament E. C. SUCH. Narcissus and Echo God is our Refuge (Psalm 46) ARTHUR SULLIVAN. The Golden Legend (Sol-fa, 2s. ) Ode for the Colonial and Indian Exhibi- tion Festival Te Deum W. TAYLOR. St, John the Baptist A. GORING THOMAS. The Sun-Worshippers E. H. THORNE. Be merciful unto me VAN BREE. St. Cecilia's Day (Sol-fa, gd.) CHARLES VINCENT. The Village Queen (Female Voices) The Little Mermaid (ditto) R. H. WALKER. Jerusalem WEBER. In Constant Order (Hymn) Mass »N G (Latin AND English) Mass in E flat (ditto) Communion Service in E flat Jubilee Cantata Preciosa Three Seasons S. WESLEY. In exitu Israel Dixit Dominus S. S. WESLEY. O Lord, Thou art my God C. LEE WILLIAMS. The Last Night at Bethany (Sol-fa, is.) ... THOMAS WINGHAM. Mass in D Te Deum (Latin) CHAS. WOOD. Ode to the West Wind J. M. W. YOUNG. The Return of Israel to Palestine s d. 2 6 I 6 4 o a o 3 o I o 3 e I o I I o I 1 2 6 a 6 I 6 I o I o I 6 I o I o I o 4 1 o 1 2 O 3 o I 6 1 o 2 6 Most of the above Works may be had in paper boards at 6d. each extra, or handsomely bound in cloth, with red or gilt edges, at is., is. 6d„ or 2s. each extra. VOCAL ALBUMS. THOS. A. ARNE. || If TWENTY SONGS .. .. 1/6 — BEETHOVEN. »TWENTY-SIX SONGS(Vol.i) 1/6 — •SEVENTEEN SONGS (Vol.2) 1/6 — »TWENTY-TWO SONGS (Vol.3) 1/6 - KAREL BENDL. *GIPSY SONGS. First Series 2/6 — Ditto. Second Series. (English and Bohemian) . . . . 2/6 — TWELVE SONGS ("Loving Hearts") 2/6 — STERNDALE BENNETT. •TWELVE SONGS .. .. 1|0 2/6 GEO. J. BENNETT. TEN SONGS (Robert Burns) 2/6 — TWELVE SONGS (Shelley and Rosetti) 2/6 — BERLIOZ. SUMMER NIGHTS. (English and French) 1/6 — SIR HENRY R. BISHOP. TWENTY SONGS .. . . 1/6 — J. BRAHMS. TWENTY-TWO SONGS .. 1/6 — TWELVE SONGS (English, French, and German Words), Vols. I and 2 . . . . each SjO — Vols. 3 and 4 . . . . each 3/0 — (For High or Deep Voice). DORA BRIGHT. TWELVE SONGS .. .. 2/6 — E. DANNREUTHER. SIX SONGS (D. G. Rosetti) 2/6 — FIVE SONGS (W. Morris) . . 2/6 — CHARLES DIBDIN. TWENTY-ONE SONGS .. 1/6 — A. dvoMk. •SIXTEEN SONGS (Op. 2, 5, 17, and 31) 2/6 — EIGHT LOVE SONGS (Eng- lish, German, and Bohemian Words, Op. 83) . . . . 3/0 — J. W. ELLIOTT, NATIONAL NURSERY SONGS AND RHYMES. With 65 Illustrations . . — 7/6 R. FRANZ. THIRTY SONGS .. .. 1/6 — FOURTEEN SONGS (Robert Burns) 2/6 — HERMANN GOETZ. •EIGHTEEN SONGS (Op. 4, 12, ig) 2/6 — BATTISON HAYNES. ELIZABETHAN LYRICS .. 2/6 — LADY ARTHUR HILL. HOLIDAY SONGS .. .. 2/6 — HAYDN. II ii TEN CANZONETS .. .. 1/6 — JAMES HOOK. TWENTY SONGS .. . . 1/6 — OLIVER KING. SIX SONGS (Baritone) . . 2/6 — LISZT. TWENTY SONGS .. . . 1/6 — H. MacCUNN. CYCLE OF SIX LOVE LYRICS 2/6 — A. C. MACKENZIE. EIGHTEEN SONGS. Three Books . . . . . . each 2/6 — EIGHTEEN SONGS. One Vol. — 7 6 SPRING SONGS .. .. 2/6 — MARIANI. TWENTY - TWO SONGS. (Italian^ 2/6 — MENDELSSOHN. SONGS. (With Portrait) Folio — 21/0 •SONGS 4,'0 6|0 •SONGS (Deep Voice) . . 60 8/0 MOORE. IRISH MELODIES .. .. 2/6 4/0 IRISH MELODIES .. Folio — 2110 HENRY PURCELL. TWELVE SONGS . . . . 2/6 — A. RANDEGGER. SACRED SONGSFORLITTLE SINGERS. Illustrated .. 2/6 5/0 A. RUBINSTEIN. TWENTY-FIVE SONGS .. 1/6 — SCHUBERT. TWENTY SONGS (Mezzo-sop.) 1/6 — TWENTY SONGS (Contralto) 1/6 — TWENTYSONGS(Sop.orTen.) 1/6 — •SCHWANENGESANG (Swan Songs) 1/6 — •DIE SCHONE MiJLLERIN (The Fair Maid of the Mill) . . 1/6 — *WINTERREISE (The Winter Journey) . . . . . . 1/6 — SCHUMANN. •SONGS Folio — 10/6 •MYRTHEN (26 Songs) . . 1/6 — •LIEDERKREIS (12 Songs) .. 1/0 — •VOCAL ALBUM . . . . 2/6 4/6 •WOMAN'S LOVE AND LIFE (8 Songs), Op. 42 .. .. 1/0 — •TWELVE SONGS (Op. 35) . . 1/0 ^ DICHTERLIEBE (A Poet's Love) (16 Songs), Op. 48 .. 1/6 — VARIOUS COMPOSERS. OLD IRELAND (Irish Melodies) 2/6 — THE SUNLIGHT OF SONG. 46 Illustrations . . . . — 5/0 •VOLKSLIEDER ALBUM (40 Songs) 2/6 4/6 ENGLISH FOLK - SONGS. (Edited by W. A. Barrett) . . 2/6 — 15/12/91. • These Sengs have German and English Words. LONDON & NEW YORK : NOVELLO, EWER AND CO. VOCAL DUETS. F. ABT. it |u is B§ TWENTY - FOUR DUETS (Sop. and Cont.). Book i . . 2/6 — TWENTY - FOUR DUETS (Sop and Cont.). Book 2.. 2J6 — STERNDALE BENNETT. FOUR SACRED DUETS . . 1/0 — F. H. COWEN. SIX DUETS (Sop. and Cont.) 2,6 — E. DANNREUTHER. FIVE TWO-PART SONGS.. 2/6 — E. C. FORD. SIX TWO-PART SONGS .. 2/6 — MYLES B. FOSTER. SIX TWO-PART SONGS .. 1/0 — SIX TWO-PART ANTHEMS 1/0 — Singly, Threepence each. BATTISON HAYNES. SIX DUETS (Sop. and Cont.) 2/6 — SIX TWO-PART SONGS . . 2/6 — OLIVER KING. SIX DUETS (Sop. and Cont.) 2/6 — JOHN KINROSS. SONGS OF THE FOREST. Six Two-part Songs . . . . 1/0 — Singly, Threepence each. MENDELSSOHN. TWO - PART 1^ THIRTEEN SONGS 1/0 2/0 Tonic Sol-fa . . . . 0/8 — THIRTEEN TWO - PART SONGS .. .. Folio 2/6 — THIRTEEN TWO - PART SONGS (German and English) 2/0 4/0 MOORE. IRISH MELODIES. Duets.. 1/0 — GIRO PINSUTI. SIX TWO-PART SONGS .. 2/6 — SONGS. .. 2/6 — SIX TWO - PART Second Set CARL REINECKE. TWELVE CANONS (for Two- part Female Chorus or Two Solo Voices) 1/6 — RUBINSTEIN. EIGHTEEN TWO - PART SONGS 2/6 4/6 H. SMART. NINE SACRED DUETS (Sop. and Cont.) 2/6 — SCHUMANN. THIRTY FIVE VOCAL DUETS (German and Eng- lish words) 2/6 — CHARLES WOOD. SIX TWO-PART SONGS. For Solo Voices (or Female Chorus) 2/6 — LONDON & NEW YORK : NOVELLO, EWER AND CO. PIANOFORTE ALBUMS. EDITED BY BERTHOLD TOURS. 11 5J So 53 .. 1/0 - .. 1|0 - .. 1/0 - .. — 4/0 1/0 - 1(0 - 10 - — 410 BACH. I.' 20 COMPOSITIONS 2. 20 COMPOSITIONS 3. 20 COMPOSITIONS In one volume ... HANDEL. 4. 24 COMPOSITIONS 5. 24 COMPOSITIONS 6. 24 COMPOSITIONS In one volume ... VARIOUS COMPOSERS. 7. FIFTEEN MARCHES ... 1|0 — 8. FIFTEEN MARCHES ... 1/0 — 9. FIFTEEN MARCHES ... 1/0 — In one volume ... ... — 4/0 10. SIXTEEN GAVOTTES,&c. 1/0 — 11. SIXTEEN GAVOTTES,&c. 1/0 — 12. SIXTEEN GAVOTTES,&c. 1/0 — In one volume — 4/0 WOLLENHAUPT. 13. TEN COMPOSITIONS ... 1/0 — 14. TEN COMPOSITIONS ... 1/0 — 15. TEN COMPOSITIONS ... 1/0 — In one volume — 4/0 SCHWEIZER. 16. EIGHT SCOTTISH AIRS (Duets) 1|0 SPINDLER. 17. NINE COMPOSITIONS... 1|0 — 18. NINE COMPOSITIONS... 1/0 — 19. TEN COMPOSITIONS ... 1/0 — In one volume — 4/0 HERMANN GOETZ. 20. LOSE BLATTER (Op. 7), 1-5 1/0 — 21. LOSEBLATTER(Op.7),6-9l/0 — 22. GENREBILDER (Op. 13) 1/0 — In one volume ... ... — 4/0, J. RHEINBERGER. 23. SEVEN COMPOSITIONS 1|0 — 24. ELEVEN COMPOSITIONS 1/0 — 25. SEVEN COMPOSITIONS 1/0 — In one volume ... ... — 4/0 BERTHOLD TOURS. 26. A JUVENILE ALBUM (Duets) 2/0 — No. 28. J. MOSCHELES. -J DOMESTIC LIFE (12 Cha- racteristic Duets), Book i 2/0 Ditto ditto, Book 2 2/0 In one volume — HALFDAN KJERULF 29. 9 COMPOSITIONS ... 1/0 30. 10 COMPOSITIONS 31. 23 COMPOSITIONS In one volume ... 50 4/0 1/0 - 1/0 - — 4/0 ALEX. MACKENZIE. 32. SIXTY-FIVE NATIONAL SCOTCH DANCES ... 1/0 — 33. SIXTY-SIX NATIONAL SCOTCH DANCES ... 1/0 — 34. SIXTY-NINE NATIONAL SCOTCH DANCES ... 1/0 — In one volume ... — 4/0 A. C. MACKENZIE. 35. EIGHT COMPOSITIONS 1/0 — 36. NINE COMPOSITIONS 1/0 — 37. SIX SONGS. Transcribed by BoNONCiNi ... ... 1/0 — In one volume ... — 4/0 RUDOLF ALTSCHUL. 38. FIFTY HUNGARIAN NATIONAL SONGS... 1/0 — ANATOLE LIADOFF. 41. EIGHT COMPOSITIONS 1/0 — 42. FOUR COMPOSITIONS 1(0 — 43. SEVEN COMPOSITIONS 1/0 — In one volume — 4/0 C^SAR CUI. 44. THIRTEEN COMPOSITIONS 1/0 - 43. SEVEN COMPOSITIONS 1/0 — 46. SEVEN COMPOSITIONS 1/0 — In one volume — 4/0 47- 49- SCHUBERT. FOUR IMPROMPTUS (Op. 90) 1/0 FOUR IMPROMPTUS (Op. 142) 1/0 MOMENTS MUSICALS (Op. 94). Nos. I to 6 1/0 ADAGIO AND RONDO (Op. 145) In one volume .,, — 4/0 LONDON & NEW YORK: NOVELLO, EWER AND CO. 15/12/91 LIFE OF MOZART BY OTTO JAHN. Translated from the German by Pauline D. Townsend. With five Portraits, and Preface by George Grove, D.C.L. Three Volumes, Cloth, price £i lis. 6d. " Mr. Grove, in his brief and able preface, calls the publication in an English dress of Otto Jahn's famous biography of Mozart ' an event in our musical history,' and his statement cannot be considered an exaggeration. . . . The English public is to be congratulated upon a translation of his monumental effort which may without exaggeration be called excellent. Miss Townsend has done her work with skill and conscientiousness, and we doubt whether a much more careful comparison with the original than we have thought it necessary to undertake would discover many, or any, serious blunders." — The Times. JOHANN SEBASTIAN BACH HIS WORK AND INFLUENCE ON THE MUSIC OF GERMANY, 1685-1750 BY PHILIPP SPITTA TRANSLATED FROM THE GERMAN BY CLARA BELL AND J. A. FULLER-MAITLAND. Three Volumes, price £z is. " Of the translation we can speak most favourably. Not only is it, so far as we have compared it, very faithful to the original, but it is thoroughly readable. . . . Nevertheless, his book is a sterling work which ought to be on the shelves of every musician; and we congratulate the translators and the publishers on having successfully completed the arduous task of presenting it in an English dress."— The Athenizum. ■ FREDERICK CHOPIN AS A MAN AND MUSICIAN BY FREDERICK NIECKS. With a Portrait, etched by H. R. Robertson, and Fac-similes of the Composer's MS. Two Volumes, Cloth, price £i 55. " Mr. Niecks's work at once takes its place a,mong standard biographies. Great Musicians— the first complete and wholly satisfactory life of Chopin that has been written. Mr. Niecks may be assured that its successful achievements places him in the firont rank of musical biographers ; while, at the same time, the production of so able and adequate .a work adds one more to the laurels earned by the distinguished firm that has already given us in English form Otto Jahn's ' Mozart ' and Spitta's ' Bach.' "Sunday Times. LONDON AND NEW YORK ; NOVELLO, EWER AND CO. ORATORIOS, CANTATAS, &c. PRICE ONE SHILLING EACH. Anderton, T.— The Norman Baron. The Wreck of the Hesperus. Aspa, E. — The Gipsies. Astorga— Staeat Mater. Bach — God so loved the World. God goeth up with shouting. God*s time is the best. My spirit was in heaviness. O Light everlasting. Bide with us. A stronghold sure. Magnificat. Thou Guide of Israel. Jesu, priceless Treasure. Jesus, now will we praise Thee. When will God recall my spirit. Barnby, J. — Rebekah. Beethoven — the Cboral Fantasia. The Choral Symphony (the Vocal portion). ENpEDI. Mount of Olives. Mass, in C (Latin Words). *Mass, in C. Ruins op Athens^ Bendl, Karel. — Water- Sprite's Re- venge (Female Voices). Bennett, Sir W. S. — Exhibition Ode, l862. Betjemann, G. R. — The Sonq of the Western Men. Brahms, J. — a Song of Destiny. Bridge, 3. F. — "Rock of Ages. Bnnnett, E. — Out of the deep (Ps. 130). CariBsimi — Jephthah. Chemhini — •Requiem Mass, in C minor. Third Mass, in A (Coronation). Fourth Mass, in C. Costa, Sir M. — The Dream. ElliCOtt, Rosalind F. — Elysium. Franz, Robert. — praise yb the Lord (117th Psalm). Gade, Niels W.— Zion. Spring's Message, 8d. Christmas Eve. The Erl-King's Daughter. Garrett, G. — Harvest Cantata. Glack — Orpheus (Act II.) Goetz, Hermann. — by the Waters of Babylon, NtENIA. Goodheart, A. M. —Earl Haldan's Daughter. Gounod, Ch. — de Propuhdis (Ps. 130). Ditto (Out of Darkness). Messe Solbnnelle (Latin Words). The Seven Words of our Saviour on the Cross. ' Daughters of Jerusalem. * Gallia. Grimm, J. 0. — The Soul's Aspiration. Hecht, £. — O MAY I JOIN the Choir In- visible. Handel. — Chandos Te Deum. Ode on St. Cecilia's Day. The Ways of Zion. Messiah (Pocket Edition). Israel in Egypt (Ditto). Judas Maccabeus (Ditto). Dettingen Te Deum. Utrecht Jubilate. O Praise the Lord. Acis and Galatea. Acis and Galatea. Edited by J. Barnby. Haydn. — Thb Creation (Pocket Edition). Spring. Summer. Autumn. Winter. *FiRST Mass, in B flat. First Mass, in B plat (Latin). Second Mass, in C (Latin). Third Mass (Imperial). (Latin). ^"Third Mass (Imperial). f Tb Deum. Hiller, Dr. — A Sono of Victory. Hofinann, H. — Song of the Norns (Female Voices). Hnmmel. — First Mass, in B flat. Second Mass, in E flat. Third Mass, in D. ORATORIOS, CANTATAS, Sec— continued. HusSj Hi H. — Ave Maria (Female Voices), Iliffe, F.— St. John the Divine. Jensen, A. — The Feast of Adonis. Leo, Leonardo. — Dixit Dominus. Lloyd, C. Harford. — The Song of Balder. MacCunn, H. — Lord Ullin's Daughter. Macfarren, G. A.— Outward Bound. ■ May Day. Mackenzie, A. C. — The Bride. Mee, J. H. — Horatius (Male Voices)-. Mendelssohn. — St.Paul (Pocket Edition). Elijah (Pocket Edition). Loreley, Hymn of Praise. As THE Hart Pants. Come, let us Sing. When Israel out OF Egypt CAME, Not "unto us. , Lord, how long. Hear my Prayer. The First Walpurgis Night, Midsummer Night's Dream, Man is Mortal. Festgesang (Hymn of Praise), Festgesang (Male Voices). Christus. To the Sons of Art. *AvE Maria (Saviour of Sinners). *Thre"e Motets (Female Voices). Meyertaeer.—gisT Psalm (Latin Words). gisT Psalm (English Words). Mozart.— King Thamos. *FiRST Mass. Seventh Mass (Latin). Twelfth Mass (Latin), *Twelfth Mass. Requiem Mass (Latin). *Requiem Mass. Mundella, E. — victory of Sonq (Female Voices), Paine, R. P. — The Lord Reigneth(Ps, 93). Great is the Lord. Parker, H. W,— The Kobolds. Parry, C. H. H. — Blest Pair of Sirens. Ode from the Contention of Ajax and Ulysses. Pergolesi.— Stabat Mater (Female V.). Pinsuti, G. — Phantoms. The Works marked * have Prout, E. — Freedom. The Hundredth Psalm, PuFCell. — Te Deum and Jubilate, in D. Read, J. F. H.— In the Forest (Male V.). Romberg. — The Lay of the Bell. The Transient a'nd the Eternal. Rossini. — *stabat mater. Schubert. — Song of Miriam. - — ■ Mass, in A flat. Mass, in B flat. Mass, in C. Mass, in F. Mass, in G. Schumann. — The Pilgrimage of the Rose. The King's Son. Micnon's Requiem. ■ Advent Hymn, "In Lowly Guise." ■ Manfred. ■ New Year's Song. Schutz, H. — The Passion of our Lord, Silas, E. — Mass, in C. Smith, Alice Mary.— The Song of the Little Baltung (Men's Voices). = Ode to the Nurth-East Wind. The Red King (Men's Voices). Spohr. — ■The Last Judgment, God, ThoiT art Great. The Christian's Prayer, Hymn to St. Cecilia. Such, E. C. — God is our Refuge (Psalm 46). SuUlYan, A. — Exhibition Ode. Festival Te Deum, Thomas, A. Goring. — The Sun Wor- shippers. Thome, £. H. — Be Merciful unto me. Yan Bree.— St. Cecilia's Day. Waller, Hilda. — The Singers (Female Voices). Weber, C. M. Yon. — Preciosa. *Mass, inG, *Mass, in E flat. Jubilee Cantata. Three Seasons. Wesley, S. — Dixit Dominos. Wesley, S. S.-^O Lord, Thou art my God. Wood, C. — Ode to the West Wind. Latin and English Words. LONDON AND NEW YORK : NOVELLO, EWER & CO, NOVELLO, EWER & CO.'S MUSIC PRIMERS EDITED BY I. 2. 3- • 4- 5- 6, 7- 8. 9- 10. II. 12. 13- 14. 15- 16. 18. ig. 20. 21. 22. 23- 24. 25- 26. 27. 28. 29. 30. 31- 32- 35- Sir JOHN STAINER. \v. The Pianoforte {Price 2s.) The Rudiments of Music {Price is.) The Organ {Price 2s.) . . . . The Harmonium {Price 2s.) Singing {Price 4s. Paper Boards, 5s.) A Speech in Song (Singer's Pronouncing Primer) {Price 2s.) • - - A. J Musical Forms {Price 2s.) 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