IMAGE EVALUATION TEST TARGET (MT-3) # / o (./ .% ^^ A^ .. .^'''^-1' Photographic Sciences Corporation *^ 27 WEST MAIN STREST WEBSTER, M.Y. 14580 (716) 872-4503 WM CIHM/SCMH Microfiche Series. CIHM/ICIVIH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microraproductions historiques Tschnical and Bibliographic Notaa/Notes tachniquas at bibliographiquoa The Instituta nas attemptad to obtain the bast original copy available for filming. Features of this copy which m( A. A nHRKA'iATioN.— Musical shorthand, used principally in manuscript Music. AcciATi'iu.— A short appoo;<r«pared (liscord. Ad LiBiT'TM. At will, or discretion. Some particular passage left to the ]ileasiire of the perfonner. ;, Ar8"hetics. The doctrine of taste, as applied to the fine arts. Ai.Lr.GRKTTo. Somewhat cheerful, but not so quick as Allegro. Allkoro. (iHiick, lively. A term implying a rapid and vivacious movement, l»ut which is frequently modified by the addition of other wordijfisj AsSAi. — Very quick. r ,. Con Fi'ocoj-Quick, with fire, > -Fciuoso. -Qtiick, with fury. .*; ; Allo, ) all', r To the; sometimes, In the style of. , , All UnisonOj- in unison, or sometimes,by extension^n octaves. Al Skono,— i^ Al Skg. (abbrev^ > Or the character ;*S'/ signifies that the performer must re- tirn to a similar character in the course of the movement, and ])lay from iliat place to the word FiNE,or the mark O* over a double bar. Alteration. —When any of the essential notes of a chord are altered ; a chro- matic semitone. Alto.— Tn instiumental music, indicates the part for the tenor. It also indi- cates the counter-tenor, or highest male voice in vocal music. , Alto Clbff.— The C cletf on the third line of the stave. Amphibrach. — A musical Foot of the Ancients, comprising one short, one long| and one short note. It may be represented in English by such words of three syllables as "delightful." &c. Amphimacer, — A musical Foot, composed of one long, one shorthand one long note. ANAPdwr. A musical Foot of the ancients, containing two short notes and a long one. It may be re]3resented in English by words of three syllables, such as, *• contravene," &c. Andamenti.— Digression or episode in a Fugue. # ANDANTR.Fmi)lies a movement somewhat slow and sedate, but in a gentle and soothing style. This tenn is often modified, both as to time and style, by the addition of other words* as, Grazioso,- Slow, but gracefully. * -M.KSTOso.- Slow, with majesty. Andantinc— Somewhat slower than Andante. Anolathr. — A tune adapted for a country dance, in the English style Anima. CON: — With animation. In a si>irited manner. ^ AN8WRR. - One of the four indispensable conditions of Fh otja- '^^•M%;:v?| .,^^ Aktkcepbnt. -(Se H .j«(P,'">'i»w'' Arrficii'ATioN.— When a Note in Melody is diminished by half its value, and the following degree employed to fill up its time upon an esson- %' tial note of the following chord upon the former iiase. Aktiphone.— Responses made by one part of the choir to another, or bj' the congregation to the priest, in the Catholic divine service. A poco A pocc—By degrees ; by little and little. AppoGQiATiiiA.— A small note placed before a larger one of longer duration, from which it generally borrows half the \alne, and always occurs on the strong part of the measure. Arco.— The bow. In violin, violcncello, and tenor music, Arco, orCoLLARCO implies that the notes are again to be played with the bow, instead of Pizzicato, i.hat is, twitched by the fingers. Arpeggio. — Passages formed of the notes of chords taken in rapid succession, in imitation of the liarp, are said to be in Aiu*k«gio. The employ- ment of the term also signifies tliat certain chords are to be so j)layed. Art. -The residt of inspiration, manifested by some work. Artista. — An artist. As a musical term, this is usually api)lied only to first-rate perfornio/s or comjiosers. Ahsai. -Very, extremely. This adverb is always joinetl to some other word, of which it extends the signification, as. Adagio amsai, ver> slow ; Allegro assai, very quick. A TABLE SEC. — A term relating to the practice of vocal exercises, unaccompan- ied by an instrumenti A TEMPO. — In time. A term used to denote that, after some short relaxation in the time, the perfonner must return to the oriji^inal degree oi movement , Attaca sfbito. - Implies that the ])erf()rnier must directly commence the following movement. Attendant Keys. — The relative key ; the key of the dominant and its relative, and of the sub-dominant and its relative. Augmented Intervals. — Those which arc a semitone greater than major or ]>erfect intervals. Aktiientic. a name given to those church modes whose melody was confined within the limits of the tonic (or final) and its octiive. Bachelor of Mrsic. -The first degroc in tlie faculty of Music taken in the Universities of Oxford and Cambridge. Ai)breviated, Mrs. Bac. Ballad. A species of com])osition peculiar to the Germans. A song of a high order. ■ Bar. — Lines drawn across the stave to divide the music in small and ecpial portions of duration; each of tliese small portions in itself is called a bar. Barcarolle.— Airs sung b.y the Venetian Gondoliers, or Boatmen, while follow- ing their avocations. Baritone. — A male voice, whose com|)as.-, lies between the base ami the tenor Baritone Clef.— The F clef placed (»n the third line. [voice. Barre de MESiRE.— A bar line. Base.- The lowest part in a nmsical composition. Basso. — The base part, vocal or instrnmental. RiPiENo. — The base of the full or tutti parts. Basses. Fundamental-^ The Roots of Chords taken as a Base. Do. Do. Modulation bVt— A Modulation in which the Chords in progression have the Root for their Base according to Rule. Bassks.Invertbd — When a Chord has for its Base Note one other than the Root. Basbes.Pedal— A long, holding note in the Base accompanied by a succession of Chords. Basbon Quinte.— a small Bassoon whose pitch is a fifth higher than the or- dinary Bassoon of the Orchestra. Beai;— Beatina Bell Mi BELliS.- Bblls '• »■ Ben ma IJOMHAR Bow Is« Bravur Brbvb.- Bugle.- Bugle* Bugle ^ C A DENG Di . Ar- Do. Alt Do. BAt Do. Sop Do. T .> Do. Pei Do. Pu Do. Imp Do. Db( Do. Chi Do. iNi Do. Ha Do.Rai Do. Pa Do. Mi Do. Me Do. OF ! Do. OF I s Do. OF Do. Pr Do. Gi word , , verv '*4'i5»ysv'»fli,#ipi.a*wi mf wr r>' Bekx — One of the principal graces in music. BKATiNtt TiMK.— Marking the divisions of the bar by nieann of tlie hand or foot The head should never be employed. , Noddintir the time leads to confusion, and looks ridiculous. BBMi Metronome.— A metronome, with the addition of u small bell, which strikes at the commencement o) eai-h bar. Bells. — Introduced into Dramatic music for effect. There ure low and high Bells. Bells, Sets of- — Also used for effect, especially in Military Music, beinj^' a number of small belis, say eight or ten, fixed on a frame of iron, and played with a small hammer. BBS MARCATO.— Well marked. This expressittn iudicoAes that the passage must be executed in a clear, distinct and strongly accented manner. • BoMHARDox.— A lai-ge windflnstrument of brass, and valved. Bow INBTRUMBNTS.— All instruments played in like manner ius the violin. Bravura. — A composition requiring great spirit and volubility of execution. Breve. — A note twice the length of the scmibreve, seldom used in modern music. ButtLE. — A brass wind instrument of indifferent quality of tone, and hmited BueLE« Kkvki). — Superior to the simple bugle in eompass only, | compass. Bi'OLB WITH Pistons-.— Of much better worth than the Keyed Bugle. C!adk3»ce8. — Those progressions in Harmony by which the ear is bnnight to a state of repose, according to the nature of the Cadence, of which there are two or three different kinds. IK . AcTHENTiCr-fSee Perfect Cadence.) Do. Alto- — Imperfect Cadence. ^ This is a distincticm wbicli is derived from Do. Babh< — Perfect Cadence. f^ the progressions of these i>arts in the Pcr- Do. Soprano- — Perfect Cadence, j" feet Cadence,and,f he employment of them Do. T ,xoR«— Imperfect Cadence. ) in closes of the upper }>art, or melody. Do, Perkbc'^— In which a course of chords have a complete termination, bringing the ear to a state of perfect repose. Do, PlaqaL! — So called by its progression beiu^ froni tlie Sub-dominant to the Tonic. (See Perfect Cadence.) Do. Imperfect — Brings the ear to a certain degree af rest, by a succession of chords, but still expectant of something to follow. Do. DkcbitivE" — Or Inganno .— In which the ear is preparett ior the perfect Cadence, and is then diverted to a new Harmony. Do. CnrRCii — The progression of the SuV)-domhiant to the Tonic. It onlv differs from the Imperfect as to its place in the scale. (See Plri- gal Cadence.) Do. Interrupted*— (See Deceptive Cadence). Do. HALFr — ^An imperfect cadence. Do.RadicaL! — When the bases of both chords are tiie roots of tJicir respective Triads. Such are the Perfect, Imperfect, False and Mixt. Do. False- — (See Deceptive Cadence.) Do. Mi.\T- — Derived from, and used instead of the Imperfect Cadenc'c. Do. Medial— When the leading haimony of any Cadence is not radical, but inverted. Do. OF THE Leading Note. —A medial Cadence, being the first in^xTsion of tho dominant; used instead of the Perfect Cadence. Do. OF THE Sharp Sixth. — A medial Cadence, being the second inversion of the dominant. Do. OF THE Major or Minor Sixth.— The first inversion of the mixt Cadence, and is a medial Cadence. Do. Protracted*— Usifig other harmonies on the dominant. Do. Grand — A protracted Cadence, formed by pla-ying S, J, | and f,, on the dominant u '»-: r:l\ CiBHtttK.— In iiiusic, 18 the rhythmic terminatiun of any puwiage which punslii «)l" more than ono inualcal Foot. Canon.-^V piece of music iu which the Hamo melody is continuallv heard i: one or other of the different parts. Canons are of various form» \\'h1ch have added distinctive anpellations to tlie generic term. Do. BT Auo5iKNTATiuNr-4« when a subject is imitated in not^R of twice thi length. Do. CA\cRi7.AX8.--By retrograde imitation. Do. Choral^- -In which one or more parts, other than the choral, (written ii Canon In two parts) are written in florid counterpoint, and adder; as accoinj>anyfnj>: parts. Another way is, a Canon for two ywirt: is written upon the choral. Do. CiRci.B» — A canonic composition in which the subject is carried through circuit of the twelve ordinary keys — major and minor. Do. Circular, OR CiECULARis.- -(See Circle Canon.) • ■ Do. Close— A form of written expression of the Canon which gives the entirt subject on one stave. Do. OoNCEALKi) — (Sao Enigmatical Canon.) . ,/, . , », ..,f,fHj» Do. BV Diminished Imitation.— The reverse of a canon by Augmentation; viz when the subi- .i is imitated by notes of half the length. Do. Double*— As the name implies; a Canon with two Subjects, distinct in re s])ect of melodic feature, with the subordinate members following in hnitation. Canox.Eniomatk;al» — In whidi the subject only is given, leaving it to those who are able, to discover the design of the composer as to its imit- • ation and development Do. FixiTB— When a final Ciidence, or Coda, is ap])endod to the Canon by way of conclusion. Do. Frkbt- (See Unrestricted Canon.) < ■ • L^.i .' i .v^vu -!» • i if . • Do. IN MoRii than Four Harmoxical Parts. -By first inventing a leading ^, , phrase, and writing the following sections in Coumer{>oint to it, !tiu«*!i V - ■ ^y^^ parts may be increased in a great degree. Do. Inkinitb- — Not a finite Canon ; not having a final Catlence or Coda ap- pended to it, but terminating (at the option of the performers) on any point where the tonic chord nmy have place on a princi- ]>al part of the mefisure. Do. IXFixiTUs.— (See Infinite Canon.) : « ,,. ^ /! Do. BY Inverse Imitation.— The subject and imitation working by ccmtrary movement. Do^ Open-:- Employing a fresh stave for each sec^^ion; not close. Do. Polymorphous*! — In which the series of a canonic composition t<«ke many :. ,^^ J transformations without detriment to their union under the can- ' ^ ^ ' onic principle. Do. Restricted*— In which the imitation bears exact resemblance to the sub- ject in every pa?ticttlar, save that which is consequent upon being taken on other degrees of the Scale than the unison and the octave. Do. BY Hbtrooradb Imitation. — In which the subject, when imitated, is sung backwards, I>o. Stricto— (See Restricted Canon.) Do. Unrestricted -In which the subject melody has to pass through the en- tire canonic series in perfect identity. Do. Unrestricted in the Octave.— Writhig the other sections to the leading phrase, according to the rules of Invertible Counterpoint, in the octave. Do.Unrestrictbd IX the Unison. — In which the subject is given to each part successively, as the ])art preceeding it enters upon a new section. There are also Canons in the second, third," &c. * jf - ■ | Cantata. — An oratorio in miniature; it may be either sacred or secular. ' '"^■' dAwro fermo. — A chant or melodyi as also any subject oonsisting of a few Cu ..,-.y. •■,j^'tyf\>f"f- _J*.;;. ch punsiHt ' heard i\ ;>us forms* v: ic tenn. twice th^ (written ii j and adderjj two partsj • ;■ ;■' .• '»■ ' throu^fh the entiiHl ation; viz., h. ttinct in re ■s following It to those < to its imit- iion hy way i a leading |>oint to it, Coda aj)-! )eriomiers) n a princi-j y contrary! Uke many ' r the can- the 8ub- ipon being and the \d, is sung I .,..■.■* ti 4 .i . ?h the en- ic leading Int. in the aach tMtrt section, of a few Canzunht. — A song belonging, acuording to it!:i origin, to the Italian nation] and languaffe. Capriccio>— A composition similar in form to the Sonata ; but allowing moroj scope and humour to the fancy ip the nature of its ideas. Cavatixa.— Perfectly similar in construction to the Canzonet, only it can he 1 more extended in the second part. It is particularly employed in Operas, CuARAUTKRe.— All those signs used as an aid in the Notation of Music, such as the Clefs, Notes. Keats, &c,, and perhaps the marks of Expres- sion and of Abbreviation, •' ' , -'H- Choral. --A psalm tune. , , ' " -...{.,cr' Chords.— Combinationis of musical notes. « ;r >, \}0k oy Addition.-- (See Addition.) Do-.oif Added Sixth. -A Sixth added to the !Sub-dominant in pnigression to y-t>\ - ' a final close, without being prepared. This must not be mistaken 'j for the chord of the f, or first iu version of the fundaniental ^^ ' ' - Seventh. Do, OK Alteration.— ^> Do. Do. In VERSIONS oii;,(See Inversions of Common Jhord.) Do.ofc THE Dominant. — That chord which is said to {govern the Toi>ic ; i. e. it <'M ' ' ■ requires the Tonic to be heard after it, at the final perfect ca- ' ■ ' ' ' ' dence in the Base Do.oF TifR Eleventh.— is formed by takii^ the cliord of the Dominant Sev« enth upon the Tonic Base. Do J'raDAMENTAL'«k— These composed of a fundamental note, with its tliird and ^i «. and fifth ; as the common chord. The chord of the Seventh is a :,.■'/■ fundamental chord also. "DcMajor AND Minor— The difference between a Major and » Minor Chord consists in tlie third being Major or Minor. A Major Chord is one whose third is major, and the same with a Minor Chord. Do.oF Minor Ninth. — The Dominant Seventh with a Fiat Ninth added. It is also called tlie Dominant Ninth; the ^s intii, being major or minor. Do. Do Jn VERSIONS Oi'^iS— (See Inversions ot Common Chord.) • .-4 , ' * The Compiler confesses to be m a dilemma here. It Is a case of the vexatious Diminished Seventh referred to in the Preface to t F v': 'f'l 1 his *' Reference." Theorists do not generally allow that the Ninth . )!;(;; be inverted. To call it Inversions of the Diminished Seventh ,,. t- with the added Ninth does not settle the question. Do. OF THE Ninth. — A chord consisting of the fundamental, its third, fifth seventh and ninth. ■ ,? :■. .^.j ■■ ■''..' : .'■ ■ '-■ft .• ij ,^ ...»- itti.';--iti';J' Do. OF RETARpATioN^See Retardation)! [Do.RuLEs IN Successions of— The most important axe, to avoid Fifths or oct- aves in succession; to take all chords as closely and as much cou- nected as possible; and other : '■'%■ Do.oF THK 8uB-Do4iiNANT< — Also a species «.>f governing chord., It in generally heard before the Dominant, in a {tassage to the Tonic tennhiation; J><».BY Si'iwTiTi'TioN.-(See Substitution.) l)o.HY 8i HrBNsroN, - (See Sur.pen»ion.) Do, OF THK T111R.TKKNTH— In every respect niniilar to the cliord of the Eleventh; only instead of the Chord of the Dominant Seventh, place the * chord of the Ninth (Major or Minor) uixm the Torlc Base. Do.oK Till ToxiCr The Chord of the Tonic holds the principal place in scale connection, in a given key. CnoKiAMBLS.— A musical foot of the Ancients, accented thus— ^J^— CiioKisKis. In which an indefinite number of voices may join together at the same time in two, three and four j arts. Do. .\((!oMi'AXiMKXT TO Sacrkd -The v.ind Instruments should strengthen the o. Voices, while the stringed Instruments maybe at liberty to play in a more florid style. Do. CoMi'Aws OF Voices in— Soprano and Tenor from low C to high Bh ; and Contralto and Baue from low F to the high Eb ; the latter or^each couple being an octave below the two former. CmMU'n Mt)i)F,M.— The ancient modes called by the following names: Dorian, rhrygian, Lydian, Mixolidian, Eolian, Ionian or lastian. C Bash. -The Eui)herformer, and, with the exception of the Violin, the iiiost wretchedly abused of all Instruments. There are three or tour Clarionets in general use : viz., in if, Bb, A, and a small one in Eb. One in J> is not much 'used, and a sn^ller one m V has almost ! een abandoned for the one in Eb. Do. Alto— irjiose in Eb or F (low); being a fifth below the ones in Bb and C resi>ectively. |ke.\. f>o. Bas.s — InC and Bb. an octave below the Soprano Clarionets in the same Do. IN Eb. — ) Small Clarionets ; a minor third and a perfect fourth re8pecti>c- Do. IN F. — I ly above the St)prano Clarionet in C. Do. Improvk.mbnts in— Tht Clarionets until almost recently, f>o.sses3ed many notes which were difficult to ))nxluee, and other defects which AJ. Adolphe Sax of Paris has remedied. Clkks.— There are three kinds of clefs, one or other of which are placed upon one of the hnes of the stave, asi a sign indicating the name of the ' ' note on that line, and by that as a matter of course, the notes on tlie other degrees of the staff. The names of the three Clefs are as follow : viz., tlie Trebk- or G Clef, the Bass or F Clef, and the Tenor or C Clef. (.'losk.- ■ See Stretto.) CoOA.- Conclusion. CoDJfiiTA.—A phrase ap^Hindcd to the Subject in Fugue to connect it with the Counter-Subject. (JoL. -With the. Comma. — A small interval, treated of in the doctrine of musical ratios. Comes.— : \^ 1)o. FOR THV v>aaANi-Figur«g, Chorales, and other pieces in the strict style ftnd in a siow degree of movement, an rapid paHsa^es are ineffect- : > .t iv% on this Imtniment. Do. FOR THK PiANOKORTBr There is no p<»hHible harmonious combinations which the Pianuforte cannot expresH, and it would be useless to attempt to name the variety of eomitositions adapted to it or the cafiaMlities of such a well known Instrument in the present work. Do. OF Pbalm Tunis, Chants ^^.—These Compositions are best adapted for the student in Composition, as one of the simplest applications of the principles of countei^oint and Rhythm. Do. voR STaiNORD AND WiND iNSTRiJMENrs (jNiTEDr-A profound experience in the treatment of each Instrument is requisite, in adoiiion to a lively fancy, and a copious flow^of ideas, in order to hr ve an inti- mate perception of trie intended ejffects whilst in the act of com- posing. Do. FOR Wind Inhtruhsnts only.— The Composer will be much restrained in his fancy, from the necessity that no performer be too much fa- tigued by a perpetual use of his Instrument. Con.-. With; as, BKiOr-With brilliancy and spirit. O0NCERTANTK.-.A piece of music for an orchestra, in which several of the hi- struments have occasional solos. It is also used adjectively, as, uuo CONCBRTAXTB, a duet in w hlch each pai-t is alternately princi- pal and subordina^^^e. Concertina. — A small instrument with plates of brass put into vibration by a current of air. The accordeon,a well known musical toy, formed the groundwork of this Instrument. Concerto. — A combination of the Pianoforte or soine particular instrument with the full orchestra, intti'^-led to display the powers of the former, and in which the lev^t r is subordinate. CoNCLrJHioN.— (See Coda.) and Conductop.Orohkstral* — A Musical director. Conjunction. — A little melodial design employed to connect the Subject Answer in Fugue. C0N8ECUTIVB8 (See Rules in successions t ' Chords.) Consequent. (See Answer.) Construction. Grand Duplex— A form of construction divided into twojprin- cipal parts. Do. Grand Triplex— A form of construction divided into three nearly equal parts. Contra-Bassoon.— (See Double-Bassoon.) ContrbpointDouble.— Signifies Double Counterpoint. It is also used to sig- nify triple and and quadruple counterpoint. Contrbpoint A LA DixiEME.— Double counterpoint in the tenth. ' , Do. A L'ocTAVEi-Doufole counterpoint in the octave. CoNTAAPPUNTo. — Countcrpoint, the first and most necessary step towards a knowledge of musical composition. Contrapuntist. — One who understands counterpoint. Oornbt-a-pistons; — A Brass Instrument with ' a m(>uth-piece and fu^ished wlh three pistons ; and with cylinders There ure Cornets in al- most all keys, but the most generally used are the ones standing in Ab, A, Bb, and sometimes the one in G ; they are alwuys written for in the treble clef. CoRNoDi Bassbtto. --{See Bass,et Horn.) ' . " CORNO INOLRSE. ) — /o 1:1 I- u TT \ r Gor-Akqlais. f ~(^^ E"K^^^ Horn.) Cymbals.— Two plates of brass, clashed together by the performer, and uced^ for oroheabnil effect, generally with the mass of Instruments. Do. Akciekt— These are exoeedin^y small, and sound very high and weak. CouNTBRPWNT.-The art of composition. ■I II— W 10 1)0. TO Words. Adaptation of Melomc forms is— The ceaHlng of certai^i liniitations which would exist if words were not employed. Do. Addbd Sixth in— (See Added Sixth.) Do. CoNcoRDb IN 8'RiCT— The Octave and the perfect fifth are perfect con- cords ; and the third and sixth imperfect concords, Do. Conjunct Mov BMBNT in — The name given to a suocession of sounds in melodial progression, which proceed gradually. Do. Contrary Movbmknt in — Is where one part ascends, while the other de- scends in harmoiilcal progression. Do. Direct Movement in — Two or more parts ascending or descending in the same direction, in hannonical progression. Do. Discords in Strict— The second, the fourth, the seventh, ".nd the ninth. Do. Disjunct Movpimbnt jn — Ts the name given to sounds succeeding each other— mslodially— by intervals, Do. Double — A class of composition in which the parts shall be made to trans- pose from above to below the Theme, or the reverse. Dj. Do. FOR PARTIAL INVERSION IN THE OCTAVE AND FIFTEENTH. AdAPTNESS oK —So constructed that either one or two parts will not invert, or if so, not without infraction of harmonic rules. Do. Do. Model ist— (See Theme.) Do. Do. IN THE Strict SiYLEnr-The employment of consonnut intervals only. Do. Do. IN TiiRBE AND FOUR FARTSr-Each and every part being reciprocally invertible. Do. Do. ii; TWO I ARTS.— Consisting of the Subject and the part opposed to it. Do. Do. Do. Inversion in tub Octave or Fifteenth in —In which by invar- r.ion, the Unison is v;ha!iged into the Octavo; tho Second into a Seventh, and so on, reciprocally with the others. Do. Do. Do. Do. IN Ninth or Second in- - In which the Unison ctianges into a Ninth ; the second into an Octave p so on. Do. Do. Do. Do. IN the Tenth or THUiD in —Tho Jnison changes into the Terth. Do. Do. Do. Do. IN the Elkvextit or Fourth in— In whic)\ the Unison changes into the Eleventh, and so on up to Counterjioint in the Fourteenth or Seventh. Do. Double in TBNth Axd in Octave. Union of Inversion o/— This, and the Union of InversioT^ in Doublie Counterpoint in the Twelfth and in the Octave are only mentioned here to show that such exists. it cannot be fully explahied in a work of this nature. Counterpoint.FiguRbd — When one of the parts, consisting of Ipng notes, is accompanied by another ]mrt consisting or containing groups ol short notes. Do.|Florid— ^See Figured Counterpoint.) Do. Do. WITHOUT Choral Sub,irct, in Strict and Free Style^-Ih which no one part is more prominent, melodially considered, than another. Do. Do. Melodic Forms in- They are not to be introduced all at once, but in successive order. Do. Invertibj^ -(See Double Counterpoint.) Do. in Free Style.— In which, melodially and harmonically, intervals are in- troduced which are not allowed in the strict style. Do. Oblique movement in — Is when one or more par^ ascend or descend, while one or more other parts remain unmoved. Do. Plain — Not Double Counterpoint. In which the parts do not allow of Inversion. Do. Retrogradb Movement in— When the parts in their evolution, take the subject from left to right Do. Hetroqrade and contrary movement in— Wh£4» the parts in their evolu- , tion, not only take the subject from left to right, but that by contrary movement. I DOMIK ' Dot.- ■#1. • ililiPiiPPiWPPpW^ 11 of certaiij red. jrfect ccn- iounds in other de- ng in the the ninth, ding each e to trans- APTNESS OK invert, or lis only, jciprocally K)8ed to it. by invar- >nd into a anges into } into the le Unison oint \n the , and the relfth and nch exists. g notes, is §:roups ol ich no one other, ice, but in lis are in- ' descend, allow of take the leir evolu- t that by Do. Similar MovaMBNT in— (See Direct Movement.) Do. SiMfiiE— art, and conclude where the word fine is placed. Dactyl.- - A musical foot of the Ancients, compohcd of one long and two short notes. i may be repressuted in English by such words »s Labourer, &c. Degrees in the Faculty of Music— (See Bachelor ind Doctor of Music.) Derivatives. --(See Inversions of Intervals.) Diatonic— Naturally; that is, accordhig to the degrees of the major or minor scale, or by tones and semitones only. DiORESsiON.- A period in the course of a Fugue, used to introduce one or other of the principal conditions of the Fugue. Diminished.- -Somewhat less than perfect, as applied to intervals, chords, &c. Diminished Intervals.— Those wh'ch are a .semitone lesf: than minor or per- fect intervals. Diminution.— imitation of a given sibject by means of notes of shorter dur- vtion. ' . DiRiCT Motion.— Similar motion. Discords. — Dissonances in Harmony mean every tone which isnot the funda- mental tone, nor its third, nor its fifth. Dispersed Harmoxy.— Harmony in whi<'h the notes forming the different chords are separated from each other by wide intervals. DissoNANCESr— (See Discords.) Doctor of Music— The supeiior degree in the faculty of Music, in the Uni- versities of Oxford and Cambridge. |! Dominant. — A name given by theorists to the fifth note of the scale. Dot.— A character which, when placed after a note, t)r rest, increases its dur- ation by the half of its original value. Doublb-Bass.— A stringed Instrument of great power. It takes the lowest . parts. DouBJ. -Bassoon.— An octave below the ordinary Bassoon. Driving Notes. — Long note» placed between shorter ones in vhe same hi A' ^^ ^^' Enhaumonic— One of the ancient genera ; a scale which proceeds by quarter tones. ExiiARMOMC Changes.— An Enhannonic change is said to take place when successive degrees of the Enharmonic Scale, which proceeds by quarter tones, are takeii on keyed Instruments, which generally speaking, have but one Note to re[>resent G sharp ana Ab ; D shar; and Eb, and so on. Enskmblb. — A term applieid to music in parts, where the several performers appear to be so animated by one and the same feeling, that the whole is given with that perfect smoothness, both as regards time and style, as to leave nt>thing further to be desired. Episodk.— Any portion of a Fugue which U not absolutely essential to it. E^nvocAL. — A term applied to such chords as, by a mere change in the no- tation, may belong to several keys. Etudk.— A composition or piece especially invonded to impart dexterity to the Angers. A Study. EuPHONioN. — A species of Bombardon, but of greater compass. It is a Solo, as well as a Bass Instrument. Exposition.— The order in which the Subject and Answer are presented for the first time, is called the exposition of a I^'ugue. Do. Oountbrt— In which tlie order of Subject and Answer are exactly the reverse of that contained in the first or principal exposition. ExiMiKssioN.— -To give expression to a piece of Music, is to employ the means furnished us in the science of Music ; as Accent, Forte, Piano, and in short, all the gradations between the loudest and softest utterance of sound are essentials of expression. A performer is said to play with expression when he carefully observes the va- rious Tiiodiflcations of forte and piano, legato and staccato, &c, and when, in addition to the alove, he imparts to the composi- tion which he is performing a particular charm arising from the impulse of his own feelings. Extreme. -A term relating to intervals in an augmented state. By some authors it is used in conjunction with the word sharp or flat ; extreme sharp answering to augmented, and extreme flat to di- MINi;^IIED. F. FALSBFiFni.— An imperfect or diminished fifth; as, Caharp— O. False Relation. — That progression where a note whi ch has occurred in one chord is fruuid chromatically altered in a different part in the following sihord. Fantasia.— A class of jomiwsition allowing of gi*eater freedom in regard to construe .on, than the Sonata. Fkrmato.— With firmness and decision. Fife.— A small Flute. Fifteenth.— An organ-stop, tuned two octaves above the Diapasons; also an interval of two octaves. FfGURFD Bass.— A bass having figures placed over the notes to indicate the harmony. Finale. —The last piece of any act of an opera, or of a concert ; or the la st movement of a symphony or sonata, in the German style. - S. •s h musician jrally indi- by quarter >lace when roceeds by I cenerallv id Ab ; D performers r, that the as regards d. to it. in the ik»- irity to the is a Solo, seated for xactly the sition. the moans te, Plant), nd softest rformer is res the va- lCcato, &e, 3 composi- f from the By some P or PLAT : flat to Di- ed in one i>rt in the regard to tons ; also dicate the ' the la8t le. Fink.— The end. This expression is generally used to indicate the tDrmlnft* tion of a musical composition. Flaaeolbt.— A pretty little Solo Instrument with a whistle mouthpiece, rank-> ing next the piccolo Flute, being of .a duller sound. Flats. —Characters used in the Notation of Music. A flat placed before » Note lowers it a Semitone. Florid.— Ornamental, figured, embellished. FLUTB.^-The Flute takes the most acute notes of the Orchestra, The Flute most generally known is called the Concert Flute. There are many other Flutes in use, as the Octave Flute, or Piccolo ; the small Flutes in Eb, F, &c. The first as its name implies, sounds an octave abovo the Concert Flute, and the two latter a minor ninth, and a minor tenth higher respectively, than the Concert Flute, which stands in D. Foot. Musical — A small portion of Melody of the value of a Measure with one principal Accent. FoRTR-PiANo. — The piano is so called by reason of its capability of modifying the intensity of the sounds. FoRZAMDO.— This term implies that the note is to be marked with particular emphasis or forcvj. Frkn<.h 81XTH.— The name of a chord composed of a major third, extifeme fourth, and extreme sixth ; as F sharp. D C Ab FroAL Stylk. Pikcbs ix— Irregular Fugues of Imitation ; Oflfsprings of Ca- price ; pieces whose style is generated from the two principal kinds of Fugue ; viz.:— Tonal and Real Fugue. FtraATo. — A piece with a subject given out, answered, and repeated, but in which the rules of Fugue are not adhered to. FiTGHETTA^— See Fugato.) Froi'K. — ^Tne perfection of Counterpoint ; in which all the rules and resources of composition maybe introduced and employed. Fugues are written in Two, Three, Four, and so on up to ELcrht Real parts, and for Two Choirs."* *The tyro is here warned not to confound Canon with Fugue which in its modern signification, means a developed and regular composition, the subject of which, and of all compositions in the Fugue stj'ie generally consists of only a few notes. The kind of writing known as canon has long been out of fashion, perhaps en account of the art having been pretty nearly exhausted by the ancients, as well as of the great ingenuity and labor requisite to produce a good canon. The old Masters of counterpoint were constantly exercising their genius in writing canons, and some of the most extraordinary compositions were produced by them. In canon the phrases are united throughout the whole composi- tion ; you work on a model. The subject, or period, or model melody of a canon, which is formed of phrases, is strictly imitat- ed in the answering parts of the compositiim ; and because of the strictness with which the model melody is adhered to, the eom- )wsition rei^eives the name of canon, i. b., rule, guide, norma, model ; and a canon may be defined to be a compo^ion on a giv- en model. The finest specimens of canon writing have for a long time been produced by English Composers, and the art is not yet wholly abandoned by them. The celebrated " Non Nobis DoMiNE," by Bird, will ever remain a lasting ornament to the taste and science of the country in which it was produced. The Author has in his possession, presented to him by the late R. H. Baker, of Aberdeen, a Ms. copy of a concealed canon by Haydn, resolved byCambi"' "*" *" — »- «-• ^ * ■^»-~ ' '— 13 Do. Accessary Coxditions of— These are various, and depend in great mea- sure on the nature of the Subject, and the skill and experience of ■ * ' ' ihe Composer. They are composed of fragments of the Subject, or Counter Subject, and of the different digressions which should occur in the course of a FuTfue. Do. Amplification ok — The extension of a Fugue by means of the various de- vices employed in its construction. Do, ox A Choralk— There must bo united, harmonically with the choral Sub- ject, a Fugue Subject and the Answer, which must be carried through the Composition according to the principles of Fugue, Do. Chromatic — A Fugue whose Subject and Answer proceed chromatically, and which is treated as Real Fiigue. Do. Digression in .\ — (See Digression.) Do. DouuLE — in which the Counter-Subject is treated and answered as a new Subject. Do. Entire Composition of Real— (See Accessary conditions of Fugue.) Do. Episode in a— (See Episode.) Do. Episodical Conditions of — (See Accessary Conditions of Fugue.) Do. on the Fifth.— (See Tonal Fugue.) Do. Do. Relation between Subject and Answer in— The Answer must be in complete agreement with the Subject in its melodic figure ami in its tonal nature. * Do. IN more than Four Har.m >nical Parts.— In which case shorter Subjects become necessary. Do. FREE--(See Real Fugue.) Do. General form of— Tti3 esijntial divisons of a Fugue are the Exposition, Countcr-Ex])OHition, Episodes, Strettos, Canons, and I'edal pass- ages. Do. Imitation in the Unison and in tub Octave in— It is permitted in any kind of Fugue. Do. of iMiTATidN.— a third kind of Fugue, generated from Tonal :^,narts are in one measure of time, and the other or others of them in another measure, or other measures of time. Do. ON the Octave*— In which the Answer is taken an Octave above the Sub ject . Do. WITH ONE Principal Sub.tect.— (See Pingle Fugue.) Do. Perpetital— (See Canon.) Do. Proporttontng of Voices in Increase of Parts of— More cannot be said here than that care must be taken in their adjustment according to the number of parts and of Voices, and the nature of the com- jwsition, and that it requires skill and experience. which beloug to the accompaniment to the canon. This canon (in four porUi) is found in its concealed form at the end of his 84 Quartettes. Notwithstanding what has been said above, canons 1 , are but exercises of musical ingenuity. They are merely ingeni- ■r^. t .' ous tricks, bearing the same relation to music, that riddles, cha- '^'«'Bi fliipd fflnundrums do to poetry. ^ ^ ,^f h,^ti'>^ great mea- xperionce of •he Subject, fhich should ! various de- choral Sub- be carried of Fugue, romatically, ed as a new igue.) le.) must be in figure and er Subjects Exposition, l^edal ])ass- ed in any and Real ary move- lical ))arts tened. complete, titute the or more , and the leasures of the 8ub t be said | aceordinj^- ' the com- ns canon of his 84 }, canons \y ingeni- iles, cha- 1* Do. Real (Fruk and Limited.) — When the Subject commences by the Tonic, itroceeding to any other chord than the Dominant, it is a Ileal •"ugue. By I'ree and Limited is meant; in the former, tha Re- sponse is not precisely similar to the part im tated, beyond the duration of the Subject and of the Counter- Subject ; which must be the case in Limited Real Fugue. Do. Of tub SB'rriNas-i.N &c., of parts with Subject and Answkr in— As a rule those entries in which the parts set in successively on the out- side, i. e., above or below the part that has preceded them are the best. Do. Single — A Fugue with on« principal Subject. Do. Studv — A Fugue composed Tby the Student, in which he employs all the devices of Fugue for Exercise ; One not intended for the Public. Do. Subject of a— The principal or predominant melody of a composition. Do. Tonal— One of the principal kinds of Fugue. Do. IN TiiREE OR Four parts. — Perfect Cadences, in which all the parts simul- taneously concur, aie employed only at the conclusion of the Fugue, or oc>j sionally before the introduction of the last and principal Stretto. D«. WITH Three or Foi'r Subjects The Subject' must be very distinct from one o.nother in regard to their melody. Do. with Two Principal Sub.iects'. — (See Double Fugue.) Do. FOR Two Choirs.— One which is written in eight harmonical. parts, each choir taking four parts. Do. ON Two SiBJKcrf'.— -(See Double Fugue.) Fitmjamental Bass. — A bass formed of the roots of chords only. A bass of this sort is not meant to be played, but merely to serve as a test of the correct progression of the harmony. (Jehman Sixtii^ The name applied by some writers to a chord composed of a majoi' third, perfect fifth, and extreme sixth ; as A sharj). G K C (jIknkra. — The plural of genus : The three Scales in use in Music ; viz., Tlic Diatonic, Tiie Chromatic, and The Enharmonic. Olisser.— To glide along the Key-board by turnhig the nails towards the edgei of the keys. Glockenspiel. — An Instrument composed of a set of bells, which are put in sm vibration by an arrangement of keys. Gong, or Tan-tam.— a large circular Instrument, made of brass and struck with a drumstick, producing a most wild and thrilling series of Vibrations. Graces.— Occasional Ornaments or embellishments in Melody, sometimes in- dicated by the composer, sometimes spontaneously introduced by the performer. The most ini])ortant of these are the appogoiatu- RA, the tiTrn, and the shake. Gradual Modulation.— Modulation h» which, before the modulating chord, .some chord is taken which may be considered as belonging either to the key we are in, or that to which we are going. Grave. — A very slow and solemn movement ; also a deep, low pitch in the scale of sounds. .. Guide.— (See Subject ). Gi'iTAR.— An Instrument suitable for accompanying the voice. It possesses six strings, which are played with the fingers. II. '.Vi ' 'S' IlAND-oi'iBB.— An instrument invented by Kalkbrenn^r, to in^lnre a good posi- tion of the liands an«l arms on tl 15 ; Harmonica. Kktbd— Similar in kind to the Oloclcenspiel, but formed of plates of Glass. Harmonics. — ^The sounds that are heard acompanying the principal sounds of a musical string, when put in vibration. Harmonist. — One acquaints) with the laws of harmony. Hakmony.— The art of combining several rounds, so as to form chords, and of treating the conibitiations thus formed. Harmony for Orchestra. Tkbatmknt oF'— It entirely depends upon the knowledge, skill, experience, taste, and an intimsite knowledge of instrumentation, on the part of the Composer. Harp.— An Instrument with strings arranged perpendicularly, and played with the thumb and fingers of Doth hands. Harpsichord.— An instrument much used before the iuv<»ntion of the piano- forte ; its strings were of wire, and it was furnished with one and sometimes with two rows of keys. Hautboy.— A wind instrument with a double reed, otherwise similar to the clarionet, and taking the part next above it in the Orchestra. Hidden Firrns and Octavbs.— In both cases an Interval, which, although not actually sounded, has the same effect on a delicate ear, by one of the two notes forming it being passed or crossed over by one or other of the parts in its passage to the Interval aforesaid. Horn. Alt (in Bb.)— (See Tenor Horn.) Do. Bass— (See Russian Bassoon.) Do. Bassrti — Similar to the Alto Clarionet in P(low) in every respect, but that it has a little brass bell mouth at its lower extremity, and gceis a third below the clarionet. Do. Enoliih — Is properly speaking the Alto of the Hautboy, possessing an equal compass, but sonnding a fifth below. Do. Frbncii-or Horn«-A most useful and important Orchestral Instrument. It is in fact a long bra^s tube v^ith a Bell mouth, coiled into rings. By its quality of tone it blends with the general harmony in any Do. Fluqel — An Instrument similar to the Cornet-a-pistons. | piece. Do. Oerman — Used also in place of the Comet. It is the highest of the lo .v valved Instrumetjts. Do. Sax— An Instrument resembling the bugle in form, but with three valves instead of keys. There are Soprano, Alto, Tenor, Bass, and Double Bass Sax Horns. Do. Tenor- This is the Alt Horn in Bb, and, as its name implies, generally takes the Tenor part. 1. Iambus. -An English musical foot, consisting of one short and one long note. It may be represented by the word Reject. Ideas. Musical— Musical phrases t>r sentences which address themselves to and interest our feelings, or which please our ear, and which we easily catch up. Imitation.— A musical device, in which onG part called antecedent, proposes a subject, and another, called consequent, repeats it in a certain order, and so on thus to the end. Imitation may be in two, three, four, up to eight parts, and even two given Subjects may be used. Do. BY Augmentation. — In which the consequent answers a pro]>o8ed subject note for note, but each note augmented in value. Do. Canonic— When the consequent responds to the antecedent^ note for note from beginning to end. Do. Circular Canvnio— (S^ Infinite Canonic Imitation.) Do. Common— (See Ordinary Imitation.) Do. BY Contrary Motion. — When the consequent responds by ascending motion to the descending motion of the antecedent, and vies liar. B. CoNv; a. BY Di r). BY Di >. DlRE o. Do. < o. Do. I o. Do. i (>, Do.- )o. FiNr >o. Frbi Do. Fi'O 0(t. iNF] Do. IXTl i>(). iRf Do. INV Do. Do, Do. D' l»o. D IMITATI Do. Ln 16 of pifttes Ktundt of , and of ipon the wledge of i played le piano- one and to the Htra. ough not . by one r by one id. , but that ^d gcesi a issing an trument. nto rings. ly in any (piece. the lo.v ')i three )r, fiass, renerally ng note. elves to hich we iroposes certain in two, ts niHT subject arnote 3)iding 1 vice wp. CoKVBiiTiBLH (DoVRLB OouKTsapoiNT.)— In which the upper (>art inay be- I come the lower part, or the lower part become the upper. Id. bt Diminution.— When the consequent diminishes the value of the noteo I which constitute the Imitation. ., ■o. BT Direct Movbmbnt. — (See Imitation by similar movement.) ■o. Direct— In Rbferkncb to a Strict and Prbb Inn ation takbv up at close I of SUB.TBCT IN— Any Subject can liave Strict Direct Imitation that I contains the fourth of the scale and the leading note, in the I same tonality, en the prime and i of it are founded upon I hcquential pro};ressions. mo. Do. AT oiiOSB of SUB.IKCT. — Not oil Jiome rliythmical division between the I commencement and he oonipletion of the Subject proposed. I«>. Do. -Process of CoMi't/siTios »y iMiTATioi os a oivbn Subject— Tub I Imitation TAKEN u I' AT THE close ok the Subject.- The Subject I being given out by one of the parts, is taicen up consecutively by I all the others as each precccUu"^ ]>art concludes the Subject, each I part, after giving out the .Subject being carried on in acompani- ment (in counterpoint) to the Imitation, bo. Finite- When Canonic Imitation i> finished by a Coda, or conclusion Do. Free— Not restricted; wlien ex;ict (;()rres]>ondence ijs not maintained be- tween the tones and senntnnd>i of the Antecedent and Coutse- queut respectively. Do, FuauED, OR Fugue.— When tlie Respimse is made in the Fiftii above or below. Do. Infinite Canonic- Wneu it is combined in such n manner, as to return from the end of the Imitation to the banning without ceasing. Do. ixTBRRUi'TED — Takes place when, through the medium of rests in the consequent, the continued progression of the notes pro))osed by the antecedent, is sus]>ended. , , i>(». iRHKurJLAR— (See Free.) Do. Inverse— To ASCERTAIN thk begins ing Note ok ihe Imitation of a Sub- ject which IS Nor COMMENCED ui'ON THE ToNio NoTE IN — Place th<^ Scale and the Scale Series commencing on the degree of the in- tended Imitation against each other in contrary motion. ho. Do.- For WHICH the Intervallic Motion of ?•»■ Proposed Sub.iect is TAKEN CoNTRAKiwisE. -(Sce Imitation by contrary motion.) Do. Do. On some Rhythmical division of the Sub.jbct, &c.— For ex- planation of this see Direct Imitatitn on division of Subject. The other Imitations tulmlt of this form as well. \io. Uo.--lN reference to a Strict and Free Imitation taken up at Closb of Subject in— In this Imitation, any Subject can have strict Imitation that contains the fourth of the Scale and the leading note, in the same tonality, on the third only ; on all the other degrees of the scale, the tonality of the Subject being kept up, the Imitation is free. Imitation in Respect of the Genus of Interval. Latitu^jb given to the- Progression by Intervals which make a more vivid impression on the ear than others should find their exact counterpart in the Imitation. ^ Do. Inverse Contrary— This is introduced in eight parts and by means of Two Choirs. A Theme is proposed by one of the Choirs in four mm ptrU ; tha re§ponBe is made by tlio other, and inverse, i. e. BsM of the Theme must be placed ii) the Soprano of the Bespo and the rest also change places ; and that the Response ma; contrary, each part of it must reapond by contrary moTem IlIiTATioN om TUK OoTAVB.— The answOT is made in the Octave. Imitation i be made in as many intervals as there are in the Scale. Do. Ordi HART— When the Response repeats the Subject, commencing at conclusion. Do. Partial— One in which only a portion of the Subject is imitated in other parts. Do. Pabsaokn for— PassRffes played by one part which are subsequently tated by all the other parts. Do. PiRioDic— (See Partial Imitation.) Do. Rboular- When Response is precisely made to the nature of the In vala proposed by the Antecedent ; or in other words, when th is exact correspondence maiutt^ned between the tones and semitones. De. Do. or Rkstriotxd — in two parts by goktrart movsmbxt. — A met ho adopted similar to the one employed with respect to irregt Imitation ; but the two opiwsmg scales n:ust be different, the tones and demitones must correspond therein exactly. Do. Rehtricjtbd— (See Regular.) Do. Reiroor^d^ —Is that in which the Subiect is tAken backwards for Imitation. It may be regular or irregular. Do. Rbtrogradk Imvbrsb— For whtoh inverse Imitation of the proposed 8 ject is reversed. Do. Rrvbrskd Ri(TRo«iKADB— (See lietrograde Inverse Imitation.) Do. WITH Rbverbkd Accrnts.— Wlicn one part commences upon the accen portion of ihe bar, and tlie other responds by commencing u] the unaccented part Do. Rhtmic repetition of Accent is -Which means that there should be c current accentual agreeinevit^between the Subject and the Iro tion ; e. g., supposing the Subject to commence on the first j of tiie measure, so should also the Initiation ; this is net adhei to by classical writers. Ikitation. SciENTiFics— When the Imitation comnieqces before the Sub, has concluded. Do. Strict— (See Regular). Do. BY SiMiiiAE MovKM«NT.~That Imitation which follows the ascending descending motion of the Antecedent. Do. Subject tor— It should have a definite expression of tonality, and sho be of such a nature- as to be easily retained by the ear. Do. Sbquektial PRoeREEBioN IN — Tables of these should be obtained and died in two, three, and four parts. Do. Tonal Exprrssion, Lenoth, and Rhythmic Division of Sub,iect fo (See Subject for Imitation.) Do. is Three and in FouPv Voicatv -(See Imitation.) Do. in Two Parts.— (See Imitation.) iNKLBCiioN. — Any changre or modification in the pitch or tone ot ihe voice. Instrumbnis. Bow— AU Instruments played in like manner as the Violin. Do. Brass -Horns, Trumpets, and the like. Do. Do. WITH MoiTH PIF.CB8.— All InBtruments played like the If^ni. Do. Do. WITH A Funkbl-shai'Bd Mouthpiece. —The French Horn. Do. HiOH Valvk — Wind Instruments of hi^h pitch, as th6 piccolo Cornet Do. WITH Kbys. Strinosb— The Pianoforte. ,, , : ,. Do. WITH Key-boards. Wind— The Organ. • '? > Do. Low Valve -Wind Instruments of low pitch, vt» the Te«or Horn. Do. Military.- The, general character of Instrumejits peculiar to Milital Music is such as only to be sufferable in the open air. Do. WITH A Flat and round Cup-SiiAfED Mouthpiece.— Tftiinpets and Sli " • . .. • Trombones.' ;• -■•'..'■'fM,-,, >f.( '" !»'•- ■,'? * i><.<."i' ivene, i. e. [)f Ihe Beipoi espoiue nxi nry moTein^ Imitation Scale, nmoncing at| imitated in ibsequently ire of the In rdu. when tli i tones and r. — A metho( act to irregi be different, I exactly. ikwardB for e proposed S m.) on the accen mmencing u D should be o ; and the Im on the first 8 isnctadhe re the Sub le ascending ity, and aho e ear. >taiued and i SUB.IBCT FO of the voice, tlie Violin Ilfrn. >rn. jolo Cornet, Horn. ar to Milital ■ir. pets and SU(| U Do. Niw-^T] Do. WITH AN Do. Do. tp «^, comparatively new} there are Saxophones, fiax- f^jfff-tirom\mi, Stac^utMs, Cbt'certina, Mtilodeqn Oivan, ^rtet and Melodeons with p^okmyed sottnd and the Octo- t'kiiXfSb lloUTH-PIBCB, BBCOMIN'O ^RADUALLT dHALLOWlCR.- German h«ni8, bugles, Comets, &c. WITH A wuisTLB MouTH-piBCB.— TU^ Fll^(eolet. OK Pbrcubsion.— They »r9 ftf twp ^ifvls^ vi^,tho»c of decided sound, and **j*»«J*^ 5?Pf!Ble, w^h ae ti^e Keitjte ipnims, Bells, &c.: and thcWe whditelete tniiffica^ «oua4 e^ only be ranked among noise* ^estftted to produce Special effects, as the long drum, cymbals, Do. IM«.sA»nti«"fflee Instruments of Percussion.) Do. »tt»— MKe* consiW of li^m^-^^ with a single It«ed, as the Clarionet; ^«nd those with a dbdl)*« Reed, as the Hautboy, the Bassoon, &c. Do. Simplification of r^jd VA»B4^m foft ,Wen(, the Ophicleide, the ■BoMklirMHw '¥he two jL&tter are of brass, but are treated practi- ca^y as Wood Ipstruhietytt;. Do, Wood- Flute,. Ottcie; C*MIM6net, ^d Bassoon . Do. Do. WlTHOUT^lloO»U-y*KB, BUl'Wrtll E}MB0UC11URB.--Flllte8, INTBRV^AS.— The di«tia^oe>lreiiirany btieilcite of the idcale.to another. Do. Doubling of— One or fuore qf the ^tervals of a ^hord may be doubled without changiitg hraiiy respect its na^Ur^e. Do. Invbr8I0Nr vice Versa. Do. Omission dr -^Supposing in three t^ hanhOA^, in pr^re^Mon, one of the paitsbrdddbled. there wouldifcitn oitnissionoi,!^ interval, the •p4rtt»MH;hil'Oill4^ottierWisenii4te h, belfigot forming with an- other M^^onfetfiMthe tdime ibt^r^M. Do. OF CuoiCDS. P6smoN oF-That is to say, Whlpi^Ver .SJiipe 9, chord might 'ti^slMte, b^tHe inversion of its liiti?^^ to .always preserve tlleiir "preper liaises ; sUch is thtitt, flfOi, sev^fi* J»nd »" on- lNTONATioN.-fTke>aet »f jiroducing, or eihitting tniisical sounds, particularly in singing. ' IntroducxoryMovbmbnts.— The design of an Introduction, is to prepare the bearer for the etisiuin^ theme and mus' .ID J '• iMVBasioN.— A change of po»itiou with regard to intervali and chords ; so that ■ the upper notea are placed below, and the lower notes above, &c. Italian Sixth.— Tne name given by some authors to a chord .composed of a major third and augmented sixth ; as, D sharp. ' , , ). Fir [KsflA [etro Key.— The lever by which the notes of a pianoforte or organ are made to 8ound. Flutes, Hautboys, and other wind iuntruments, have also their Keys, by which certain holes are opened or shut. The 4 word key is aluo synonymous with scale, ana impUes a succession of notes, vccording to a certain order of tones and semitones from j any note to its octave. Keys are major and minor, according aa '^ the third of *he scale is one or the other, with other modinca- tions. ' ,, / Kkt-note.— A note to which a series (ff bther subordinate notes bears a dis-| ^ tinct relation. Kit.— A small or pocket violin used by danciug-masters. ,.,,»,: L. [i Co> [INOK [inuk: [odes [loDUL (ioLro. [oKDU lOTIOI |iAROHETTO. —Indicates a time slow and measured in its movement, but less so than LARGO. » Largo. — A very slow and solemn degree of movement. Leading Notk.— The seventh note of the scale of any key, when at the dis- tance of a femitone below the key-note. Ledger, or Legkr Lines.- Those temporary lines which are occas.onalljiDQ drawn above or below the stave, in order to obtain additiont^ ^^ 5J situations for the heads of the notes. tiEOATO. — In a smooth and connected manner. Leqgierissimo.— With the utmost lightness and facility. Len'io.— In slow time. *' LiCENSES.—Freedom from restraint in composition as to rules. Lire.- To read, as regards music. Loco.— 1 his word implies that a passage is to be played just as it is written ii>K[)Q qf j , regard to .pitch : it generally eccurs alter fcva alta, or SvasASSA. tusic. M)^. Ai Ci Do. INI Do. AJ Do. Oi M. Do. V Nasal Nba1'< Major mode.- One rf the two ixiodern modes ; that in which the third fromf^**- Vt the Key-note is major. . ■] ■ Makdolik.— kn Intttrum^nt of four double strings and with frets like a guitar It is placed with a quill, «ir plectrum, held in> the left hand. It i tuned in fifths like the Violin. , f, V. Mass. — A musical service of the Roman Catholic Church, consisting, of severfKATUi al movements. The extent, as well as the substance, of th • words of the Mass renders it one of the most i nportant of musi cal compositions. Mediant.— The Mediant or third note of the Scale. ,i.u Melodial Sykcopatioks.— Short and irregular suspensions of the essenti: notesj or of passing notes and appoggiaturas. Melodeon Organ.— This instrument has a key -board, like the Organ, but i sound results like that of the Concertina — from the vibration oi free metallic reeds, over which passes a current of air, which produced by a bellows, put in motion by the feet of the performer, Do. Do. wiiH Frolokgj.d SouKD.--By means of an invention, vhich gives th player the powei* of sustaining for an indefinite time, by a simpl movement of his knee, a note, or chord, throughout the com. of the key-board, after his fingers have ceased to press the keys. MxLODT. — A particular succession of single sounds. , iOTB INOTSI o. A Do. ^ n;*M • ■ : ...% . o. KcfNDAMBSfAL HASHES TO— (See Htileolf the OcUve.) tiAaMo.vi/.ATio.v Of— C5»ro must be taken to observe the Scale-conneution of the lutervalsj with practiue, ingenuity, and a knowledge of har- mony. lisSA Di VocK.— A swelUng and diminlMhing of the volc9 on a long holding note. BTRONOMB.— An ingenious inHtrunieut for indicating the exact time o(a niusi- , cal i»eee, by nreans of a pendulum, which may be shortened or v . lengthened at iileaHure. I Contra Pa.— Is applied to a skip in melody from the fourth to the seventh of the Scale, and is not allowed, being a false relation. IiNOK MoDK.— One of the two modern modes, in which the third from the key- note is minor. ... , IiKUKT- -(See Scherzo.) - lODBS.— The two Modes of the Scale, Major and Minor, by a certain arrange- ment of tones and semitones. loDULATioN. — The passing from one key to anofher. loLro. — Very, extremely. -., . - .t"^ ,;?<•) loHDBN'TB.— A beat or transient shake. kiOTioN OF Parts.— Means the direction that the parts take in relation to each other, asj Similar, Contrary, or Oblique Motion. (See "Morement" in Counterpoint.) ttusic. — The language of sounds. . . .^ . .., ^.j.if.. JO. Adaptation of wo^ds to— Care should be taken that the accented parts of a sentence, or accented syllable of a word be placed on the accent- _^ ed part of a measure. , [dientty. occas.onaiij po Church -In which the Art can and ought to be displayed in its greatest im aduitional ^q DANCU—The characteristic of dance music depends on the thne, the degree of movement, the rhythm, and the length of the composition. ♦ Do. Instrumental— Music produced by Musical Instruments. Do. Military— Consists of Marches, of which there ere— Qiiick Marches, Deflling Marches, Marches for the Parade, and Funeral Marches. Do. Orchksteal— The combination of Stringed, Wind and Percussion Instru- ments. Do. OF thb Protkstant Church.— It comprises in this country, Chants, Psalm and Hymn Tunes, Services, and Anthems. Do. Vocal- Music produced by the human voice.. • *' e third from ^o- Vocal Part— The cd-operation and simultaneous effects of seVeral indiyid- ual voices. rds; Bothftt IS above, &o. uposed of a re made to ts, have also shut. The a succession nitones from accoFding as er modinca- bears a dis- t, but less so n at the dis- is written ii )r SvaBABSA. like a guitar, t hand. It ii ing of sever^ Ance, of thcf ant of musi-l the essentia Tgan, but it vibration air, which le performer] lich gives th( by a simpl^ the compt BS tho keys. .fj.-'tii :( Nasal Tone.- In singing, this term implies that the voice is deteriorated by passing through the nostrils. Natural.— A character marked '[i , used in Music to restore a note to its na- tural place, that has been elevated by a sharp, or depressed by a flat. Neapolitan Sixth.— A chord composed of a minor third and minor sixth, which is situated on the fourth degree of the scale. In the key of C major or minor this chord is as follows : Db, Ab otb Sensible. — The leading note of the scale, or that notcj of the scale which is situated a semitone below the key -not 6. > . .; i .; Notes. —Those characters of Music which represent sounds, Ath ^heir. differ- ence of pitch, and their duration in time. 0. Accidental— In composition, those notes not essential to the harmony. Do. Auxiliary — Those notes standing on the next degree above or below an essential note, when th6y do not proceed from one essential note to another. Do. Dmyixo-XSm M «lodi*l STiicopfttloiw.) I Do. Do. Of BiiBBixiiBiiMK»."PM»Ipg NotM, ADil aU nioh m do Dot fonu o. OF Tabtb.— o. RubB or THB— So called, being the progression of the ascending and ( scending diatonic Soale harmonised. Ocvo-Baba.— A stringed Instrument lilce the Double Uam, but descending h er by a third than the four^strinsred, tiud by a fifth, than \ three^tringed Uouble>Bass. The strings are pressed on to fn on the neck of the Instrument by means of lisys moved by 1< ert. This Instrument is too powerful to be pUyed except large Orchestras. . Omw HAmiioifT.«*-HanBOQy in which the Notes are separated by wide inti ▼als. OnaA.— A musical drama, consisting of a union of all the effects of voi and iiMtnnei^ musiCv with dramatic and Ij ric poetiy, the scsi art, pwspeotivo paint^iig, and all other itage effects. Do. Ck>iiroxBMT PABTB OF TUB- These are very numeiroua ; among the mc pron^nent may be noticed :— CAXO»s.--(Seo treatment oflilnstrumenl '■^*0,) OaoBBBTaAL Masbbb. To Combikb two— (See Instruments.) ^1ik».iDi». yaoAiiPABBAOBB Foa->The stringed Instruments inay play the . note, or both masses msy combine in playing suui pass.\f|ilnstrumi8ii pHay the pe( I pa8&.\<^«8y norft aaute I , wind Instr aiflon paspag^ Do. Do. Two rjkMt Hammoiit wItm— In this caae, .in> a _ part of the duet may be given to the Stringvd laalniMeBte, and the other to the wind inetniroents. Do. Do. Thmhi raav Hamiomt wiru— The best way is tot the upper parts ^S the trip'tp be given to the wind instrument, and the third pari or bass to the stringed instruments in unisca or octave. Do. Do. FbUE PA^T Harmomt for- As above, the wind may take the three unper parts, but other ways are i^wed. Orohmtiui* Mvaic— (Bee Music.) .Oii*Ui.~>A well-known and highly aopreciated musical instrument with a key- board and pipes of wood and of metal, made to vibrutt by meat>s ef the wind sent through them from bellows. It is chiefly used in ehurehes, and other places of divine worship. OMAJf-roiifT.— A pedal base, held through a suecce«sion of harmoniee. 0T3aTURS.->The Introduction and commencement of the Opera. P. Pax's Pirai.->PandMn Pipes. Oae of the most ancient and simple ef mugi> cal instruments : made of reeds of different lensrths, stopped at the bottom, and blown by the mouth at the top. PAKTi.— Of If usic; as the Treble part, the Bass part, kc. Pabsuio Notis.— Notes-foreign t« the harmony, but which serve to connect thone which are essential. pAVtv.-~ A musical character consisting of a dot surmounted by a curve, and ie |>laced over a note, to signify that the regular time of the movement is to be delaved, and a long continuance of tht eound made on that part of the measure. PAVitLON CRiifoiB.—Animtrument something resembling a Mace, and hung with numerous little bells, which are shaken. Pbdal.— The Pedal is a note prolonged and sustained during several bars. In pianoforte music, this term implies that the performer must press down the pedal, which takes off the dampers from the wires. Pimion. — Is a complete and independent musical sentence, terminated by a perfect and «atisfactory cadence, and containing several members. Do. Combination of- The simplest forms of composition, »a dance tunes, airs, jcc, generally consist of .two, or at most three periods, sacb con- taining two refrular sections. Do. ExTisrnxD— It is effeetea by extending or lengthening one or more of its members, as the phrase or section. Phkasi.— A musical phrase in a short melody, which contains no perfect nor satistActory Musical Idea. Do. EmnriRD.— A phrase consists of two bars in simple time, but it is some* times extended to three bars. PiANoPosn.— An Instrument with a key-board and metallic stringe, put in vi/bration by hammers, its full compass is Seven Oots^. Do. WITH PROLONGKD SOUNDS.— (See Melodoou Organ.) Piccoivays of eflfecting this; as, by the repetition of a bar, or oi a phrase, or by extending the two principal divisions of one or more bars into whole bars. p»^ ui visions Skmi.— Half ; as semitonk, half a tone, &c. SEMiTONRH.-Half tones ; as for example, from E to F in the Kev of C k th« interval of a Semitone. » i"« ivev oi c is the i-APP.- (S ("AVE.— Fi fRBTTO.— PRINGKD ] TLB. Fl 0. Stric 0. OF Mu ?B.TECT.- b. AND A |). Jc. Si to. To D I). Imita ). Rhy>i ). TONA reSTITLTK fPBRPLUOl ts nrt noteH, yel. Thia h are in- 1, &c., be- cally to a ieir corre- 11 the fol- music. jctioiis or plays the to a 8tyle han thtiu- [juriioiiaie lue oi the id with a I'are and . four, or itave. The third >low each idicularly lie last of jeiition of division* C is tlie CMPRK.- -Always ; semprb staccato, always staccato or detached ; BBMPbK FORTE, always loud ; semprk piu forte, continually increasing in force. 5RPKNT.— A wooden instrument covered with leather, and having a mouth piece. It is of a coarse, deep tone. iJCRPENTCLiDE.- (See Russian Bassoon.; XQUBNCB.— A similar successici of chords in the same scale, upon a regular progression of the bass, ascending or descending. lARP. -A character which raises a nute so marked a semitone. ONATURB.— The sign; i. e. the number of sharps or flats placed at the head of the Staff, by which the key is known. XTH. Added — As the Dominant Harmony is distinguished from that of the I Tonic by its added Seventh, so the Sub-dominant is distinguished } from the Tonic, and from the Dominant, by its Added Sixth. Theorists are divided in their opinions conceraing the Root of this Chord ; out a great majority of Authors are in favor of its deriva- tion from the second or Supertonie of the Key. Rameau seems to have been the first who classed it as a theoretical chord ; but Morley gives a specimen of its practical use, and even allows it in couNrBRPoiNT, where concords are chiefly employed. Holden fol- lows D'Alembert and Serre, and inclines to the doctrince of Double j Fundamentals. Marpurg and Kimberger unite in rejecting this I chord as an addition, and both censure Rameau. WATA. — A composition generally consisting of four principal movements. bsa. — A piece of music sung to words. lUKDS. Indication of— By characters called Notes. foNDEE.— A dissyllabic foot of the Ancients consisting of two long notes, I which may be represented in English by the words pale moon . I This may be considered Trochaic in the English language. Jaccato. — This term implies that the notes are to be played distinct, short and • detached from one another by rests. fAFP.- (See Stave.) |"AVE.— Five parallel lines on which the notes are placed. TRBTTo.— An essential requisite of Fugue. It is called the knot of the Fugue, being employed *;o indicate a device which consists in approaching as closely as possible, the entrance of the response to that of the Subject. CRINGED Instruments.— A technical term for Bow Instruments, (which see) to distinguish them from the Wind. TLB. Free — (See Counterpoint.) 0. Strict— (See Counterpoint.) 0. OF Music. Influence of Different — The accompanist should become ac- quainted with the musical epochs from the time of Palestrina. object.— An indispensable condition of Fugue. b. AND Answer. Relation between -The Answer (in Fugue) is a transpostion |, of the Subject, gersrally undergoing some slight, though indis- pensable alterations. Jc. Settings in &c. of Harmonical parts with— Those entries are best in which the parts set in successively on the outside. p. To Develope a— To present it under different points of view. h. Imitations formed by Fragments of- (See Accessory conditions of iPugue.) Rhymic repetition of accent in— ^See Imitation.) Tonal expression of— (See Imitation.) fBSTiTLTioN.— Similar to suspension, namely ; in respect of the temporary in- troduction of certain Notew in place of others which are essential members of the Harmony, and into which the substituted Notes roust resolve. rpBRPLUous Intbrvalb.— Augmented intervals. !>. 14 SusPBNSioKs.— These take place when one or more notes of a chord are continu- ed in the following chord to which they do not belong, by which process the natural harmony bocomea suspended Sax- Stmpjiony.- A grand composition for full Orchestra, bcnsisting of four move|tKiSH Ci ments, namely : an Allegro ; an Adagio or Andante ; a Scherzo oif Minuet; and a Finale. i ilATIONS .OGE. I ^iDAGA LIN. -A LONCBLL ACE. CKS. TRANaiTION. C] CoMPi Instr Stncx)P-aTIon.— a transposition of the accent, by giving a long Note on the un accented part, and a short Note on the accented part of a Measure Sykcopatio.^. Mblodial— (Sea Melodial Syncopations.) T. Tambourink.—A pulsatile Instrument like the head of a Drum, with jingle'iliiA.- Th placed round it. It is a, favorite Instrument of the Italian peas-|LE d'Am antry. Tambour BASQUii. -(See Tambourine.) Tbnor.— An Instrurient of four strings, tuned in fifths like the VioLn ; and at a fifth below them. Tenore. — The tenor voice or tenor singer ; a high male voice. Theme.— (See Subject.) Themes. — Melodies. Thorough Bass.- The art of accompanying, on the pianoforte or organ, voca or instrumental music with proper chords, according to the figures placed over or under the bass notes of the composition. Time. — The giving to every sound or silence, the duration signified by the note or rest used fOx that purpose. Tonalities.— (See Keys.) Tones. -The Interval or distance of sound of two semitones ; i. e. in the key o C for example; the distance from C to D, or from D to E, are tone.' (See Semitones.) Do. Church— The ancient modes, namely; the Dorian, Phrygian, Ljdian Mixolydign, Eolian, and the Ionian or lastian. Tonic Sol Fa.- A system of vocal instruction, so called from its placing th< Italian syllable Do (used in Solffeggi for the note C) on the Toni( or Key note, let the Key be what it may. It is eplremeral, wil have its swing with a class, and die. -Any note w hicb passes by one Degree between the other notes of the Triad, forms a Discord of Transition, and, if found on the weal< part of the Measure, is termed a passing Note. -^ Transposed.— Removed into another key. Triad.- A chord of three notes ; a common cliord. TRiANQiiE.— A military pulsatile Instruniont, uidy used for effect. It is of steel in form of a triangle, and struck with a piece of steel rod. TaiiuiACii. -A musical foot composed of three short notes. Trio. — A comi^osition for three voices or Instruments. Trochke. — \u English dissyllabic foot, composed of one long and one syllable. , Trombone.— A wind Instrument of brass and witli a slide whi .-h can be lengtlJ ened or shortened instantMneously by a movemeJit o*" the player* arm. There areSi)prano, Alto, Tenor, and Bass Trombones. There i also an Alto Tmmbone with pistons, or with cj'linders, whic • causes it to lose somewliat in the cor'^ectness of intonaiion possesi ed by the Slide Tromlvjue. Trumpet.— In form it is a7i elongateti coruet-a-pistons, and pcisesses nearly tlj same c.>mi).iss as the Horn, and is treated in a similar manner writing fdr it. It is put into different keys by means of croolis. is an instrument of a piercing quality of tone, and must be usd but seldom. There are als») Trumpets wi h slides. Tuba. Bass - A species of BMmlc.rv ion, possessing five cylinders, with a c«>i pass of four octaves. It is the Double- Bass of Harmony. ^D Instr -Witl sh ■1 are continii-' g, by which four move a Scherzo oi , 26 Sax — In shape like an antique trumpet, and is treated like the Sax-Horn. It has a luouthpiece and p. mechanism of cylinders. iKiSH Crkscbnt. — A. militarj' Instrument with h( lis or jingles. T. i on the un f a Measure] IATI0N8. iji OCE. A Tlieme 3r Motlvo is written, generallj' consisting of two short repeats, to which follow a series of variations. Variation* on an air. In a rapid time. This term is sometimes used to signify that a par- ! ticular passage Is t(» be played as quick as possil)le. with jinglesj'LA.- The Tenor Viohn, Italian peas-jiLE d' Amour. - An Instrument of*seven strings oi catgut, under which are seven more of metal, which the first-named cavise to vibrate. It is a bow Instrument rather larger than the Viola, ^i DA Gamba. — An Instrument of six strings. It resembles the Violoncello. LIN. -A well-known bow Instrument tuned in fifths. LONCKLLo, -An Instriiment of four strings, tuned in fifths ; it 's an Octave below the Viola. It is the bass of the Stringed Quartet. ACS. -With briskness and a limation ; vivaciously. • CRS, Classification of —There are women's and children's voices— Soprano and Contralto; and men's voices- Teiior and Bass ; the two first- named are an octave higher respectively than the two latter. Tiiere are modifications of each. Compass of — Soprano and Tenor from C below the Stave to Bb above the Stave (Treble Cleflf); and the Contralto and Bass from F below the Stave to Eb above the Stave (Bass Cleff); the Tenor is an Octave below the Soprano, and the Alto an Octave above the Bass. Instruments with — The Violin associates with the Alto and Soprano ; the Flute and Oboe with the Soprano ; the Viola with the Tenor and Alto, and, of course, with the voices between these; the Clarionet with the Tenor, Alto and Soprano ; and the Bassoon and the. Violoncello with the Tenor and Bass. W. iohn ; and at organ, voca M the figures )n. i by the not( in the key o E, are tones ^lan. Lj diau placing th< m the Toni( :emeral, wil ND Instruments. — (See Instruments.) tber notes oi ^ ^ loutheweali ^• ,0.— With zeal, enthusiastically. It is of steel rod. Fm'E. d one shori an be leiigtil f the playei*^ nies. There nders, whic iMon posses! 3s nearly tl fir manner of crooks, lust be ust with a col onv. •fc-?^'^ t"^** Xwf^ of Works hy Geo. Baker ,boi^ prtrdA ed and Manuscript. Sacred Chants. 1 Quadrillev Pyiades. 2 Do. Channel Fleet. S Lord Clyde's March. 4 Knickerbocker Polka. 5 The Bridesmaid. Song. 6 Tke Betrothal. do. 7 Italy Betfui^ent. do. 8 I pray for Tniee. do. 9 lafe'a Ilubicon. do. 10 Nocturne for the Pianoforte in Bb.Il VVOUKS IN MAM'SCRIPT. A Mtisical Reference. 1 List of Organ Pipes with remarks, etc. 2 The Channel Fleet Quadrille, ar- ranged expressly by the Com- poser, for Howard's Saturday evening Concerts, Music Hall, Edinburg, and performed by the (>rchei4)ra amdd the greatest ap- plause. 3 Eight separate arrangements of the Old 100th Psalm, in eight part harmony ; the plain song being placed in each part suc- cessively; with Ghrgan accom- paniment. Do. Do. Martin Luther's Hymn. 18 Sacred Chants. 2 Responses to Commaudments. II Psalm Tunes. Gloria. 2 Quadrilles. 42 Exercises for Pianof trte. 45 do for Violin. 18 Scales and Exercises for Viola Ballad. Memonr. 23 Airs arranged for Pianoforte. Interlude for Omm. Fantasia on Bridei:>maid. Valae. Forest Songs. IB Po'ka. 19 Song. Children. 20 A Te Deum for 4 Voices & Organ. 21 Ballad. Claribel. 2St God Save the Queen arranged for Pianoforte. NOT MUS'CAL. Vocabularj of terms. Do. French. English grammati-