TWELFTH EDITION 
 
 Thoroughly Revised, and Augmented by an Appendix 
 of 700 Additional Words and Phrases. 
 
 DICTIONARY 
 
 OF 
 
 MUSICAL TERMS 
 
 Containing upwards of 9,000 English, Frencn, German, Italian, 
 
 Latin and Greek words and phrases use? in the art and 
 
 science oj music, carefully defined, and with the accent 
 
 of the foreign words marked; preceded by rules for 
 
 the pronunciation of Italian , German and French. 
 
 WITH A 
 
 SUPPLEMENT 
 
 CONTAINING 
 
 English- Italian Vocabulary for Composers. 
 
 COMPILED AND EDITED 
 BY 
 
 DR. TH. BAKER 
 
 NEW YORK: G. SCHIRMER 
 1909
 
 COPYRIGHT, 1895, BY G. SCHIRMEB.
 
 PREFACE. 
 
 IT is the aim of this Dictionary of Musical Terms to furnish an accurate and 
 concise explanation of any technical word or phrase which the student is apt to 
 meet with. The English vocabulary will be found practically exhaustive. Want 
 of space forbade making the foreign vocabulary equally so ; but the editor has 
 endeavored to preserve a proper balance by giving any term, appearing in either 
 German, French, or Italian, in each of those languages, thus maintaining a con-' 
 sistent polyglot character so far as necessary limitations permitted.- 
 
 The scope of the work, which is rather a dictionary than a lexicon, rendered 
 the editor's task more that of a compiler than of an original investigator. Most of 
 the material here presented has been gleaned from numerous standard works of 
 reference, such as those of Grove (Dictionary), Riemann (Musik-Lexikon), Gevaert 
 (Instrumentation), Weitzmann (History of Pianoforte-Playing), Stainer and Barrett, 
 Ambros (Geschichte der Musik), Paul (Handlexikon), Soullier (Dictionnaire), 
 Helmholtz (Tonempfindungen), Niecks, The Century Dictionary, many English, 
 German, French, and Italian periodicals and musical journals, etc., etc. Literal 
 quotations are duly credited to their sources ; condensations and adaptations, how- 
 ever, are, for obvious reasons, not so credited, and must, therefore, be included 
 under this general acknowledgment. The information so gathered has been care- 
 fully sifted, and supplemented by the personal researches of over ten years. 
 
 Due credit should be given to Dr. William Mason for suggesting the Supple- 
 ment, containing an "English-Italian Vocabulary for Composers", to which Dr. 
 Mason also contributed vp'-ied additions. 
 
 2505742
 
 HINTS ON PRONUNCIATION.* 
 
 Vowels : 
 
 ITALIAN. 
 
 General rule : The vowels are very 
 open, and never to be pronounced 
 as impure vowels or diphthongs ; 
 they are long in accented syllables 
 which they terminate, short in 
 unaccented syllables, or in accented 
 ones ending with a consonant. 
 a like ah. or ah (never <?) ; e.g. amare 
 
 [pron. ah-mah'-reh]. 
 e ' ' ay in bay (without the vanish /); 
 
 e in bed ; a in bare (before r). 
 i " ee in beet ; / in bit ; i before a 
 
 vowel, like y (consonant). 
 O ' ' a~i', or oh (without the vanish 
 
 ) ; d in Opinion. 
 u " oo in boot ; u in bull. 
 
 Consonants : 
 
 Genera/ rule : Even the hard con- 
 
 sonants are somewhat softer than 
 
 in English ; the soft consonants 
 
 . are very delicate. 
 
 b, d, f, 1, m, n, p, qu, s, t, v, as in 
 
 English. 
 c like k, before a, o, a, or another 
 
 consonant except c, as below. 
 c " ch in chair before e or i ; cc 
 
 like t-ch before e or i. 
 g " g hard before a, o, u, or another 
 consonant ; except before / (pro- 
 nounce gl like l-y [consonant], 
 e.g. sugli, [pron. sool'-ye]), and 
 n (pronounce gn like n in canon 
 [kan' yon]). 
 g " z in azure (or a very soft j) be- 
 
 fore e or i. 
 h is mute. 
 j like y in you. 
 r, pronounce with a roll (tip of tongue 
 
 against hard palate). 
 Where a doubled consonant oc- 
 curs, the first syllable is dwelt 
 upon ; e.g. in ecco [pronounce 
 ek' - ko, not ek' - o]. Accented 
 syllables take a less explosive stress 
 
 * The-e "hints" are offered as an aid for 
 tyros, and not in the least as an exhaustive set of 
 rules. 
 
 than in English, being prolonged 
 and dwelt upon rather than forci- 
 bly marked. 
 
 sc like s/i, before e and '. 
 
 z " ds (very soft ts). 
 
 Vowels : 
 
 GERMAN. 
 
 The simple vowels as in Italian ; 
 y like German i or u. 
 
 Modified vowels : 
 
 a like a in bare, but broader ; / in bed. 
 
 6 has no English equivalent ; long d 
 can be pronounced by forming 
 the lips to say oh, and then 
 saying d (as in bay) with the 
 lips in the first position ; short 
 d, by saying e (as in bed) instead 
 of d. [N.B. Long o is the 
 French fit (in jeu)\. 
 
 u has no English equivalent ; pro- 
 nounce long by forming the 
 lips to say oo (as in boot), and 
 then saying ee (beet) with the 
 lips in the first position ; short 
 it, by saying / (as in bit) instead 
 of ee. [N.B. Long ii is the 
 French .] 
 
 Diphthongs : 
 
 ai and ei like long i in bite. 
 ae like a'. 
 
 au " O-M in brow. 
 
 eu and au like oi (more exactly ah'-ii, 
 closely drawn together). 
 
 Consonants : 
 
 f, h, k, 1, m, n, p, t, as in English. 
 
 b and d, beginning a word or syllable, 
 as in English ; ending a word 
 or syllable, like p and / respec- 
 tively. 
 
 c like k before . o, and / like (s 
 before e, t, and a. 
 
 g usually hard, but like z in azure in 
 words from the French and 
 Italian in which g is so sounded ; 
 ang, eng, ing, ong and vn^ 
 terminate, at the end of a word, 
 with a -sound (e.g. Be'-bung*),
 
 HINTS ON PRONUNCIATION. 
 
 j like v (consonant).' 
 
 qu " /?. 
 
 r either with a roll, or a harsh breath 
 
 . in K- 
 
 beginning a word or syllable, an 
 before a vowel, like z (soft) 
 ending a word or syllable, lik 
 sharp / / before / and /, begin 
 ning a word, usually like s 
 (e.g. stumm, pron. shtum [ a 
 in bull]) ; otherwise as in Eng 
 lish. 
 
 T like f. 
 
 w " v (bnt softer, between v and w) 
 
 X " ks (also when beginning a word) 
 
 z " is. 
 
 Compound consonants : 
 
 ch is a sibillant without an English 
 
 equivalent ; when beginning a 
 
 syllable, or after e, i, a, o. ti, ai, 
 
 ei, at, en, and au, it is soft (sel 
 
 the tongue as if to pronounce d, 
 
 and breathe an h through it ; e.g. 
 
 Strifh, pron. shtrld-h) ; after 
 
 a, o, u, and au, it Is hard (a 
 
 guttural h), 
 
 chs like jr. 
 
 sch " sh. 
 
 so and st, see s, above. 
 th like t. 
 
 Accented syllables have a forcible 
 stress, as in English. In com- 
 pound words there is always a 
 secondary accent("), sometimes a 
 tertiary one('"), depending on the 
 number of separate words enter- 
 ing into the composition of the 
 compound word ; e.g. Zwi'schen- 
 akts "musik", Bo' genham" merkla- 
 '"''" The principal accent is 
 regularly marked O in this work. 
 
 Vowels : 
 
 FRENCH. 
 
 as m Italian, but shorter, often ap- 
 proaching English J. 
 4 like ah. 
 e " in but ; ^-final is almost silent 
 
 in polysyllabic words. 
 " ay in bay. 
 fe " < in there. 
 
 German a, and always long. 
 
 i or i like ee in beet ; short / as in 
 English. 
 
 as in Italian. 
 
 u like the German it. 
 
 Diphthongs : 
 
 ai like ai in bait ; but before /-final, or 
 //, is pronounced as a diphthong 
 (ah^ee, drawn closely together). 
 
 ai and ei like /. 
 
 eu, eu and ceu like German 5. 
 
 01 like oh^ah' (drawn closely together). 
 ou and ou like oo in boot. 
 
 eau like d long, without the vanish u. 
 Modified by a following tt, tn, nJ, nt or 
 //// at the end of a syllable, the 
 vowels and diphthongs are nasal 
 (exception, verbal ending' of 
 3rd pers. plural). 
 
 Consonants as in English, with the 
 
 following exceptions : 
 C like s in song before e, /, <*, /, and i 
 ch " sh. 
 
 g s in azure before f, /, e, f, and i. 
 
 gn as in Italian. 
 E is often mute ; no extended rule can 
 
 be given here. 
 
 1* like z in azure. 
 1 after i is usually sounded like Eng- 
 lish y (consonant), and frequent- 
 ly prolongs the i (ee) ; e.g. 
 travailler [trah-vah-yay'J, tran- 
 quille [tr&hngkee'- v j. 
 
 n nasal, see above ; otherwise as in 
 English. [The nasal effect is 
 accurately obtained by sounding 
 (or m) together with (instead 
 of after) the preceding vowel ; 
 but the sound of e is changed 
 to ah, i to a (in bat), and u 
 to eu.~\ 
 
 m, nasal in certain situations. 
 
 r with a roll. 
 
 S-final is silent. 
 
 t-final is silent. 
 
 er, et, es, est, ez, as final syllables, 
 are pronounced like e. 
 
 ccentuation. The strong English 
 stress on some one syllable of a 
 polysyllabic word is wanting in 
 French ; the general rule is slighth 
 to accent the last syllable.
 
 DICTIONARY 
 
 OF 
 
 MUSICAL TERMS 
 
 A ABBREVIATIONS. 
 
 A. 
 
 A, I. (Ger. A,- Fr. and It. la.) The 
 sixth tone in the typical diatonic scale 
 of C-major. The tone a 1 (see Pitch, 
 absolute) is that sounded by the oboe or 
 other fixed-tone instr. (pfte., organ) to 
 give the pitch for the other instr. s of 
 the orchestra or military band. 2. In 
 mus. theory, capital A often designates 
 the .-/-major triad, small a the rt-minor 
 triad. 3. In scores, the capitals, or 
 doubled letters (A a Z z), are often set 
 at the head of main divisions or at any 
 critical point to facilitate repetition at 
 rehearsal. 4. As an Italian (or French) 
 preposition, a (or a) signifies to, at, for, 
 by, in, etc. 5. A, ap, a Jj, see Sharp t 
 Xalural. 6. At the head of 
 Gregorian antiphones, etc., A means 
 that the first mode is to be employed. 
 7. In this Dictionary, -an a appended 
 to an Italian word signifies, that in the 
 feminine form a is substituted for the 
 masculine termination o. 
 
 Ab (Ger.) Off (organ-music). 
 
 Ab'acus harmon'icus (Lat.) I. A dia- 
 gram of the notes, with their names. 
 2. The structure and disposition of the 
 digitals and pedals of a mus. instr. 
 
 Abandon (Fr.) Unrestrained abandon- 
 ment to natural emotion ; avec a., same 
 as MM abbandono. 
 
 A. See A. 
 
 Abb. Abbassamento 
 
 Abbandonatamen'te ) (It.) In an im- 
 Abbando'no, con ) passioned style, 
 as if carried away by emotion ; subordi- 
 nation of rhythm and tempo tc expres- 
 sion. 
 
 Abbassamen'to (It., abbr. abb.) " Low- 
 ering " ; indicates in pfte. -playing that 
 one hand is to play below the other ; 
 opp. to alzamen'to...A. di ma' no, sink- 
 ing of the hand in beating time ; A. di 
 vo'ce, diminution (in volume) of the 
 voice. 
 
 Abbattimen'to (It.) Falling of the 
 
 hand in beating time ; the down-beat. 
 Abbellimen'to) (It.) Embellishment, 
 Abbellitu'ra f ornament, grace ; 
 from abbelli're, to embellish. 
 
 Ab'betont (Ger.) With final accent. 
 
 Abbreviation. (Ger. Abbreviatur' ', Ab'- 
 kiirzung; Fr. abre'viation; It. abbrevia- 
 tu'ra.) [In this Dictionary, any key- 
 word recurring in the' article which it 
 heads will be represented by its initial 
 letter or letters ; for instance, Abbassa- 
 mcnto above by A. Also, various other 
 abbreviations are used, such as abbr. 
 for abbreviation, instr. for instrument, 
 mus. for musical, pfte. for pianoforte, 
 opp. for opposed, etc.J 
 I. The commonest abbreviations of 
 
 musical technical terms are the following : 
 
 ,\ 
 
 Ace. 
 
 V Accompaniment 
 Accomp. 
 
 Ace P -. Accrescendo 
 A'lg". or Ad. Adagio 
 Ad lib. Ad libitum 
 Aevia Alleluia 
 Affett. Affettuoso 
 Affrett. Affrettando 
 Ag* 1 . or Agit. -Agitato 
 ATI". Allegro 
 
 Allgtt" i Allegreuo 
 
 Aug. By augmentation 
 
 AJTott. 1 
 
 B. See B. 
 
 AH'Sva ) ottava 
 
 B. C. Basso continuo 
 
 Al seg. Al segno 
 
 B. G. Basso generale, or Bassus 
 
 Alz Alzamento 
 
 generalis 
 
 And"". Andantino 
 
 Bl. Blasinstrumente 
 
 And". Andante 
 
 Br. Bratschen 
 
 Anirn . Animate 
 
 Brill. Brillante 
 
 Arc. Col I'aixo, or Arcato. 
 
 
 Ard. Ardito 
 
 C. SeeC. 
 
 Arp. Arpeggio 
 
 C. a. Coll'arco 
 
 A t. / 
 
 Cad. Cadenza 
 
 A tern. - A tempo 
 
 Cah. Cahier 
 
 A temp. ) 
 
 Cal. Calando
 
 ABBREVIATIONS. 
 
 Calm. Calmato 
 C.mt. i 
 
 Hptw., <-r H. W. Hauptwerk 
 Hr., or Hrn. Hbrncr 
 
 S. See S. 
 Salic. Salicional 
 Scherz. Scherzando 
 
 C.iiitabile 
 
 hasso 
 
 ntro. Introduction 
 
 Seg. Segue 
 Sem. or Semp. Sempre 
 
 C. U. Ci'l basso 
 Cb. Ci'inr.. 
 
 nv. Inversion 
 
 s/, s/z, sff Sforzando 
 sim. Simile 
 
 .:eitra 
 
 K. F. Kleine Flote 
 
 Sin. Sinistra 
 
 ncello 
 
 
 Sinf. Sinfonia 
 
 Ccmb. Cembalo 
 
 S T 
 
 S. int. Senza interruzione 
 
 Ch. Choir-organ 
 Chal. Chalumeu 
 C. 1. Canto primo 
 C. L. Col legno 
 
 ee 1-. 
 Leg. Legato 
 Legg. Leggero, Leggiero 
 .. H. Left hand, linke Hand 
 
 Smorz. Smorzando 
 Sos., Sost. Sostenuto 
 Sp. Spitze 
 S. P. Senza pedale 
 
 rinet 
 * l.irino 
 Clar"". Clarinetto 
 
 .110. Luogo_ 
 Busing. Lusingando 
 
 Spir. Spirituoso . . 
 S. S., or S. Sord. Senza sordini 
 S. T. Senza tempo 
 
 Col canto 
 
 
 Stacc. Staccato. 
 
 C"ir "ti. i r- H' 
 
 M. See M. 
 
 St. D., or St. Diap. Stopped 
 
 r. Con espressione 
 
 Vlaest". Maestoso 
 Vlagg. Maggiore 
 
 diapason 
 
 Stent. Stentando 
 
 Cont. Contano 
 Cor. Cornet or Corno 
 Co. So. Come sopra 
 C. P. Colla parte 
 
 res - '-Crescendo 
 
 ( 
 
 Man. Manual 
 Man. 1+2. Couple Ch. to Gt. 
 Mane. Mancando 
 Marc. Marcato 
 M. D. Mano destra, or main 
 droite 
 
 Str. Streichinstrumente 
 String. Stringendo 
 Sw. Swell-organ 
 Sym. Symphony 
 
 C S. CulU sinistra 
 
 Men. Meno 
 
 T. See T. 
 
 C. S., or Co. So. Come *opra 
 
 Mez. Mezzo 
 
 T. C. Tre corde 
 
 C 10 . Concerto 
 
 mf Mezzo forte 
 
 Temp. Tempo 
 
 C. voc. Colla roce 
 
 tnfs Mezzo forzando 
 M. G. Main gauche 
 
 Tempo I. Tempo primo 
 Ten. Tenuto 
 
 
 M . M. Maelzel's metronome 
 
 Timb. Timbales 
 
 D. See D. 
 
 Mod., or Modt". Moderato 
 
 
 Dal. S. Dal segno 
 
 Mr. Morendo 
 
 1 imp. Timpani 
 
 D. C. Da capo 
 Dec. Decani 
 . 1 >ecre*cendo 
 Delic. Delicatamente 
 
 :/> Mezzo piano 
 M.S. Manuscript, or Mano 
 sinistra 
 Mus. H., or Mus. Bac. Musicac 
 
 T. P. Tempo primo 
 Tr. Trillo, Trumpet 
 Tratt. Trattenuto 
 Trem. Tremolando, Tremulant 
 
 l)'npason(s) 
 Dim. Hy diminution, or 
 Diminuendo 
 
 baccalaureus 
 Mus. D., or Mus. Doc. Musicae 
 doctor 
 M. V. Mezza voce 
 
 Tromb. Trombe, Tromboni 
 Tromp. Trompete 
 T. S. Tasto solo 
 
 Div. Divisi 
 
 
 
 
 
 U. C. Una corda 
 
 Dolcis. Dolcissimo 
 
 Ob. Oboe 
 
 UnU. Unisono 
 
 D>ipp. Ped. Doppio pedale 
 
 Obbl. Obbligato 
 
 
 D. S. Dal segno 
 
 Oberst. Oberstimme 
 
 V See V. 
 
 
 Ol.erw., or Obw. Oberwerk 
 
 Va Viola 
 
 Energ. Energicamente 
 Espr., or Espress. Espressivo 
 Exp., or Expr. Orgue expres- 
 f (6) 
 
 ()!i. Ped. Ohne Pedal 
 O. M. Obermanual 
 Op. Opus 
 Opp. Oppure 
 Org. Organ 
 Ott., Ova., or 8va Ottava 
 
 Var. Variation 
 
 Vc., Velio., Vllo. Violoncello 
 Viol., VI., Vno. Violino 
 Viv. Vivace 
 V. S. Volti subito 
 
 F. See F. 
 
 O. W. Oberwerk 
 
 v., ni. 
 
 /, or for. Forte 
 
 
 
 Fag. Fagotto 
 Falset. Falsetto 
 jfft or fff Fortissimo 
 
 P. See P. 
 Ped. Pedal 
 Perd. Perdendosi 
 
 Abbreviations by 
 Numerals. 
 
 r 1. r lauto 
 Flag. Flageolet 
 
 ff piu forte 
 y Piinoforte 
 
 i. or I. Prima volta 
 2. or II. Seconda volta 
 
 ,.' r Full organ 
 
 pf rriaiiuiuitc 
 
 (T) (2) etc. See Harmonium- 
 
 ff Forte piano 
 Fz., or Forz. Fonando 
 
 Piang. Piangendo 
 Pianiss. Pianissimo 
 
 music 
 Man. i. (2.) Great (Choir-)or- 
 
 
 Pizz. Pizzicato 
 
 can 
 
 G. See G. 
 
 pmo., //, ///, //// Pianis- 
 simo 
 
 2- ^ ^| Duple 
 
 Ged. Gedampft 
 
 Prin. Principal 
 
 time ^ nrl/n-M^^HE] \ .p""^ 
 
 G. O. 1 Great organ 
 
 
 .'" i Y *-^Y J 
 
 G. Org. 1 Grand-orgue 
 Grand. Grandiose 
 Or. 17. Grazioso 
 Gt. Great organ 
 
 Raddol. Raddolcendo 
 Rail. Rallentando 
 Recit. Recitative 
 r/, _/z, rlnf. Rinforzando 
 R. H. Right hand, or rechte 
 
 timej c^ U \ time 
 4tette. Quartette 
 Alette. Quintette 
 Also compare art. Numerals. 
 For single figures over groups 
 of notes, compare (2) Couplet, 
 
 Hauptw. Hauptwerk 
 Haut. Hautlioy 
 
 Ham! 
 Rip. Ripieno 
 
 (V Triplet, (4) Quadruplet, 
 (5) Quintuplet, (6) Sextuplet, 
 
 H. C. Haute-contre 
 
 Ritarcl. Rlt.mlando 
 
 (7) Septuplet, (S) Octuplet. (.9) 
 
 Hlzbl., or Hzl.l. Holzbliser 
 
 Rit., Riten. Ritenuto 
 
 Nonuplet, (10) Decuplet, etc.
 
 ABBREVIATIONS. 
 
 2. Abbreviations in manuscript or printed music by means of conventional signs. 
 6 4 8 10 
 
 1 etc. (compare A'fst), 
 
 (A) Of rests : M-* 
 
 (B) Of notes: 
 
 (a) Of single notes. 
 
 =a 
 
 = 
 
 
 ^=*r= 
 
 n \Vritten out : 
 
 \ 
 
 \ \ " - ^r- 
 
 *> -^m 
 
 _* 
 
 
 P 
 
 i^ 
 
 | j + * \ 1 | \ * * + \~+-+ - -\ 
 
 T 
 
 
 T 
 
 
 
 <fy 
 
 
 4 j " r r r 
 
 
 J * + * J J * 
 
 (Triplets.) 
 
 
 
 
 
 
 1 & 
 ' 
 
 t 3 ~~ 
 
 >fe = 
 6 
 
 ^5= 
 
 6 
 
 
 
 ^-r- -I 
 
 ^_J T_J ! t J 
 
 L^-_I-N I J J I 
 
 rr- n 
 
 M 1 < 1 I 
 
 (b) Of doubled notes (see Tremolo'}. [Note to (b). When the abbreviation 
 consists of two consecutive notes, the sum of the notes in the solution is equal 
 to only one of them, unless specially marked.] 
 
 I 
 
 [pianoforte] 
 
 f 
 
 [violin]
 
 4 ABC, MUSIKALISCHES-ABGEBROCHENE KADENZ. 
 (c) Of figures and phrases. 
 
 r 
 
 (Abo compare Arpeggio, Bis, Repeat, Segue, Simile, Ter, Tremolo.} 
 
 ABC, musika'lisches (Ger., "musi- 
 cal A b c.") See Alphabetical notation. 
 ....l-/'-f-,/ifn-n, to use, in singing exer- 
 ci>es, the letter-names of the notes. 
 
 ATiendglocke (Ger.) Evening bell, cur- 
 fi-w -.-/'/'((///(</, evening song. 
 
 A'benteuerlich (Ger., " Adventurous.") 
 Strange, singular, uncouth ; an epithet 
 sometimes applied to music having no 
 
 settled or recognized form, especially 
 to that of the neo-German school. 
 Ab'fallen (Ger.) To deteriorate ; said 
 of any part of the compass of an instr. 
 or voice showing a falling-off, in quality 
 or volume of tone, as compared with 
 other parts. 
 
 Ab'gebrochene Kadenz' (Ger.) See 
 Kadenz.
 
 ABGELEITET ACCENT. 
 
 Ab'geleitet (Ger.) Derived, derivative. 
 
 Ab'gesang (Ger ) See Strophe. 
 
 Ab'gestossen(Ger.) Detached, staccato. 
 
 Ab'gleiten (Ger. ) To slip or slide any 
 finger, on the keyboard, from a black 
 digital to the next white one. 
 
 Ab'hub, abub. Hebrew wind-instr. re- 
 sembling the cornet. 
 
 Ab ini'tio (Lat ) Same as Da capo. 
 
 Ab'kiirzung (Ger.) Abbreviation. 
 
 Ab'ieiten (Ger.) To derive from. 
 
 Ab'losen (Ger.) To change fingers qui- 
 etly on a digital of the pfte. or organ. 
 
 Ab'nehmen, Ab'nehmung(Ger.) Dimi- 
 nuendo. 
 
 Abrege's (,Fr.) Trackers. 
 
 Ab'reichen (Ger ) In violin-playing, to 
 take a tone by extending the little fin- 
 ger (see Extension], or by drawing back 
 the forefinger. 
 
 Ab'reissung (Ger.) See Abruptio. 
 
 Abrup'tio (Lat. " a breaking-off . ") The 
 sudden stopping of a melody before 
 reaching the actual close, it being con- 
 tinued after a pause. 
 
 Ab'satz (Ger.) i. A thematically or 
 rhythmically well-defined division of a 
 piece or movement. 2. A melodic 
 phrase. 
 
 Ab'schwellen (Ger.) Decrescendo. 
 
 Ab'setzen (Ger., "to lift from".) To 
 strike two digitals in succession with the 
 
 same finger, to lift ; e.g. 
 
 Absolute Music. In contradistinction 
 to " program-music," which is supposed 
 or intended to express (depict, portray) 
 something tangible, absolute music 
 subsists in and for itself, without being 
 in any way derived from concrete con- 
 ditions or objects. Program - music 
 seeks its inspiration in poetry, in art, 
 in living realities ; absolute music is 
 itself the inspiration, awakening emo- 
 tion through emotion without the in- 
 terposition of or definite interpretation 
 by the intellect, infecting and influenc- 
 ing the soul directly. . . Absolute Pitch, 
 see Pitch. 
 
 Ab'stammen (Ger.) To be derived from. 
 Ab'stand (Ger.) See Tonabstand. 
 Ab'stimmen (Ger.) i. To tune. 2. To 
 lower the pitch (of instr.s). . .Ah'stim- 
 i. Ab'stimmig, discordant, dissonant. 
 
 Ab'stossen (Ger.) To play staccato, to 
 detach. . .Ab'stosszeichen, staccato-mark. 
 
 Abstrak'ten (Ger.) Trackers. 
 
 Ab'stufung (Ger., "graduation.") The 
 shading of a passage or piece, either 
 emotionally or dynamically. 
 
 Abun'dans (Lat.) Superfluous. 
 
 Ab'wechseln (Ger.) To alternate ; mil 
 ab'tivchselnden Manua'len, with alter- 
 nating manuals. 
 
 Ab'weichung (Ger.) A variant ; a differ- 
 ent reading or notation ; specifically, 
 the measure or measures marked secunda 
 volta in a repeat. 
 
 Ab'ziehen (Ger.) i. See Abgleiten. 2. 
 To unstring (in the sense of taking off 
 worn-out strings) a violin, harp, etc. 
 
 Ab'zug (Ger.) I. See Abgleiten. 2. The 
 lifting of the fingers in playing wind- 
 instr.s, or of the bow from the strings. 
 
 Acathis'tus (Gk.) In the Gk. Church, a 
 long canon or hymn in praise of the 
 Virgin, sung by all standing. 
 
 Accarezze'vole | (It.) Caressful- 
 
 Accarezzevolmen'te f ly, caressingly, 
 coaxingly. 
 
 Acceleran'do (It.) " Accelerating," 
 gradually growing faster. . .Accelera'to, 
 accelerated, livelier. 
 
 Accent. (Ger. Accent', Beto'nung ; Fr. 
 accent; It. accen'to.) I. The natural 
 stress or emphasis regularly recurring 
 on certain tones in each measure, called 
 the grammatical, metrical, or regular 
 accent ; e.g. that on the first beat in 
 every species of time 
 
 (primary accent), and on the third beat 
 in triple or compound duple time 
 
 (sub-accent). 2. The monotony of the 
 regular accent is varied by the rhyth- 
 mical accent, which brings out mor 
 prominently the broader musical divt 
 sions of a composition by special em 
 phasis at the entrance or culminating 
 points of motives, themes, phrases, 
 passages, sections, etc.; the rhythmical 
 a. is nearly synonymous with the 
 pathetic or poetic a., as an aid in inter- 
 preting the meaning and making plain 
 the construction of a work. 3. An ir-
 
 ACCENTOR ACCORD. 
 
 regular stress laid upon any tone or 
 beat at the composer's pleasure, is the 
 rhft^ 'tic 'i. , indicated either 
 
 by a special sign (s/:,/:, >, A), or 
 by an interruption of the natural 
 rhythmical llow (syncopation), whereby 
 the IM tural a. is thrown back to an 
 otherwise less accented or non-accented 
 beat. 4. See AcctntHs. 5. An obso- 
 lete harpsichord-grace resembling the 
 appoggiatura ; 
 
 written : 
 
 played : 
 
 Accen'tor. The leading singer in a choir 
 or vocal performance. 
 
 Accentuie'ren (<".er.) To accent... Ac- 
 (tntuier'ter Durch'gang, a passing-note 
 or -chord on a strong beat. 
 
 Accen'tus (Lat.) In the R. C. Church, 
 that part of the service which is chanted 
 or intoned at the altar by the officiating 
 priest and his assistants ; opp. to Con- 
 ifiitus, the part taken by the choir, 
 
 Accen'tus ecclesias'tici (Lat.) The 
 musical inflections observed in intoning 
 the gospels, epistles, etc., correspond- 
 ing to a certain extent with the punctua- 
 tion. There are 7 accents : (i) accentus 
 immuta'bilis, the voice neither rising 
 nor falling ; (2) a. me'di.i. , falling a 
 third ; (3) a. gra'vis, falling a fourth ; 
 (4) a. acu'tus, first falling a third, then 
 rising to the reciting-note ; (5) a. modf- 
 m'ftts, first rising a second, then fall- 
 ing to the reciting-note ; (6) a. intcr- 
 rogati'vus, at a question, first falling a 
 second, then rising to the reciting-note ; 
 (7) u. fina'lis, falling at the end of a 
 sentence by a fourth, by a diatonic pas- 
 sage through the intervening tones. 
 
 Accessis'ten (Ger.) Unpaid choir- 
 singers, supernumeraries. 
 
 Accessory note. In a trill, the higher 
 auxiliary. 
 
 Acciacca'to,-a (It.) Vehemently. 
 
 Acciaccatur' (C,er.) In organ-playing, 
 the doubling by the left hand of the \ 
 chord on the dominant, its resolution 
 to the dominant chord being effected 
 by the right hand alone. 
 
 Acciaccatu'ra (It.) i. (Ger. Zusaw'- 
 mtnschla^ ; Fr. pi m <! ttou/c. ) A grace 
 on keyboard instr.s, the semitone below 
 
 a melody-note or chord-note being 
 struck with the latter, but instantly 
 released : 
 
 written : played : 
 J ._a__J L 
 
 2. Same as short appoggiatura. 3 (in 
 Ger. usage). Same as Acciaccatur. 
 
 Accident (Fr.) Accidental. 
 
 Accidental. (Ger. zu'falliges Verse'" 
 tsungneiehen ; Fr. accident, or si^ne 
 accidt- ntel ; It. accidcn'tc.) A chro- 
 matic sign not found in the signature, 
 set before a note in the midst of a com- 
 position. (See Chromatic Signs.') 
 
 Accolade (Fr.) Brace. 
 
 Accompaniment (Ger. Beglei'tung ; Fr. 
 accompagnement ; It. accompagna- 
 nifii'tc.) The accessory part or parts 
 attending the voices or instr.s bearing 
 the principal part or parts in a musical 
 composition. Its intention may be to- 
 enhance the general effect, or to steady 
 the soloists either as regards rhythm or 
 pitch. Either one or more instr.s, or a 
 vocal chorus, may carry out an ace. An 
 ace. is ad li'biltim when the pie r e can 
 be performed without it, and ebbliga'to 
 when of vital importance to the latter. 
 Ace. of the seal,-, the harmonies as- 
 signed to the successive tones of the 
 ascending or descending diatonic scale. 
 Additional accompaniments, parts 
 added to a composition by some other 
 than its original author. 
 
 Accompanist. (Ger. Beglei'ter; Fr. 
 accompagnateur m., -trice f. ; It. ac- 
 compagnato're m., -tri'ce f.) One who 
 executes an accomp. 
 
 Accompany. (Ger. beglei'ten ; Fr. ac- 
 compagner ; It. accowpagna're.) To 
 perform an accompaniment. 
 
 Accoppia'to (It., " coupled.") Tied. . . 
 Accoppiamen'to, pedale di, see Pedal, 
 sustaining. 
 
 Accord (Fr ) i. A chord. A. a I'ouvert, 
 chord produced by sweeping only open 
 strings. ..A. fondamental, or nature!, 
 fundamental chord. ..A. parfail (or 
 ti'iade liar moniq ne), common chorl, 
 
 triad /. plaque', a solid chord (not 
 
 ar P e io'd). ...-/. r f averse, inverted 
 chord. 2. Tune (i.e. the state of being; 
 in tune). . .Etrc d* accord, to be in tune. 
 3. Accords (pi., poetical). Strains, 
 harmonies. 4. Accordatura.
 
 ACCORDABLE ACOUSTICS. 
 
 Accordable (Fr.) Tunable, that may be 
 tuned. 
 
 Accordamen'to (It.) Accordance ; con- 
 sonance. 
 
 Accord'ance. An English equivalent 
 for Accordatiir^i ; used in GROVK, vol. 
 IV, p. iSy/', l.y-io, and foot-note. 
 
 Accordan'do (It.) Accordant, in tune, 
 tuned together ; applied also to comic 
 scenes in which the tuning of an instr. 
 or instr. s is imitated by the orchestra. 
 
 Accordant (Fr.) Consonant. 
 
 Accorda're (It.) To tune, tune to- 
 gether. 
 
 Accordato'io (It.) Tuning-key, tuning- 
 hammer. 
 
 Accordatu'ra (It.; see Accordance?) 
 The series of tones according to which 
 a stringed instr. is tuned ; thus g-J '-<'- 
 r 1 is the a. of the violin. 
 
 Accorder (Fr.) To tune. . . S'accorder, 
 to tune together, get the pitch (as an 
 orchestra). 
 
 Accordeur (Fr.) I. Tuner. 2. The 
 monochord. 3. A small instr. contain- 
 ing 1 2 steel tuning-forks set on a sound- 
 board and yielding the 12 tones of the 
 equally tempered scale. 
 
 Accor'dion. (Ger. Accor'deon, Akkor'- 
 dion, Zieh'harmonika; Fr. accordcon; 
 It. actor* deon?) A free-reed instr. in- 
 vented by Damian, of Vienna, in 1829. 
 The elongated body serves as a bellows, 
 which can be drawn out or pushed to- 
 gether at will ; the bellows is closed at 
 cither end by a keyboard, that for the 
 right hand having a diatonic (or incom- 
 plete chromatic) scale, while that for 
 the left has 2 or more keys for harmonic 
 bass tones. There are two sets of 
 reeds, one sounding when the bellows 
 is opening, by suction, the other when 
 it is closing. (Compare Concertina.} 
 
 Accor'do (It.) I. A chord. ..A. con'- 
 sono (dis sono), a consonant (dissonant) 
 chord. 2. An instr. formerly used in 
 Italy, resembling the bass viol, having 
 from 12 to 15 strings, and played with 
 a bow in such a way that several strings 
 were caused to vibrate at once ; em- 
 ployed where powerful harmonies were 
 required. (Also called the modern lyre, 
 and Rarbary lyre.} 
 
 Accordoir (Fr.) Tuning-hammer, tun- 
 ing-key ; (org.) tuning-cone or -horn. 
 
 Accoupler (Fr.) To couple. . . Tlranl <5 
 
 a. , coupler. . . Accotiflez, ' ' couple, " 
 (i.e. " draw coupler "). 
 
 Accrescen'do (It.) Same as Crescendo. 
 
 Accrescimen'to (It.) Augmentation (of 
 a fugal theme)... Pun' to (facer. , dot 
 of prolongation (^'.). 
 
 Accresciu'to (It.) Augmented. 
 
 Aceta'bulum. Latin name for an an- 
 cient Gk. instr., of percussion. The 
 ad-tabula were earthen or metallic ves- 
 sels struck with sticks, like a carillon, 
 or clashed together, like cymbals. 
 
 Acht (Ger. ) Eight . . . Acht'fiissig, 8-foot 
 . . . Ac/it' stimmig, in or for 8 parts, 
 8-part. 
 
 Ach'tel, Ach'telnote (Ger.) An eighth- 
 note. . .Ach'telpause, eighth-rest. 
 
 Ac'ocotl. A wind-instr. of the Mexican 
 aborigines, consisting of a thin tube 8 
 or 10 feet long made of the dried stalk 
 of the plant acocotl, and played by in- 
 haling the air through it. (Also called 
 Clarin.) 
 
 Acoustic color. The timbre (character 
 or quality) of a mus. tone. 
 
 Acoustics. (Ger. Aku'stik ; Fr. acous- 
 tiifuc- ; It. acic'stica.} The science of 
 the properties and relations of sounds. 
 i. Musical acoustics, the science 
 of mus. tones, distinguishes between 
 tones and noises. A tone of sustained 
 and equal pitch is generated by regular 
 and constant vibrations of the air, these 
 being generated by similar vibrations 
 in the tone-producing body ; whereas a 
 noise is caused by irregular and fluctu- 
 ating vibrations. Briefly, "the sen- 
 sation caused by a tone is produced by 
 rapid periodic movements ; that caused 
 by a noise, by imperiodic movements " 
 (HBLMHOLTZ). But a sonorous or tone- 
 producing body vibrates not only as a 
 whole, but in its various fractional parts 
 as well. Take a pfte -string, for in- 
 stance ; when struck by the hammer it 
 vibrates, not simply as a whole in its 
 entire length, but each half, each , ^, \ 
 etc., of the string vibrates by itself, as 
 it were (comp. Node}, and produces a 
 tone of a pitch corresponding to its own 
 length ; the C-string thus produces, be- 
 sides the fundamental tone or generator, 
 C, its octave c ($ of string), its twelfth^ 
 ^), fifteenth c 1 (i), seventeenth f l ($), 
 nineteenth ' ( J), etc. The points of rest 
 in the string (or other tone-producing 
 body) where such vibrating portions
 
 ACOUSTICS. 
 
 meet, are called nodes, or nodal points ; 
 the tone-, produced by the vibrating di- 
 vision-, are called harmonics, or ffVCT- 
 : and the entire series, including 
 the generator, are called partial tones, 
 
 being considered parts of the composite 
 tone ^lang) named after the generator. 
 The series of partial tones may be 
 given in notes as follows, numbered 
 consecutively from C upward 
 
 (Notes marked * are only approximately correct.) 
 
 The intensity of the harmonics ordin- 
 arily decreases rapidly as their pitch 
 becomes higher. 
 
 2. The harmonics are important in 
 many ways. (a) Their presence in 
 varying degrees of intensity produces 
 the timbre peculiar to the several instr.s; 
 thus the tone of the stopped diapason 
 (organ), in which they are weak, is soft 
 and "hollow"; the tone of an old 
 violin, in which the lower harmonics are 
 well-developed and evenly balanced, is 
 mellow, round, and sonorous; that of the 
 trumpet, in which the high dissonant 
 harmonics also make themselves felt, 
 is ringing, "metallic," and brilliant. 
 (Compare Scale.). -(b) On bowed 
 instr.s they yield an additional and 
 highly characteristic register (see Har- 
 monic 2). (c) On wind-instr.s, from 
 which they are obtained by varying the 
 intensity and direction of the air-cur- 
 rent, they are indispensable for extend- 
 ing and completing the natural scale ; 
 thus the bugle and French horn, which 
 yield but one fundamental tone (without 
 keys or valves), depend entirely on the 
 harmonics for the production of their 
 scale ; the flute depends upon overblow- 
 ing, which produces the harmonics of 
 Its tube, for its upper register; etc., 
 etc. (</) Musical theory owes highly 
 important discoveries to the investiga- 
 tion of the harmonics, of which discov- 
 eries practical music in turn reaps the 
 benefit (improved construction of many 
 instr.s). (Comp. Scale.) 
 3. By sounding two tones together, 
 various phenomena are produced, (a) 2 
 tones of nearly the same pitch produce 
 beats. E. g. if the one makes 442 vibra- 
 tions per second and the other 440, the 
 
 difference, 2, represents the number of 
 beats per second, a beat being the pul- 
 sation or throb caused by the coinci- 
 dence of, and consequent momentary 
 increase of the intensity in, the sound- 
 waves of the two tones ; this coinci- 
 dence recurring regularly at every 22lst 
 vibration of the first tone and 22oth 
 vibration of the second. (/') As soon 
 as the number of beats per seconil 
 amounts to about 32, the ear no longer 
 distinguishes them as separate throbs, 
 and they unite to form a very low tone 
 (32 v. = C t ), called a combinational, 
 sitnnnaiional, or resultant tone; in fact, 
 the various combinations of interfering 
 vibrations produce, in their different 
 combination, a series of harmonics, the 
 lowest and chief among which is always 
 the generator of the series to which the 
 two original tones belong. Thus, accord- 
 ing to Tartini, the interval g-e 1 produces 
 the following series of resultant tones : 
 
 m 
 
 etc. 
 
 (f) In the series of partials given in 
 i, those belonging to the major scale 
 of the generator C are written as half- 
 notes ; the consonance of the major 
 triad is derivable from and based upon 
 the principal partial tones. In like 
 manner, the consonance of the minor 
 triad is derived from a reverse series of 
 lower partials, the existence of which 
 is proved by the phenomena of sympa- 
 thetic vibration and of the resultant 
 tones. In this series of lou>er partials 
 (undertones), 
 
 123 56. .. _ 
 
 13 M *5 lo 
 
 < J ' /' ay (minor triad ; f = phonic root [see Phone}).
 
 ACT AEOLIAN ATTACHMENT. 
 
 the numerals also represent the relative 
 length of the strings necessary to yield 
 the several tones ; while in the series of 
 higher partials (overtones) the string- 
 lengths are represented by the simple 
 fractions formed by the numerals. (d) 
 From the relative number and import- 
 ance (intensity) of the first 6 partials in 
 either series, it fellows, that the only 
 consonant chords are the major and 
 minor triads, and that the only conso- 
 nant intervals are such as are derived 
 from these chords or their inversions ; 
 the addition of any further tone, either 
 found in or foreign to the series of par- 
 tials, produces a dissonance. 
 
 Act. (Ger. Akt, Aitfzu^f Fr. acte ; 
 It. at'to.) One of the principal divi- 
 sions of a dramatical performance. 
 
 Acte de cadence (Fr.) A progression 
 in one of the parts, particularly the 
 bass, which forces the others to join 
 either in forming a cadence, or in avoid- 
 ing one apparently imminent. 
 
 Actin'ophone. An apparatus for the 
 production of sound by actinic rays. 
 
 Action. (Ger. Mccha'nik ; Fr. mcca- 
 niqtie ; It. mecca' nica.) In keyboard 
 instr.s, the mechanism directly actuated 
 by the player's ringer, or set in motion 
 by the organ-pedals. In the harp, th" 
 action (pedals) does not directly produce 
 the sound, but effects a change of key 
 by shortening the strings, whereby chro- 
 matic alterations of a semitone or a 
 whole tone result. (See Piancfurle, 
 Organ.) 
 
 Act-tune. Music performed between 
 the acts of a drama ; an entr'acte. 
 
 Acu'ta (I.at., "sharp, shrill.") In the 
 organ, a mixture-stop having 3 to 5 
 ranks of from if to I foot, usually in- 
 cluding a Third ; its compass is higher 
 than that of the ordinary Mixture. 
 
 Acu'tae cla'ves (Lat.; also acuta loca, 
 acuttz voces.) Literally, acute keys 
 (pitch, voices) ; the tones from a to ,' 
 inclusive ; so termed by Guido d'Arezzo. 
 
 Acute. (Ger. scharf, hock; Fr. aigu ; 
 It. acu'to.) High in pitch, sharp, shrill ; 
 said of tones ; opp. to grave. 
 
 Acutez'za (It.) Acuteness ; sharpness 
 (of pitch). 
 
 Acu'tus (Lat.) See Accentus eccl., 4. 
 Adagiet'to (It.) r. A movement slightly 
 faster than adagio. 2. A short Adagio. 
 Ada'gio (It., " slow, leisurely.") A slow 
 
 movement (comp. Tempo-marks). . .A. 
 assa'i, A. mol'to, very slow... A. non 
 tan' to, non motto, not too slow. . .Adagio 
 adagio, very slow . . . Superlative adagif* 
 simo. 
 
 Adaptation^ Same as Arrangement. 
 
 Ada'sio (It.) Same as Adagio. 
 
 Added sixth. See Sixth. 
 
 Addita'to (It.) Provided with a finger, 
 ing, fingered. 
 
 Addition. Obsolete term for the dot 
 (J.)- 
 
 Additional accompaniments. See Ac. 
 companiment. . .Ad- 
 ditional keys, those | 
 above f* 
 
 Addolora'to (It.) Plaintive ; in a style 
 expressive of grief. 
 
 Adi'aphon. See Ga'belklavier. 
 
 Adi'aphonon. A keyboard instr. in- 
 vented by Schuster of Vienna in 1820. 
 
 Adira'to (It.) Angry, wrathful. 
 
 Ad'junct. Closely related, as one key or 
 scale to another. ..A. note, an auxiliary 
 note, unaccented, and unessential to 
 the harmony. 
 
 Ad'juvant. The cantor's assistant, as- 
 sistant teacher. 
 
 A'dler (Ger.) An obsolete organ stop. 
 
 Ad libitum (Lat., "at pleasure," "at 
 will.") A direction signifying ( i ) that the 
 performer is free in choice of expression 
 or tempo ; (2) that any vocal or instru- 
 mental part so marked is not absolutely 
 essential to a complete performance of 
 a piece. . . Caden'za ad lib. thus means, 
 that a given cadenza may be performed 
 or not, or another substituted, at the 
 executant's discretion. 
 
 Ad lon'gam (Lat., " with the long.") A 
 term applied to certain ancient church- 
 music written entirely in equal notes, 
 generally the longest in use. 
 
 Adornamen'to (It.) A grace. 
 
 Adquis'ta or adsum'ta (vox) (Lat, 
 "the added tone.") The lowest tone 
 of the scale, the Proslambanom'enos. 
 
 ^E'erophon. See Harmonium. 
 
 ^Eolharmon'ica. See Seraphine. 
 
 olian attachment. An attachment 
 to a pfte. for directing a current of air 
 against the strings, reinforcing their vi- 
 bration and thus prolonging and sus- 
 taining the tones. ...F.,!ati harp or 
 lyre. (Ger. A'olsharJ't, Wind'-,
 
 10 
 
 JEOLINA AGGIUSTATAMENTE. 
 
 /<;- or G<i' tterharfe ; Fr. harpe e'oli- 
 ennf, harpe d' Eolc ; It. ar'pad'E'olo.) 
 A stringed instr. sounded by the wind. 
 It consists of a narrow, oblong wooden 
 resonance-box, across the low bridges 
 at either end of which are stretched gut 
 strings in any desired number and of 
 different thickness and tension, but all 
 producing the same fundamental tone. 
 When adjusted in an appropriate aper- 
 ture, like a window through which the 
 air passes freely, the latter causes the 
 strings to vibrate and to produce, if the 
 tension be properly adjusted (rather 
 slack than otherwise), full chords com- 
 posed of the harmonics of the funda- 
 mental tone common to all the strings ; 
 and rising, according to the force of the 
 wind, from pure, dreamy, deliciously 
 vague harmonies to a plaintive wail or 
 a thrilling forte . . . Aeolian mode, see 
 Greek music. . .sKolian piano, see 
 Aolsklavicr. 
 
 ^Eolina. I. A small instr. consisting of a 
 graduated series of free reeds set in a 
 metal plate and blown by the mouth ; 
 invented l>y the Messrs. Wheatstone in 
 1829. As the first practical attempt to 
 use free reeds in this way, it may be re- 
 garded as the precursor of the accordion 
 and melodion. The Germans, how- 
 ever, claim the invention for Eschen- 
 bach, of Hamburg, about 1800. 2. An 
 organ stop constructed on the same 
 principle as the above, without (or with 
 very short) pipe-bodies, and of very 
 soft tone. 
 
 ^Eolo'dicon. A keyboard instr. em- 
 bodying the principle of the Molina, 
 and the direct precursor of the harmo- 
 nium. (Also &olodion, Klavfioli'ne, 
 etc.)... A further modification was the 
 sEolomelo'dicon, invented by Prof. 
 Hoffmann of Warsaw about 1825, in 
 which short brass tubes were added to 
 the reeds. 
 
 ^Eolopan'talon. An ^Eolomelodicon 
 combined with a pfte., constructed 
 about 1830 by Dlugosz of Warsaw. 
 
 Aequal' (Ger.) Formerly, an independ- 
 ent 8-foot organ-stop (Aequal' stimme} ; 
 still used as prefix to names of organ- 
 stops, indicating that they belong to 
 the standard 8-foot registers; as Aequal' - 
 prinzipal, etc. 
 
 ^Equiso'nus(Lat.; Gtr.aquison',) Uni- 
 son (of either primes or octaves). 
 ^quiva'gans(Lat.) Denotes simultan- 
 
 eous syncopation, or "deviation from 
 
 the natural order " of the measure, in 
 
 all the parts. 
 AEVIA. A frequent abbr. of Alleluia 
 
 in MS. music of the middle ages. 
 Affa'bile (It.) Sweetly and gracefully, 
 
 gently. 
 
 Affana'to (It.) Uneasily, distressfully. 
 
 Affanosamen'te (It.) Anxiously, rest- 
 lessly. . .Affano'so, anxious, restless. 
 
 Affet'to (It.) Emotion, passion, tender- 
 ness. ..Con a., or affeltuosamen'te, affet- 
 tuo'so, with emotion or feeling, very 
 expressively. (Compare fnnig.) 
 
 Affezio'ne, con (It.) In a style express- 
 ive of tender emotion. 
 
 Affilar' (or filar 7 ) il tuo'no (It.) In the 
 Italian school of singing, to produce 3 
 long-sustained and uniform tone ; near- 
 ly the same as metier la voce, messa di 
 voce, except that with these a crescendo 
 or decrescendo is usually to be combined. 
 
 Affinit^ (Fr.) Affinity, relationship. 
 
 Afflit'to (It.) Melancholy, sad...AJti- 
 zio'ne, con, sorrowfully, mournfully. 
 
 Affrettan'do (It. ) Hurrying {stringendd) 
 . . .Affretto'so, hurried (piu mossd). 
 
 After-beat. (From Ger. Nach'schlag; 
 Fr. note de comple'ment, terminaison.) 
 An ending added to a trill, comprising 2 
 notes, the lower auxiliary and the main 
 note ; compare Trill. 
 
 After-note. I. Occasional for unac- 
 cented appoggiatura. 2. The unac- 
 cented note of a pair. 
 
 After-striking. (Ger. Pfactfscklage*.) 
 The reverse of anticipation by the 
 bass ; e.g. 
 
 (Compare Anticipation.} 
 
 Agen'de (Ger., from Lat. agen'da.} Bre- 
 viary, more especially of the Ger. Re- 
 formed Church, containing in regular 
 order the formularies, prayers, respons- 
 es, collects, etc., employed in religious 
 exercises. 
 
 Age'vole (It.) Easy, light. . .Agevolez'- 
 za, con, easily, lightly. 
 
 Aggiustatamen'te (It.) Strictly in time
 
 AGGRAVER LA FUGUE ALLEGRETTO. 
 
 Aggraver la fugue (Fr.) To aug- 
 ment the theme of a fugue. 
 
 Agiatamen'te (It.) Easily, indolently. 
 
 Agilita' (It.) | Agility, sprightliness, vi- 
 
 Agilite" (Fr.) ) vacity ; con a., in a 
 light and lively style. 
 
 Agilmen'te (It.) Nimbly, lightly, vi- 
 vaciously. 
 
 Agitamen'to (It.) Agitation.. .Agita- 
 i imen'fe, con sgitaatfnt, excitedly, agi- 
 tatedly. . .Agita'to, agitated ; a. con pas- 
 si o'nr, passionately agitated. . . Agita- 
 zio'ne, agitation. 
 
 Ag'nus De'i (Lat., "Lamb of God.") 
 Closing movement of the mus. Mass. 
 
 Ago'ge (Gk.) The order, with refer- 
 ence to pitch, in which the tones of a 
 melody succeed each other.. .A. rhyth'- 
 inica, their succession with reference to 
 accent and rhythm ; tempo. 
 
 Ago'gik (Ger.) Theory of the tempo 
 rubalo.. .Ago'gisch, relating to such de- 
 viations from the tempo. . . Ago'gischer 
 Accent' (KiEMAXN), a sign(A)over a 
 note indicating the slight prolongation 
 of its value required, in certain rhythms, 
 to mark the culminating point of the 
 measure-motive. 
 
 Agraffe'. In thepfte., a small metallic 
 support of the string, between bridge 
 and pin, serving to check vibration in 
 that part. 
 
 Agrgmens (Fr., pi.) Harpsichord- 
 graces. 
 
 Aigu, aigue (Fr.) Acute ; also used 
 substantively, e. g. passer de faigu au 
 grave. 
 
 Air. (Ger. MelodiS^ Wei'se, Sing'weise ; 
 Fr. air, me'lodie ; It. a'ria.) I. A 
 rhythmical melodious series of single 
 tones in a metrical (symmetrical) group- 
 ing easily recognizable by the ear; a 
 tune or melody. 2. The highest part 
 in a aarmonized composition. . . Nation- 
 al air, a melody become thoroughly 
 popular through long usage and pecu- 
 liar fitness, recognized as a national 
 emblem, and performed at public festi- 
 vals, etc. 
 
 Air (Fr.) Air, melody, tune ; also song, 
 as Airs a boire, drinking-songs. . .Also, 
 instrumental melody, as air de violon, 
 de ftute ; air de ballet, de danse, etc. . . 
 Also, aria ; air detache", any single aria 
 taken from an opera. 
 
 Als (Ger.) A~ J'/V/j, Ax . 
 
 Ajout6,-e (Fr.) Added. (See Ligne, Six- 
 te^...Ajoutez, "add" (organ-mus.) ; 
 abbr. ajout. 
 
 Ajuster (Fr.) See Accorder. 
 
 Akkord' (Ger.) I. A chord.. .Akkorf- 
 fassage, arpeggio.. .Akkord' zither, the 
 autoharp. 2. A set of several instr.s 
 of one family, but different in size, 
 as made from the isth to the l8th 
 century (comp. Engl. chest or consort 
 of viols). (Also Stimm'-werk.) 
 
 Akkor'dieren (Ger.) i. To tune an 
 instr.,with reference to the harmony of 
 its principal chords. 2. To get the 
 pitch (said of the orchestra). 
 
 Akroama'tisch (Ger.) Pleasing to the 
 ear ; said of music depending more up- 
 on outward effect than on depth. 
 
 Akt (Ger.) Act. 
 
 Aku'stik (Ger.) Acoustics ; aku'stisch, 
 acoustic. 
 
 Al (It.) To the, up to the, at the, in 
 the, etc. 
 
 Alargando (It.) Properly allargando. 
 
 Alber'tischer Bass (Ger.) Alberti 
 bass. (See J3ass.) 
 
 Alcu'no (It.) Some, certain. 
 
 Alexandra organ. See American or- 
 gan. 
 
 Al'iquot (Lat.) Forming an exact mea- 
 sure of something ; a factor, or even 
 divisor. . . A' liquotflugel (Ger.) A 
 grand piano, invented by Julius Bliith- 
 ner of Leipzig, the tone of which is 
 reinforced and enriched by an addition- 
 al sympathetic string stretched over, 
 and tuned in the higher octave to, each 
 unison. These added strings are not 
 struck by the hammers, and are called 
 A'liquotsaiten. ..A'liquottheorie, theory 
 of overtones produced by the vibration 
 of strings or of wind-instr.s. Such 
 overtones or harmonics are called A'li- 
 quottone. 
 
 All', al'la (It.) To the, at the, in the ; 
 in the style of. 
 
 Allabre've (Ger.) See A lla breve, under 
 Breve. . .Allabre'vetakt, alia breve time. 
 
 Allargan'do (It.) Same as Largando. 
 
 Allegramen'te (It.1 Ximbly, lightly, 
 vivaciously. 
 
 Allr^retti'no (It.) A short Allegretto ; 
 alno, a r lovement slower than alle- 
 gretto. 
 
 Allegret'to (It., abbr. all"".) Dimin
 
 ALLEGREZZA ALPHABETICAL NOTATION. 
 
 of allegro ; moderately fast, lively ; 
 faster than andante, slower than allegro. 
 
 Allegrez'za (It.) Liveliness, vivacity. 
 
 Allegris'simo (It.) Superl. of allegro ; 
 extremely rapid, as quick as possible ; 
 ^presto assai. 
 
 Alle'gro (It., abbr. all'.} Lively, brisk, 
 rapid. Used substantively to designate 
 any rapid movement slower than pre- 
 sto. ..A. assa'i, a. di mol'to, very fast 
 (usually faster than the foregoing move- 
 ment). ..A. di bravu'ra, a technically 
 difficult piece or passage to be executed 
 swiftly and boldly. . .A. giu'sto, a move- 
 ment the rapidity of which is conformed 
 to the subject 4. risolu'to, rapidly and 
 energetically ; etc. r etc. 
 
 Allein' (Ger.) Alone. 
 
 Allelu'ja (Hebr.) Lit. "Praise ye the 
 Lord," an exclamation closing various 
 Psalms, or introduced in their midst. 
 Taken, by the early Christian Church, 
 from the ancient Hebrew ritual, it de- 
 veloped into the long jubilations (see 
 Jubilatio) of the early middle ages (on 
 the vowels AEVIA), to the melodies of 
 which were set, after the adoption of 
 tiiecantus planus, special words. (Also, 
 Hallelu'jah.) 
 
 Allemande (Fr.; It. alleman'da.) I. 
 A Ger. dance in 3-4 time, like the 
 Lcindler. 2. A lively Ger. dance in 
 2-4 time. 3. A movement in the 
 Suite, either the first or immediately 
 following the prelude, in 4-4 time and 
 moderate tempo (andantino), commenc- 
 ing with a short note in the auftakt. 
 4. A figure in dancing. 
 
 Allentamen'to (It.) Same as Rallen- 
 tando. (Also allentan'do, allenta'to.) 
 
 ATle Sai'ten (Ger.) Same as Tutte 
 corde. 
 
 AH'gemeiner Bass (Ger.) Thorough- 
 bass. (Now General'bass.) 
 
 Allmah'lich (Ger.) Gradually, by de- 
 grees. (Also allmdh'lig, allmd'lig.') 
 
 Allonger 1'archet (Fr.) To prolong 
 (the stroke of) the bow. 
 
 Allo'ra (It.) Then. 
 
 Almain', Almand', Almayne'. Same 
 as Allemande. 
 
 Al'penhorn, Alp'horn (Ger.) The 
 alp-horn, an instr. made of strips or 
 staves of wood firmly bound together 
 to form a conical tube from 3 to 8 feet 
 long, the bell slightly curved upward, 
 and with a cupped mouthpiece of hard 
 
 wood. The scale of the tube is nar- 
 row, and the tones produced are its 
 natural harmonics. The alpine herds- 
 men use this horn to play the Ranz des 
 vaches and other simple melodies. 
 Alphabetical notation. Any method 
 of writing music which uses the letters 
 of the alphabet. The earliest known 
 method was the ancient Greek, which 
 employed two parallel series of letters, 
 one for vocal and the other for instru- 
 mental music, the letters being various- 
 ly inverted, accented, or mutilated to- 
 indicate the several octaves and chro- 
 matic tones. This method was retained, 
 at least by theorists, down to the loth, 
 century (see A'eitmes), when the begin- 
 nings of a new method appeared, em- 
 ploying the first 7 letters of the Latin 
 alphabet A B C D E F G for the 
 major diatonic scale now represented 
 by C D E F G A B, and repeating 
 the same series for the higher octaves. 
 These Latin letters were at first used 
 for instrumental notation (psaltery or 
 rotta, later the organ). Their signiti;:a- 
 tion was soon altered, however, to con- 
 form to that of the earlier Greek sys- 
 tem (minor), the series then agreeing 
 with our present one ; the Greek P 
 (Gamma, G) was added as the lowest 
 tone, and the octaves above F were 
 written ABCDEFG abcdefg aabbccdd 
 
 "ffgg etc - ( r a b c d ^ ' thou S h 
 sometimes, instead of small letters, the 
 capitals ran on (H IK LAIN OP), in 
 which latter system A was equivalent 
 to our modern C, as at first. Arbitrary 
 innovations led to great confusion in 
 the alphabetical notation, which was hi 
 reality rendered superfluous, as a me- 
 thod of writing music, by Guido d'Arez- 
 zo's invention or systematization (about 
 1026) of line-notation (see Xotation}. 
 When letters were used, without staff- 
 lines, instead of neumes, they were 
 often written above the words in this 
 
 F 
 
 E KE E E 
 
 / /DD C /D / 
 
 D / //CD 
 
 / / / / /I 
 
 Qui tol Us pec - ca - ta 
 
 i.e., in notes : 
 
 Qui tol - - Us pec - ca - t*
 
 ALT AMBROSIAN CHANT. 
 
 ascending or descending as the voice 
 was to rise or fall. Our present theo- 
 retical division of the octave is first 
 found fully developed in the works of 
 Praetorius (1619) ; side by side with 
 which the old method of writing music 
 (A-G, a-g etc.) still occurred, until the 
 various systems of tablature were given 
 up (comp. Tablature). Letters are no 
 longer used in practical mus. notation, 
 except by Tonic Sol-fa, in which, how- 
 ever, they represent no fixed pitch, as 
 formerly, but are mere abbreviations of 
 the movable solmisation-syllables. In 
 modern theory, letters are variously em- 
 ployed (comp. Pitch, absolute). 
 
 Alt (Ger.) Alto (voice or part). . . In 
 compound words, the alto instr. of any 
 family, as Alfgeige, Alfhorn, Alr- 
 klari'nette, Ale oboe, Alfviole, etc. 
 (Engl.) Hence, the same employment 
 in English usage [alt-clarinet, alt- 
 horn] ... Notes "in alt" are those of 
 the next octave (* /*) above / 2 
 notes in the octave above 
 : this are said to be " in altis- 
 
 Altera're (It.) To alter, change. 
 
 Altera'tio (Lat.) See Notation, 3. 
 
 Alteration. I. Same as Alleratio. 2 
 Chromatic alteration of the pitch of a 
 note. 
 
 Altera'to (It.), Alte"re" (Fr.) Chromatic- 
 ally altered. 
 
 Alterez'za (It.) Pride, loftiness. dm 
 a., in a lofty and dignified style. 
 
 Alternamen'te (It.) Alternatively. . . 
 Alternan'do, alternating. 
 
 Alternati'vo (It.) See Trio z. 
 
 Alt-horn. (Fr. saxhorn alto; Ger. Alt'- 
 horn.) One of the Saxhorns. 
 
 Altieramen'te (It.) In a lofty and ma- 
 jestic style. 
 
 Alti natura'li (Lat.) Natural (male) 
 altos, or counter-tenors. (See Alto.) 
 
 Altis'simo (It.) Highest. (See All.) 
 
 Alti'sta (It.) An alto or contralto 
 singer. 
 
 Alfklausel (Ger.) The leading of the 
 alto part in a perfect close. 
 
 Alto. I. (Fr. haute-contre ; Ger. Alt, 
 Alt'stimme; It. a? to.) The deeper of 
 the two main divisions of women's or 
 boys' voices, the contralto ; (in Germany 
 a distinction is sometimes made be- 
 tween Alt and Kon'traalt, the latter 
 
 term being reserved for the lower alto 
 voice). Ordinary compass from g to t* 
 which, in voices of unusual 
 range, may be extended 
 down to d and up to 
 y 4 , or even higher. 2. A high head- 
 voice in men (It. afti natura'li) for- 
 merly cultivated for the performance 
 of church-music (in England for secu- 
 lar music as well, e. g. glees), but now 
 generally superseded by the female alto 
 or high tenor. 3. (Ger. Bra'tsche, Alf- 
 riole; Fr. alto, quinte, basse de violon; 
 It. aFto, vio'la.) The tenor violin, or 
 viola. 
 
 Al'to,-a (It.) High...0tta'va alta, an 
 octave higher. . .Alta vio'la, tenor violin. 
 . .Alto has' so, an obsolete variety of 
 dulcimer, consisting of a square wooden 
 box set on legs and strung with gut. It 
 was generally employed to accompany 
 simple melodies played by the performer 
 on a flageolet held in his right hand, the 
 left striking the strings. 
 
 Alto-clef. See Clef. 
 
 Alt'posaune (Ger.) Alto trombone. 
 
 Al'tro,-a (It.) Other. . .Altra vol'ta, 
 '' encore ! " 
 
 Alt'schliissel (Ger.) Alto-clef. 
 
 Alt'viole (Ger.) Viola. 
 
 Alzamen'to (It.) A raising or lifting 
 (opp. to Abbassamento). Abbrev. Alt. 
 
 Ama'bile (It) Sweet, tender. 
 
 Amare'vole (It.) Bitterly, mournfully. 
 (Sometimes written mistakenly for A mo- 
 re' vole, lovingly.). . .Amarez'za, bitter- 
 ness, sadness ; con a. , grievingly. 
 
 Amateur (Fr.) A " lover" of art, who, 
 while possessing an understanding for 
 and a certain knowledge of it, does not 
 pursue it as a profession. 
 
 Am'bitus (Lat.) Compass. 
 
 Ambrosian chant. The style of church- 
 music introduced by St. Ambrose (d. 
 397) from the Eastern Church, and 
 established by him in the cathedral at 
 Milan, towards the end of the 4th cen- 
 tury. It was based on the 4 authentic 
 modes 
 
 e fgabS d* S 
 fgabc* </' t* / 
 
 gabc* </' e* /V 
 
 and was thus essentially diatonic, al- 
 though embellished with occasional 
 chromatic graces ; it was probably 
 rhythmical, in contrast to the later dc-
 
 AMBROSIAN HYMN ANESIS. 
 
 velopment of Plain Chant. Nothing 
 positive is known about these melodies, 
 except that St. Ambrose introduced the 
 antiphonal songs and hallelujahs of the 
 Eastern Church, and himself composed 
 numerous hymns. (Comp. Gregorian 
 Chant.) 
 
 Ambrosian hymn (hym'nus Ambrosia'- 
 nus). The " Te deum laudamus," of 
 which St. Ambrose is the reputed 
 author. 
 
 Ame (Fr.) Soundpost. 
 
 American organ. See Reed-organ. 
 
 Amo're (It.) Love. . . Con a., with de- 
 votion, fondly, devotedly ; tenderly. . . 
 A mo re' vole, amorevolmen'te, lovingly, 
 fondly, etc. . .Amorosamen'te, amorous- 
 ly, lovingly, fondly. . .Amoro'so, amor- 
 ous, loving. 
 
 A'morschall, A'morsklang (Ger.) A 
 French horn with valves, invented by 
 Kolbel, of St. Petersburg (1760); its 
 tone was lacking in purity, and the 
 valve-mechanism did not quite do away 
 with " stopping." 
 
 Am'phibrach. A metrical foot of 3 
 syllables^ *-)', opp. to amphim'acer. 
 Also amphibra'chys. 
 
 Am'phichord. See Lira barberina. 
 
 Amphim'acer. A metrical foot of 3 
 syllables (v-' ); ovp.toam'p/iibrach. 
 [Also amphimacrus.\ 
 
 Ampho'ter (Ger.) Amphoteric ; said of 
 a series of tones "common to two" 
 registers of the same voice. 
 
 Amplitude of vibration. See Vibration. 
 
 Amts'pfeiffer(Ger.) See Stadtpfei/er. 
 
 Amusement (Fr.) See Divertissement. 
 
 An (Ger.) On ; add (i.e. draw). 
 
 Anacru'sis (Gk. ; Ger. Anakru'sis [A uf- 
 takf\ ; Fr. anac rouse.) An up-beat 
 beginning a verse, containing I or 2 
 unaccented syllables ; hence transferred 
 to musical rhythms, for which, in Eng- 
 lish usage, the term auftakt is often 
 met with. 
 
 Analytical programs are an English 
 invention ; analyses of the mus. form 
 of compositions on the concert-pro- 
 gram, with quotations from the music, 
 date from 1845 (Ella, matinees of Mus. 
 Union). The most ambitious attempts 
 of this kind are probably II. v. Wolxo- 
 gen's " Fiihrer " (Guides) "through" 
 Wagner's mus. dramas. 
 
 An'apest. A metrical foot of 3 syllables, 
 
 the first 2 short, the last long (- *Y, 
 
 the reverse of the Dactyl. 
 
 Anche (Fr.) Reed (of any instr.) 4. 
 
 libre, free reed..._/> d'anchf, reed- 
 stop. 
 
 An'che (It.) Also, too, likewise ; even. 
 
 An'cia(It.) Reed. 
 
 Anco'ra (It.) Again, also, yet, still, 
 even. . .A near* pi it mos'so, still faster. 
 
 An'dacht (Ger.) Devotion. . .An'dachti;;, 
 or mil Andacht, devotionally (It. de- 
 vo'to, con devozio'ne). 
 
 Andamen'to (It.) I. .Movement, rate of 
 speed. 2. A passage, especially an 
 episode in a fugue. 3. Specifically, an 
 extended fugal theme, usually consist- 
 ing of two distinct and contrasting 
 members. (See So^getto.) 
 
 Andan'te (It., lit. "going, moving.") 
 A tempo-mark indicating, in modern 
 usage, a moderately slow movement, 
 between Adagio and Allegretto ; often 
 modified by qualifying words, as A. 
 maeslo'so, A. sosteuu'to, a stately and 
 tranquil movement; A. con moto, A. 
 tin poco allegretto, a comparatively ani- 
 mated movement; A. canta'bile, a 
 smoothly flowing and melodious move- 
 ment ; etc. In earlier usage often em- 
 ployed in its more literal sense, as A. 
 allegro, "moving rapidly;" me' no 
 andante ("less moving "), slower. 
 
 Andantemen'te (It.) Flowingly, unin- 
 terruptedly. 
 
 Andanti'no (It.) Pimin. of Andante ; 
 strictly, slower than andante, but often 
 used in the reverse sense. 
 
 Anda're (It.) To move on . . .A. dirt t' to, 
 go straight on ; a. in tempo, keep to the 
 tempo. 
 
 An'derungsabsatz (Ger.) Half-cadence, 
 ending on the dominant triad. 
 
 Anem'ochord. (Fr. anSmocorde.') A 
 keyboard wind -instr. with strings, in- 
 vented by J. J. Schnell, of Paris, in 
 1789, as an attempt to imitate the tone 
 of the /Eolian harp by means of small 
 bellows forcing a current of air against 
 the strings : a pneumatic harpsichord. 
 The piano e"olienne of Henri Herz 
 (1851) was a similar instr. (Also 
 Anim'ocorde.) 
 
 Ane'sis (Gk.) The passage from a high 
 tone to one lower in pitch; also, the tun- 
 ing of strings to a lower pitch. Opp. 
 "-o epitfasis. [SrAiNER AND BARRETT.]
 
 ANFANG ANTHEM. 
 
 An'fang (r.er.) Beginning. Vom A., 
 same as Da capo. 
 
 An'geben (Ger.) To sound, to strike. . . 
 Den Ton a., to give the pitch (as for an 
 orchestra). 
 
 Angelic hymn. The hymn sung by the 
 angels upon the announcement of 
 Christ's birth ; sung in both the East 
 ern and Western Churches, extended in 
 the latter to the " Gloria in excelsis ; " 
 also in the Anglican and Episcopal 
 Churches, as a song of thanksgiving 
 after communion. 
 
 Ange'lica (Lat., "angelic.") See/"'.v<7. 
 
 Angelique'. (Fr. antique.) A key- 
 board instr. having 17 strings tuned in 
 chromatic order ; inv. early in the i;th 
 century. Also, a kind of guitar. 
 
 Angelophone. An earlier name for the 
 harmonium or parlor-organ. 
 
 An'gemessen (Ger.) Suitable, appro- 
 priate. 
 
 Anglaise (Fr.) The English country- 
 dance (c-(itr,;irtn.ft-), of lively character, 
 sometimes in 2-4, at others in 3-4 or 
 3-8 time. It closely resembles the 
 Ecossaisf, and most p: obably took its 
 origin from the older form of the 
 French Rigaudon. [GROVE.] 
 
 Angosciosamen'te ^(It.) Expressive of 
 
 Angoscio'so ) anguish, agony. 
 
 Angst'lich (Ger.) Fearfully (It. timida- 
 men'te, wrongly tramidamente). 
 
 An'hang (Ger.) Appendix ; coda, co- 
 detta. 
 
 A'nima (It.) I. Spirit; con a., with 
 spirit, animation. 2. Soundpost. 
 
 Animan'do (It.) With growing anima- 
 tion ; livelier. . .Aniina'tu, in an ani- 
 mated, spirited style. 
 
 Animocor'de (It.) See Anemochord. 
 
 Animo'so (It.) Animated, spirited. . . 
 A nimosis'sinto, animo sissimamen'te, 
 with the utmost animation, spirit, bold- 
 ness. 
 
 An'mut(h) (Ger.) Grace, sweetness, 
 charm, suavity. ..An' HI ut(h)ig, grace- 
 fully, etc. 
 
 Anom'aly. The slight deviation from 
 the exact pitch caused by tempering 
 intervals on fixed-tone instr. s ; hence, 
 an anomalous chord is one containing 
 an interval rendered, by tempering, ex- 
 tremely sharp or flat. 
 
 Anonner (Fr.) To perform in a hesitat- 
 
 ing, stumbling manner ; to read music 
 haltingly. 
 
 An'satz (Ger.) i. Lip, embouchure (in 
 playing wind-instr.s). 2. The method 
 of attacking a vocal phrase. 
 
 An'schlag (Ger.) i. Touch (on a key- 
 board instr.) 2. A kind of double ap- 
 poggiatura : 
 
 written : played : 
 
 1 i 
 
 An'schwellen (Ger.) To increase in 
 loudness, swell. 
 
 Ansiosamen'te (It.) In a style expres- 
 sive of anxiety or hesitation. 
 
 An'sprache (Ger.) The "speaking" 
 of an organ-pipe, wind-instr., string, 
 etc. . .An'sprechen, to speak. 
 
 An'stimmen (Ger.) To intone, strike 
 up. 
 
 Answer. (Lat. co'mes ; Ger. Gefiihr'te, 
 Ant' wort ; Fr. rfyonse, rt'plique ; It. 
 ripo'sta, conseguen'te.) In a fugue, 
 the taking-up of the subject, proposed 
 by the first part, by the second part, at 
 a different pitch. (See Antecedent.) 
 
 Antecedent. (Ger. Fiih'rer; Fr. tfiemf ; 
 It. anteceden'te, propo'sta, gui'tin.) 
 The theme or subject of a fugue or 
 canon, as proposed by the first part. 
 Also, any theme or motive proposed for 
 imitation, or imitated later. 
 
 Antelu'dium (Lat.) Prelude, introduc- 
 tion. 
 
 Anthem. A piece of sacred music usual- 
 ly founded on biblical words, with or 
 without instrumental accomp., and of 
 various forms : (i) Anthems for double 
 choir, the choirs frequently answering 
 each other. . .(2) Full anthems, consist- 
 ing whollyof chorus, accompanied or not 
 ... (3) Full anthems -with verses, certain 
 parts of which are sung by solo voices, 
 although beginning and close are cho- 
 ruses ( Ttitti), and the chorus predomi- 
 nates throughout ... (4) Verse anthems, 
 in which the verses (soli, duets, trios, 
 quartets) predominate over the cho- 
 ruses. . .(5) Solo anthems, in which a 
 solo part predominates, though the 
 chorus always concludes them. . .(6) 
 Instrumental anthems, those accom- 
 panied by instr.s other than the organ ; 
 formerly so called. The anthem, an 
 integral part of the Anglican church- 
 service, is essentially an English pro-
 
 ANTHOLOGIUM APOLLO. 
 
 duct, a motet developed on the lines of 
 vocal variety and instrumental accomp., 
 approximating to the Ger. Kantatt. 
 Antholo'gium (Lat.) The book or col- 
 lection of the hymns, etc., of the East- 
 ern Church. 
 
 Antibac'chius (Antibacchy). A metrical 
 foot of 3 syllables, 2 long and I short, 
 with the ictus on the first ( ^ *-?). 
 
 Anticipation. (Ger. Antizipation' , Vor- 
 aus'nalune; Fr. anticipation; It. 
 anticipazio'ne.} The advancing of one 
 or more of the parts constituting a 
 harmony before the rest, which part 
 or parts would, if all the parts pro- 
 gressed simultaneously, enter later : 
 
 Anti'co (It.) Antique, ancient. . .AlTan- 
 tico, in the ancient style. 
 
 Antienne (Fr.) Antiphon. 
 
 An'tiphon, or An'tiphone. (Gk. anti'- 
 phona, anti'phonon ; Ger. Antiphonie' ; 
 Fr. antienne ; It. anti'fona.) Origin- 
 ally, a responsive system of singing by 
 two choirs (or a divided choir), one of 
 the earliest features in the Catholic ser- 
 vice of song ; hence applied to respon- 
 sive or alternate singing, chanting, or 
 intonation in general, as practised in 
 the Greek, Roman, Anglican, and 
 Lutheran churches . . . Also, ' ' a short 
 sentence, generally from Holy Scrip- 
 ture, sung before and after the Psalms 
 for the day, or the Canticles, selected 
 for its appropriateness to the church 
 season in which it is sung " [STAINER 
 AND BARRETT]. 
 
 Antiph'onal. i. A book or collection 
 of antiphons or anthems. 2. (adj.) In 
 the style of an antiphon, responsive, 
 alternating. 
 
 Antiph'onary. (Lat. antiphona'riitm ; 
 Ger. Antiphonar' ; Fr. antiphonaire ; 
 It. antifona'rio.) Properly, a collec- 
 tion of antiphons, but extended to in- 
 clude the responsories, etc., sung at 
 ecclesiastical celebrations. The origi- 
 nal collections embraced all the anti- 
 
 phonal songs both in the mass and the 
 offices of the Latin Church ; but now, 
 by long-established custom, a separate 
 book called the Gradual contains the 
 liturgical antiphons (those proper to the 
 mass) ; whereas the responsories of the 
 office, formerly relegated to the Re- 
 sponsorial, now form the Antiphonar)', 
 together with the antiphons proper (i.e. 
 the antiphons associated with th 
 psalms of the office). (Also Antiph'- 
 onal, Antipk'oner.) 
 
 Antiph'onel. The planchette-mechan- 
 ism devised by Alexandre Debain, of 
 Paris, when attached to a pfte., organ, 
 or harmonium ; hence Antiphonel-har- 
 moniutn, Orgue-aniiphonel, etc. 
 
 Anti'phonon (Gk.) Antiphon, anthem. 
 
 Antiph'ony. Responsive singing by 
 two choirs (or divided choir) of alternate 
 verses of a psalm or anthem ; opp. to 
 responsorial singing, and also to homo- 
 phony (see Homophonic l). 
 
 An'tispast. A metrical foot of four 
 syllables, the first and last being short 
 and the two in the middle long 
 (- -) 
 
 Antis'trophe. See Strophe. 
 
 Ant'wort (Ger.) Answer. 
 
 An'wachsend (Ger.) Same as crescendo. 
 
 Aoli'ne, etc. (Ger.) See ALolina. 
 
 A'olsharfe (Ger.) ^Eolian harp. 
 
 A'olsklavier (Ger.) "yEolian pfte. ;" a 
 keyboard instr. invented about 1825 by 
 Schortmann of Buttelstedt, resembling 
 the Physharmonica, but having, as 
 tone-producing bodies, wooden wands 
 instead of steel bars. 
 
 Aper'to (It., "open.") " Take the loud 
 pedal" (in pfte. -music). Clear, dis- 
 tinct; broad, ample; Allegro aperto, 
 an allegro with broad, clear phrasing. 
 
 Aper'tus (Lat.) Open ; said of organ- 
 pipes. 
 
 Ap'felregal (Ger.) An obsolete reed- 
 stop in the organ, the narrow pipes of 
 which were furnished at the top with 
 hollow perforated globes or buttons 
 (hence also called Knopf regal). 
 
 Aplomb (Fr.) Coolness, self-possession, 
 steadiness. 
 
 Apoggiatura, Apogiatura. Occasion- 
 al spellings of Appoggiatttra (Fr. ap- 
 pogiature). 
 
 Apollo. (Fr. Apollon.) ' A large lute
 
 APOLLO-LYRA APPOGGIATURA. 
 
 (or theorbo) having 20 single strings, 
 invented in 1678 by Prompt of Paris. 
 
 Apollo- Lyra. See Psalmmelodicon. 
 
 Apollonicon. An instr. finished in 1817 
 by Flight and Robson of London. It 
 was a combined organ and orchestrion, 
 containing about 1900 pipes in 45 
 stops, with 5 manuals played on by 
 different performers, and kettledrums 
 operated by a special mechanism, so 
 that a full orchestral effect was obtain- 
 able ; it was likewise provided with 
 various barrels actuated by machinery, 
 for the automatic performance of sever- 
 al extended compositions. It was taken 
 to pieces in 1 840. 
 
 Apollonion. An instr. consisting of a 
 pfte. with double keyboard, combined 
 with an organ flue-work containing 
 pipes of 2, 4, and 8-foot pitch, together 
 with an automatic player the size of a 
 boy ; inv. by J. H. Voller of Angers- 
 bach early in the igth century. 
 
 Apos'trophe (') Often employed as a 
 breathing-mark. 
 
 Apo'tome (Gk.) In the Pythagorean 
 system, the chromatic semitone 2048: 
 2187 ; the limma, or diatonic semitone, 
 therefore being 243:256 (||| X fylf 
 = 5 the greater whole tone). This 
 chromatic semitone (obtained by sub- 
 tracting 2 whole tones 8:9 from a per- 
 fect fourth 3:4) was therefore a wider 
 interval than the diatonic ; whereas our 
 diatonic semitone is wider than the 
 chromatic. 
 
 Appassiona'to,-a (It.) Impassioned, 
 with passion. . . Appassionamen'to, pas- 
 sion, ardor, deep emotion. . .Appassio- 
 natainen' te, passionately, ardently. 
 
 Appel (Fr.), Appell' (Ger.) Assembly ; 
 signal to troops to fall in. 
 
 Appena'to (It.) Distressed ; in a style 
 expressive of distress or suffering. 
 
 Applica'tio (It.) Fingering. 
 
 Applikatur' (Ger.) Fingering (usually 
 J-'ing' ersatz). 
 
 Appoggian'do (It., "leaning on, sup- 
 ported.") Said of a tone (note) gliding 
 over to the next without a break, as in 
 appoggiaturas and the portamento. 
 (Also Appoggia'to.) 
 
 Appoggiatu'ra (It.; Fr. appogintm-,-; 
 Ger. Vor*$chlag, Nach' schlag.} I. The 
 aetented appoggiatttra ((ier. I'orsi-lifug) 
 is a grace-note preceding its main note 
 (melody-note), and taking the accent 
 
 and part of the time-value of the latter. 
 (a) The fang appoggiatura, now obso- 
 lete, often occurs in earlier music ; it 
 was, in point of fact, a suspension 
 written as a small note in order to evade, 
 as it were, the rule against the entrance 
 of unprepared dissonances. The dura- 
 tion of the small note properly corre- 
 sponds to its time-value if written as a 
 large note ; e. g. 
 written : 
 
 li 
 
 i 
 
 etc. 
 
 J 
 
 though cases may occur in which the 
 appoggiatura takes more than its ap- 
 parent value : 
 
 ap- 
 
 written 
 
 performed : 
 
 or(acc.toTuRK): 
 
 -I t 
 
 (b) The short appoggiatura is properly 
 written as a small eighth-note or i6th- 
 note with a slanting stroke through the 
 hook ; the general rule for its execution 
 is, to perform it very swiftly, giving it 
 the accent of its principal note, and a 
 portion of the latter's time-value differ- 
 ing according to the speed of the move- 
 ment somewhat as follows : 
 written : 
 
 Adagio. Andante. Allegro. Presto. 
 j? 3 J\ 3 J\ 3 
 
 -*- r^m r*- 
 
 (c) The double appoggiatura contains 2 
 or more small grace-notes (commonly 
 written as i6th-notes)before a principal 
 note ; it is performed rapidly, its dura- 
 tion subtracted from the time-value of 
 the principal note, with the accent on 
 the first small note (compare Anschlag, 
 .SVYi/V). 2. The unaccented appoggia- 
 tura (Ger. Xuclisfhlux)\* a rapid single 
 or double grace-noteyWA'-i 1 /';/^ a princi- 
 pal note, from the time-value of which
 
 IS 
 
 APPRESTARE ARIOSO. 
 
 its duration must be subtracted, and 
 with which it is connected by a slur : 
 written : 
 
 performed : 
 
 Appresta're (It.) To set up and finish 
 an instr. 
 
 Appretie'ren (Ger.) Same as Appre- 
 stare. . . Appretur', the proper adjust- 
 ment of the parts of an instr. 
 
 Aquivo'ken (Ger., pi.) Meistersinger 
 melodies bearing like names. 
 
 Arabesque. (Ger. Arabes'ke^) i. An 
 occasional tit'e for pfte.-pieces re- 
 sembling a rondo in form. 2. Arabes- 
 ken (Ger. pi.) Ornamental passages 
 accompanying or varying a theme. 
 
 Arbi'trio (It.) Free will, absolute power; 
 asuoa.,sA pleasure (equiv. to a placer e). 
 
 Arca'to (It.) Bowed, played with the bow. 
 
 Archeggia're (It.) To play with the bow. 
 
 Archet (Fr.) Bow. 
 
 Ar / chi-[ar'ke](Lat.), and Ar'ci-far'-tche] 
 (It.) (Engl. Arch-, Ger. rz-.) A 
 prefix signifying "chief, preeminent." 
 formerly applied to names of instr.s in 
 the sense of " largest " (of the family 
 in question), and to official titles in the 
 sense of "head." E. g., Archchanter 
 (Fr. archichantre), precentor ; Arch- 
 lute (It. arciliu'to, Fr. archiluth, Ger. 
 Erz'laute), a variety of the bass lute ; 
 Arcicem'balo (It.; Fr. archicembalo, 
 Ger. Archicym'bal), a keyboard stringed 
 instr. inv. by Niccold Vincentino (i6th 
 century), with 6 keyboards, and keys 
 and strings for all the tones of the three 
 ancient Greek modes (diatonic, chro- 
 matic, and enharmonic); Arcivio'la di 
 lira (It.), same as Lirone. 
 
 Ar'chi (It., pi. of Arco.) Bows; gli 
 archi, "the bows," i. e. bow-instr.s in 
 the orchestra ; Engl. equivalent, "the 
 strings." 
 
 Ar'co (It ) Bow ; a pun' to. d'arco, or 
 colla punta dell'arco, with the point of 
 the bow ; coll'arco, with the bow, i. e. 
 resume the bow after a pizzicato pas- 
 sage. . .Arco in giit, down-bow ; a. in 
 ni, up- bow. 
 
 Arden'te (It.) Ardent, fiery, passionate. 
 
 Arditez'za, con (It.) Boldly, spirited- 
 
 ly. . .Ardi'to, bold, spirited. 
 Aretin'ian syllables. (Ger. arcti'nische 
 
 Sil'ben.) The syllables ut, re, mi, /a, 
 
 so/, la, first used as solmisation-sylla- 
 
 bles by Guido d'Arezzo. 
 
 A'ria (It.; Ger. A'rie.) Primarily, an 
 air, or rhythmic melody. As a technical 
 term, an aria is an extended lyrical 
 vocal solo in various forms, with in- 
 strumental accompaniment. With the 
 rise of homophonic music in the opera 
 and oratorio, the aria developed, from 
 a mere plain-song melody with /xisso 
 continue, into the aria gran'de (the 
 grand or da-capo aria in 3 divisions 
 preceded by an instrumental ritornello 
 containing the principal melody ; divi- 
 sion I being an elaborate development 
 of a theme with frequent repetitions of 
 the words; II, a more tranquil and 
 richly harmonized section ; followed by 
 III, the repetition da capo of I, with 
 still more florid ornamentation); the 
 aria di braru'ra, (similar to the fore- 
 going, but overloaded with difficult 
 passages and coloraturas for showing 
 off the singer's skill); the aria da ,///>'- 
 sa (church-aria, differing from the sa- 
 cred song chiefly in its greater breadth, 
 and in being accompanied by full or- 
 chestra); and the aria da cancer' to 
 (concert-aria, differing from the others, 
 which are portions of operas, oratorios 
 etc., in being an independent composi- 
 tion intended for the concert-hall). 
 The modern aria is freer in form than 
 the aria grande of the l8th century, 
 the ritornello often being omitted, 
 greater variety given to the da capo, 
 and the thematic construction made to 
 follow the sense of the words, so that it 
 sometimes assumes the form of a rondo, 
 or consists of 2 slow divisions separated 
 by an allegro movement. . .Aria par~ 
 Ian' te (also ario'so), a vocal style com- 
 bining the melody of an aria with the 
 distinct enunciation of a recitative, the 
 vowels being " thrown forward." 
 Smaller arias, nearly in song-form 
 and with slighter accompaniments, are 
 called ariettas or cavatinas. 
 Ariet'ta (It.) A small aria. (See Aria.) 
 Ariette (Fr.) Same as aria grandf, the 
 original signification being completely 
 reversed. 
 
 Ario'so (It.) In vocal music, a style in- 
 termediate between aria and recitative 
 (see Aria parlante); also, a short melo-
 
 ARMER LA CLEF ASPIRATION. 
 
 dious strain interrupting or terminating 
 a recitative. Also signifies an effective 
 dramatic style suitable for the aria 
 grande. In instrumental music, same 
 as cantabiU. 
 
 Armer la clef (Fr.) See CUf. 
 
 Arm'geige (Ger.) Viola da braccio. 
 
 Armoni'a (It.) Harmony . .Armenia 
 milita're, military band. 
 
 Armo'nica (It.) i. Harmonic. 2. Har- 
 monica. 
 
 Armonie (Fr.) Probably same as Vielle, 
 
 Armoniosamen'te (It.) Harmoniously; 
 armonio'so, harmonious. 
 
 Arraure (Fr.) I. Mechanism, action. 2. 
 Key-signature. 
 
 Ar'pa (It.) Harp. . .A. dop'pia^ see 
 Spitzharfe. 
 
 Arpanet'ta, Arpanel'la (It.) A small 
 harp. (See Spitzharj\.) 
 
 Arpege (Fr.) Arpeggio. .. Arpegement, 
 playing arpeggio, breaking a chord. . . 
 Arpeger, to arpeggio. 
 
 Arpeggian'do (It.) Playing arpeggio, 
 in harp-style, or in broken chords ; 
 from arpeggio' 'n, to play on the harp. . . 
 Arpeggia'to, (a) arpeggiated. arpeg- 
 gio'd ; (b) as a noun, same as Arpeggio. 
 
 Arpeggiatu'ra (It.) A series of arpeg- 
 gios. 
 
 Arpeg'gio (It., pi. arpeg'gi, Engl. pi. 
 arpeg'gios.} [Lit. " harping. "] Playing 
 the tones of a chord in rapid and even 
 succession ; playing broken chords. 
 Hence, a chord so played, or broken ; 
 a broken or spread chord, or chord- 
 passage. The modern sign for the a. 
 calls for 
 the follow- 
 
 i. e. the first arpeggio-note falls on the 
 accent ; this is the rule for the accent, 
 tho' there are occasional exceptions. 
 N.I;. Pfte.-ar- 
 peggios are writ- 
 ten in 2 ways : 
 (i) indicates that 
 the arpeggio is 
 simultaneous in 
 both hands ; (2), 
 that all the notes are to be played in 
 succession from lowest to highest. In 
 earlier music (Bach, Handel) the same 
 sign calls for a more or less free spread- 
 ing of the chords, generally according 
 to a preceding pattern-chord in which 
 
 the a. is written out in full. Obsolete 
 or unusual signs are as follows : 
 
 a. b. c. d. e. /. 
 
 J U 
 
 a, b, c, d are equivalent to the modern 
 sign ', e, f, g call for a reversed (de- 
 scending) arpeggio ; h means either an 
 ascending arpeggio, or a combined a. 
 and acciaccatura ; * and k signify a 
 spreading in eighth-notes ; the appog- 
 giaturas at / and in delay the perform- 
 ance of the notes to which they are 
 attached by the time required for play- 
 ing a long or short appogg. respectively. 
 Arpeggio'ne. An instr. like a small 
 'cello, with fretted fingerboard and 6 
 ,..; ; inv. 
 1823 
 = byG. 
 
 tuned 
 
 Stauffer, of Vienna. 
 
 Arpicor'do (It.) Harpsichord. 
 
 Arpo'ne (It.) An instr. played like the 
 harp, but having the strings adjusted 
 horizontally instead of vertically ; inv. 
 by Barbieri of Palermo, towards the end 
 of the 1 8th century. 
 
 Arrangement. (Ger. and Fr. ditto ; It. 
 riduzio'ne). The adaptation of a com- 
 position for performance on an instr., 
 or by any vocal or instrumental com- 
 bination, for which it was not originally 
 intended ; hence, the composition as so 
 adapted or arranged. 
 
 Arranger (Fr.), Arrangie'ren (Ger.) To 
 arrange. (See Arrangement?) 
 
 Ar'sis (Gk.) Up-beat. 
 
 Art (Ger.) Sort, kind ; manner, style. 
 
 Articola're (It. ; Fr. articuler ; Ger. 
 artikulie'ren.) To articulate, utter dis- 
 tinctly. . .Articola'to, articulated.. .Ar- 
 licolazio'ne, articulation. 
 
 Ar'tigdich) (Ger.) Neatly, prettily, 
 gracefully. 
 
 As (Ger.) Aj?. As'as, or As'es, A^fr. 
 
 Aspira're (It.) To aspirate. Also, in 
 singing, to quaver a vowel by audibly 
 interpolating successive A's. Also, to 
 take breath. 
 
 Aspiration (Fr.) An obsolete grace 
 (comp, Graff).
 
 ASPREZZA AUTHENTIC. 
 
 Asprez'za (It.) Harshness, roughness; 
 bitterness. 
 
 Assa'i (It.) Very ; used to intensify a 
 tempo-mark, as allegro assai, very 
 rapid ; it has less intensifying force 
 than molto. 
 
 Assembly. A signal by drum or bugle 
 for soldiers to rally and fall in. 
 
 Assez (Fr.) Enough ; rather. 
 
 Assolu'to (It.) Absolute, positive \primo 
 nomo assoluto, a male singer for lead- 
 ing roles. 
 
 As'sonance. (Ger. Assonanz'\ Fr. as- 
 sonance; It. assonan'za.) Agreement 
 or resemblance in sound. 
 
 A'them (Ger.) Breath.. .A'themlos, 
 breathless(ly). 
 
 Attac'ca (It.) Attack or begin what fol- 
 lows without pausing, or with a very 
 short pause ; a. su'bito (or attaca'te 
 subito), attack immediately. 
 
 Attacca're (It.), Attaquer (Fr.) To 
 attack, or begin, at once. 
 
 Attac'co (It.), Attaque (Fr.) A mo- 
 tive in fugal imitation ; formerly, a very 
 short fugue-theme; 
 
 Attache du cordier (Fr.) Loop. 
 
 Attack. The act or style of beginning 
 a phrase, passage, or piece ; said both 
 of vocalists or instrumentalists, either 
 in solo or ensemble. 
 
 Attendant keys of a given key are its 
 relative major or minor, together with 
 the keys of the dominant and subdomi- 
 nant and their relative major or minor 
 keys. (Comp. Phone, 4.) 
 
 At'to (It.) Act of a drama 
 
 Atto're, (Attri'ce) (It.) Actor (act- 
 ress). 
 
 Au (Fr.) To the, in the, etc. 
 
 Aubade (Fr.) I. Morning-music, gen- 
 erally addressed to some particular per- 
 son ; opp. to Serenade; specifically, a 
 morning-concert by a military band. 2. 
 Occasional title for short instrumental 
 pieces in lyric style. 3. A calli- 
 thumpian concert (ironical). 
 
 Audace (Fr.) Audacious, bold. 
 
 Auf'fassung (Ger ) Reading or con- 
 ception (of a work). 
 
 Auf'fiihrung (Ger.) Performance. 
 
 Auf'geregt (Ger.) Agitated(ly), excit- 
 edlly). 
 
 Auf'geweckt (Ger.) Lively, animat- 
 ed(ly), brisk(ly). 
 
 Auf'halten (Ger.) To suspend ... A uf- 
 haltung, suspension (usually I'ot'kalt). 
 
 Auf'losen (Ger.) To resolve. . .Attf'- 
 IdsuHg, resolution ; also, the breaking 
 of a chord ; also, the solution of an 
 enigmatical canon.. .Auflosungszei^ 
 chen, the natural (5). 
 
 Auf'satz (Ger.) Tube (of a reed-pipe in 
 the organ). 
 
 Auf'schlag (Ger.) Up-beat. . .Auf- 
 schlagende Znng'e, beating reed. 
 
 Auf schnitt (Ger.) Mouth (of an organ- 
 pipe). 
 
 Auf'strich (Ger.) Up-bow. 
 
 Auf'takt (Ger.) Up-beat, anacrusis ; a 
 fractional measure beginning a move- 
 ment, piece, or theme (in this sense 
 often used by English writers without 
 capital \auftakt\). 
 
 Auf'tritt (Ger.) Scene. 
 
 Auf'zug (Ger., lit. "raising [of the cur- 
 tain]".) An act of a drama. 
 
 Augmentation. (Ger. Vergro' 'sserung, 
 Verliing'erung.) I. Doubling or in- 
 creasing the time-value of the notes of 
 a theme or motive in imitative counter- 
 point. 2. See A'oiation, 3. Aug- 
 mented intervals, see Interval. 
 
 Augmenter (Fr.) To increase (in loud- 
 ness) ; en ang-Hi,'>tfant=crescendo. 
 
 Aule'tes (Gk.) Flute-player. . .A ufas, 
 flute. 
 
 Aumentan'do (It.) Crescendo,.. Ait. 
 went a' to, augmented. 
 
 Aus'arbeitung (Ger.) Working-out, 
 development. 
 
 Aus'druck (Ger.) Expression. . .Aus'- 
 drucksvoll, expressively. 
 
 AusTuhrung (Ger.) Execution, perform, 
 ance ; exposition. 
 
 Aus'halten (Ger.) To sustain; sustain ! 
 . .Aus' haltung, sustaining... A us'hal- 
 tungszeichen, see Fermate. 
 
 Aus'losung (Ger.) Hopper, grasshopper, 
 escapement. 
 
 Au'ssere Stim'men (Ger.) Outer parts. 
 Au'sserst (Ger.) Extreme(ly). 
 Aus'stattung (Ger.) Mounting (of an 
 
 opera, etc.) 
 Aus'weichung (Ger.) Modulation, 
 
 transition. 
 
 Authentic. (Ger. authen'tisch ; Fr. 
 a uthentique ; It. auten'tico.) Within 
 the compass of an octave above the 
 kevnote. . .Au. cadence, mode, see Ca-
 
 AUTO-HARPBAGPIPE. 
 
 dence, Mode... A u. melody, one whose 
 range extends through or nearly through 
 the octave-scale above its tonic or final ; 
 opp. to fl<i^iil. . .Ait. part of the. scale, 
 that lying between a given keynote and 
 its higher dominant, the part between 
 the keynote and lower dominant being 
 called plagal. 
 
 Auto-harp. (Ger. A ki-ord' zither.) A 
 zither without fingerboard or accom- 
 paniment-strings, all the strings being 
 plucked or swept by the plectrum and 
 stopped by a series of from 4 to 8 com- 
 pound dampers (called "manuals" or 
 " pedals "), each of which when pressed 
 down damps all the strings except those 
 forming one particular chord ; the plec- 
 trum, rasping across all the strings, 
 sounds this cord as an arpeggio ; the 
 melody is brought out by special stress 
 on the highest (or any other) tone of the 
 chord. 
 
 Au'tophon. A form of barrel-organ, 
 the tunes played being determined by 
 perforations in a sheet of mill-board 
 [heavy pasteboard] cut to correspond 
 with the desired notes. (K.MGHT.) 
 
 Auxiliary note. (Ger. Hilfs'note.) A 
 note not essential to the harmony or 
 melody ; particularly, a grace-note or 
 added note a second above or below a 
 given melody-note. .. A uxiliary scales, 
 those of attendant keys. 
 
 A've Mari'a (Lat.) "Hail, Mary!"; 
 the salutation of the angel Gabriel at 
 the annunciation ; followed by the 
 words of Elizabeth to Mary (Luke I. 
 42), it has been a favorite subject of 
 sacred composition since the 7th cen- 
 tury ; concluded by a hymn of praise 
 or prayer to the Virgin. 
 
 A've ma'ris stel'la (Lat., "hail, star 
 of ocean!") Hymn of the Roman 
 Catholic Church. 
 
 Avec (Fr.) \Vith. 
 
 Avici'nium (Lat.) An organ-stop imi- 
 tating the warbling of birds. 
 
 Avoided cadence. See Cadence. 
 
 Azio'ne sa'cra (It., "sacred drama" ; 
 equiv. to the Spanish "auto sacra- 
 mentale ".) An oratorio or passion. 
 
 B. 
 
 B. (Ger. //, Fr. and It. si.) The 7th 
 tone and degree in the typical diatonic- 
 scale of C-major. . . B cancella'titm, the 
 sharp ($), formed originally by crossing 
 
 or cancelling the sign \) for B rotun'- 
 dinn. . ,B quadra' turn, BQ. . .B is also 
 an abbr. for Bass or Basso (c. B.=col 
 Basso ; B. C.= basso continue). 
 
 Baboracka, Baborak. Bohemian danc- 
 es with changing rhythms. 
 
 Bac'chius (Batchy). A metrical foot 
 containing I short and 2 long syllables, 
 with the ictus on the first long one 
 <--) 
 
 Baccioco'lo (It.) A Tuscan instr. of 
 the guitar family. 
 
 Bachelor of Music. (Lat. baccalau'reus 
 nin' sic, r.) The lower of the 2 musical 
 degrees, Doctor of Music being the 
 higher. 
 
 Back. (Ger. Boden; Fr. dos; It. schiena.) 
 The lower side of the body of a violin, 
 etc. ; opp. to Belly. 
 
 Back-block. Same as Wrest-block. 
 
 Backfall. I. An obsolete melodic or- 
 nament in lute or harpischord-music ; 
 
 \_ 
 
 written ^ or ^ ; played m p 
 
 (Also comp. Grace?) 2. A double 
 lever in the organ-action, working be- 
 tween a sticker and a pull-down. 
 
 Backturn. See Turn. 
 
 Badinage (Fr.) Good-humored raillery, 
 banter. 
 
 Bagana. The Abyssinian lyre, having 
 10 strings tuned to 5 tones and their 
 octaves. 
 
 Bagatelle (Fr.) A trifle. 
 
 Bagpipei'si. (Ger. Du'dclsack, Sack'- 
 pfeife; Yr.cornemuse; It.corrtamu'sa.) 
 A very ancient wind-instr. of Eastern 
 origin, known to the Greeks and Ro- 
 mans, in great vogue throughout Europe 
 during the middle ages, and still popu- 
 lar in many countries, especially Great 
 Britain. It consists of a leathern bag, 
 filled with wind either from the mouth 
 or from a small bellows worked by the 
 player's arm, and of pipes inserted in 
 and receiving wind from the bag. The 
 commonest form has 4 pipes ; 3 drones 
 (single-reed pipes tuned to a funda- 
 mental tone, its fifth and its octave, and 
 sounding on continuously), and I mel- 
 ody-pipe, the chanter (a sort of shawm 
 or double-reed pipe with from 6 to 8 
 finger-holes ; compass approximately :
 
 22 
 
 BAGUETTE BANDOLA. 
 
 PRAETORIUS enumerates several sizes 
 used in the I7th century ; the '''Grosser 
 Bock" (drone in contra-or great C), 
 " Schaperpfeif" (drones in ffp and _/"'), 
 " Humiiielclien " (drones /"W), and 
 " DuJey" (c^-^-e'-f)). 
 
 Baguette (Fr.) Drumstick ; fiddlestick. 
 
 Baisser (Fr.) To lower (as a tone by a [?). 
 
 Bajadere. See Bayadere. 
 
 Balala'ika (also Balaltika, Balalc'igd). 
 A rude stringed instr. of the guitar 
 family, having 2. 3, or 4 strings tuned 
 in minor. It is of Russo-Tartar origin, 
 and now most often met with among 
 the Gypsies. 
 
 Balancement (Fr.) See Bebung. 
 
 Balance-rail. A strip of wood running 
 transversely beneath the middle of the 
 piano-keys, which are balanced upon 
 it.. .Balance swell-pedal, see Pedal. 
 
 Balg (Ger.) Bellows ... Bal'gentreter 
 (" bellows-treader "), calcant, a man 
 employed to tread or stand on the old- 
 fashioned German organ-bellows to fill 
 them with wind . . . Balg'klavis, see 
 Clavis. . . Balg'werk,- bellows. 
 
 Bal'ken (Ger.) i. Bass-bar. 2. The 
 thick line connecting the stems of 
 grouped hooked notes, substituted for 
 the hooks. 
 
 Ballabi'le (It.) A composition intended 
 for a dance -accomp. ; any piece of dance- 
 music. 
 
 Ballad. (Ger. and Fr. Balla'de ; It. 
 balla'ta.) Originally, a song intended 
 for a dance-accomp. ; hence, the air of 
 such a song. In modern usage, it is a 
 simple narrative poem, a mixture of the 
 epic and lyric, generally meant to be 
 sung. As a purely musical term, it 
 was originally applied to a short, simple 
 vocal melody, set to one or more stan- 
 zas, and with a slight instrumental 
 accomp. In an extended application, it 
 includes instrumental melodies of a 
 similar character ; also compositions for 
 single instr.s, for orchestra, etc., sup- 
 posed to embody the idea of a narrative. 
 
 Balla'denmassig (Ger.) In ballad-style. 
 
 Ballad-opera. An opera chiefly com- 
 posed of ballads and folk-songs (e. g. 
 Gay's "Beggar's Opera"). 
 
 Balla'ta (It.) A ballad. . .A ballata, in 
 ballad-style. 
 
 Balleri'na (It.) A female ballet-dancer. 
 
 Bal'let. (Ger. Ballet? ; Fr. ballet; It. 
 
 bal'lo, ballet' to.) I. A spectacular dance, 
 often one introduced in an opera or 
 other stage-piece. 2. An independent 
 pantomimic representation, accompan- 
 ied by music and dances setting forth 
 the thread of the story. 3. A compo- 
 sition of a light character, but somewhat 
 in the madrigal style, frequently with a 
 "fa la" burden which could be both 
 sung and danced to ; these pieces were 
 commonly called " Fa las " [GROVE]. 
 4. The corps of ballet-dancers (corps df 
 ballet). 
 
 Ballet'to (It.) I. Ballet. 2. Title em- 
 ployed by Bach for an Allegretto in 
 common time. 
 
 Bal'lo (It.) A dance; a ballet ... Balli 
 ingle' si, English dances ; balli ungare'si, 
 Hungarian dances. . . Da hallo, in dance- 
 style, light and spirited. 
 
 Ballon'chio (It.) See Paspy. (Origin- 
 ally, a round dance of the Italian 
 peasantry.) 
 
 Ballonza're (It.) To dance wildly and 
 recklessly, regardless of rule. 
 
 Band. I. An orchestra. 2 (most com- 
 monly). A company of musicians play- 
 ing martial music (brass-band, military 
 band). 3. Acompanyof musicians, or 
 section of the orchestra, playing instr.s 
 belonging to the same family or class 
 (brass-band, string-band, wood-band, 
 wind-band) . . . The 24 fiddlers of 
 Charles II. were called "the king's 
 private band." 
 
 Band (Ger.) A volume. 
 
 Ban'da (It.) The brass wind-instr.s, 
 and the instr.s of percussion, in the 
 Italian opera-orchestra. Also, an or- 
 chestra appearing on the stage. 
 
 Bandalore, Bandelore. See 
 
 Ban'de (Ger. ; usually Musik'- or Musi- 
 kan'tenbande.) A company of strolling 
 musicians. (Fr.) In earlier usage, the 
 24 violins at the royal court (" lagrande 
 bande "). 
 
 Band-master. The conductor of a mili- 
 tary band. . .Bandsman, a member of 
 such a band. 
 
 Bando'la (Span. ; a\soBandolon. Bandom, 
 Bandura.) Instr.s of the lute family, 
 with a greater or smaller number of 
 steel or gut strings, and played with a 
 plectrum ; like the Pandora, Pandum, 
 Pandurina, Mandora, Afandola, Alan- 
 doer, Mandura. Mandurchen, all es- 
 sentially identical with the Mandolin
 
 BANDONION BARRA. 
 
 23 
 
 still in vogue (see Mandolin and Lute). 
 [KlEMANN.] (Also comp. Cither.} 
 
 Bando'nion. A kind of Concertina with 
 square ends (keyboards), inv. by C. F. 
 I'hlig of Chemnitz, about 1830. and 
 since then much improved and enlarged. 
 It takes its name from Heinrich Hand 
 <>f v'refeld, a dealer in the instr. Comp. 
 art. ILirmonicum. 
 
 Bandore. See Bandola and Cither. 
 
 Bandur'ria (Span.) A variety of guitar 
 having wire strings instead of gut. 
 
 Banger. The banjo. ("The Negroe- 
 Banger" [ADAIR].) 
 
 Bania, Banja (African.) Parent instr. 
 of the Banjo. (?) 
 
 Banjo. A variety of guitar ; its body is 
 formed by a circular hoop, over the 
 upper side of which is stretched parch- 
 ment or skin ; it has a long neck with 
 or without frets, and from 5 to 9 strings, 
 tiie melody-string, which is the shortest 
 and played with the thumb of the right 
 hand, lying outside of and next to the 
 lowest bass string. The other strings 
 are plucked or struck with the right 
 hand, and all are stopped \vith the left. 
 It is variously tuned, the 5-stringed 
 banjo often as follows : 
 
 Ban'kelsanger (Ger. ; " bench-singers," 
 from their mounting on benches, the 
 better to gain a hearing.) Strolling 
 singers of a low class, who frequent 
 fairs and other places of public resort, 
 and recount, partly singing and partly- 
 speaking, romantic tales taken from 
 history or adventure, stirring events of 
 the day, etc., usually explanatory of a 
 picture which they display. 
 
 Bar. (Ger. Takt's trick; Fr. barre ; It. 
 li'nea, baSra, sbar'ra.) I. A vertical 
 line dividing measures on the staff, and 
 indicating that the strong beat falls on 
 the note immediately following. 2. 
 1 lence, the popular name for ' 'measure". 
 . . . Har-line, a barbarism evoked by the 
 familiar use of bar for nifasi4n'. 
 
 Bar (( ler.) Compare Strophe 3. 
 
 Bar'baro (It.) Equiv. to Feroce. 
 
 Bar'biton, Bar'bitos. An ancient 
 Greek variety of the lyre. 
 
 Barcarole'. (Ger. ditto ; Fr. barcarollf ; 
 It. barcaro'la, barcarno'la, "boatman's 
 I- A gondoliera (song of the 
 
 Venetian gondoliers). 2. A vocal or 
 instrumental solo, or concerted piece, in 
 imitation of the Venetian boat-songs, 
 and in 6-8 time (though Chopin's for 
 pfte. is in 12-8 time). 
 
 Bard. A poet and singer among the 
 ancient Celtic nations ; one who com- 
 posed and sang, generally to the harp, 
 versos celebrating heroic achievements. 
 . . In earlier Scotch usage, a vagabond 
 minstrel. 
 
 Bardiet', Bardit' (Ger.) [A word coined 
 by Klopstock, who derived it from the 
 " barditus" (for baritus, a battle-song) 
 of Tacitus, whence the erroneous as- 
 sumption that the ancient Germans had 
 bards.] A bardic song. 
 
 Bardo'ne. I (It.) A barytone 2. 2 
 (Ger.) Occasional spelling for Bourdon 
 (organ-stop); also Barduen. 
 
 Bare fifth. See Xaked. 
 
 Ba'rem (Ger.) Obs. name for the very 
 soft-toned organ-stop StilFgedackt or 
 Musidr'gedackt. 
 
 Bargaret, Barginet. Same as Bergeret. 
 
 Baribas'so (It.) A low barytone voice, 
 a bass-barytone. 
 
 Bariolage (Fr.) A medley. A caden. 
 za, or series of cadenzas, whose appear, 
 ance forms a design upon the music, 
 paper, a "waistcoat pattern," as it is 
 called by performers. [STAINER AND 
 BARRETT.] 
 
 Bariteno're (It.) A low tenor voice, a 
 tenor-barytone (second tenor) 
 
 Ba'riton (Ger.), Bariton (Fr.), Bari'- 
 tono(It) Barytone. [An attempt has 
 been made to confine the spelling bari- 
 tone to instruments, and barytone to the 
 voice ; the idea is not yet generally 
 accepted.] 
 
 Baroc'co (It.; Ger. barock' '; Fr. baroque) 
 Eccentric, odd, strange, whimsical. 
 
 Barox'yton (Gk., "the deep and high- 
 toned.") A brass wind-in- 
 str. of broad scale, inv. 
 in 1853 by Cerveny of 
 Koniggratz; compass from ' 
 contra-Z>tOrt' : Sva 
 
 Bar'pfeife (Ger., also Bar' pipe, Barpyp; 
 Dutch Baar'pyp.) A reed-stop in old 
 organs, with pipes nearly closed by 
 caps of a peculiar shape, and emitting 
 a humming, "growling" tone. 
 
 Barquarde (Fr.) Obs. for Barcarolle. 
 
 Bar'ra (It.) A bar (not measure;.
 
 BARRE BASSE. 
 
 Barre (Fr.) A bar (not measure); also 
 barre de me sure. Certain abbrevia- 
 tions are also termed barres. Also, the 
 low bridge of some stringed instr.s. . . 
 B. d' harmonic, bass-bar. . . B. de re'pe'ti- 
 tton, a dotted double-bar, indicating a 
 repeat. 
 
 Barre" (Fr.) In lute- or guitar-playing, 
 the stopping of several or all the strings 
 by laying the left -hand forefinger across 
 them, the next fret then acting as a ca- 
 potasto or temporary nut to raise their 
 pitch . . . Grand barre, a stop of more 
 than 3 strings. . . C-barrJ, see Tranche. 
 
 Barrel-organ. (Ger. Dnhorgel, Leier- 
 kasten; Fr. orgue a cylindre (not/), 
 orgue de Barbarie ; It. orgaiiet' to.) An 
 instr. (often portable) consisting of a 
 case containing pipes, a bellows, and a 
 cylinder (the barrel) turned by a crank 
 and studded with pins or pegs ; when 
 the cylinder revolves, the pins open 
 valves communicating with the bellows, 
 which is worked by the same motion, 
 and wind is thus admitted to the pipes. 
 It generally plays a melody with an 
 harmonic accomp. Larger forms (see 
 Orchestrion) are used in dance-halls, 
 restaurants, or even in churches. In 
 another variety, hammers striking wire 
 strings (as in the pfte.) are similarly 
 actuated by the revolving cylinder (pi- 
 ano-organ, handle-piano). 
 
 Bart (Ger.) Ear (of organ-pipe). Also 
 Fliigel. 
 
 Barytone, l. (Gzr.Ba'ryton, Ba'riton ; 
 Fr. baryton; It. bari'tono.) The male 
 voice intermediate between bass and 
 tenor, and in quality partaking more or 
 less of the characteristics of both ; thus 
 theGermansdistinguishbetweenaZfa.f/- 
 bariton and a Tenor' bariton, and the 
 French had (in earlier usage) basse-tail- 
 le, seconde taille, and t/nor 
 concordant. Its mean 
 compass is from G to f l : 
 
 Hence, a singer having a barytone 
 voice. 2. A bow-instr. (It. i-io'la di 
 bardo' ne or bordone) resembling the 
 viola da gamba, in great favor during 
 the 1 8th century, but now obsolete ; it 
 had 6 or 7 gut strings, stopped by the 
 left hand, above the fingerboard, and a 
 widely varying number of brass or steel 
 strings (from 9 to 24) below it, which 
 acted as sympathetic strings, though 
 sometimes plucked with the left thumb. 
 The upper strings were tuned B E A 
 d f be 1 . It dates from the I yth century. 
 
 3. The euphonium. 4. Prefixed to 
 instr.-names, barytone denotes the pitch 
 of an instr. intermediate between bass 
 and tenor (or alto); e. g. barytone 
 clarinet. . . Barytone-clef, the (obsolete) 
 ^-clef on the 3rd line. 
 
 Ba'rytonhorn (Ger.) The euphonium.. . 
 Ba'rytonschliissel, barytone-clef.. .Ba'- 
 ry tons tint me, barytone voice or part. 
 
 Bas-dessus (Fr.) Mezzo-soprano. 
 
 Base. Old spelling of Bass. 
 
 Bas'kische Trom'mel (Ger.) Tambour. 
 inc. 
 
 Bass. (Ger. Bass ; Fr. basse ; It. bas'- 
 .<<>.) i. The lowest tone in a chord, or 
 lowest part in a composition. 2. The 
 lowest male voice ; ordinary compass 
 from F to c l (or d 1 ): 
 
 extreme 
 
 
 ft 
 
 1 ' 
 
 compass 
 from C 
 
 3. A prefix indicating the lowest in 
 various families of instr.s, as bass trom- 
 bone. 4. (Ger.) (a) Abbr. for Kont> :- 
 bass (double-bass). . .(b) In earlier 
 usage, a bow-instr. intermediate in size 
 between the 'cello and double-bass, 
 having from 5 to 6 strings. . .(c) As a 
 suffix to the name of an organ-pipe, bass 
 denotes that it belongs on the pedal ; 
 e. g. Gemshornbass. Albertibass, a 
 bass in brok-i 
 en chords like] 
 the following: 
 . . . Continued or figured bass, bass- 
 notes provided with figures indicat- 
 ing the chords to be performed above 
 the notes (Basso continiio). ..Funda- 
 nientalbass, s&t Fundamental. . . Ground 
 bass, a continually repeated bass phrase 
 of 4 or 8 measures (basso ostinato).. . 
 Murky bass, see Murky. Suppose,! 
 bass, a bass tone other than the root of 
 a chord... Thorough-bass, see that word. 
 
 Bass-bar. (Gvc.Bafken; Fr. barred' 'har. 
 monie, ressort.) In violins and the like, 
 a long narrow strip of wood glued to the 
 inner surface of the belly parallel with 
 and just beneath the G-string. put in to 
 strengthen the belly and equalize the 
 vibration. [The violin-maker Held, of 
 Beuel, Germany, gives the bass-bar a 
 slight diagonal inclination, in accord- 
 ance with a suggestion by Ole Bull.] 
 
 Bass-clef, /"-clef on the 4th line. (See- 
 Clef.) 
 
 Basse (Fr.) Bass. (Also applied to the
 
 BASSET-HORNBATON. 
 
 thick lower strings of an instr., as les 
 basses ifun piano)... B. chantante, the 
 high "singing" (i. e. flexible) bass 
 voice ; a barytone. . . B. chiffre"e, fig- 
 ured bass. . . K. continue, basso con- 
 tinuo. . . B. contrainte, basso ostinato. . . 
 B.-contre, a deep bass voice. . . B. de 
 cornet, old term for the serpent, as the 
 natural bass for the cornet family... 
 B. de cremone (cremorne, cromorne), the 
 bassoon, or its precursor. ..#. de fltite 
 traversiere, b. d" haulbois, same as pre- 
 ceding. . . B. d'harmonie, the ophi- 
 cleide. . . B. de viole, see Barytone 2. . . 
 B.de violon, b. double, double-bass... 
 B. figtiree, figurate bass. . . B. fonda- 
 mentale, (a) root of a cord, (6) a gener- 
 ator (see Fundamental bass).. .B. guer- 
 riere, a species of bass clarinet. . . Basse- 
 orgue, an instr. inv. by Sautermuiter of 
 Lyons, in 1812... B. re'fitante, see B. 
 chantante...Basse-taille, barytone voice. 
 
 Bas'set-horn. (Ger. Basset f horn ; Fr. 
 cor de basset ; It. cor' no di basset' to.) 
 An alto or tenor clarinet in F, no 
 longer in use ; n/f" ^ ^ as a 
 
 compass from \ I~jfly single 
 
 F to c 3 : ^^z^z= ~ reed and 
 
 a wooden tube bent at the mouthpiece 
 and bell. Timbre mellow, though of a 
 sombre quality, like the bass clarinet, 
 especially in the lower register. 
 
 Bassett' (Ger., also Basset'/, Bass'l.) 
 I. Old term for the 'cello. 2. As a 
 prefix to the names of other instr.s, 
 same as Tenor. 3. A 4-foot flute- 
 stop on the organ-pedal. 
 
 Basset'to (It.) I. A small bass viol 
 with three strings (obs.) 2. When 
 the bass rets, the lowest harmonic 
 part. 3. Tenor violin (rarely). 4. 
 An 8 or 1 6-foot reed-stop in the organ. 
 
 Bass'flote (Ger. "bass flute.") See 
 Flotenbass.) 
 
 Bass'geiga ( .er.) Familiar term for the 
 'cello; gn/sse Bassgeige, the double-bass. 
 
 Bass'liorn (Ger.) See AiTENDIX. 
 
 Bass'klausel (Ger.) The cadence-like 
 leading of the bass at a close, from 
 dominant to tonic. 
 
 Bass'lade (Ger.) See IVindlade. 
 
 Bas'so (It.) I. Bass, either as the 
 fundamental harmonic part, a bass 
 voice, or a bass singer. 2. A bass 
 instr., more especially the double-bass. 
 //. buffo, see Huffo.. . B. cantan'te, 
 (a) a vocal bass ; (/') comp. Basse chan- 
 
 tante (opp. to basso prof on' do). . .B. con- 
 certan'te, the principal bass, as an ac- 
 comp. to soli and recitatives. . . B. con- 
 ti'nuo (or contintia' to), a continuous 
 bass provided with figures indicating 
 the chords to be played above it ; also, 
 thorough-bass. . . B. figura'to, (a) basso 
 continue ; (b) a figurate bass part. . . 
 B. fondamenta'le, fundamental bass. . . 
 B. numera'to, figured bass. . . B. obbli- 
 ga'to, an indispensable bass part or 
 accomp. . . B. ostina'to, ground bass. . . 
 B. pro fan' do, a deep, heavy bass. ..B. 
 ripie'no, see Ripieno. 
 
 Basson (Fr.) Bassoon ....#. quinte, a 
 tenor bassoon a fifth higher in pitch 
 than the ordinary one ; compass : 
 
 Bassoon'. (Ger. Fagot? ; Fr. basson ; 
 It. fagot' to.) A wood-wind instr. of the 
 oboe family, serving as bass for the 
 wood-wind. The tube is doubled upon 
 itself, forming 2 parallel air-chambers ; 
 the long, curving mouth-piece is of 
 metal, with a double reed ; compass 
 from Bij to r, on 
 newer instr.s to e-p, 
 and extended by vir- 
 tuosi to^or even/"'-: 
 The unwieldy length of the parent- 
 instr., the bombardo, led in 1539 to the 
 idea of bending the tube back upon 
 itself, and from the faggot-like appear- 
 ance of the new instr. its Italian name 
 is derived. The tone is far softer and 
 mellower than that of the bombardo, 
 and its expression is entirely under the 
 player's control. 
 
 Bass'pommer (Ger.) See Bomharl. 
 Bass'posaune (Ger.) A bass trombone. 
 
 (See Trombone?) 
 
 Bass'schliissel (Ger.) Bass-clef. 
 Bass'stimme (Ger.) Bass voice. 
 Bass'tuba (Ger.) See Tuba. 
 Bass viol. See Viol. 
 Ba'thyphon (Gk.; "the deep-toned.") 
 
 A wood-wind instr. inv. in 1829 by 
 
 Wieprecht (or Skorra?) of 
 
 Berlin, having a clarinet 
 
 mouthpiece, and a compass 
 
 from contra- D to small l*> \ va 
 
 used for a short time in military bands. 
 Ba'ton. i. (Fr. baton de mesure ; Ger. 
 
 Taklstofk, Taktstab, Takfierstock, etc.;
 
 26 
 
 BATON EEC. 
 
 It. bacehet'ta [di diretto're].) The staff 
 or wand with which the conductor of a 
 musical performance beats the time. 
 2. A rest of 2 measures. 
 Baton (Fr ) A thick vertical stroke 
 traversing I or more spaces of the staff, 
 and indicating, according to the number 
 so traversed, a rest for an equal number 
 
 of measures : 
 
 replaced in 3 
 
 modern us- 
 
 age by signs ~ff 
 like : 
 
 (see Afeasure-rest,ur\der Rest). . .Baton 
 de me sure, a Baton i. . .B. de reprise, a 
 repeat. 
 
 Battante (Fr.) Beating. 
 
 Battement (Fr.) i. An obsolete grace, 
 consisting of a short trill preceding the 
 principal tone and beginning on the 
 auxiliary a semitone below it. It had no 
 sign, being always written out in small 
 notes : played : 
 
 2. A Beat 4. 
 
 Bat'tere (It.) Down-beat. 
 
 Batterie(Fr.) i. A general term for brok- 
 en-chord figures on stringed instr.s; e.g. 
 
 i j ^ * i _r1 i~i ! ! i r~r 
 
 distinguished from the arpeggio (ace. 
 to ROUSSKAT) by being played staccato 
 instead of legato. 2. Striking instead 
 of pluclcing the strings of a guitar. 3. 
 A roll on a side-drum. 4. The percus- 
 sion-group in the orchestra. 
 Battery. An effect in harpsichord -music; 
 
 written : =/ 
 
 played : 
 
 Battirnen'to (It.) Battement. 
 Battu'ta(It) i. Abeat. 2. A measure 
 or bar (battuta taken in the narrower 
 sense of " down-beat " ; see Rifmo di 
 due battute). 3. In medieval counter- 
 point, the forbidden progression from 
 a tenth on the up-beat to an octave on the 
 down-beat, between 2 outer parts ; e. g. 
 A battuta, " in time," 
 is a direction for the 
 parts accompanying a 
 etc. vocal melody to keep 
 strict time (opp. to 
 colla parte), conveying 
 a hint to the singer 
 that his delivery should not be too free. 
 
 Bau (Ger.) Structure, construction. 
 
 Bau'erlein (Ger.) Baucrnjlote. 
 
 Bau'ernflote.-pfeife (Ger.; "rustic 
 flute " ; Lat. ti'bia rures'tris.) A pedal- 
 register not uncommon in old organs, 
 consisting of stopped pipes of I or 
 2-foot pitch. 
 
 Baxoncil'lo (Span.) i. An organ-stop 
 like the open diapason. 2. A small 
 bassoon. 
 
 Bayadere', Bayadeer'. East-Indian 
 dancing-girl. 
 
 Ba'yla, Ba'yle (Span.) A dance ; bayle 
 has the more comprehensive significa- 
 tion. 
 
 bb (Ger.) Double-flat (see Doppel-b). 
 
 B cancella'tum, B du'rum. See B. 
 
 Bear'beiten (Ger.) To revise, work 
 over, adapt, arrange, rearrange, touch 
 up ... Bear'beitung, an adaptation or re- 
 vision, a working-over. 
 
 Bearing-notes, Bearings. The tones 
 first carefully tuned by the tuner of a 
 pfte. or organ, serving to regulate its 
 entire compass by. 
 
 Beat. r. (Ger.; Takt'schlag, Takt'teil ; 
 Fr. battement de me sure, temps ; It. bat- 
 tu'tx.) The motion of the hand or foot 
 in marking time (the equal divisions of 
 the measure). 2. A division of a mea- 
 sure so marked. 3. In a trill, a pulsation 
 embracing 2 consecutive tones. 4. In 
 acoustics, see Acoustics, 3. 5. An old 
 grace, consisting of a short trill before 
 the principal note ; 
 
 written : played : 
 
 Beating. Same as Beat 4. 
 
 Bebisa'tion. Compare Solmisation. 
 
 Be'bung (Ger.; Fr. balancanent ; It. 
 tn-'nio/o.) I. A rapid pulsation or 
 tremulous effect, either vocal or instru- 
 mental, given to a sustained tone for 
 the sake of expression. 2. Specifically, 
 an effect obtained on the clavichord by 
 holding down a key after striking it, 
 and balancing the finger upon it in 
 such a way as to produce a prolonged, 
 tremulous tone. (On modern piano- 
 fortes having the Erard action, a sns- 
 /,."//,(/ tone can be produced in a some- 
 what similar manner.) 
 
 Bee (Fr., "beak.") A mouthpiece (of a 
 flageolet, clarinet).
 
 BECARRE BERGKREYEN. 
 
 S6carre (Fr.) The natural (J). 
 
 Bec'co (It.) Same as Bec...Becco po- 
 lac'co, a large species of bagpipe. 
 
 JBech'er (Ger., " beaker, cup.") i. The 
 bell (of various wind-instr.s ; also 
 Sc half trie hter}. 2. The tube (of a reed- 
 pipe in the organ; also Aufsatz, 
 Schatfbecher). 
 
 Beck'en (Ger.) Cymbals. 
 
 Bedeckt' (Ger.) Stopped, as strings ; 
 opp. to leer, open. 
 
 Bedon (Fr.) Old name for drum... Be- 
 don de Biscaye, a tambourine. 
 
 Bee moll. (Obs., from Lat. B molle, soft 
 B.) Be mol, Bemol. 
 
 .Beffroi (Fr.) Gong (tam-tam). . .Also, 
 an alarm-bell, a tocsin. 
 
 BefiTzen (Ger.) To felt (put felt on 
 pfte. -hammers) . . . Befit zung, felting. 
 
 Begei'sterung (Ger.) Enthusiasm, spirit. 
 
 .Beglei'ten (Ger.) To accompany. . . 
 Begleit' ' stimmen, Beglei'lung, accompa- 
 niment ; accompanying parts subordi- 
 nate to a principal melody. 
 
 "Bei'sser (Ger.) A mordent. 
 
 Bei'tone (Ger.) Harmonic overtones or 
 undertones.. .Also, auxiliary tones. 
 
 Bekie'len (Ger.) To furnish with quills, 
 as the jacks of a harpsichord. 
 
 Beklemmt' (Ger., properly beklom' 'men.} 
 Anxious, oppressed [Beethoven]. 
 
 ^Bele'bend (Ger.) Ravvivando. 
 
 .Bele'dern (Ger.) To cover with leather. 
 . . . Bele 'derung, formerly, the leather, 
 now, the felt, used in covering pfte.- 
 hammers. . . Also, the strips of leather 
 covering the treble hammers. 
 
 Belegt' (Ger.) Hoarse, not clear ; veiled 
 (of the voice). 
 
 Bell. I. (Ger. Glock'e ; Fr. cloche; It. 
 campa'na.) A hollow metallic instr. of 
 percussion, set in vibration by a swing- 
 ing clapper hung within, or by hammers 
 actuated from without. 2. (Ger., 
 Sc half trie hter ; Fr. pavilion; It. pairi- 
 glio'ne.) The flaring end of various 
 wind-instr.s. 
 
 Bell-diapason. An organ-stop, usually 
 of 8-foot pitch, with open bell-mouthed 
 pipes. 
 
 Bellez'za (It.) Beauty, grace. 
 
 -Bell-gamba. An organ-stop having 
 conical pipes surmounted by a bell ; 
 also called cone-gamba. 
 
 Bell-harp. An old variety of harp with 
 8 or more steel strings and enclosed in 
 a wooden box, which the player swung 
 to and fro like a bell while twanging the 
 strings with the thumbs of both hands 
 inserted through holes in the cover. 
 
 Bellicosamen'te (It.) In a bellicose, 
 martial, warlike style. .. Bellicose, mar- 
 tial, warlike. 
 
 Bell-met'ronome. A metronome with a 
 bell-attachment which can be set so as 
 to strike with every second, third, 
 fourth, or sixth beat of the pendulum. 
 
 Bello'nion. An instr. consisting of 24 
 trumpets and 2 drums played by a me- 
 chanism ; inv. in 1812 at Dresden. 
 
 Bell open diapason. Same as Bell-dia- 
 pason. 
 
 Bellows. (Ger.Balg; Fr. souffle t ; It. 
 soffiefto?) The mechanical contrivance 
 for gathering and propelling the wind 
 supplying the pipes or reeds of the 
 organ, harmonium, concertina, bagpipe, 
 and the like. See Organ. 
 
 Bell-piano. See Glockenspiel. 
 
 Belly. I. (Ger. Deck'e ; Fr. table ; It. 
 ta'vola, pan'cia.) The face (upper side) 
 of the resonance-box of the violin etc. 
 2. (Ger. Resonanz' boden ; Fr. reson- 
 nance, table d' harmonie ; It. ta'vola 
 armo'trica.) Soundboard of the pfte. 
 
 Bemol. B-flat. 
 
 Bemol (Fr.), Bemol'le (It.) The flat 
 ($).. .B/moliser (bemollizza're), to flat 
 (set a flat before a note). 
 
 Ben, Be'ne (It.) Well ; as ben marcato, 
 well marked ; a bene placito, at pleasure, 
 ad libitum; ben ritmato, see Bien rythme; 
 ben tenuto, well sustained or held. 
 
 Benedic'tus. See Mass. 
 
 Bequa'dro (It.) The natural (jj). 
 
 Berceuse (Fr.) A cradle-song, lullaby ; 
 hence, a piece of instrumental music 
 imitating the effect of a lullaby. 
 
 Ber'gamask. (Fr. bergamasque; It. 
 bergama'sca.) A clownish dance in de- 
 risive imitation of the rustics of Ber- 
 gamasca in Northern Italy. (Also ber- 
 gomask, burgomask.) 
 
 Bergeret'. A pastoral or rustic song or 
 dance. (Also bargaret, bargeret.) 
 
 Bergk'reyen, Berg'reihen (Ger.) 
 "Dance-tunes from the mountains;" 
 the title of various collections of dance-
 
 i& 
 
 BES BIT. 
 
 Bes (Ger.) B double-flat ; generally 
 
 called bb. 
 Besai'ten (Ger.) To string, put strings 
 
 on. 
 
 Bestimmt' (Ger ) With decision, energy. 
 Beto'nen (Ger.) To accent, emphasize. 
 
 ..Betont', accented... Beto'nung, accent, 
 
 stress, emphasis. 
 Bet'tlerleier (Ger.) Hurdy-gurdy. . . 
 
 Beftleroper, Beggar's Opera. 
 Bewe'gen (Ger.) To move, stir, agitate. 
 
 . . Bewegt, moved ; con mo to . . . Bewe'- 
 
 gung, movement, agitation (comp. Mo- 
 tion)... Be we^gungsart, see Movement i, 
 
 2, 3- 
 Bezif'fern (Ger.) To figure (as a bass). 
 
 ...Bezif'fert, figured. . .Bezif'fening, 
 
 figuring. 
 Bezug' (Ger.) All the strings of, or a 
 
 set of strings for, any stringed instr. 
 Bian'ca (It., "white.") A half-note... 
 
 Voce bianca, see Voce. 
 Bibi (Fr.) A pianette. 
 Bibrev'is (Lat.) See Pyrrhic. 
 
 Bi'chord. i. Having 2 strings. 2. The 
 technical term for an instr. having a 
 pair of strings, tuned in unison, for 
 each tone (as the mandolin, lute, and 
 certain pftes). 
 
 Bici'nium (Lat.) A 2-part composition, 
 especially a vocal one. 
 
 Bi'fara (also biffara, bi'fra, piffara, 
 piffero). An organ-stop, the pipes of 
 which are either double-mouthed or 
 paired ; the two members of each pair 
 being tuned at slightly different pitches, 
 the interference of the sound-waves 
 produces a gentle tremolo. (Also Ce- 
 /estina, Undo, man's, etc.) 
 
 Bifari'a. Title of a Presto in 3-mea- 
 sure rhythm, in an Invention or Suite 
 ascribed to J. S. Bach. 
 
 Biju'ga(Lat-) The " 2-necked " cither. 
 
 Bimol'le (It.) Same as Bemolle. 
 
 Bi'na. See Vina. 
 
 Bi'nary. Dual ; two-part. ..Binary form, 
 a form of movement founded on 2 prin- 
 cipal themes (comp. Sonata), or divided 
 into 2 distinct or contrasted sections.. . 
 Binary measure, that of common time, 
 the first of every 2 members taking the 
 accent ; i. e. the regular and equal alter- 
 nation of the down-beat and up-beat. 
 
 Bind. i. Properly, a tie (a curved line 
 connecting 2 notes of like pitch, or 
 
 enharmonically changed ; 
 written by Sterndale Ben- 
 nett in bracket-form : -> 
 
 and by ~- to distinguish it 
 Morley in ~=? [ ^=~ from the Slur). 
 1 597 thus : 2. The brace 
 
 binding together the several staves of a 
 score. 
 
 Bin'debogen (Ger.) A slur, or a tie. 
 
 Bin'den (Ger.) To bind, tie ; to con- 
 nect, play or sing smoothly and con- 
 nectedly (legato). . . Gebun'den, bound, 
 tied ; legato. . . Gebun'dener Stil, strict 
 style of composition, in which disso- 
 nances are prepared (tied over). . . Also 
 see Gebundin. 
 
 Bin'dung (Ger.) A ligature, bind, tie, 
 or siur ; hence, a suspension or synco- 
 pation ; also, the legato. . . Bin'dungs- 
 zcifhcn, a sign used to express any of 
 the above. 
 
 Biqua'dro (It.) Same as Bequadro, 
 
 Birn, Bir'ne (Ger.) Socket. 
 
 Bis (Lat., "twice".) I. Signifies that a 
 measure, passage, or section is to be re- 
 peated ; often written over or under a 
 slur embracing the music to be repeated. 
 2. Used by the French as an excla- 
 mation of applause (" again !"), like 
 the French word " encore " in English 
 usage. (See Bissare.) 3. The second 
 part, or a continuation, of a scene on 
 the stage ; e. g., i6 bi> ; i6 ler and i6i amter 
 then mean the third and fourth parts, 
 respectively, of such a scene. 
 
 Bis'chero (It.) Peg (tuning-peg) of a. 
 
 violin, lute. etc. 
 Biscro'ma (It.), Biscrome (Fr.) A 
 
 i6th-note. 
 
 Bisdiapa'son. The interval of a fif- 
 teenth, or double-octave. 
 
 Biso'gna (It.) " Is necessary," "must"; 
 as si bisogna da capo al segno, must be 
 repeated from the beginning to the sign. 
 
 Bisqua'dro (It.) Same as Bequadro. 
 
 Bissa're (It.), Bisser (Fr.) To encore- 
 
 Bissex (Lat., " twice six" ; Ger. Ziwlf- 
 saiter.) A kind of guitar having 12 
 strings, of which the 6 highest ones- 
 could be stopped on a fretted finger- 
 board ; compass 3^ octaves ; invented 
 1770. 
 
 Bis unca (Lat., "twice hooked.") A 
 
 sixteenth-note. 
 Bit. A short additional piece of tube 
 
 used to lengthen a crook in the cornet a--
 
 BIZZARRAMENTE BOMBARD. 
 
 pistons, etc., for slightly modifying the 
 pitch. 
 
 Bizzarramen'te (It.) Bizarrely, whim- 
 sically, fantastically. . .Bizzarri'a, a 
 freak, whim, facy, extravagance... 
 iz;ar'ro,-a, bizarre, fantastic, etc. 
 
 Blanche (Fr., "white".) A half-note. 
 
 Bla'ser (Ger., "blower.") A player on 
 any wind-instr. 
 
 Blas'instrument (or Bla'seinstrument) 
 (Ger.) Wind-instrument... Bla'sebalg, 
 bellows. 
 
 Blatt (Ger.) Reed (of a wind-instr.; also 
 Rohr'blatt}.. .Dop'pelblatt, double reed. 
 
 Blech'instrument (Ger.) Brass instru- 
 ment, metal wind-instr. 
 
 Blind (Ger.) " Blind". . . Blinde Pfeife, 
 dummy pipe (o/gan)... Blinder Doppel- 
 triller, a simulated |""H |""1 
 or imperfect double -fe \ etc - 
 trill ; e. g. ^j* m : 
 
 Bloch'flote, Block'flote (Ger.) i. A 
 small kind oijiilte a bee, in vogue in 
 the i6th century. 2. An organ-stop 
 having pyramid-shaped flue-pipes of 2, 
 4, 8, or 1 6-foot pitch, and sometimes 
 stopped. 
 
 Block. In violins, etc., the blocks are 
 small pieces of wood within the body, 
 glued vertically to the ribs between 
 belly and back to strengthen the instr. 
 
 Blower. (Ger. Bal'gentreter, Kalkant' ; 
 Fr. sonffteur ; It. tiraman'tici.) A 
 person working the bellows of an organ. 
 
 B molle. See B. 
 
 Boat-song. I. A song intended to be 
 sung in a boat, especially in time with 
 the oars. 2 A vocal or instrumental 
 composition imitative of I. (Barcarole, 
 Gondoliera.) 
 
 Bob. A term in change-ringing applied 
 to the various sets of changes which 
 may be rung on 6 bells (bob minor), 8 
 bells (bob major), 10 bells (bob royal), 
 or 12 bells (bob maximus). 
 
 Bobisa'tion. A collective term for the 
 various methods proposed, during the 
 1 6th and I7th centuries, for naming the 
 tones of the scale by syllables. (See 
 Solmisation.) 
 
 Bocal (Fr.) Mouthpiece of the hom, 
 trombone, serpent, etc. Also, the crook 
 of the bassoon. 
 
 Boc'ca (It.) Mouth.. . Con bocta chiu'sa, 
 with closed mouth (comp. Brumm- 
 stimmen). . .Bocca riden'te, "smiling 
 
 mouth," the position necessary for the 
 production of beautiful tones. 
 
 Bocchi'no (It.) Mouthpiece of a wind- 
 instr. 
 
 Bocedisa'tion. See Solmisation. 
 
 Bock (Ger.; a\sopol'nischer Bock, Gross- 
 Bock.) The bagpipe. 
 
 Bocks'triller (Ger., "goat's-triU"; Fr. 
 chevro tcmen t; It. tril'lo cafri'no.) A 
 trill like a goat's bleat ; the repeated 
 interruption of one tone instead of the 
 alternation of (wo. 
 
 Bo'den (Ger.) Back (of violin, etc.) 
 
 Body. I. (Ger. Cor 1 pus, Sc hall' hasten; 
 Fr. coffre, corps ; It. cor'po.) The re- 
 sonance-box of a stringed instr. 2. 
 That part of a wind-instr. remaining 
 after removing the mouthpiece, crooks, 
 and bell. 3. The tube of an organ- 
 pipe above its mouth. 4. A tone is 
 said to have "body" when it is full 
 and sonorous ; the resonance of a tone 
 is also called the body. 
 
 Boehm Flute. See Flute. 
 
 Bo'gen (Ger.) i. A bow. 2. A slur 
 or i\c.(Hal'tebogen, Lega'tobogen, Bin'- 
 debogeii) . . . Bo genjlugel, piano-violin 
 (Bo genJiammerklavier,Bo'genklavier). 
 ...Bo'genfuhrung, see Bo-wing I... 
 Bo'genstrich, stroke of the bow. 
 
 Bois (Fr.) Wood. . .Les bois (pi.), wood- 
 wind. 
 
 Boite (Fr.) Box ; swell-box (boile fex. 
 pression). . . Ouvrez la boite, or botte ou- 
 verte, open swell ; fermez la boite, close 
 swell. 
 
 Bole'ro (Span.) I. A Spanish national 
 dance in 3-4 time and lively tempo (al- 
 legretto), in which the dancer accom- 
 panies his steps with castanets ; also 
 called Cachucha. The Castanet-rhythm 
 
 alternating 
 
 with the melo- I J iii 
 
 dy-rhythm : 
 
 2. A composition in the style of a 
 
 bolero. 
 
 Bom / bard. (Ger. Bom' hart, Bom'mert^ 
 Pom'mer; Yr.bombarde; It. bombar'do.) 
 A wind-instr. of the oboe family, with a 
 wooden tube and double reed ; proper- 
 ly, the bass instr. of the shawms, though 
 sometimes made as a smaller instr. 
 The unwieldy length of the larger 
 sizes led to the invention of the bas-
 
 BOMBARDE BOYAU. 
 
 soon, which is a bombard with the tube 
 doubled upon itself, and thus shortened 
 by half. The bombardo'ne or centra- 
 bombard (Ger. Bass' bom hart) was the 
 deepest, followed by the bass bombard 
 (Bomkart), the tenor or basset-bombard 
 (Bassett'bomhart), and the alto or bom- 
 bar' do pic'colo. 
 
 Bombarde (Fr.) i. Bombard. 2. Po- 
 saune 2. 
 
 Bombar'don. i. A large instr. of the 
 trumpet family, used as a bass in mili- 
 tary music, and belonging, in its mod- 
 ern forms, to the saxhorn group ; the 
 usual sizes are in B\), F, C, and contra- 
 \) ; but the bombardon 
 proper, old model, is in F, ISBEEE 
 having 3 valves and a com- I ^ 
 pass from contra-/' to d ' : 
 It is non -transposing. 2. The bass of 
 the saxhorns. 3. A deep-toned reed- 
 stop in the organ. 
 
 Bom/bo (It.) A figure in repeated notes. 
 
 Bom'byx (Gk.) An ancient Greek wind- 
 instr., presumably with a reed. 
 
 Bon (Fr.) Good.. .Bon temps de la 
 mesure, strong beat. 
 
 Bonang. A Javanese instr. consisting 
 of gongs mounted on a frame. 
 
 Bones. A set of 4 pieces of bone, wood, 
 or ivory, held pairwise between the 
 fingers, and used to mark time as a rat- 
 tling accompaniment to a dance, song, 
 or instrumental performance. 
 
 Book. I. (Ger. Heft; Fr. cahier; It. 
 li'bre.) A part of a series of songs, ex- 
 ercises, etc., under a separate paper 
 cover. 2. The words (libretto) of an 
 opera, oratorio, etc. 
 
 Boot. The foot of a reed-pipe (organ). 
 
 Bordun' (Ger.) Bourdon. (The 2 free 
 strings on either side of the fingerboard 
 of the hurdy-gurdy, that kept up a con- 
 tinual humming, were called Bordnne; 
 Jtordunus occurs as the name of the 
 bass strings stretched beside the finger- 
 board of the ancient viella.) 
 
 Bouche (Fr.) Mouth; a bouc he ferme'e, 
 with closed mouth (comp. Brumm- 
 stimmen). 
 
 BoucheXe) (Fr.) Muted (of wind-instr.s) ; 
 stopped (of organ-pipes). 
 
 Bouffe (Fr.) Same as Buffo. . . Optra 
 bouffe, comic opera. 
 
 Bourdon. (Fr.) i. A drone bass. 2. 
 An organ-stop of 16 or 32-foot pitch, 
 
 having stopped wooden pipes, some- 
 times with metallic tops ; tone usually 
 hollow or " fluty," i.e. deficient in har- 
 monics. The French also have open 
 bourdons of 8 and 4-foot pitch (bour- 
 dons de huit, de quatre ouverls). 3. 
 In French usage, the lowest string of 
 the 'cello and double-bass ; also, a 
 great bell, as the bourdon of Notre- 
 Dame. . .Faux-bourdon, see Faburden. 
 
 Bourrde (Fr.) i. A dance of either 
 French or Spanish origin, from Au- 
 vergne or Biscaya, in rapid tempo, con- 
 sisting of 2 parts of 8 measures each 
 and in 4-4 or 2-4 time. 2. A move- 
 ment in the earlier Suites, in alia breve 
 time. 
 
 Boutade (Fr.) i. A short ballet per- 
 formed, as it were, impromptu. 2. 
 An instrumental impromptu or fantasia. 
 3. An old French spectacular dance. 
 
 Bow. (Ger. Bo' gen; Fr. archel; It. ar'co.) 
 An implement originally curved out- 
 ward, though now slightly inward, 
 consisting of an elastic wooden rod 
 (the stick), and of from 175 to 250 horse- 
 hairs [GROVE] (the hair) attached to the 
 bent point or head, and drawn into 
 proper tension by the sliding nut, which 
 is actuated by the screw, (Schuster & 
 Otto, Markneukirchen, have recently 
 [1893] manufactured bows with jine 
 gut threads in lieu of hairs.) After 
 rubbing the hair with rosin, the bow is 
 drawn across the strings (of the violin, 
 bow-zither, etc.), setting them in vibra- 
 tion ; the vibration is communicated to 
 the resonance-box, which latter rein for- 
 ces the weak tone of the strings. . .Bow- 
 arm or-kand, the right arm or hand.. . 
 Bow-guitar (It. chitar'ra coll' arco), 
 a species of violin with a guitar-shaped 
 body. . . Bow-clavier, Bow- harp sic hard, 
 see Piano-violin. . .Bow-instrument, 
 one played with the aid of a bow, as 
 the violin or bow-zither. .. Bow-zither t 
 see Zither. 
 
 Bow (verb.) i. To execute with a bow. 
 2. To mark (a passage or piece) 
 with signs indicating the bowing. 
 
 Bowing. I. (Ger. Bo'genfiihrung.) 
 The art of handling the bow ; the style 
 or method of a player, "his bowing 
 as shown in his management of the 
 bow." 2. (Ger. Strich'art.~) The 
 method of, and signs for, executing any 
 given passage ; ' ' the bowing of the 
 passage." 
 
 Boyau (Fr.) Gut ; hence, gut string.
 
 BOZZETTO BRIO. 
 
 Bozzetto (It.) Sketch. 
 
 B quadra'tum, B qua'drum. See B. 
 
 Brabanfonne. The Belgian national 
 hymn. 
 
 Brac'cio (It.) The arm. . . Viola da 
 brae do, see Viola. 
 
 Brace. I. (Ger. Klam'mer ; Fr. ac- 
 colade ; It. grap'fa.) A bracket con- 
 necting the heads of 2 or more staves. 
 2. One of the leathern slides on the 
 cords of a side-drum. 
 
 Branle, Bransle (Fr.) A brangle or 
 brawl ; an old French dance in 4-4 
 time, in which several persons joined 
 hands and took the lead in turn. Brattle 
 was the generic name of all dances in 
 which, like the Cotillon or Gross-cater, 
 one or two dancers led the rest, who 
 imitated all the evolutions of their 
 leaders. (Also Brantle.) 
 
 Brass-band. See Band 2 ; distinguished 
 from full military band by omission of 
 reed-instr.s. . .Brass-wind, collective 
 term for the players on metal wind- 
 instr.s in an orchestra. 
 
 Bra'tsche (Ger.) The tenor violin (comp. 
 Viola). 
 
 Bra'vo (It., masc. adj., pi. bravi ; fern. 
 brava, pi. brave.} Used as an inter- 
 jection, signifying "well done!" and 
 the like ; superlative br avis si mo, -a, etc. 
 
 Bravour' (Ger.) See Bravura Bra- 
 vour'arie, aria di bravura. . . Bravour' - 
 stuck, a vocal or instrumental piece of 
 a brilliant and florid character. 
 
 Bravoure (Fr.) See Bravura. . . Valse de 
 bravoure, an instrumental waltz of a 
 brilliant, showy character. 
 
 Bravu'ra (It.) Boldness, spirit, dash, 
 brilliancy.. .A'ria di bravura, a vocal 
 solo consisting of difficult runs and pas- 
 sages, designed to show off the singer's 
 voice or skill... Con bravura, with 
 boldness, etc. 
 
 Brawl. See Branle. 
 
 Break. I. The point at which one 
 register of a voice or instr. passes 
 over into another ; in the voice, the 
 junction of the head- and 
 chest-registers ; in the 
 clarinet, between the notes : 
 . . .Breaking of voice, see Mutation. 
 2. A false or imperfect tone produced 
 by incorrect lipping of a horn or trum- 
 pet ; or by some difficulty with the reed 
 of the clarinet (the "goose"); or, in 
 singing, by some defect in the vocal 
 
 organs. 3. In an organ-stop, when 
 playing up the scale, the sudden return 
 (caused by an incomplete number of 
 pipes) to the lower octave ; also, in com- 
 pound stops, any point in their scale 
 where the relative pitch of the pipes is 
 changed. 
 
 Breakdown. A negro dance (U. S.) of 
 a noisy, lively character. 
 
 Breathing-mark. A sign set above a 
 vocal part to show that the singer may 
 (or must) take breath at that place ; 
 written variously (', *, y, V ). 
 
 Breit (Ger.) Broad, stately, slow. 
 
 Brett'geige (Ger. ; also Sack'geige, Sfilaf- 
 violgeige, Stock'geige, Ta'schtngfigt.) 
 A kit. 
 
 Breve. I. (Lat. and Ger. Brei/is ; Fr. 
 breve ; It. bre've.) A note equivalent 
 to 2 whole notes or semibreves; the long- 
 est employed in modern i, \^JH-^^ 
 music. It is written thus : ^ '^l -^^^ 
 2. In medieval music, a note having ^ 
 or the time-value of the longa (corop. 
 Mensurable music)... Alia breve (It.), 
 (a) originally, a time of 4 minims (= I 
 breve) to the measure ; time-signature 
 
 C|D, later CjQ J this is 2-1 or great 
 alia breve time, (b) Now, 4-4 time 
 with 2 beats instead of 4 to the measure, 
 and in quicker tempo ; time-signature 
 ( ; also called alia cappella; opp. to 
 Tempo ordinario I. 
 
 Brev'is (Lat.) A breve. 
 
 Bridge. (Ger. Steg ; Fr. chevalet ; It. 
 fonticel'lo.) I. In bow-instr.s, a thin, 
 arching piece of wood set upright on the 
 belly to raise and stretch the strings 
 above the resonance-box, and to com- 
 municate to it their vibrations, which 
 the bridge also cuts off from the rear 
 ends of the strings. 2. In the pfte. 
 and other stringed instr.s, a strip or rail 
 of wood or metal over which the strings 
 are stretched. 
 
 Brief. Obsolete for Breve. 
 
 Brillant,-e (Fr.), Brillan'te (It.) Bril- 
 liant, showy, sparkling. 
 
 Bril'lenbasse(Ger.) "Spectacle-basses," 
 familiar term for the abbreviated nota- 
 tion of alternating 
 eighth-notes or i6th- 
 notes, e. g. 
 
 Brin'disi (It.) Drinking-song, some- 
 times in style of Jodler. 
 
 Bri'o (It.) Vivacity, spirit, fire...Gw
 
 BRISE BURLESQUE. 
 
 brio, or brio' so, with fire and vivacity, 
 spiritedly. 
 
 Brise>e (Fr.) Broken (as chords)... 
 Cadence brise'e, a grace consisting of a 
 short trill beginning on the higher aux- 
 iliary note : 
 
 7 . . 
 
 Broderies (Fr., pi.) 
 lishments. 
 
 Ornaments, embel- 
 
 Broken cadence. See Cadence.. .Brok- 
 en chords, chords the tones of which 
 are sounded in succession instead of 
 together (see A rpeggio). ..Broken music, 
 music for the harp, guitar, and other 
 instr.s on which the chords are generally 
 arpeggio'd or broken.. .Broken octaves, 
 series of octaves in which the higher 
 tones alternate with the lower, thus : 
 
 B rotun'dum. See B. 
 
 Brumm'eisen (Ger.) A jew's-harp (usu- 
 ally Afaul' trommel). 
 
 Brum'mer (Ger.) Drone. 
 
 Brumm'stimmen (Ger.) "Humming 
 voices " ; production of tone without 
 words, through the nose, with closed 
 mouth (a boc'ca chiu'sa) ; a not infre- 
 quent effect in male quartets, especially 
 as an accomp. to a solo part. 
 
 Brumm'ton (Ger.) Drone. 
 
 Bruscamen'te (It.) "Brusquely" or 
 forcibly accented. 
 
 Brust (Ger.) Breast; chest. .. Brust' - 
 stimme, chest-voice. . .Brust' ton, chest- 
 tone. . .Brust'-werk, (usually) the pipes 
 of the swell-organ or choir-organ as set 
 up together in the middle of the instr. 
 
 Bu'ca (It.) Sound-hole of lute, mando- 
 lin, etc. 
 
 Bucci'na (Lat.) Either a curved trumpet, 
 originally the horn of an ox ; or a 
 straight trumpet (tuba), the prototype 
 of the trombone or posaune. 
 
 BuccoTico,-a (It.), Bucolique (Fr.) 
 Bucolic, pastoral, rustic. 
 
 Biich'se (Ger.) Boot (of a small reed- 
 pipe in the organ) ; also Hose. 
 
 Buch'stabentonschrift (Ger.) Alpha- 
 betical notation. 
 
 Buffa're (It.) To play the wag or buf- 
 foon, to jest, trifle. 
 
 Buffet (Fr.) Organ-case, or case of any 
 partial organ . . .Buffet d'orgues, a small 
 organ complete, its case and all within. 
 
 Buffo, -a (It.) Comic, humorous ; hence 
 Buffo, Buffo-singer, the comic actor in 
 an opera ; a comic singer. . .Aria buffa, 
 comic air or aria. . . Opera buffa, comic 
 opera. . . Buff one, comic opera-singer. 
 
 Buffone'sco,-a (It.) Droll, ludicrous... 
 Buffonescamen' te, drolly, etc. 
 
 Bugle, Bugle-horn. (Ger.) Bii'gclhorn, 
 Flii'gelhorn ; Fr. bugle; It. ttvm'ba.) 
 I. A wind-instr. of brass or copper, 
 with cupped mouthpiece, used for in- 
 fantry calls and signals, having 7 har- 
 monic tones : 
 
 and made in various pitches (B\), C, 
 b).2. The key-bugle (Kent bugle, 
 Regent's bugle) (Ger. Biigelhorn mit 
 Klappen; Fr. bugle a tta) ', it has 6 
 keys and Jg: ; inv. by Halli- 
 
 a compass I ^ -~fi day in 1815. 
 
 of over 2lEg :y 3. Valve-bugle 
 
 octaves : "^ *" (see Saxhorn). 
 
 Biih'nenweihfestspiel (Ger.) "Stage- 
 consecrating festival play ; " the epithet 
 bestowed by Wagner on Parsifal, his 
 last musical drama. 
 
 Bund (Ger.) A space between frets, on 
 a fretted fingerboard. [Bund is used 
 as effectively synonymous with fret; e. 
 g., Bund i. means 1st fret, the string 
 being stopped on the fret by pressure 
 in the space just behind it.].. .Bundfrei 
 (" unfretted," i. e. not spaced off by 2 
 or more frets or tangents), a term desig- 
 nating a clavichord in which each key 
 had its own string ; opp. to gebunden. 
 
 Buonaccor'do (It.) A small spinet with 
 narrow keys, for children. 
 
 Buo'no,-a [bo'-no] (It.) Good.. .Buona 
 nota, an accented note (one on a strong 
 beat); buon gusto, good taste. . .Buo- 
 namen'te, well, accurately. 
 
 Burden, i. A refrain or chorus recur- 
 ring after each stanza of a song. 2. 
 The drone of the bagpipe. 3. The 
 bass part. 
 
 Bur'la (It.) A joke, jest. . .Burlan'do, 
 joking, jesting, romping. .. Burle'sca. 
 a burlesque. . .Burle'sco,-a, burlesque, 
 farcical, comic. . . Burlescamen'te, in bur- 
 lesque style. 
 
 Burlesque. (It. bur IS 'sea.) A dramatic
 
 BURLETTA CADENCE. 
 
 33 
 
 xtravaganza, or farcical travesty of 
 some serious drama or subject, with 
 more or less music. 
 
 Burlet'ta (It.) A comical operetta or 
 musical farce. 
 
 Busain (Busaun, Buzain). A reed-stop 
 in the organ, generally of 1 6-foot tone, 
 and on the pedal. 
 
 Button, i. A small round disk of leath- 
 er screwed on the tapped wire of a 
 tracker to keep it in place. 2. A key 
 of the accordion, etc. 3. The round 
 knob at the base of the violin, etc. 
 
 Bux'eatib'ia, Bux'us(Lat.) An ancient 
 jox-wood flute with 3 finger-holes, re- 
 sembling the Phrygian flute. 
 
 c. 
 
 C. I. (Ger. C; Fr. ut ; It. do.) The 
 first tone, 1st degree, or key-note of the 
 typical diatonic scale of C-major. (Com- 
 pare Alphabetical notation, and Sol- 
 misation.). , Q on the pfte.- 
 Middle-C, the |/U keyboard; Ten- 
 
 note c 1 > J & ~ or C is small c. 
 
 2. Abbr. for Capo (D. C.=da capo); 
 Cantus, Canto (c. f. = cantus firmus or 
 canto fermo); Col (c. B.=col basso, c. 
 8va = coll'ottava); C.-B. (Cb.) = con- 
 trabbasso. 
 
 Cabalet'ta (It.) A song in rondo-form, 
 with variations, often having a triplet 
 accomp. imitating the hoofbeats of a 
 cantering horse. 
 
 Cabinet d'orgue (Fr.) Organ-case. 
 
 Cabinet organ. See Reed-organ. 
 
 Cabinet pianoforte. An old style of 
 upright pfte.; a grand pfte. set on end. 
 
 Cabis'cola (Lat.) Precentor of a choir. 
 
 Cac'cia (It.) The chase ; a hunt. .Alia 
 c., in the hunting style (i. e. accompan- 
 ied by horns). 
 
 Cached (Fr.) Hidden, concealed, cov- 
 ered ; said of fifths and octaves. 
 
 Cachu'cha (Sp.) A dance similar to the 
 
 Bolero. 
 Cacoph'ony. (Fr. cacophonie; It. caco- 
 
 foni'a.) Discord ; harsh or discordant 
 
 music. 
 
 Cadence. (Ger. Kadenz' ' ; Fr. cadence; 
 It. eaden'za.) I. See Cadenza. 2. The 
 measure or pulsation of a rhythmical 
 movement. 3. (a) In general, the 
 closing strains of a melody or harmon- 
 ic movement. (f>) Specifically, an har- 
 monic formula (i. e. successionof chords) 
 leading to a momentary or complete 
 musical repose ; the close or ending of 
 a phrase, section, or movement.. .Amen 
 c., popular term for plagal c., to which 
 the word amen is of ten sung. . .Authen- 
 tic c., see Perfectc.. .Avoided, Broken, 
 Deceptive, or False c., see Interrupted 
 c.. . Complete c., a perfect c. . .ffaJf -ca- 
 dence (half-close), or Imperfect c., the 
 chord of the tonic followed by that 
 of the dominant. . .Interrupted c., an 
 unexpected progression avoiding some 
 regular cadence. . .Irregular c., an in- 
 terrupted c... Medial c., in ancient 
 church-music, one in which the mediant 
 was peculiarly prominent. . . Mixed c. t 
 that formed by the succession of the 
 subdominant, dominant, and tonic 
 chords, it thus being a "mixture" of 
 the authentic and plagal cadences. . . 
 Perfect c., the dominant triad or chord 
 of the 7th followed by the tonic chord ; 
 the authentic cadence of the ecclesias- 
 tical modes. . .Plagal c., that formed by 
 the chord of the subdominant followed 
 by the tonic chord ; opp. to authentic c. . . 
 Surprise c., an interrupted c. . .Radical 
 c., a close, either partial or complete, 
 formed with two fundamental chords.. . 
 Whole c., a perfect c. A few examples 
 are given below : 
 
 Authentic. 
 
 Plagal. 
 
 Interrupted. 
 
 Mixed. 
 
 rct= U ~ i J i ~ J 
 
 i i . i i 
 
 i 
 
 g 
 
 & 
 
 =9= 
 
 ^S=^ 
 
 ^T 
 
 ^ 
 
 i i 
 f 
 
 -* i- 
 
 9 
 
 
 
 
 
 
 
 b=^ a=d 
 
 
 Cadence (Fr.) i. A cadence 2 and 3. 
 2. A trill (as C. brillante, c. perle'e). C. 
 brise'e, see Brise"e...C. Mte'e, avoided 
 <adence. . . C. imparfaite(or sur la domi- 
 itant,-), half-cadence. . . C. interronipue, 
 
 interrupted cadence. .. C. irr/guNere, 
 half-cadence. . . C. parfaite (or sur la 
 toniqiic), perfect cadence. .. C. plagale, 
 plagal cadence. ..C. pleine, (a) a trill 
 preceded by the higher auxiliary as a
 
 34 
 
 CADENT CANON. 
 
 long appoggiatura ; (/>) the progression 
 from a dissonant chord to a consonant 
 one. . . C. rompue, broken cadence. 
 
 Cadent. An obsolete grace (see Grace), 
 
 Cadenz (Ger.) See Kadenz. 
 
 Caden'za. I. A brilliant passage in a 
 vocal solo, usually at its conclusion, 
 having the effect of an extemporiza- 
 tion, but commonly prepared before- 
 hand. As an interpolation on the 
 singer's part, such c. s are no longer in 
 vogue. 2. An elaborate and florid pas- 
 sage or fantasia introduced in, and in- 
 terrupting, the closing cadence of the 
 first or last movement of a concerto ; 
 the orchestral accomp. generally pauses 
 after a hold on the | chord of the tonic, 
 leaving the field clear for the perform- 
 ance, by the solo instr., of the cadenza. 
 This is either a more or less original 
 effort of the soloist, or a supplementary 
 passage written out by the composer 
 himself or some other musician. Such 
 cadenzas are for the most part built up 
 of themes or reminiscences from the 
 work to which they are appended, and 
 are always calculated to display the 
 soloist's proficiency in the most brilliant 
 light. 
 
 Caden'za (It.) A cadence.. . C.fin'ta or 
 d'ingan'no, a deceptive cadence. . . C. 
 Jioritu'ra, an ornamented cadence. 
 
 Caesura. See Cesura. 
 
 Caisse (Fr.) A drum-.-C. plate, the 
 shallower side-drum. . . C. roulante, 
 drum with wooden cylinder, that of the 
 ordinary caisse being of copper. . . Grosse 
 c., bass drum (also Gros-tambour). 
 
 Calamel'lus. See Calamus. 
 
 Ca'lamus (Lat.) A reed-flute or reed- 
 pipe (chalumeau ; shawm).. . C.pastora'- 
 7is, or tibia' Us, a very ancient wood- 
 wind instr., a reed with 3 or 4 finger- 
 holes. 
 
 Calan'do (It.) Decreasing. An expres- 
 sion-mark denoting a decrease in loud- 
 ness, usually coupled with a slackening 
 of the tempo. 
 
 Calandro'ne (It.) A small variety of 
 chalumeau or clarinet, a favorite among 
 the Italian peasantry. 
 
 Calascio'ne (It.) A variety of lute or 
 guitar with fretted fingerboard, and 2 
 gut strings, tuned a fifth apart and 
 twanged with a plectrum ; found in 
 lower Italy. 
 
 Cala'ta (It.) A lively Italian dance in 
 2-4 time. 
 
 Calcan'do (It.) Hastening the tempo. 
 
 Calichon (Fr.) Calascione. 
 
 Calisonci'no (It.) Calascione. 
 
 Call. A signal given by the fife, bugle 
 or drum, calling soldiers to some spe- 
 cial duty. 
 
 Calli'ope (also Kalli'ope}. A steam- 
 organ ; a species of pipe-organ having 
 a harsh tone produced by steam under 
 pressure instead of wind. 
 
 Callithum'pian concert. (Ger. A'atz"- 
 enmusik ; Fr. charivari; It. chins' so, 
 scampana'ta.) A boisterous serenade 
 given to some person who has become 
 an object of popular hostility or ridi- 
 cule ; characterized by the blowing of 
 horns, beating on tin pans, derisive 
 cries, groans, hoots, cat-calls, etc. 
 
 Cal'ma (It.) Calm, tranquillity.. .Ca/- 
 man'do, calm, growing quieter. .. Cal- 
 ma'to, calmed, tranquilized. 
 
 Calo're (It.) Warmth, passion ; con c. Y 
 with warmth, etc. . . Caloro'so, warmly, 
 passionately. 
 
 Cambia're (It.) To alter, change.. 
 Nota cambia'la, changing-note. 
 
 Ca'mera (It.) Chamber, room. . .Mufsica 
 die., chamber-music ... Sonata di c., 
 chamber-sonata.. .Alia c., in the style of 
 chamber-music. 
 
 Camminan'do (It.) "Walking," mov- 
 ing, flowing. (See Andante.) 
 
 Campa'na(It.) A bell ; in eccles. usage, 
 a church-bell.. .Cainpanel'lo^a, a small 
 bell. . . Campanelli'no, a very small belL 
 . . Campani'sta, a bell-ringer. 
 
 Campanet'ta (It.) See Glockenspiel. 
 
 Campanology. Theory of the con- 
 struction and use of bells. 
 
 Canarder (Fr.) To produce a " couac " 
 on the clarinet or oboe. 
 
 Ca.na.rie (Canaries, Canary ; It. Cana'rio). 
 A lively dance of French or English 
 origin, the melody being in 6-8 or 4-4 
 time and having 2 phrases. 
 
 Cancel. See A T atural I. 
 
 Cancrizans (Lat.) Retrogressive. (It. 
 cancrizzamen' te , cancrizzan'te.) 
 
 Can'na (It.) A reed or pipe. . . Canne 
 d'a'nima, flue-pipes ; canne a lin'gua, 
 reed-pipes. 
 
 Canon. (Ger. Ka'non ; Fr. canon ; It. 
 ca'none.*) I. The strictest form of
 
 CANONE CANTICLE. 
 
 35 
 
 mus. imitation, in which two or more 
 parts take up in succession exactly the 
 same subject. The part taking the 
 lead is called the antecedent, and the 
 following' part the consequent. Canons 
 are now usually written out in full, but 
 during the high tide of medieval counter- 
 point it was customary to write only the 
 antecedent, and to mark the successive 
 entrances of the other parts by signs or 
 merely by mysterious superscriptions 
 (enigma tital canons) ; the superscription 
 was then called the canon (i. e. rule, di- 
 rection), while the composition was 
 called the fu'ga or conseguen'za. Ac- 
 cording to the interval from the ante- 
 cedent at which the consequent enters, 
 the canon is called a C. in unison (the 
 consequent taking the very same notes 
 as the antecedent, but of course enter- 
 ing later) ; C. at the octave (the conse- 
 quent entering an octave above or be- 
 low) ; C. at the fifth, fourth, etc. The 
 c. could also be varied, like the fugue, 
 by the diminution or augmentation of 
 the theme, by inversion or retrogression, 
 etc. (Comp. Fugue.) When the parts 
 entered at the time-interval of a minim 
 one after the other, the canon was 
 called a. fuga ad minimam. 2. Ancient 
 Greek name for the Monochord. 
 
 Ca'none (It.) A canon.. . C. aper'to, an 
 " open" canon, i. e. one written out in 
 full. . . C. cancrizzan'te, canon by retro- 
 gression. . . C. chiu'so, a " close " canon, 
 in which only the leading partis written 
 out in full ; an enigmatical canon... C. 
 enigma'tico, enigmatical canon (see 
 Canon}. . . C. infini'to or perpe'tuo, an 
 infinite canon , one which, without a 
 specially added close, can be sung on 
 for ever. . . C. sciofto, a canon in free 
 imitation. 
 
 Canonical hours. The 7 canonical 
 hours of the R. C. Church are the 
 established times for daily prayer; 
 called matins (inch noc turns and lauds), 
 frime, terce, sext, nones, vespers, and 
 complin. Those from prime to nones 
 are named after the hours of the day, 
 prime (the first hour) being at or about 
 6 A. M., terce (the third) at 9, sext (the 
 sixth) at noon, and nones (the ninth) at 
 3P.M. 
 
 Cano'nici. See Harmonici. 
 
 Canonic imitation, strict imitation of 
 one part by another (see Canon). 
 
 Canta'bile (It.', In a singing or vocal 
 style. Where a passage is so marked. 
 
 the leading melody should stand out 
 well from the accomp., and the general 
 effect should be free and flowing. 
 
 Cantamen'to (It.) Same as Cantilena, 
 Canto. 
 
 Cantan'do (It.) See Cantabile. 
 
 Cantan'te (It.) A singer ; also, singing, 
 
 gay- 
 
 Canta're (It.) To sing.. . C. a a'ria, to 
 sing with more or less improvisation. . . 
 C. a orec'chio, to sing by ear. . . C. di 
 manie'ra or maniera'ta, to sing in a 
 florid or ornamental style. 
 
 Canta'ta (It.) Originally, a vocal piece, 
 as opp. to an instrumental one, or 
 sonata. But cantata has come, like 
 sonata, to mean a definite form of com- 
 position, with the difference, that all 
 earlier forms once called cantate must 
 still be taken into account in defining 
 the word cantata, whereas no one 
 would now think of calling a short and 
 simple prelude a sonata. In modern 
 usage, a cantata is a more or less ex- 
 tended vocal work with instrumental 
 accomp., consisting of chorus and solos, 
 recitative, duets, etc.; distinguished 
 from the oratorio and opera by the ex- 
 clusion of scenic effects and the epic 
 and dramatic element ; though the lat- 
 ter can, of course, not be entirely ex- 
 cluded, as even the purest lyrical 
 emotion may often be intensified to 
 dramatic pathos. In the sacred cantata 
 this form of composition finds its finest 
 and most unequivocal expression. 
 
 Cantatil'la, Cantati'na (It.) A short 
 cantata, (Fr. cantatille.) 
 
 Cantato're(It) A male singer; Canta- 
 tri'ce, a female singer. 
 
 Cantato'rium (Lat.) A music-book, 
 book of song ; a service-book of the R. 
 C. Church containing the music of the 
 Antiphonary and Gradual. 
 
 Canterellan'do (It.) Singing softly ; 
 trilling, warbling ; from canterella' re , to 
 hum, etc. 
 
 Can'ticle (Lat. can'ticum ; Ger. Lob'ge- 
 sang ; Fr. cantique ; It. can'fico.) I. 
 One of the non-metrical hymns of 
 praise and jubilation in the Bible. 2. 
 A sacred chant based on or similar to 
 i. The Evangelical canticles ( Cantica 
 majora) of both the Catholic and An- 
 glican church are taken from the Gos- 
 pels, and embrace the Magnificat 
 i" Magnificat anima mea"), the Bene- 
 dictus (" Benedictus dominus deus Is-
 
 3 6 
 
 CANTICO CAPRICCIETTO. 
 
 rael "), and the Nunc dimittis (" Nunc 
 dimittis servum tuum"). The 7 Cantica 
 minora are taken from various parts of 
 the Old Testament. 
 
 Can'tico (It.) See Canticum. 
 
 Can'ticum (Lat.) i. In the ancient 
 Roman drama, any passage sung by 
 the actors. 2. A canticle. Can'tica 
 gra'duum, the Gradual. . . Canticum Can- 
 tico'rum, Solomon's Song. 
 
 Cantile'na (It., "a little song"; Ger. 
 Cantilene ; Fr. cantilcne.) I. In me- 
 dieval music, a solfeggio ; also, a can- 
 tus firmns as used in church-music. 
 
 2. Formerly, the higher or solo part of 
 a madrigal ; also, a small cantata or 
 short vocal solo. In modern usage, 
 a ballad or light popular song ; also, in 
 instrumental music, a flowing melodious 
 phrase of a vocal character ; often used 
 to define a smooth and voice-like ren- 
 dering of slow melodic passages. 
 
 Cantilenac'cia (It.) A vile song. 
 
 Cantilena're(It) To sing in a low voice. 
 
 Cantilla'tio (Lat.) See Intonation I. 
 
 Canti'no (It.) Same as Chanterelle. 
 
 Can'tio (Lat.) A song, an air. 
 
 Cantique (Fr.) A canticle ; also, a 
 choral, or hymn-tune. 
 
 Can'to (It.) i. The soprano ; the high- 
 est vocal or instrumental part. . . Col c. 
 same as colla parte. 2. See Cantino. 
 
 3. A melody, song, chant. C. a cap- 
 pella, same as Cappella, a.. .C. Ambro- 
 sia' no, Ambrosian chant. ..C. armo'nico, 
 a part-song. . . C. croma'tico, a melody 
 in chromatic style. . . C. fer'mo, see 
 Cantus firmus. . . C. figura'to, figurate 
 melody. . . C. Gregoria'no, Gregorian 
 chant. . . C. pla'no, plain chant. . . C. 
 pri'mo, first soprano. ..C. recitali'vo, 
 recitative or declamatory singing. . . C. 
 ripie'no, see Ripieno. . . C. secon'do, sec- 
 ond soprano. 
 
 Can'tor I. (Lat.) A singer, a precentor. 
 
 . . C. chora'lis, chorus-master. 2. (Ger.) 
 
 5W fCfinlor (on p. 238). 
 Canto're (It.) A singer ; a chorister. 
 Canto'ris (Lat., "of the cantor.") Term 
 
 designating the side of a cathedral choir 
 
 on which the precentor (cantor) sits, i. 
 
 e., on the left or north side of a person 
 
 facing the altar ; opp. to the deca'ni 
 
 ("of the dean") side. 
 Can'tus (Lat.) A song, a melody. . . C. 
 
 corona' tus, see C. fraclus. . . C. du'rus, 
 
 see Dur. . . C. ecclesiasticus, (a) church- 
 music in general ; (b) plain song ; (c) 
 the musical rendering of a liturgy, opp. 
 to merely reading it... C. fig urn' Us, 
 mensurable music. . . C. figura'tus, a 
 melody with a florid or figurate contra- 
 puntal accomp. . . C. f.r'mus, a fixed or 
 given melody ; (a) plain song ; (6) in 
 modern counterpoint, a given melody, 
 usually in imitation of a, to which other 
 parts are to be set according to rule. . . 
 C.frac'tus, a broken melody; a term 
 applied to a tune which proceeded 
 either by perfect or imperfect conso- 
 nances. When accomp. by a. faux bour- 
 don, it was called Cantus corona'tus. 
 [STAINER AND BARRETT.].. .C. Grego- 
 ria'nus, Gregorian chant. . . C. mensura- 
 bilis, see Notation, 3. ..C. mol'lis, see 
 Moll. . . C. natura'lis, see Mutation. . . 
 C. pla'nus, plain song. 
 
 Canun'. See Kanun. 
 
 Canzo'ne (It., also Canzcfna.} 
 nally, a folk-song (Fr. chanson) ; later, 
 a secular part-song in popular style, 
 hence the Canzo'ni Napolita'ni, Sici- 
 lia'ni, etc. ; many such songs closely re- 
 semble the madrigal. The name was 
 sometimes applied to instrumental 
 pieces in madrigal style. Canzonac'cia, 
 a vulgar song. . . Canzonet' na, Canzonet- 
 ta, a little song, a canzonet. . . Canzonie'- 
 re, a collection of lyric poems or songs. 
 
 Canzonet(te). A little air or song ; a 
 short part-song ; a madrigal. 
 
 Capel'le (Ger.) See K. 
 
 Ca'po (It.) The head, beginning. .. Da. 
 capo, from the beginning. . . Capolavoro, 
 master- work. . . Capo-orchestra, conduc- 
 tor. 
 
 Capodastre (Fr.) See Capotasto. 
 
 Capota'sto (It.; also capo di (asto, 
 " head of the fingerboard.") I. The nut 
 of stringed instr.s having a fingerboard. 
 
 2. A piece of wood or ivory which can 
 be fastened across a fretted fingerboard, 
 like that of the guitar, to raise the pitch 
 of all the strings at once. Sometimes 
 written, in Engl. usage, Capo d'astro. 
 
 Cappel'la (It., "chapel.") i. A choir. 
 
 2. An orchestra. (Incorrectly writ- 
 ten capclla.}. . .A cappella, vocal chorus 
 without instrumental accomp.. .Alia c., 
 (ti) same as a cappella ; (b) see Alla- 
 breve...Da c., in church-style, 1. e. in 
 a solemn and devotional manner. 
 
 Capricciet'to (It.) A little capriccio.
 
 CAPRICCIO CAVATINA. 
 
 37 
 
 Capric'cio (It.) Title frequently given 
 to instrumental pieces of free, uncon- 
 ventional form, and distinguished by 
 originality in harmony and rhythm. 
 (Compare Scherzo.). . .A caftriccio. at 
 pleasure, ad libitum. .. Capricciosnmen'te, 
 capriciously, fantastically... Capriccio' so, 
 capricious, fantastic ; a capriccto. 
 
 Caprice (Fr.) Capriccio. 
 
 Carat'tere (It.) Character, dignity ; 
 style, quality. 
 
 Caressant (Fr.) 
 
 Carezzan'do (It.) \ Caressingly, sooth- 
 ' I mgly. 
 
 Carezze'vole (It.) ) 
 
 Carica'to (It.) Overloaded as to graces, 
 chromatics, peculiarities of instrumen- 
 tation, or other means of mus. expres- 
 sion. 
 
 Carillon (Fr.) I. A set of bells differing 
 from those of a chime in being fixed, 
 and in their greater number ; played 
 either by hand (on a keyboard) or 
 machinery (on the principle of the 
 cylinder in the barrel-organ). 2. A 
 bell-piano, with pfte. -keyboard, and 
 bells instead of strings. 3. A melody 
 to be played on I. 4. An instrumental 
 piece imitating the peculiar character 
 of carillon-music. 5. The "clashing" 
 Bringing all at once) of several large 
 bells. 6. See Ghckenspiel. 7. A mix- 
 ture-stop yielding the 3rd, 5th, and 8th 
 partials of the fundamental represented 
 by the digital pressed (c } g*-e*-c*). 
 
 Carillonneur (Fr.) A performer on the 
 carillon. 
 
 Carita' (It.) Lit. " charity." Same as 
 Affett*. 
 
 Carmagnole (Fr.) A dance and song 
 in great vogue during the Reign of 
 Terror ; it dates from the taking (1792) 
 of Carmagnola, a town in Piedmont, 
 though the connection between the town 
 and the air is not clearly established. 
 
 Carol. I. A circle-dance (obs.) 2. A 
 joyous song or ballad, particularly one 
 celebrating Christmas. 
 
 Caro'la (It.) A circle-dance similar to 
 the carmagnole. 
 
 Carrie (Fr.) A breve. 
 
 Cartelle (Fr.) A large leaf (for writing) 
 of prepared ass's-skin, on which the 
 lines of the staff are traced to jot down 
 notes while composing, the notes being 
 afterwards erased with a sponge. All 
 tartellfs come from Rome or Naples. 
 [ROUSSEAU.] 
 
 Ca'rynx (Gk.) An ancient Greek trumpet. 
 
 Cas'sa (It.) A bass drum. (Also cassa 
 gi-tin'de.). . . C. ariHi'nica, body (of 
 violin, etc.) 
 
 Cassation' (Ger.) See A". 
 
 Castanets. (It. castugnet'te; Fr. casta- 
 gnettfs; Ger. Kastagnctten; from Span. 
 castaiift'is.) A pair of small concave 
 pieces of hard wood or ivory, each hav- 
 ing a projection on one side, by means 
 of which they are fastened together 
 with a cord long enough also to pass 
 over the performer's thumb, or thumb 
 and forefinger. Generally used (espe- 
 cially in Spain) by dancers as a dance- 
 accomp. They yield no mus. tone, 
 but merely a hollow click or rattle. 
 
 Castrato (It.) A eunuch (adult male 
 singer with soprano or alto voice). 
 
 Catalectic. Lacking part of the last 
 foot ; e. g. the second of the following 
 lines is catalectic : 
 
 Lives of great men all remind us 
 We can make our lives sublime. 
 
 (-~|-~| .|_~||_^| |-~|-A) 
 
 Catch. Originally, an unaccomp. round 
 for 3 or more voices, written as a con- 
 tinuous melody, and not in score ; the 
 "catch " was for each succeeding singer 
 to take up or catch his part at the right 
 time. Later, a new element was intro- 
 duced, and words were selected in such 
 sequence that it was possible, either by 
 mispronunciation or by interweaving 
 the words and phrases apportioned to 
 the different voices, to produce the 
 most ludicrous and comical effects. 
 
 Cate'na di tril'H (It.) A chain of trills. 
 
 Catgut. Popular term iorGutstrings^.v.) 
 
 Catlings. Lute-strings of the smallest size. 
 
 Catti'vo (It., "bad.") Cattivo tempo, 
 the weak beat. 
 
 Cau'da (Lat., " tail.") The stem of a 
 note. 
 
 Cavallet'to (It., "little horse.") I. A 
 bridge (usually fonticello). 2. The 
 break in the voice. 
 
 Cavalquet (Fr.) A piece played by a 
 cavalry trumpeter-corps when approach- 
 ing or marching through a town. 
 
 Cava'ta (It.) i. Production of tone. 
 2. Cavatina. 
 
 Cavati'na (It.) I. A short song of any 
 description. 2. A vocal air, shorter 
 and simpler than the aria, and in one 
 division, without Da capo. 3. Title
 
 C BARRE CHAMBER-MUSIC. 
 
 given by Beethoven to the 2nd move- 
 ment of his By Quartet. 
 
 C barre" (Fr.) The "barred C" Jj), 
 indicating alia breve time. 
 
 C-clef. See Clef. 
 
 Cebell. A theme for variation on the 
 lute or violin, in 4-4 time and 4-measure 
 phrases, characterized by the alternation 
 of very high and low notes in the suc- 
 cessive strains. (Obs.) 
 
 Ce'ciiium (Fr.) A free-reed keyboard 
 instr. inv. by Quantin de Crousard, ex- 
 hibited at Paris in 1867. It has the 
 shape and nearly the size of the 'cello, 
 and is held in the same way. The keys 
 are pressed by the left hand, while the 
 right operates the bellows by means of 
 a handle like a bow. Compass about 5 
 octaves ; tone sweet and sonorous. 
 
 Cedez (Fr.) Go slower ; rallentate. 
 
 C61amustel (Fr.) A kind of reed-organ 
 having fundamental stops similar to 
 those of the harmonium, and various 
 additional effects, such as bells, harp, 
 echo, thunder, dove- and cuckoo-notes, 
 etc. 
 
 Ce'lere (It.) Rapid, swift.. .Cele >-it<Y, 
 celerity, rapidity ; con celerita, with 
 celerity, etc. 
 
 Celeste (Fr., " celestial, divine ".) Jeu 
 c., pedale c., organ-stops producing a 
 sweet, veiled tone ; Pedale c. is also a 
 pedal-mechanism on the pfie. for ob- 
 taining a sweet, veiled tone... Voix c., 
 the organ-stop vox angelica. 
 
 *Cello,-i. Abbr. of Violoncello, -i. 
 
 Cembal d 'amour (Fr.) A species of 
 clavichord, twice as long as the ordi- 
 nary instr.s, the strings of which were 
 struck in the middle by the tangents, 
 the vibration of both sections of the 
 string thus yielding a double volume 
 of tone ; inv. by G. Silbermann, ist 
 half of 1 8th century. 
 
 Cembalist, (It. cembali'sta.) A player 
 on the cembalo (either harpsichord or 
 pfte.) 
 
 Cem'balo (It.) i. Originally, a dul- 
 cimer ; a general name for various 
 instr.s having several wire strings struck 
 by hammers. 2. A harpsichord. 3. A 
 pianoforte. . . A cembalo, for harpsichord 
 (or pfte.).. . Tut to il cembalo, see Tutte 
 tor at. . . Cembalo onnicor'do, a keyboard 
 stringed instr. inv. by Nigefti about 
 1650 ; also called Proteus. 
 
 Cembanel'la, Cennamel'la (It.) A 
 pipe or flute. 
 
 Cen'to (It.), Centon(Fr.) i. The anti- 
 phonary of Pope Gregory the Great. 2. 
 (Also cento' 'nt ; "a patchwork".) A 
 medley of extracts from the works of one 
 composer, worked up into an opera or 
 similar composition. (Pasticcio.) Hence 
 the verb centoniza're (Fr. cen Ioniser), 
 meaning " to put together." 
 
 Cereal la no'ta (It.) To seek the note ; 
 i. e. to sing in the same breath the tone 
 belonging to the next syllable like a 
 light grace-note, before its proper time 
 of entrance, in portamento style ; e.g. 
 written : sung : 
 
 Cervalet', Cervelat'. Species of clari- 
 net with bassoon-like tone (obs.) 
 
 Ces (Ger.) Cy...Ces'es, Cr>\). 
 
 Cesu'ra, Caesu'ra. A term in prosody 
 sometimes used in music to designate 
 the dividing line between two melodic 
 and rhythmic phrases within a period ; 
 called masculine or feminine according 
 as it occurs after a strong or a weak 
 beat. 
 
 Ce'tera or Ce'tra (It.) A cither... C. 
 tede'sca," German cither," a lo-stringed 
 instr. of the lute class. 
 
 Chaconne', Chacone'. (It. ciacco'na ; 
 Span, chaco'na ; Fr. chacotme.) I. 
 Originally, a Spanish or Moorish (pos- 
 sibly Italian) dance or sarabande. 2. 
 An instrumental composition consisting 
 of a series of variations, above a ground 
 bass not over 8 measures in length, in 
 3-4 time and slow tempo. (See Passa- 
 caglia.) 
 
 Chair-organ. Variant of Choir-organ. 
 
 Chalameau. Variant of Chalumeau. 
 
 Chalil. Ancient Hebrew instr., either a 
 flute (flageolet) or reed-pipe. 
 
 Chalumeau (Fr. ; Engl. chalameau ; 
 Ger. Chaltimau, Chalamaus ; It. scia- 
 lumb, salmb.} I. See Shawm, Clari- 
 net. 2. The " chalumeau " register 
 is the lowest register of the clarinet 
 and basset-horn ; as a direction in 
 clarinet-playing, chalumeau signifies 
 "play an octave lower." 3. (In 
 French usage.) The chanter of the bag- 
 pipe ; also, occasional for Pan's-pipe. 
 
 Chamber-music. Vocal or instrumental
 
 CHAMBER-ORGANCHARACTER. 
 
 39 
 
 music suitable for performance in a 
 room or small hall ; opp. to concert- 
 music, church-music, operatic music, 
 etc. ; ordinarily applied to quartets and 
 similar concerted pieces for solo instr.s. 
 
 Chamber-organ, A cabinet organ. 
 
 Change. I. In harmony, see Modula- 
 tion. 2. In the voice, see Mutation. 
 3. Any melodic phrase or figure 
 executed on a chime of bells. 
 
 Changer de jeu (Fr.) To change the 
 stops of an organ, etc. 
 
 Change-ringing. The art and practice 
 of ringing a peal of bells in varying and 
 systematic order. 
 
 Changing-chord. A chord containing 
 a number of tones (" changing-notes") 
 dissonant to the bass, and entering on 
 the strong beat. . . Changing-note. (Ger. 
 Wech'selnote, Durch' gangs ton, durch'- 
 gehende Note ; Fr. note d'appogiature ; 
 It. nota. camdia'ta.) A dissonant note 
 (tone) entering on the strong beat and 
 generally progressing by a step to a 
 consonance within the same chord ; 
 sometimes by a skip to a chord-note or 
 note belonging to another chord. A 
 passing-note differs from a changing- 
 note by entering on a weak beat. 
 
 Chanson (Fr.) A song ; originally, a 
 ballad-like song ; now rather a vocal 
 solo (LifJ) with pfte.-accomp. . . Chan- 
 sonnet 'te, a short chanson. (Canzonet.) 
 
 Chansonnier (Fr.) I. A composer of 
 songs. 2. A book or collection of 
 songs. 
 
 Chant. I. A Gregorian melody repeated 
 with the several verses of a prose 
 text, a number of syllables being in- 
 toned on each reciting-note ; its 5 
 divisions are : (i) the intonation ; (2) 
 the first dominant, or reciting-note ; (3) 
 the mediation ; (4) the second domi- 
 nant or reciting-note ; (5) the cadence. 
 2. A melody similar in style to the 
 above, and non-rhythmical ; a tone ; 
 called cantus firmus in contrapuntal 
 composition. 3. The so-called An- 
 glican chant, that employed in chanting 
 the canticles and Psalms ; it consists of 
 7 measures, harmonized, the time-value 
 -of the single note constituting the first 
 and fourth measures being expanded or 
 contracted to fit the words, whereas the 
 others are sung in strict time. It has 2 
 divisions of 3 and 4 measures respect- 
 ively, each commencing on a reciting- 
 note and ending with a cadence ; the first 
 
 cadence is called the mediation, and the 
 arrangement of the words to the music 
 is called pointing. Any short piece ol 
 like character is also called a chant. . . 
 Double chant, one twice as long as the 
 usual chant, having 14 measures, 4 
 reciting-notes, and 4 cadences.. . Change' 
 able chant, one that can be sung either 
 in major or minor. . . Free chant, one 
 having but 2 chords to each half -verse, 
 for the declamatory singing of the can- 
 ticles, etc. 
 
 Chant (Fr.) Song; singing; melody, 
 tune ; voice (i. e. vocal part in contra- 
 distinction to the accomp.). . . Ch. com- 
 pose", plain song. . . Ch. d'e"glise (or 
 gre"gorien), Gregorian chant. . .Ch. en 
 ison, or c A. e"gal, a chant sung on only 
 2 tones, thus having but one interval.. . 
 Ch. figure", figurate counterpoint. .. Ch, 
 royal, mode (ton) in which the prayer 
 for the sovereign is chanted. . . Ch. sur 
 le lirre, an extemporized counterpoint 
 sung by one body of singers to the 
 plain-song melody (a cantus firmus) 
 sung by the others. 
 
 Chanter. The melody-pipe of the bag- 
 pipe. 
 
 Chanter (Fr.) To sing. . . Ch. a livre 
 ouvert, to sing at sight. 
 
 Chanterelle (Fr.) The highest string 
 of an instr. belonging to the violin or 
 lute family, especially the E-string of 
 the violin ; the soprano string. 
 
 Chanteur (Fr.) A male singer. .. Chan- 
 teuse, a female singer. 
 
 Chantonner (Fr.) Same as Canterellare. 
 
 Chantre (Fr.) Leader of a choir... 
 Grand ch., precentor, cantor. .. Second 
 ch., choir-singer, chorister, choir-boy. 
 
 Chapeau (Fr.) A tie ^ (usually liai- 
 son).. .Ch. chinois, a crescent. 
 
 Chapel. A company of musicians at- 
 tached to the establishment of any dis- 
 tinguished personage. (See Kapelle.) 
 
 Character, individual, of the several 
 keys. Theoretically, each major or 
 minor key is precisely like every other 
 major or minor key, the intervals in all 
 being precisely similar. Practically, 
 there subsist recognized differences, 
 due (i) to the system of equal tempera- 
 ment as applied to instruments with 
 keyboard or frets, and (2) to a more or 
 less perceptible tendency towards ' ' forc- 
 ing up " the sharp k*ys (thus lending 
 them a brighter and hitenser character), 
 and towards "letting down " or relax-
 
 CHARACTERISTIC PIECE CHIESA. 
 
 ing the flat keys (rendering them darker 
 or, as it were, lending them a minor 
 character). Theoreticians seem dis- 
 posed to deny in toto the possibility of 
 characteristic differences ; while many 
 highly cultivated practical musicians 
 (not to speak of aesthetic enthusiasts of 
 all stripes) are equally positive that 
 such differences exist. 
 
 Characteristic piece. A character- 
 piece ; one depicting a definite mood, 
 impression, scene, or event. . . Character- 
 istic tone, (i) the leading-tone ; (2) that 
 tone in any key which specially distin- 
 guishes it from nearly related keys, as 
 /"Jf in the key of G, distinguishing it 
 from C-major. 
 
 Characters. See Signs. 
 
 Charak'terstimrae (Ger.) Solo-stop (or- 
 gan). . . Char ak'ter stuck, a characteristic 
 piece. 
 
 Charivari (Fr.) A callithumpian con- 
 cert. 
 
 Chasse, a la (Fr.) Alia cacda. 
 
 Chef d'attaque (Fr.) The leader of an 
 orchestra, or of any division of a chorus. 
 . . Chef d'orcheslre, conductor of an 
 orchestra . . . Ch. du chant, see Repetitor. 
 
 Chelys (Gk., "tortoise.") i. The lyre 
 of Mercury, fabled to have been a tor- 
 toise-shell with strings stretched over 
 its hollow. 2. Name for both the 
 bass viol and division viol in the i6th 
 and 1 7th centuries. 
 
 Cheng. The Chinese mouth-organ, the 
 wind-chest of which is formed by a 
 gourd into which the air is blown 
 through a curving tube, and bears on 
 its upper side from 12 to 24 free-reed 
 pipes. Its introduction into Europe 
 led to the invention of the accordion 
 and harmonium. 
 
 Chest of viols. A set of viols, i. e. 2 
 trebles, 2 tenors, and 2 basses, which 
 formed the nucleus of the I "th century 
 orchestra. (Also Consort of viols.) 
 
 Chest-register. The lower register of 
 the male or female voice, the tones of 
 which produce sympathetic vibration in 
 the chest. . . Chest-tone, chest-voice, a 
 vocal tone possessing the quality of the 
 chest-register ; opp. to Head-register, 
 head-tone. 
 
 Chevalet (Fr.) Bridge. 
 
 Cheville (Fr.) Peg.. . Cheviller, peg- 
 box. 
 
 Chevrotement (Fr.) See Bockstriller. . . 
 Chevroter, to execute a chevrotement. 
 
 Chiari'na (It.) A clarion. 
 
 Chia'ro,-a (It.) Clear, pure. . . Chiara- 
 men'te, clearly, limpidly, distinctly. . . 
 Chiarez'za, clearness, etc. 
 
 Chia've (It.) i. A clef. 2. Key of an 
 instr. 3. Tuning-key. 
 
 Chiavet'te, or Chiavi trasporta'ti 
 (It.," transposed clefs.") A system of 
 transposing clefs, freely used in the 
 i6th century. As it was then a rule, 
 but seldom infringed, that no vocal part 
 should overstep the limits of the 5-line 
 staff, and the modern system of chro- 
 matic transposition being undeveloped, 
 composers often employed, in the nota- 
 tion of the various parts, clefs differing 
 from those customarily used for the 
 several voices, these unusual clefs indi- 
 cating to the practised singers a trans- 
 position of their respective parts to a 
 higher or lower pitch : 
 
 I. High chiavette. 
 Discant. Alto. Tenor. Bass. 
 
 2. Ordinary clefs. 
 
 g> I |.-.|: 
 
 :JTt: 
 
 3. Low chiavette. 
 
 ., hfir^r 
 
 3 'Hnt- 
 
 The ^/f< chiavette had the effect of 
 transposing the parts (and consequently 
 the entire composition) into a key a 
 major or minor third higher, i. e. their 
 effect was equivalent to writing 3 flats 
 or 4 sharps in a signature headed by 
 the ordinary clef ; the low chiavette had 
 a precisely opposite effect, as if j> 
 sharps or 4 flats had been written after 
 the ordinary clef. Though not recog- 
 nized as such, this system was tanta- 
 mount to a pretty free use of the trans- 
 posing scales. 
 
 ChJ'ca. An old Spanish dance, modifi- 
 cations of which are the Fandango, 
 Chaconne, Cachucha, Bolero, and pos- 
 sibly the English Jig. 
 
 Chie'sa (It.) Church. . . Concer'to da ch., 
 a sacred concert. . . Sonata da ch., a 
 sacred sonata. ..Da chiesa, for the 
 church, in church-style.
 
 CHIFFRE CHORD. 
 
 Chiffre (Fr.) A figure, as in thorough- 
 bass. 
 
 Chifonie (Fr.) Old name of the hurdy- 
 gurdy. 
 
 Chikara. A Hindu violin having 4 or 5 
 horsehair strings. 
 
 Chime, i. A set of from 5 to 12 bells 
 tuned to the tones of the scale, and em- 
 ployed in playing the chimes by swing- 
 ing either the bells themselves, or clap- 
 pers hung within them. 2. A set of 
 bells and strikers (hammers) in a mus- 
 ical box, organ, etc. (See Carillon.) 
 
 Chiming-machine. A revolving drum 
 with pins so set as to pull the ropes of 
 a chime of bells and ring the chime 
 mechanically. 
 
 Chirogym'nast. An apparatus for 
 exercising the hands of players on the 
 pfte. or organ, consisting of a set of 
 rings attached by springs to a cross-bar. 
 
 Chi'roplast. (Ger. Hand" 'letter, i. e. 
 hand-guide.) An apparatus inv. by 
 Logier about 1814, consisting of 2 
 smooth wooden rails attached in front 
 of and parallel with the pfte. -keyboard, 
 and a pair of open gloves, the whole 
 serving to hold both hands in the proper 
 position for playing, by hindering the 
 wrist from sinking and obliging the 
 fingers to strike vertically. Simplified 
 later by Kalkbrenner. Termed by 
 Liszt ' ' ass's guide " (guide-tine) for the 
 French "hand-guide" (guide-wain). 
 
 Chitar'ra(It.) A guitar. The Italian 
 guitar, like the English cither, was 
 strung with wire instead of gut strings. 
 . . Ch. cotfarco, a bow-guitar. . . Chitar- 
 ri'na, a small Neapolitan guitar. . . Chi- 
 tarro'ne, " great guitar ; ' a kind of 
 theorbo differing from the arciliuto in 
 having a longer neck, a wider space be- 
 tween the 2 sets of pegs, and a smaller 
 body. It had 20 wire strings, 12 being 
 over the fingerboard. (See Lute.) 
 
 Chiu'so,-a(It.) Closed; hidden. .. Ca'- 
 none chiuso, see Canone. . . Con bocca 
 chiusa, with closed mouth (comp. 
 Brummstimmen). 
 
 Chceur (Fr. \ch like .]) Choir, chorus. 
 . .A grand ch<rttr, for full chorus. 
 
 Choice-note. An alternative note written 
 above or below another in a vocal part, 
 which the singer may take in preference 
 if he choose. 
 
 Choir. (Ger. Char; Fr. chceur; It. co'ro.) 
 I. A company of singers, especially in 
 
 a church ; hence, the part of the church 
 which they occupy.- 2 A choral soci- 
 ety. 3. (In the Anglican Church.) A 
 body of officials whose function is the 
 performance of the daily choral service, 
 sitting divided on the decani and can- 
 toris sides of the chancel. 4. A sub- 
 division of a chorus, e. g. the ist and 
 2nd choirs (coro primo e secondo) in 8- 
 part music. 5. Same as Band 3. 
 
 Choir-organ. (See Organ.). . . Choir- 
 pitch, (see Chorton). 
 
 Chor (Ger.) i. Chorus ; choir. 2. On 
 the pfte., a unison (the 2 or 3 strings 
 belonging to one tone). 3. On the 
 organ, those pipes belonging to a mix- 
 ture which are sounded by one key. 4. 
 A combination of instr.s of the same 
 family, but different pitch, e. g. Trom- 
 petenchor. 
 
 Chora'gus, Chore'gus (Gk.) The lead- 
 er or superintendent of the ancient 
 dramatic chorus. Hence, in Oxford 
 (England), the title of a functionary 
 who has charge of the mus. services in 
 church. 
 
 Cho'ral (adj.) Relating or pertaining to 
 a chorus or vocal concerted music. . . 
 Choral notes, see Note. . . Chor a I service, 
 a church-service consisting chiefly of 
 music by the choir. 
 
 Cho'ral (noun.) I. (Ger. Choraf '; Fr. 
 cantique, plain-chant; It. can'tico, can- 
 zo'ne sa'cra.) A hymn-tune of the 
 early German Protestant Church ; also, 
 a hymn-tune similar in style to the 
 above. (Sometimes spelled Chorale.) 
 2. (In the R. C. Church.) Any part 
 of the service sung by the choir. 
 
 Chora'leon. See ^Eolomelodicon. 
 
 Chora'liter (Lat.) ) In the style, of a 
 
 Choral'massig(Ger.) f choral. 
 
 Choral'note (Ger.) A choral note. 
 
 Choi-Omen (Ger.) See Part-book 2. 
 
 Chord, i. (Ger. Akkord'; Fr. accord; It. 
 accor'do.) In a general sense, the har- 
 mony of 2 or more tones of different 
 pitch produced simultaneously. As a 
 technical term, a combination of from 
 3 to 5 different tones, formed by erect- 
 ing, upon a fundamental tone or root, 
 an ascending series of diatonic thirds. 
 A 3-tone chord is called a triad, a 4- 
 tone chord a chord of the jth, and a 
 5-tone chord a chord of the qth. The 
 term chord is often applied specifically 
 to the triads, as major chord, minor
 
 CHORD. 
 
 chord, fundamental chord, etc. A View 
 of the fundamental diatonic chords fol- 
 lows, with the ordinary figuring in 
 thorough-bass and theory : 
 
 Triads in Major. 
 
 in IV V vi vn 
 
 Triads in Minor. 
 
 50 
 
 n III' iv V VI vn 
 
 Chords of the Seventh in Major. 
 
 
 r 
 
 III, IV 7 V 7 VI T VII? 
 Chords of the Seventh in Minor. 
 
 sflj 
 
 
 c: i, n? Ill', iv 7 V T VI T vn? 
 Chords of the Ninth : 
 
 in minor : 
 
 When the root of a chord is the lowest 
 tone, the chord is said to be in the 
 fundamental position; when some other 
 tone is the lowest, the chord is inverted. 
 Each triad has 2 inversions, and each 
 chord of the 7th has 3. The inversions 
 are limited neither to the given number 
 of tones, nor to any particular order of 
 the intervals above the bass ; e. g. a 
 chord of the sixth may be written 
 
 =3=r 
 
 66666 6 etc - 
 
 C: I I III II 
 
 that is, it remains a chord of the sixth 
 so long as the third of the triad remains 
 the lowest tone, above which the (octave 
 of the) root forms the interval of a 
 
 sixth. The Arabic numerals over 
 the bass form what is called thorough- 
 bass figuring ; each figure marks the 
 interval of some tone above the bass (or 
 lowest tone), the order of the figures 
 depending, not upon the order of the 
 notes, but upon the width of the inter- 
 vals, the widest interval always being 
 written at the top. The simple figures 
 invariably call for the diatonic intervals 
 as established by the key-signature. O 
 calls for tasto solo (see Tasto) ; 2 or $ 
 or *, for the chord of the second (in full, 
 chord of the second, fourth and sixth) ; 
 3 or | or s, (a) for the simple triad, (b) 
 3 alone over the first bass note signifies 
 that the soprano takes the third of the 
 root ; | or 4 calls for the chord of the 
 third and fourth (and sixth) ; 5, for the 
 fifth in the soprano; , for the simple 
 triad ; 6, for the chord of the sixth ; J, 
 for the chord of the fourth and sixth ; 
 J, or ', for that of the fifth and sixth ; 
 
 7 (s), for the chord of the seventh ; 8, 
 
 
 for the octave in the soprano, B, for the 
 
 9 9 
 
 simple triad; 9, (7 or , according as 
 the fifth or seventh is dropped), for the 
 chord of the ninth. ^ 'j 1 j were for- 
 merly used to show that the tenth and 
 octave, eleventh and ninth, etc. of the 
 bass note were to be taken instead of 
 the third and prime, fourth and second, 
 etc. Where there is a choice, the 
 simpler figuring is preferable, unless 
 some interval is chromatically altered. 
 A $, \), fc], x , or J7J7 alone over a bass 
 note signifies that the third in the chord 
 is correspondingly altered chromatic- 
 ally. A crossed figure (jtf, etc.) 
 indicates that the interval is sharped. 
 A dash (-) after a figure prolongs the 
 tone into the next chord. The Roman 
 numerals under the bass form no part 
 of the thorough-bass figuring ; they in- 
 dicate on what degree of the scale the 
 given chord (i. e. the root of the chord) 
 has its seat, the key or scale itself being 
 marked by a capital letter for major and 
 a small letter for minor. A large 
 numeral indicates a triad with major 
 third ; a small numeral, a triad with 
 minor third ; with an accent (III'), the 
 augmented fifth ; with a cipher (vii), 
 the diminished fifth ; with a 7 (V 7 ), the 
 chord of the seventh. [This is the 
 system generally accepted ; its prime 
 defect (clumsiness in following chro-
 
 CHORDA CHROMATIC. 
 
 43 
 
 matic alterations, and consequent in- 
 ability to cope with the exigencies of free 
 tonality) is felt by all theorists ; Ja- 
 dassohn solves the problem empirically 
 by stretching his highly elas- 
 tic theory of altered chords to 
 the utmost ; e. g. he writes J C : IV 
 (=yjt-</'>-f as the major triad on the 
 4th degree of C-major !) Riemann, on 
 the other hand, has devised an entirely 
 new system, explained under art. 
 Phone.} (Alsocomp. Thorough-bass?) 
 Altered chord, a chord chromatically 
 -changed, but not effecting a modula- 
 tion ; the commonest altered chords 
 are the triads on the ist, 2nd, 4th and 
 5th degrees in major and on the 4th 
 and 6th degrees in minor (with al- 
 tered fifth) ; on the 2nd degree in 
 major and 6th in minor (with altered 
 root) ; the chords of the 7th on the same 
 degrees, excepting the 6th in minor 
 (with altered fifth), and on the 7th de- 
 gree in major and 2nd in minor (with 
 -altered root). . .Anomalous ch., see Ano- 
 maly.. .Augmented ch., one having ma- 
 jor third and augm. fifth. . . Broken ch., 
 an arpeggio. . . Chromatic ch. , one chro- 
 matically altered. . . Common ch., a triad 
 peculiar to any given scale. . . Deriva- 
 tive ch., one derived by inversion from 
 another. . .Diatonic ch., a common 
 chord. . .Diminished ch., one having 
 both 5th and 7th diminished. . . Demi- 
 nan t ch., (<r)the dom. triad, (/>) thedom. 
 ch. of the 7th.. . Doubtful or Equivocal 
 th., a dissonant chord of uncertain reso- 
 lution, like that of the dimin. yth, 
 which belongs to various keys, and may 
 resolve to any one of them. . . Funda- 
 mental chord, (a) one in the funda- 
 mental position, i. e. with the root low- 
 est ; (b, the tonic triad ; (c) one of the 
 3 principal triads of a key (tonic, domi- 
 nant, and subdominant) ; (d) a common 
 chord.. .Imperfect or incomplete ch., a 
 chord, one of whose tones is omitted. 
 . .Inverted ck., see Inversion. . .Lead- 
 ing ch., the dominant ch. of the 7th. 
 . . Major, minor ch., see Major, Minor. 
 . .Related or relative ch., see Relation. 
 . . Seventh-chord, ch. of the 7th.. . Solid 
 ch., one whose tones are produced 
 simultaneously ; opp. to broken. . . Tran- 
 sient ch.. one used in modulating from 
 one key to another, and foreign to both. 
 2. A string. 
 
 Chor'da ( I. at. ) i. A string. 2. Atone 
 or chord. . . Ch. character!' stica, a chord 
 of the /th containing a leading-note.. . 
 
 Chorda essentia'les, the key-note with 
 its third and fifth, the tonic triad. 
 
 Chordaulo'dion, or Chordomelo'dion. 
 A kind of automatic barrel-organ hav- 
 ing pipes and strings combined ; inv. 
 by Kaufmann of Dresden, in 1812. 
 
 Chordom'eter. A string-gauge. 
 
 Cho'ree, Chore'us. A metrical foot 
 identical with the trochee. 
 
 Cho'riamb, Choriam'bus. A metrical 
 foot having 2 short syllables between 2 
 long ones, the ictus being on either of 
 the latter (^ ^ ~ , or - ~ *). 
 
 Chor'ister. i. A singer in a choir. 2. 
 A precentor. 
 
 Chor'ton (Ger.) " Choir-pitch," i. e. the 
 pitch at which church-choirs formerly 
 sang in Germany, as set by tne organs. 
 (See Pitch, 'absolute?) 
 
 Cho'rus. (Ger. Chor; Fr. chtrur; It. 
 co'ro.) i. A company of singtrs. 2. 
 In an opera, oratorio, etc., the main 
 body of singers, as distinguished from 
 the soloists and orchestra. 3. A refrain. 
 4. A composition, or any part of one, 
 oftenest in 4 parts, intended to be sung 
 in chorus ; a double chorus has 8 parts. 
 5. The compound stops of an organ. 
 6 (obs.) The bagpipe ; the drone of 
 the bagpipe, or the free sympathetic 
 strings of the crowd. 
 
 Chorus-master. The leading singer in 
 a chorus. 
 
 Chri'ste ele'ison (Gk.) Part of the 
 Kyrie in the Mass (see Mass). 
 
 Chro'ma (Gk., "color".) I. In Greek 
 music, a chromatic modification of the 
 tetrachord. 2. A sign altering the 
 pitch of a note by a semitone (# or \)) ; 
 also, a chromatic semitone. 3. An 
 eighth-note or quaver ( ^ ); ch. simplex, 
 (a) an eighth-note, (6) a ft or \) ; ch. 
 duplex, (a) a i6th-note (^), (l>) a x of 
 \)\). 4. A semitone. 
 
 Chromat'ic. (Ger. chroma' tisch, Fr. 
 chromatiijue; It. croma'tico.) Relating 
 to tones foreign to a given key or chord ; 
 opp. to diatonic. . . Chr. alteration, rais- 
 ing or lowering the pitch of a note by 
 means of a chromatic sign ; of a chord, 
 or melody, the introduction into it of 
 one or more tones foreign to the ruling 
 diatonic key, but not effecting a modu- 
 lation (then sometimes called a chro- 
 matic chord or melody). . .Chr. harmony, 
 a succession of chromatically altered 
 chords. . . Chr. instrument, one produc-
 
 44 
 
 CHROMATIC CLAIRON. 
 
 ing the tones of the chr. scale. . . Chr. in- 
 terval, an interval chromatically aug- 
 mented or diminished. . . Chr. scab, see 
 Scale. . . Chr. semitone, an interval 
 formed by altering a note of the natural 
 scale by a sharp or flat, or by further 
 altering such a sharped or flatted inter- 
 val by a x or t>fj. (See Semitone.). .. 
 Chromatic signs, the characters used in 
 mus. notation for raising or lowering the 
 pitch of (a) natural notes, (b) notes 
 already raised or lowered (comp. Table, 
 art. Interval). Those now in use are 
 the Sharp (3), Flat (b), Natural (tj), 
 Double-sharp ( x ), Double-fiat ([>>) ; 
 
 the Great Flat (j?) is obsolete ; the 
 combined sign fijf (or 3(7) signifies that 
 a note previously sharped (or flatted) is 
 first restored to its natural pitch on the 
 staff and then sharped (or flatted) ; the 
 Double-natural (ftC) is superfluous and 
 incorrect. The chromatic signs at the 
 head of the staff are called the key-sig- 
 nature (see Key i) ; such as occur 
 irregularly in the course of a composi- 
 tion are called accidentals. An acci- 
 dental, as a general rule, affects its 
 note only during the measure in which 
 it is written, unless the note be tied into 
 the next measure or measures: 
 
 higher or lower octaves of the note are 
 not affected, and must therefore like- 
 wise take an accidental. 
 
 Chromatic (noun.) A chromatically al- 
 tered note. 
 
 Chronom'eter. Occasional for Met'ro- 
 nome. 
 
 Chronometre (Fr.) A species of mono- 
 chord, made to sound by means of a 
 keyboard like that of the pfte., to teach 
 the tuning of the latter ; inv. in 1827 
 by Raller, pfte. -maker in Paris. 
 
 Chrot'ta. See Crowd. 
 
 Church-modes. See Mode. 
 
 Chute (Fr.) A grace-note or appoggia- 
 tura either above or below the melody- 
 note ; - fl i 
 written : |(ft)* T i ** T 
 
 played : 
 Also, a 
 
 third 
 
 descending by a |j?(~f3 J 
 
 
 Ciacco'na (It.) Chaconne. 
 
 Cico'gna (It., lit. " stork.") The mouth- 
 piece of a wind-instr. 
 
 Cicu'ta (Lat.) A sort of flute, or Pan's- 
 pipe. 
 
 Cifra'to (It.) Figured. 
 
 Cim'bal. See Cymbal. 
 
 Cim'balo (It.) i. A cymbal. 2. A 
 harpsichord. 3. A tambourine. 
 
 Cim'balon. Same as Zimbalon. 
 
 Cim'bel (Ger.) See Cymbal 2. . . Cim'bel- 
 stern, see Zimbelstern. 
 
 Cinel'li (It., pi.) Cymbals. 
 
 Cink (Ger.), Cinq (Fr.) See Zink 2. 
 
 Cin'que (It.) A fifth part in concerted 
 music. . .A cinque, for or in 5 parts. 
 
 Cinque-pace. An old (presumably 
 French) dance, with a 5-step movement. 
 
 Cipher. A tone is said to " cipher" on 
 the organ when, owing to some de- 
 rangement in the action, it persists in 
 sounding. 
 
 Circle-(orcircular)canon. See Canon. . . 
 Circle of fifths, see Temperament. 
 
 Cir'colo mez'zo (It.) A turn. (Now 
 Gruppetto.) 
 
 Cir'culus (Lat., "circle".) A time-sig- 
 nature in medieval music. (See Nota- 
 tion, 3.) 
 
 Cis (Ger.) C#. Cis'is, C x . 
 
 Cistel'la (Lat., "little box.") A dulci- 
 mer. 
 
 Cistole, Cistre, Citole. See Zither. 
 
 Cistrura. See Sistrum. 
 
 Ci'thara (Lat. ; It. ci'tara.) An ancient 
 instr. of the lyre family, from which 
 many medieval and several modern 
 instr.s (guitar, zither) derive their 
 names and, in part at least, their con- 
 struction. See Cither... C. biju'ga, a 
 two-necked cither. 
 
 Cith'er (also cithern, cittern ; Fr. risire, 
 sistre; It. ce'tera, ce'tra). An instr. 
 strung with wire and played with a 
 plectrum ; a variety of lute or guitar, 
 in vogue during the i6th and iyth cen- 
 turies. (See Zither.) 
 
 Citole. A small dulcimer. 
 
 Civetteri'a (It.) Coquetry. . . Con c., in 
 a coquettish, trifling style. 
 
 Clairon (Fr.) I. A clarion (either the 
 instr. or the organ-stop) . . . Cl. chro- 
 matique, a species of valve-trumpet 
 made in 6 different pitches, (as a con-
 
 CLANG CLASSIC. 
 
 45 
 
 trabass, bass, barytone, tenor, alto, and 
 soprano.) 2. Clarinetto register of the 
 clarinet. 3. Bugler (for infantry). 
 
 Clang. See Klang. 
 
 Clang-color, Clang-tint. Timbre, 
 "tone-color;" the quality of a tone, 
 dependent on the number and intensity 
 of its harmonics. 
 
 Claquebois (Fr.) Xylophone. 
 
 Clarabella. An organ-stop having open 
 wooden pipes of 8-foot pitch and soft, 
 mellow tone. 
 
 Claribel-flute. A 4-foot Clarabella. 
 
 Clarichord. An instr. of the late middle 
 ages, apparently a variety of harp, 
 though thought by some to have been 
 identical with the clavichord. 
 
 Clarin (Fr.) See Clarion. 
 
 Clarinet'. I. (Ger. Klarinefte; Fr. 
 clarinette; It. clarinet 1 to.} The parent 
 instr. of the clarinet family was the 
 chalumeau, a primitive wind-instr. hav- 
 ing a cylindrical tube with 9 finger- 
 
 holes, and a beating reed ; its entire 
 scale 
 
 
 
 789 
 
 was composed of the prime tones pro- 
 duced by successively opening the 
 holes. The modern clarinet differs 
 from the chalumeau chiefly in its abili- 
 ty to reproduce the prime tones of its 
 scale (or rather their third partials) a 
 twelfth higher; this result is due to the 
 addition of a small hole, covered by an 
 extra key, at the nodal point dividing 
 the air-column into 3 equal portions, 
 an improvement attributed to Joh. Chr. 
 Denner of Nuremberg about 1 700. The 
 higher scale or register thus obtained 
 was termed, by reason of its bright and 
 piercing quality, clarinetto (whence the 
 name of the modern instr.); the origin- 
 al lower scale retained the name of the 
 old chalumeau. The soprano clarinet 
 in Cis the typical instr. of the family ; 
 compass 3 octaves and a sixth (with 
 chromatic intermediate tones): 
 
 2 
 
 Low register : 
 " chalumeau " 
 
 
 medium 
 
 high 
 "clai 
 
 register : 
 inett^Ii-*"^ 
 
 
 super-acute 
 
 8fa 
 * 1 
 
 Jf~ 
 J 
 
 W 1 r=~J * 1 
 
 
 
 It has a cylindrical wooden tube pierced 
 by 1 8 holes, 13 of which are closed by 
 keys, yielding a chromatic series of 19 
 prime tones (e to ^'p); it is composed 
 of 5 pieces or joints, namely, the 
 mouthpiece with the reed, the socket 
 (Ger. Birne), the "right-hand" and 
 "left-hand" joints of the tube proper, 
 and the bell; its higher registers are 
 simply the third, and fifth or ninth, 
 partials of the prime tones (from ^' Q to 
 /*, and/^ to c 4 .) The quality of the 
 tone differs greatly in the four registers, 
 the "chalumeau" and "clarinetto" 
 being comparable to the female con- 
 tralto and soprano respectively, while 
 the medium is weak and veiled, and the 
 highest shrill and piercing. Several 
 sizes are made : (i) The large soprano 
 cl. in C, Bry, and A, and (2) the small 
 soprano clarinets in D, E, fund A\), 
 these last being mostly used in military 
 music, in which their position is similar 
 to that held by the violins in the or- 
 chestra. There are also alto (or t>,i>-y- 
 tone) clarinets in F and El), and bass 
 clarinets in C, By, or A (octave below 
 
 the soprano instr.s of the symphony- 
 orchestra). The cl. is a transposing 
 instr., and its music is written in the C- 
 clef. The fingering is very complicated 
 and the reed difficult to manage, a 
 slight error of judgment sufficing to pro- 
 duce the fatal " couac." 2. See Clar- 
 ionet 2. 
 
 Clarinet-stop. See Krumm'horn. 
 
 Clarinet'to (It.) See Clarinet. 
 
 Clari'no (It.) I. Clarion I and 2. 2. 
 A name loosely applied to the trumpet 
 and bugle. 3. Used for tromba, in 
 some old scores. 
 
 Clarion, i. A small, shrill-toned trum- 
 pet. 2. In the organ, a 4-foot reed- 
 stop of a shrill, piercing tone. 
 
 Clarionet. I. A clarinet. 2. In the 
 organ, an 8-foot reed-stop of soft tone. 
 . . Clarionet-flute, a flue-stop with per- 
 forated cover. 
 
 Classic. In a restricted sense, a com- 
 position is called classic when it be- 
 longs to an acknowledged style in art, 
 and is by an acknowledged master of
 
 4 6 
 
 CLAUSULA CODA. 
 
 that style. In a broader sense, any 
 composition may be termed classic 
 which, in its kind, might be taken as a 
 model for imitation, and in which the 
 form is in perfect harmony with the 
 spirit or subject-matter. Classic is 
 also often used as a distinctive epithet 
 for the works of the earlier masters, 
 including Beethoven, and their imita- 
 tors, in contrast to those of the roman- 
 tic school ; classic forms being the 
 aria, rondo, sonata, symphony, etc. 
 
 Clau'sula (Lat.) A cadence. 
 
 Clavecin (Fr.) A harpsichord. .. Cl. 
 acottstiqite, a French invention of the 
 l8th century, imitating several stringed 
 and wind-instruments. 
 
 Claviatur'(Ger.) Keyboard (Klaviatur). 
 
 Clavicem'balo (It.) Harpsichord. 
 
 Clavichord. (Ger. Kla'vichord, Klavier' ; 
 Fr. clavicorde; It. clavicor'do.) One 
 of the precursors of the pfte. (see Pi- 
 anoforte), differing in action from the 
 latter in having, instead of hammers, 
 upright metal wedges called tangents 
 on the rear end of the digitals; on de- 
 pressing a digital the tangent struck 
 the wire and remained pressed against 
 it till the finger was lifted, causing only 
 one section of the string to vibrate. 
 (Compare Gebunden.) 
 
 Clavicithe'rium(-cythe / rium.) An ob- 
 solete instr., supposed to have been a 
 kind of harpsichord, but with the 
 strings stretched in a vertical frame in- 
 stead of horizontally. 
 
 Clavicor (Fr.) A kind of cor h pistons. 
 
 Clavicylin'der (Ger.) A keyboard instr. 
 inv. by Chladni about 1800, containing a 
 glass cylinder caused to revolve by a 
 treadle, and steel wands or bars instead 
 
 of strings, which were pressed against 
 the revolving cylinder on touching the 
 digitals, and thus made to sound ; com- 
 pass 4}^ octaves. 
 
 Clavier 7 [-veer']. (Ger. Klavier'.} i. A 
 keyboard (Klaviatur). 2. (Ger.) Gen- 
 eric name for all keyboard instr. s except 
 organs ; especially (formerly) for the 
 clavichord, and (at present) for the 
 pianoforte. See Klavier. 
 
 Clavier (Fr.) I. A keyboard ... Posse"- 
 der son cl., to know one's keyboard.. . 
 Cl. de rJcit, Re"cit expressif, swell-man- 
 ual (organ). 2. The range or scale of 
 notes comprised on the grand staff 
 without leger-lines. 
 
 Claviglissan'do. A keyboard instr. 
 consisting of a combination of mechan- 
 isms for producing various harmonium 
 effects, and also the portamento of the 
 violin ; inv. by Le Jeune. 
 
 Cla'vis (Lat.) i. A key (digital), clef, or 
 note. 2. Bellows-handle. 
 
 Cle", Clef (Fr.) I. Clef; armer la 
 clef, to furnish the clef with the key- 
 signatures. 2. Key (of a wind-instr.) 
 
 Clef. (Ger. Schlus'sel: Fr. <r//, clef; It. 
 chia've^) A character set at the head 
 of the staff to fix the pitch or position 
 of one note, and thus of the rest. The 
 3 now in use are the /"-clef, C-clef, and 
 (7-clef / the /"-clef and <7-clef are also 
 called the J3ass-c\ef and Treble-c\zi re- 
 spectively, because they fix the position 
 of the bass and treble notes. The C- 
 clef is variously called the Tenor-, Alto-, 
 and Soprano-c\&[, according as it is set 
 on the 4th, 3d, or 1st line of the staff ; 
 wherever placed, it marks the position 
 of Middle-C(Tenor-C.) A view of the 
 clefs used at present is appended. 
 
 Bass-clefs. 
 
 C-clefs. 
 
 Treble-clef. 
 
 Tenor-clef (recen ). 
 
 
 The /"-clef on the 3rd line (Barytone' 
 clef), the C-clef on the 2nd (Mezzo- 
 Soprano-c\zi), the (7-clef on the ist line 
 (French vu>litt-C\t), or on the 3rd line, 
 are no longer used (the C-clef on the 
 2nd line occa- i-^-^^^ is sometimes 
 sionally). The |(?gy= used in vocal 
 double G-clef : T^r music as a ten- 
 or-clef , signifying that the part lies an 
 octave lower than written. Our modern 
 
 the letters f, c, and g, formerly plainly 
 written. 
 
 Cliquette (Fr.) The bones. 
 
 Close (noun; Ger. Schltiss). See Ca- 
 dence 3. 
 
 Close harmony or position. See Har- 
 mony. . . Close play, a style of lute- 
 playing in which the fingers w,ere .cept 
 on the strings as much as possible. 
 
 forms of the clefs are corruptions of Co'da (It., " tail.") Specifically, a pas-
 
 CGELESTINA COMPLIN. 
 
 47 
 
 sage finishing a movement, and begin- 
 ning where the repetition of the first 
 subject ends. Originally, it was a few 
 chords (or a short passage) intended 
 as a winding-up ; it became of growing 
 importance in the canon, sonata, rondo, 
 etc., and is frequently developed into an 
 almost independent concluding division. 
 Also, the stem or tail of a note 
 (cauda).. .Codetta, a short coda. (See 
 Fugue.) 
 
 Ccelestina (or -o). A name bestowed 
 in the iSth century on several modifica- 
 tions of keyboard stringed instr.s, in 
 which alterations of the tone could be 
 produced by mechanisms under the 
 player's control. 
 
 Coffre (Fr.) Case (of a pfte.) ; body (of 
 a violin). 
 
 Co'gli stromenti (It.) With the instru- 
 ments. 
 
 Coi, col, coll', col'la, col'le, col'lo (It.) 
 With the. 
 
 Colascio'ne (It.) See Calascione. 
 
 Collet de violon (Fr.) Neck of a violin. 
 
 Collinet (Fr.) A flageolet ; named after 
 a celebrated player. 
 
 Col'ophony. (Ger. Kolophon' ; Fr. 
 colophane ; It. colofo'nia; from Lat. 
 coiopho'nium.) Resin or rosin. 
 
 Color. I. Timbre (tone-color). 2. The 
 characteristic rhythms, harmonies, and 
 melodies of a composition. 3. (Lat.) 
 See Notation, 3. 
 
 Colora'to (It.) Florid, figurate. 
 
 Coloratu'ra (It.) Colorature, i. e. vocal 
 runs, passages, trills, etc., enhancing 
 the brilliancy of a composition and dis- 
 playing the vocalist's skill. Also ap- 
 plied to similar instrumental music. 
 
 Colons (Fr.; Ger. C(Kyiorit t [Far'ben- 
 gebung}). The tonal "color-scheme," 
 vocal or instrumental, of a composition, 
 movement, or scene ; i. e. the modifica- 
 tions in vocal or instrumental timbre, 
 or in the instrumentation, employed for 
 obtaining special effects. 
 
 Col'po (It., " blow".) Di colpo, at a 
 blow, suddenly, at once. 
 
 Combination pedal. See Pedal. . . Com- 
 bination tones (combinational tones), 
 see Acoustics. 
 
 Combined mode. See Dur Mull- 
 Tonart. 
 
 Co'me (It.) As, like. . .C. prima, as at 
 
 first, as before. . . C. sopra, as above.. . 
 C. sta, as it stands, as written. 
 
 Co'mes (Lat.) Answer (in a fugue); 
 consequent (in a canon). 
 
 Comma, i. A comma (,) is often used 
 as a breathing-mark. 2. (a) Didymic 
 or syntonic c. : The difference between 
 the greater and lesser whole tone, or 
 8o:8l ; (t>) Pythagorean c., or c. maxi- 
 ma : The difference between the octave 
 of a given tone and a tone 6 whole 
 tones higher than the given tone, or 
 524288:531441. 
 
 Com'modo (It. ; also co'modo.) Easy, 
 leisurely, at a convenient pace ; as al- 
 legro commodo.. . Commodamen'te, easily, 
 quietly, leisurely. . . Commode? to, rather 
 easy or leisurely. 
 
 Common chord. A major or minor 
 triad. . . Common hallelujah metre, or 
 Common long metre, a 6-line stanza 
 formed of a common-metre stanza with 
 half a long-metre stanza added ; thus, 
 868688... Common measure, see C. 
 time. . . Common metre, a form of iambic 
 stanza, of 4 lines containing alternately 
 8 and 6syllables ; thus, 8686... Double 
 common metre, a stanza formed of 2 
 common-metre stanzas. . . Common par- 
 ticular metre, a 6-line stanza, the 3rd 
 and 6th lines having 6 syllables, and 
 the others 8 each ; thus, 886886... 
 Common time, a measure containing 2 
 (or 4) half-notes or 4 quarter-notes, 
 with 2 or 4 beats respectively ; duple 
 or quadruple time. (Ordinarily, com- 
 mon time is understood to mean 4 
 quarter-notes [and as many beats] to a 
 measure.) 
 
 Compass. (Ger. Urn' fang ; Fr. diapa- 
 son ; It. estensio'ne.) The range of a 
 voice or instr., i. e. the scale of all the 
 tones it can produce, from the lowest 
 to the highest. 
 
 Compiace'vole (It.) Pleasing, delightful. 
 
 Com'plement. An interval which, added 
 to any given interval not wider than 
 an octave, completes the octave ; thus 
 a fourth is the c. of a fifth, a minor 
 sixth of a major third, etc. Also com- 
 pletnentary interval. 
 
 Comple'tory. (Lat. complete' rium.) I. 
 An anthem supplementary to an anti- 
 phon in the lauds and vespers of the 
 Ambrosian rite. 2. See Complin. 
 
 Com'plin(e). The last of the 7 canon- 
 ical hours.
 
 4 8 
 
 COMPONISTA CONJUNCT. 
 
 Componi'sta (It.) Composer. 
 
 Composition pedal. In the organ, a 
 pedal which draws out or pushes in 
 several stops at once. (Comp. combina- 
 tion pedal.) 
 
 Composizio'ne (It.) Composition... 
 C. di tavoli'no, table-music. 
 
 Compound interval. See Interval. . . 
 C. measure, rhythm, time, see Time.. . 
 C. stop, an organ-stop having more than 
 one rank of pipes. 
 
 Con (It.) With. 
 
 Concave pedals. See Radiating. 
 
 Concen'to (It.) i. Concord, harmony. 
 2. The simultaneous sounding of all 
 the tones of a chord ; opp. to arpeggio. 
 
 Concen'tus (Lat.) i. Concord, har- 
 mony. 2. Part-music. 3. See Ac- 
 centus. 
 
 Con'cert. i. A set of instr.s of the same 
 family but different in size (see Chest, 
 Consort) 2. A concerto. 3. (Ger. Kon- 
 sert' ; Fr. concert; It. concer'to.) A 
 public mus. performance. . . Dutch con- 
 cert, the singing of an entire company 
 in which each person sings whatever he 
 pleases ; or the persons present sing in 
 alternation any verse that comes into 
 their heads, the refrain by the whole 
 company being a regular repetition of 
 some popular verse. . . Concert spirituel 
 (Fr.), sacred concert. 
 
 Concertan'te (It.) Concordant, har- 
 monious. Hence : I. A concert-piece. 
 2. A composition for two or more 
 solo voices or instr.s with accomp. by 
 organ or orchestra, in which each solo 
 part is in turn brought into prominence. 
 3. A composition for 2 or more 
 solo instr.s without orchestra. . . Concer- 
 tante parts, parts for solo instr.s in 
 orchestral music. . . Concertanfe style, a 
 style of composition admitting of a 
 brilliant display of skill on the soloist's 
 part . . . Concerto' to, concerted. 
 
 Concerted music. Music written in 
 parts for several instr.s or voices, as 
 trios, quartets, etc. 
 
 Concert-grand. See Pianoforte. 
 
 Concerti'na. The improved accordion 
 inv. by Wheatstone in 1829. The key- 
 boards are hexagonal ; the compass of 
 
 the treble c. 
 is 4 octaves : 
 includingall 
 chromatic 
 .tones ; it ii 
 
 Sva 
 
 double-ac- 
 tion instr., 
 produci ng 
 the same tone 
 on drawing 
 
 out and on pushing in the bellows. 
 Tenor, bass, and double-bass concertinas 
 are also made. A great variety of music 
 can be played, and the literature is quite 
 extensive ; the instr. is likewise capable 
 of great expression, and the tone is sus- 
 ceptible of considerable modification. 
 
 Concerti'no (It.) i. A small concert. 
 2. Equiv. to concertan'te, i. e. lead- 
 ing, principal ; as violino concertino, 
 principal violin ; here opp. to ripie'no. 
 
 Concerti'sta (It.) Concert-player, solo 
 performer, virtuoso. 
 
 Concert-master. See Konzert'meister. 
 
 Concer'to. (Ger. Konzert' '.) An ex- 
 tended composition for a solo instr., 
 commonly with orchestral accomp., in 
 sonata-form modified to suit the char- 
 acter of the solo instr. (e. g. the cadenza); 
 pfte. -concertos in which the pfte.-part 
 is comparatively inconspicuous are jocu- 
 larly called "symphonies with pfte.- 
 accomp." The earlier concertos were 
 in concertante style, 2 or moreinstr.sor 
 voices bearing leading parts ; Viadana's 
 concer'ti ecclesia'stici, or da chie'sa, 
 were simply motets with organ-accomp. ; 
 Torelli was the first (1686) to write 
 concerti da ca'mera (for 2 violins and 
 double-bass). 
 
 Concert-pitch. See Pitch. 
 
 Concert'stiick (Ger.) A concert-piece ; 
 a concerto. 
 
 Concita'to (It.) Moved, excited, agi- 
 tated. 
 
 Concord, i. Harmony ; opp. to dis- 
 cord. 2. See Consonance. 
 
 Concor'dant. i. Consonant 2. (Fr.) 
 A barytone voice. 
 
 Conductor. (Ger. Kapell'meister, Diri- 
 gent' ; Fr. chef d'orchestre ; It. capo 
 ^orchestra, mae'stro di cappePla, ) The 
 director of an orchestra or chorus. 
 
 Conduc'tus (Lat.) A form of polypho- 
 nous composition (i 2th century) in which 
 the tenor to the contrapuntal variations 
 was not borrowed from plain song (as 
 in the or'ganum and discan'tus}, but, 
 like the counterpoint, was original 
 with the composer. . . C. du'plex, 3-part 
 counterpoint ; C. sim'plex, 2-part coun- 
 terpoint. 
 
 Conduit (Fr.) i. Conductus. 2. A 
 wind-trunk (organ). 
 
 Cone-gamba. Bell-gamba. 
 
 Conjunct'. (Fr. conjoint ; It. congiun'- 
 to.) A degree of the scale immediately
 
 CONSECUTIVE INTERVALS CONTRE-. 
 
 succeeding another is called a conjunct 
 degree ; opp. to disjunct. 
 
 Consecutive intervals. Intervals of 
 the same kind following each other in 
 immediate succession ; " consecutives " 
 are progressions of parallel fifths or 
 octaves, forbidden in strict harmony. 
 See Parallel. 
 
 Conseguen'te (It.) Consequent. . . Con- 
 seguen'za, a canon. 
 
 Consequent. (It. conseguen'U.) See 
 Canon. 
 
 Conservatory. (Ger. Konservato' 'rium ; 
 Fr. conservatoire; It. conservato'rio.) 
 A public institution for providing prac- 
 tical and theoretical instruction in 
 music. 
 
 Consolan'te (It.) Consoling, soothing. 
 
 Con'sonance. (Ger. Konsonanz' ' ; Fr. 
 consonance; It. consonan'za.) A com- 
 bination of 2 or more tones, harmonious 
 and pleasing in itself, and requiring 
 no further progression to make it satis- 
 factory ; opp. to dissonance. (Comp. 
 Acoustics, 3.). . .Imperfect consonances, 
 the major and minor thirds and sixths. 
 . . Perfect consonances, the octave, 
 fifth, and fourth. 
 
 Consonant chord. One containing no 
 dissonant interval. . . C. interval, a con- 
 sonance. 
 
 Con'sort. i. See Chest (of viols). 2. 
 A band, or company of musicians. 
 
 Con'tano (It., "they count.") Direc- 
 tion in scores, that parts so marked are 
 to pause. 
 
 Continua'to (It.) Continued (see Basso 
 continue) ; held, sustained. 
 
 Continued bass. See Bass. 
 
 Conti'nuo. A Basso continue. 
 
 Contra (Lat., It.) Compounded with 
 names of instr.s, it signifies an octave 
 below ; e. g. contr abbas' so, a double- 
 bass. . . Contra-octave, see Pitch. 
 
 Contrabass. (It. contrabbas'so.) I. A 
 double-bass. 2. The lowest bass 
 instr. in a family of instr.s. . . Contra- 
 bassist, a player on the double-bass. 
 
 Contraddan'za (It.) Contra-dance or 
 country -dance. 
 
 Contraffagot'to (It.) I. A double-bas- 
 soon. 2. A reed-stop in the organ 
 imitative of I. 
 
 Contral'to (It.) The lowest female 
 
 P 
 
 voice, having a com- 
 pass from about f 
 to e 3 , the extremes 
 being e g* : 
 (Also Alto.) Male voices were exclu 
 sively employed in the old church- 
 music, the tenor being called altus; 
 hence the term "contr'alto" ', i.e. op- 
 posed to or contrasted with the altus. 
 
 Contrappunti'sta (It.) A contrapuntist. 
 
 Contrappun'to (It.) Counterpoint. . . C. 
 alia men' 'te, see Chant surle livre. . . C. 
 alia zop'pa, " limping", i. e. syncopa- 
 ted, counterpoint. . . C. dop'pio, double 
 or invertible counterpoint. . . C. synco- 
 fa'to, syncopated counterpoint ... C. 
 so'pra (sot' to) il sogget'to, counterpoint 
 above (below) the theme. 
 
 Contrapunc'tus (Lat.) Counterpoint. . . 
 C. ad viden'dum, counterpoint written 
 out ; opp. to contrappun'to alia men' te, 
 improvised counterpoint. . . C. aqua' Us, 
 equal counterpoint. . . C. diminu'tus or 
 Jlor'idus, florid or figurate counter- 
 point. . . C. inaqua'lis, unequal coun- 
 terpoint. 
 
 Contrapun'tal. Pertaining to the art 
 or practice of counterpoint. 
 
 Contrapuntist. One versed in the 
 practice and theory of counterpoint. 
 
 Contr'ar'co (It.) "Against the bow," 
 up-bow for down bow. or vice versa.. 
 
 Contrary motion. See Motion. 
 
 Contrasogget'to (It.) Countersubject. 
 
 Contra-tenor. Countertenor. 
 
 Contrattem'po (It.) i. A tone enter- 
 ing on a weak beat and ending on a 
 strong beat ; a syncopation. 2. A 
 sustained melody, as contrasted with its 
 figurate accomp. 
 
 Contra violi'no, -violo'ne (It.) A double- 
 bass. 
 
 Centre- (Fr.) Contra-, counter-. .. Con- 
 tre-basse, double-bass. . . Contredanse, a 
 French dance deriving its name from 
 the position of the dancers opposite to 
 or facing each other. Originally there 
 were but 2 dancers ; there are now 8, 
 and the dance is known in English as 
 the Quadrille. Also, dance-music for 
 a quadrille. . . Contrt-Sclisses, linings. . . 
 Contre-partie, a mus. part opp. to or 
 contrasted with another, as bass and 
 soprano ; said especially of either of 
 the parts in a duet.. . Contrepoint, coun- 
 terpoint ; contrefointiste, contrapuntist.
 
 CONVERSIO CORNO. 
 
 . . Contre-sujet, countersubject. . . Con- 
 
 tre-temps, see Contrattempo. 
 Conver'sio (Lat.) Inversion. 
 Coper'to (It.) "Covered," muffled ; as 
 
 tim'pani coper' ti, muffled kettledrums. 
 
 Co'pula (Lat.) i. (also Fr.) A coupler 
 (organ). 2. A name for certain flue- 
 stops ; (a) the 8-foot open diapason ; 
 (6) the 8-foot Hohl'fliite or K'op'pel- 
 fidte. 
 
 Cor (Fr.) A horn. ..Car-alt, cor-basse, 
 see Corno alto (basso). . . C. anglais, see 
 Oboe. . . C. de basset, basset-horn.. . C. 
 de chasse, a hunting-horn ; in particu- 
 lar, the large horn, whose tube is bent 
 to form a circle of about I \ turns. . . C. 
 de signal, a signal-horn or bugle. . . C. 
 de -vetches, a cow-horn, used by herds- 
 men. . . C. omnitoniqite, a chromatic 
 valve-horn inv. by Sax. 
 
 Cora'le (It.) A choral. 
 
 Coran'to (It.) I. A courante. 2. A 
 country-dance. 
 
 Cor'da (It.) A string. .. Sopra una c., 
 direction to play a passage on one 
 string. . . Una Corda, direction to use 
 the soft pedal of the pf te. . . Due corde, 
 (a) release soft pedal ; or, when the 
 soft pedal shifts the keyboard, "play 
 with the pedal pressed halfway down" 
 [RIEMANN] ; (b) in violin-playing, a 
 direction to double a note by playing it 
 simultaneously on 2 strings. . . Tutte 
 (le) corde (all the strings), release the 
 soft pedal. 
 
 Cordatu'ra (It.) Same as Accordatu'ra. 
 
 Corde (Fr.) A string. . . C. a jour, or a 
 vide, an open string. . . C. fausse, a 
 string out of tune. . . C. sourde, a mute 
 string. .. Sur une corde, Sopra una 
 corda. 
 
 Cordier (Fr.) Tailpiece. 
 
 Cordometre (Fr.) String-gauge. 
 
 Corife'o (It.) See Cor)>pheus. 
 
 Cori'sta. (It.) I. Chorister, either 
 male or female. 2. Tuning-fork ; 
 pitch-pipe. 
 
 Cormorne (Fr.) See Cromorne. 
 
 Cornamu'sa (It.), Cornemuse (Fr.) A 
 bagpipe in which the wind is supplied 
 by the lungs (see Musette). 
 
 Cor'net. [See Cornet a pistons, in fol- 
 lowing art. ] i. (Ger. Zin'ke.) An ob- 
 solete wind-instr. much used during the 
 iSthand i6th centuries, with a narrow 
 cupped mouthpiece of ivory or wood, 
 
 and a wooden tube furnished with 
 fingerholes. There were two classes, 
 the straight cornet (in 3 varieties, cor- 
 netto dirit'to, c. muto, compass a a* ; 
 vaA.cornetti'no t compass d l g*), and 
 the bent cornel (cornetto cur'-vo, com- 
 pass a rt* ; and c . tor' to [or corno, cor~ 
 non\, compass d </ 5 ). The cornort 
 (cornetto basso) was the prototype of the 
 Serpent. 2. A reed-stop in the organ, 
 imitating the blaring tone of C. I (see 4), 
 and of varying dimensions : 8-foot 
 pitch, (or 2' or 4'), also called Cornet- 
 lino ; i6-foot pitch (Grand cornet)... 
 Bass cornet, a large deep-toned brass 
 instr. (obs.) 3. (/Cornell'.) A com- 
 pound organ-stop of from 3 to 5 ranks 
 and 8-foot or 4-foot pitch, differing 
 from the Mixture in producing the Third 
 among the harmonics. . .Echo co; tu t, a 
 soft-toned cornet-stop enclosed in a 
 wooden box. . .Mounted cornet, a cornet 
 stop mounted on a separate soundboard 
 to render its tone more prominent. 4. 
 A reed-stop of 2 or 4- foot pitch, on th 
 pedal. 
 
 Cornet a bouquin (Fr.) See Cornet i. 
 ..Cornet h pistons (Fr. ; Ger. Ventil'- 
 kornelt), a brass instr. of the trumpet 
 family, having a conical tube and 
 cupped mouthpiece ; improved from 
 the old post-horn by the addition 
 of 3 valves ; tone apt to be loud 
 and " brassy "; medium 
 compass 2 octaves and 3 /: 
 
 trm^c Tfr ic Q frrancr\f~cinrr '^ 
 
 actual 
 pitch: 
 
 tones. It is a transposing ' 
 
 instr. noted in the (7-clef : 
 
 this being for thtf 
 cornet in fy, the 
 one most in use. 
 In rapidity and 
 
 lightness of execution, the cornet almost 
 vies with the flute and clarinet ; a certain 
 lack of refinement in its tone alone pre- 
 vents its entrance into the symphony- 
 orchestra. . . Cornet d'echo or de recit t 
 cornet-stop. 
 
 Cornet-stop. See Cornet 2, 3, 4. 
 
 Cornet'to (It., dimin. cornetli'no.) i. A 
 small horn. 2. A cornet I. 
 
 Cor'no (It.) A horn. . . C. alto, high horn 
 in B; C. basso, low horn in ^[STAINER 
 AND BARRETT]. C. alto (basso) also 
 signify, respectively, one of the two 
 horn-players, in the orchestral group of 
 four, who take the highest (lowest) 
 horn-parts. . . C. di bassetto, basset-horn. 
 ..C. d<i caccia, hunting-horn. . .C. in- 
 gle' 'se, English horn.
 
 CORNON COUNTERPOINT. 
 
 Cornon (Fr.) I. A cornet. 2. A brass 
 wind-instr. of broad scale, inv. in 1844. 
 
 Corno'pean. i. Cornet a pistons. 2. 
 An organ-stop on the swell-manual. 
 
 Co'ro (It.) Chorus ; choir. . . C.favori'to, 
 a selected chorus, as opp. to the full 
 chorus. . . C. spezza'to, a divided chorus 
 (sung by several choirs in different 
 parts of the church). . .A cori bat ten' ti, 
 for divided chorus, one half imitating, in 
 parallel or reverse progression, what 
 the other half sings. 
 
 Coro'na (It.) A hold (O). 
 
 Cor'onach (Gaelic.) A funeral lament ; 
 a dirge. 
 
 Corps (Fr.) Body (of a tone). . . C. d' har- 
 monie, a fundamental chord. ..C. de 
 musiijite, a wind-band. . . C. de rechange, 
 a crook. . . C. de voix, the range and 
 volume of a voice, taken collectively. 
 
 Correcto'rium (Lat.) Tuning-cone. 
 
 Corren'te (It.) Courante. 
 
 Coryphae'us (Lat.) (Engl. coryphe'us ; 
 Ger. Koryphd'e ; Fr. coryphee; It. co- 
 rife" o.) In the ancient Greek drama, 
 the leader of the chorus ; hence, in 
 modern usage, the leader of an opera- 
 chorus or other company of singers. 
 
 Cotil'lion. (Fr. cotillon.} A French 
 dance, the same as the german, to 
 quadri lie-music. 
 
 Cottage organ. The ordinary portable 
 parlor organ (reed-organ). .. Cottage 
 piano. I . A small style of upright pf te. 
 2. A small grand pfte. in upright 
 form, inv. by Wilhelm Kress of Vienna 
 in 1891. 
 
 Couac (Fr.) The "goose. 
 
 Couched harp. A spinet. 
 
 Could (Fr.) I. Legato. -2. (Also Dash.} 
 A harpsichord-grace ; 
 written : played : 
 
 a. b. 
 i 
 
 Coulisse (Fr.) Slide (of trombone or 
 trumpet). 
 
 Count. An accent, beat, or pulse of a 
 measure. . . Counting, the marking of 
 the successive beats of the measure by 
 counting aloud. 
 
 Counter. Any vocal part set to con- 
 trast with the principal part or melody ; 
 specifically, the counter-tenor (high 
 tenor, or alto), sometimes sung in the 
 
 higher octave as a high soprano. . . Bass 
 counter, a second bass part, either 
 vocal or instrumental.. . Counter-exposi- 
 tion, re-entrance of the subject or sub- 
 jects of a fugue, either directly follow- 
 ing the exposition, or after the first epi- 
 sodes. . . Counter-subject, a fugal theme 
 following the subject in the same part, 
 as a contrapuntal accomp. to the an- 
 swer ; often used independently as an 
 episodal theme.. . Counter-tenor , a high 
 tenor or alto voice ; hence, the part sung 
 by such a voice, or the 
 singer. It is the highest i 
 adult male voice; compass: ' 
 being nearly the same as that of the 
 contralto. .. Counter- tenor clef, the 
 C-clef on the 3rd line ; used for the 
 counter-tenor or alto voice, the viola, etc. 
 Counterpoint. (Ger. Kon'tr apunkt ; 
 Fr. contre point ; It. contrappun' to.) 
 [From the Latin " punctus contra punc- 
 tum " (point against point), i. e. note 
 against note.] I. In a wider sense, 
 the art of polyphonic composition ; opp. 
 to homophony. The canon and fugue 
 are the most highly developed contra- 
 puntal forms. 2. I n a restricted sense, 
 the art of adding one or more melodies 
 to a given melody (cantus Jirmus) 
 according to certain rules ; hence, one 
 of, or all, the parts so added. The 
 Theory of Counterpoint generally rec- 
 ognizes 5 species, which, in practical 
 instruction, are variously combined : (i) 
 Note against note, whole notes in the 
 counterpoint against whole notes in the 
 c. f. (cantus firmus)\ (2) 2 against I, 
 half-notes in the counterpoint against 
 whole notes in the c. f. ; (3) 4 against 
 I, quarter-notes in the counterpoint 
 against whole notes in c. f.; (4) with 
 syncopation, syncopated half-notes in 
 counterpoint against whole notes in the 
 c- f-: (S) florid, fgurate, or figured, 
 the counterpoint written in irregular 
 rhythms. . . Double c. , that in which 2 
 parts are so written as to be capable of 
 mutual inversion by an interval (octave, 
 tenth, etc.) determined beforehand. . . 
 Quadruple c., that written in 4 mutually 
 exchangeable or invertible parts. . . Sin- 
 gU c., that in which the parts are not in- 
 tended to be mutually invertible. . . 
 Strict c., that in which the entrance of 
 (most) unprepared dissonances is for- 
 bidden. [The correctness of this defi- 
 nition largely depends upon what is 
 meant by " preparation". The disso- 
 nant intervals included in the chord of
 
 COUNTRY-DANCECROOK. 
 
 the dimin. yth dimin. 7th and 5th, 
 augm. 2nd and 4th and also the dom- 
 inant 7th, are now allowed to enter 
 freely even in "strict" counterpoint; 
 and preparation is often effected l>y a 
 tone in a different part and octave from 
 the one in which the following disso- 
 nance enters. ].. . Triple c., counterpoint 
 in 3 mutually invertible parts. . . Two- 
 part, Three-part, Four-part counter- 
 point, that in which 2, 3, or 4 parts are 
 employed. 
 
 Country-dance. A dance in which the 
 partners form two opposing lines, 
 which advance and retreat, the couples 
 also dancing down the lines and re- 
 turning to their places. The time 
 varies, some tunes being in 2-4, others 
 in 3-4 time ; the essential thing is, for 
 the strains to be in phrases of 4 or 8 
 measures, to accompany the several 
 evolutions. 
 
 Coup d'archet (Fr.) A stroke of the 
 bow. . . Coup de (la) glotte, see Kehl- 
 schlag. . . Coup de langue, a thrust or 
 stroke of the tongue, tonguing ; double 
 coup de langue, dOuble-tonguing. 
 
 Couper le sujet (Fr.) To cut or cur- 
 tail the subject. 
 
 Coupler. (Ger. Koppel; Fr. copula; It. 
 unione.) See Organ. 
 
 Couplet, i. Two successive lines form- 
 ing a pair, generally rhymed. 2. In 
 triple times, 2 equal notes occupying 
 the time of 3 such notes in the regular 
 
 rhythm; \-&% r-V^+J"^ I - -gj 
 thus: gofeS^g^g 
 
 Cou'rant [A"<w'-]. (Fr. courante; It. 
 corren'te.) An old French dance in 
 3-2 time ; hence, the instrumental 
 piece called courante, forming a part of 
 the Suite, in which it follows the Allf- 
 mande. Though the time-signature 
 calls for 3-2 time, measures in 6-4 time 
 often occur, especially at the close ; the 
 tempo is moderately rapid, and dotted 
 rhythms abound. The Italian corrente 
 is quite different from the above, its 
 chief feature being swift passages of 
 equal notes, whence the name corrente 
 ("running"). The tempo is rapid; 
 time 3-8 or 3-4. 
 
 Couronne (Fr.) A hold (o). 
 
 Course. A group or set of strings tuned 
 
 in unison. 
 Covered. See Octave Covered strings, 
 
 strings of silk, wire, or gut, covered by 
 
 a machine with spiral turns of fine sil- 
 ver or copper wire, the process being 
 termed " string-spinning." 
 
 Crackle. In lute-playing, to play the 
 chords brokenly (en batterie) instead of 
 simultaneously. 
 
 Cracovienne (Fr.) A Polish dance for 
 a large company ; hence, the music or 
 an imitation of the music employed, 
 which is in duple time with frequent 
 syncopations (rhythm 
 
 Also Krakowiak, cracoviak. 
 
 Cre'do. The third main division of the 
 Mass. 
 
 Crem'balum (Lat.) Jew's-harp. 
 
 Cremo'na. I. A name ordiaarily ap- 
 plied to any old Italian violin made by 
 the Amatis, Stradivarius, or Guarneri- 
 us, at Cremona. 2. See Kruimiihorn. 
 
 Crescen'do (It.) Swelling, increasing 
 in loudness. . . Cr. -pedal, see Pedal. 
 
 Crescen'dozug (Ger.) i. Crescendo- 
 pedal. 2. A kind of organ-swell with 
 shutters, a contrivance inv. by Abbe 
 Vogler. 
 
 Crescent ; also Chinese crescent, or 
 pavilion. (Ger. Ifalb'mond; Fr. 
 chapeau chinois ; It. cappel' ' lo chitie'se.) 
 An instr. of Turkish origin used in 
 military music, consisting of several 
 crescent-shaped brass plates hung 
 around a staff and surmounted by a cap 
 or pavilion ; around the plates little 
 bells are hung, which are jingled in 
 time with the music. 
 
 Cre'ticus (Lat.) A metrical foot con- 
 sisting of a short syllable between 2 
 long ones ( ^ ). 
 
 Cri'brum (Lat.) Soundboard (organ). 
 
 Croche (Fr.) An eighth-note. . . Crochet 
 liees, eighth-notes having the hooks 
 joined (^"^^0- 
 
 Crochet (Fr.) The stroke of abbrevia- 
 tion across the / ^\ 
 stems of notes \^ )' 
 
 Croche'ta(Lat-) A crotchet, or quarter- 
 note (J). 
 
 Croisement (Fr.) Crossing (of parts). 
 
 Cro'ma (It.) An eighth-note. 
 
 Croma'tico (It.) Chromatic. 
 
 Cromor'na. (Fr.cromorne.) SeeA>ww/- 
 horn. 
 
 Crook. I. (Ger. Bo'gen, Slitnm'bogen,'
 
 CROQUE-NOTE CZARDAS. 
 
 53 
 
 Fr. corps de rechange, ton; It. pezzo di 
 reserva.) A supplementary tube, which 
 can be rapidly fitted to the main tube 
 (or body) of a horn or trumpet, for the 
 purpose of lowering the pitch. Each 
 crook is named after the fundamental 
 tone to which it lowers the pitch of the 
 tube ; e. g. the /?-crook of an instr. in 
 [>. 2. The S-shaped tube forming 
 the mouthpiece of a bassoon, and con- 
 taining the reed. 3. In the old harp- 
 action, a crotchet engaging a string 
 and raising its pitch by a semitone. 
 
 Croque-note (Fr.) A player of facile 
 execution, but little taste and judgment. 
 
 Cross-relation. See False relation. 
 
 Cro'talum (Lat.) A kind of clapper 
 used by the ancient Greeks to mark the 
 time of a dance. 
 
 Crotchet. I. A quarter-note ; cr. -rest, 
 a quarter-rest. 2. See Crook 3. 
 
 Crowd ; also Croud, Crouth. (Welsh 
 crwth; Lat. chrot'ta.) An ancient 
 bow-instr., apparently of Welsh or 
 Irish origin, and regarded as the oldest 
 European instr. of the class ; still found 
 early in the igth century among the 
 peasantry of Wales, Ireland and Brit- 
 any. Its body was square, and termin- 
 ated, instead of by a neck, by 2 parallel 
 arms connected at the end by a cross- 
 bar, the centre of which supported the 
 end of the narrow fingerboard ; it had 
 originally 3, in modern times 6, strings, 
 4 lying over the unfretted fingerboard 
 and 2 beside it. The strings passed 
 over a bridge, which rested on the 
 belly between 2 sound-holes ; the ac- 
 cordatura [GROVE] was as follows : 
 
 beside 
 
 over fingerboard, 
 fingerb. 
 
 Crucifixus (Lat.) Part of the Credo. 
 
 Crush-note. An acciaccatura. 
 
 Crwth. See Crowd. 
 
 C-Schlussel (Ger.) C-clef. 
 
 Cue. A phrase, from a vocal or instru- 
 mental part, occurring near the end of a 
 long pause in another part, and inserted 
 in small notes in the latter to serve as a 
 guide in timing its re-entrance. 
 
 Cuivre (Fr. , "copper.") Brass; les 
 cuivres (pi.), the brass-wind. . . Faire 
 cuivrer, to obtain a metallic, ringing 
 
 tone by half-stopping the bell of the 
 French horn with the right hand. 
 Cum sancto spi'ritu (Lat.) Part of the 
 Gloria. 
 
 Cu'po (It.) Dark, deep, obscure ; re- 
 served. 
 
 Curran'to. See Courant. 
 
 Cushion-dance. A Scotch and English 
 round dance, in triple time, and per- 
 formed in single file ; each dancer in 
 turn drops a cushion before one of the 
 opposite sex, at a regularly recurring 
 strain of the music, whereupon the two 
 kneel and kiss each other, after which 
 the dance proceeds as before. 
 
 Cus'tos (Lat.) A direct. 
 
 Cuvette (Fr.) Pedestal (of a harp). 
 
 Cyclical forms. (Ger. cyclische For- 
 men.) Forms of composition embrac- 
 ing a cycle or series of movements, 
 such as the old suite or partita, or the 
 sonata, symphony, and concerto. 
 
 Cylin'der (Ger.) Valve (in horns, etc.; 
 usually Ventil). 
 
 Cymbale (Fr.) i. Cymbal. 2. A steel 
 rod bent to a triangle, and bearing a 
 number of rings, which are struck by 
 a steel wand, the cyinbale itself being 
 dangled on a cord. 
 
 Cymbals. I. (Ger. Beck'en; Fr. cym- 
 bales ; It. piafti t cinefli.) A pair of 
 concave plates of brass or bronze, varying 
 in size from finger-cymbals something 
 over an inch in diameter to the large 
 orchestral cymbals, which have broad, 
 flat rims, and holes toward the middle 
 for the insertion of the straps by which 
 they are held ; used in orchestral music 
 to mark time strongly, or to produce 
 peculiar often weird and thrilling 
 effects. One of the cymbals is often 
 attached on top of the bass drum, so 
 that one player can manipulate both 
 drum and cymbals. 2. In the organ, 
 a mixture-stop of very high pitch. 
 3. See Cymbale 2. 
 
 Cym'balum (Lat.) i. Cymbal. 2. A 
 small drum of the medieval monks ; 
 several such drums were tuned to form 
 a scale of an octave, and played like a 
 Glockenspiel. 
 
 Cym'bel. See Cymbal. 
 
 Czakan (Bohemian.) A flute of cane or 
 
 bamboo. 
 Czardas (Hung.; pron. tchar'dash.) A 
 
 national Hungarian dance, distirv
 
 54 
 
 CZIMBAL DECISO. 
 
 guished by its passionate character and 
 changing tempo. 
 
 Czimbal (Hung.) A dulcimer. 
 
 Czimken (Pol.) A dance similar to the 
 country-dance. [STAi.NER AND BAR- 
 RETT.] 
 
 D. 
 
 D. i. (Ger. D ; Fr. rt ; It. re.) The 
 2nd tone and degree in the typical dia- 
 tonic scale of C-major. (Comp. Alpha- 
 betical notation, and Solmisation.) 2. 
 Abbr. of Da (D. C.=da capo), and Dal 
 (D. S. = dal segno). 
 
 Da (It) By, for, from, of... Da ca'po, 
 (a) from the beginning ; (/>) as an ex- 
 clamation, " encore ! ". . . D. C. alfi'ne, 
 (repeat) from the beginning to the end 
 (i. e. to the word Fine, or to a hold / T*). 
 . . D. C. al se'gno, (repeat) from the be- 
 ginning to the sign ($; $, O). . . D. C. 
 al segno, poi (se'gue) la coda, (repeat) 
 from the beginning to the sign, then 
 (follows) the coda. . .D. C. dal segno, re- 
 peat from the sign. . .D.C. sen'za re 1 - 
 plica (or senza ripetizio'ne), play through 
 from the beginning without noticing the 
 repeats. . . Da eseguir' si, to be executed. 
 ..Da iirar'si ("for drawing out"), 
 means "with slide"; as tromba da 
 tirarsi, slide-trumpet. 
 
 D'accord (Fr.) In tune. 
 
 Dach (Ger., "roof.") The belly of a 
 violin (usually Decke). . . Dach'sch-weller, 
 see Crescendozug 2. 
 
 Dac'tyl(e). (Lat. dac'tylus, a finger.) 
 A metrical foot of 3 syllables arranged 
 like the finger-joints, one long and two 
 short, with the ictus on the first 
 (-* ~ ~). 
 
 Dactyl'ion. An apparatus inv. by Henri 
 Herz in 1835, consisting of 10 rings 
 hanging over the keyboard and at- 
 tached to steel springs ; used by pianists 
 for finger-gymnastics. 
 
 Daddy-mammy. A familiar name for 
 the roll on the side-drum. 
 
 Da'gli, dai, dal, dall', dal'la, dal'le, 
 dal'lo (It.) To the, by the, for the, 
 from the, etc. 
 
 Dal se'gno (It.) See Segno. 
 
 Damenisa'tion. (See Solmisation.') 
 Graun's system of sol-faing with the 
 syllables da, me, ni, po, tu, la, be, 
 which are not (like do, re, mi, etc.) at- 
 tached to special scale-degrees, but sim- 
 
 ply repeated over and over in the above 
 order, whatever may be the notes sung. 
 
 Damper. I. (Ger. Ddm'pfer ; Fr. e"touf- 
 foir ; It. sordi'no.) A mechanical de- 
 vice for checking the vibration of a 
 pfte. -string (see Pianoforte). . . Damper- 
 pedal, the right or loud pedal of the 
 pfte. 2. The mute of a brass instr., 
 e. g. a horn. 
 
 Dam'pfer (Ger.) A damper or mute. . . 
 Ddm'pfung ("damping"), the damp- 
 ing-mechanism of the pfte. 
 
 Dance. (Ger. Tanz ; Fr. danse ; It. 
 dan'za.) A succession of rhythmical 
 steps, skips, or leaps, accompanied by- 
 varying movements of the body, and 
 generally timed by music (in primitive 
 nations, simply by beating on a drum, 
 or the like). 
 
 Darm'saite (Ger.) Gut string. 
 
 Dash. i. A staccato-mark (J or [ ). 2. 
 In thorough-bass, a stroke through a 
 figure, indicating the raising of the in- 
 terval by a semitone (p * etc.) 3. Same 
 as CouM 2. 
 
 Dasian'-Notie'rung (Ger.) Hucbald's 
 system of noting a scale of 18 tones by 
 twisting and turning the letter F into 
 14 different positions and shapes, with 
 4 additional signs. 
 
 Dau'men (Ger.) Thumb.. .Dau'menauf- 
 salz, thumb-positions (in 'cello-playing). 
 
 Dead-march. A funeral march. 
 
 Detjile, De'bole (It.) Feeble, weak. 
 
 D6but(Fr.) A first appearance.. .Debu- 
 tant(e), a male (female) performer or 
 singer appearing for the first time. 
 
 Dec'achord. (Fr. dfracorde.) i. A 10- 
 stringed instr., an ancient species of 
 harp or lyre. 2. An obsolete French 
 instr. of the guitar kind, having 10 
 strings. 
 
 Dec'ad(e). See Duodene. 
 
 Deca'ni. Comp. Cantoris. 
 
 De'cem (Ger.) See Decima 2. 
 
 Dechant (Fr.) Discant. 
 
 Decide" (Fr.) See Deciso. 
 
 De'cima (Lat. and It.) i. The interval 
 of a tenth. 2. An organ-stop pitched 
 a tenth higher than the 8-foot stops ; 
 also called Tenth, or Double tierce. 
 
 De'cime. See Dezimc. 
 Decimo'le (Ger.) See Decuplet. 
 Deci'so (It.) Decided, energetic, with 
 decision.
 
 DECKE DERIVE. 
 
 55 
 
 Deck'e (Ger.) Belly (of the violin, etc.) ; 
 belly or soundboard (of the pfte.) 
 
 Declaman'do (It.) "Declaiming"; in 
 declamatory style. 
 
 Declamation. In vocal music, the cor- 
 rect enunciation of the words, especially 
 in recitative and dramatic music. (Comp. 
 Declamation.) 
 
 Decompose (Fr.) Unconnected. 
 
 D6compter (Fr.) To sing with a porta- 
 mento. 
 
 D6couplez (Fr.) In organ-music, " un- 
 couple," "coupler off." 
 
 Decrescen'do (It) Growing softer; 
 diminishing in force. Sign :rz=~ 
 
 Dec'uplet. A group of 10 equal notes 
 executed in the time proper to 8 notes 
 of like value, or to 4 notes of the next 
 highest value ; marked by a slur over 
 or under which a figure 10 is set. (Also 
 Decimole, Dezimole.) 
 
 Deduc'tio (Lat.) I. The ascending 
 series of syllables or tones in the hexa- 
 choriis of Guido d'Arezzo. 2. Ace. to 
 later theoreticians, the resolution of a 
 dissonance to a consonance. 
 
 Defective. Same as Diminished. 
 
 Decien'do (It.) Dying away. 
 
 De'gli (It.) Of the ; than the. 
 
 Degree. (Ger. Stu'fe, Ton'slnfe; Fr. 
 di^re ; It. gra'do.} I. One of the 8 
 consecutive tones in a major or minor 
 diatonic scale. Degrees are counted 
 from below upward, the key-note being 
 the first degree. 2. A line or space of 
 the staff. -3. A step. (The prevailing 
 confusion of the terms degree and step 
 might be obviated by applying degree 
 only to the tones, and step only to pro- 
 gression between conjunct tones, of the 
 scale ; the expressions whole step, half- 
 step, and step and a half, are quite super- 
 fluous.). . .Scale-degree, a degree of a 
 scale.. . Staff-degree, a degree on the staff. 
 
 Deh'nen (Ger.) To expand, extend ; to 
 prolong. . .Deh'nung, expansion, ex- 
 tension, prolongation ; Deh'nun^s- 
 strich, in vocal music, a line of contin- 
 uation after a syllable, indicating that it 
 is to be sung to all notes over the line ; 
 dots are sometimes used instead... 
 Gedehnt' ', extended, prolonged ; hence, 
 slow, stately. 
 
 Dei (It.) Of the; than the. 
 
 Deklamation' (Ger.) Musico-poetica! 
 scansion. " In vocal composition, the 
 transformation of the poetic rhythm 
 
 (metre) into a musical one ; a song is 
 badly dtUamitrf when an unaccented 
 syllable receives a strong musical 
 accent or a long note ; or when an 
 accented syllable, or a word rendered 
 prominent by the sense, receives a sub- 
 ordinate position in the melody on a 
 weak beat or in short notes." [RlEMANN.] 
 
 Del, dell', del'la, del'le, del'lo (It.) Of 
 the ; than the. 
 
 Delassement (Fr.) A piece or perform- 
 ance of a light and trifling character. 
 
 Deliberamen'te (It.) Deliberately... 
 Delibera'to, deliberate. 
 
 Delicatamen'te, con delicatez'za (It.) 
 Delicately. . .Delica'to, delicate; in a 
 delicate, refined style. 
 
 De"lie" (Fr.) Non legato ; leggero. 
 
 Deli'rio (It.) Frenzy ; con d. , with fren- 
 zied passion. 
 
 Delivery. Style (method and manner of 
 singing) ; restrictedly, the enunciation 
 of a singer. 
 
 De'manche', DSmanchement (Fr.) "Off 
 the neck " ; the thumb-positions in 
 'cello-playing. . . Demanchcr, to quit the 
 neck of the 'cello. 
 
 Demande (Fr.) " Question," i. e. the 
 subject of a fugue. (Usually sujet.) 
 
 Demi (Fr., "half".) Demi-bdton, 2- 
 measure rest. . .Demi-cadence, half-ca- 
 dence ... Demi-croc he, a i6th-note... 
 A demi-jeu (a direction found mostly in 
 reed-organ or harmonium-music), with 
 half the power of theinstr., mezzo forte. 
 . .Demi-mesure, half-measure. . .Demi- 
 pause, half-rest. . Demi-quart de soupir, 
 a 32nd-rest. . .Demi-soupir, an eigh- 
 teenth rest. . . Demi-temps, a half-beat . . . 
 Demi-ton, a semitone. 
 
 Demiquaver. A i6th-note. . .Dunise- 
 miqua-cer, a 32nd-note. . .Demi tone, 
 rare for Semitone. 
 
 Demoiselle (Fr.) Tracker. 
 
 Dependent chord, harmony, triad. 
 One which is dissonant, requiring reso- 
 lution to a consonant one ; opp. to /- 
 dependent. 
 
 Depress. To lower (as by a \) or ^^...De- 
 pression, chromatic lowering of a tone. 
 
 Derivative, i. ^amt as derivative chord, 
 i. e. the inversion of a fundamental 
 chord. 2. The root of a chord. 
 
 DdiiveXe) (Fr., "derived, derivative".) 
 Accord derive, inverted chord (also 
 simply derive, an inversion). . ..Iff sure
 
 DES DIAPASON. 
 
 derive'e, any measure indicated by 2 
 figures (2-4, 3-8, etc.) as being derived 
 from, i. e. a fractional part of, a whole 
 note. 
 
 Des (Ger.) Dfr . . .DeSes, D^. 
 
 Des'cant. See Distant. 
 
 Descend. To pass from a higher to a 
 lower pitch. . .Descent, descending pro- 
 gression. 
 
 Deside'rio (It.) Desire, longing. . . Con 
 d., in a style expressive of longing, 
 yearning. 
 
 De"sinvolture, avec (Fr.) See Disin- 
 volto. 
 
 Dessin (Fr.) The design, plan, or struc- 
 ture of a composition. 
 
 Dessus (Fr.) i. Soprano or treble, i. e. 
 the highest vocal part. 2. Earlier 
 name for the violin (dessus de viole). 
 
 De'sto (It.) Sprightly. 
 
 De'stra (It.) Right. . .Ma'no destra, 
 right hand (also destra mano, colla de- 
 stra) ; a direction in pfte.-playing, sig- 
 nifying that the passage is to be played 
 with the right hand. (Abbr. m. d. , or 
 d. m.) 
 
 D6tach (Fr.) In violin-playing, de- 
 tached, i. e. playing successive notes 
 with alternate down-bow and up-bow, 
 but not staccato . . . Grand detache", a 
 whole (stroke of the) bow to each note. 
 
 Determina'to(It.) Determined, resolute. 
 
 Detonation" (Ger.), D6tonnation (Fr.) 
 False intonation, singing out of tune. . . 
 Detonieren (de'tonner), to sing false ; 
 especially, to flat (gradually lower the 
 pitch) in a cappella singing. 
 
 Det'to (It.) Aforesaid ; the same. 
 
 Deutsch (Ger.) German . . . Deu'tsche 
 Flote, the orchestral flute . . . Deu'tscher 
 Bass, an obsolete kind of double-bass, 
 having from 5 to 6 gut strings . . . Deu- 
 tsche Tabulator* i see Tablature. . . 
 Deutsche Tan'ze, German dances, i. e. 
 the old-fashioned slow waltzes. 
 
 Deux (Fr.) Two . . . A deux mains, for 
 2 hands. . .Deux-quatre, 2-4 (see Me- 
 szire). . .Deux-temps, or Volte a deux 
 temps, a quick waltz, with 6 steps to 
 every 2 of the ordinary waltz (trois 
 temps). 
 
 Deuxieme position (Fr.) Half-shift. 
 
 Development. (Ger. Durch'fiihrung.} 
 The working-out or evolution of a 
 theme by presenting it in varied melo- 
 dic, harmonic, or rhythmic treatment ; 
 
 ordinarily applied to formal composi- 
 tions like the fugue or sonata. (See 
 form.) 
 
 Devo'to (It.) In a devotional style (con- 
 devozio'ne). 
 
 Dex'tra (Lat.) Right . . .Manusd. , right 
 hand. . .Manu d., with the right hand. 
 
 De'zem (Ger.) See Decima. 
 
 De'zime (Ger.; The interval of a tenth. 
 
 Di (It.) Of, from, to, etc. 
 
 Diagram'ma (Gk.) A diagram, i. The 
 Greek written scale of 1 5 notes, divided 
 into the various tetrachords. 2. In 
 old music, the staff and the scale writ- 
 ten on it ; also, a score or partition. 
 
 Dia'logo (It.), Dialogue (Fr.) A duet 
 for 2 solo voices or divided chorus ; or 
 a similar instrumental piece. 
 
 Diapa'son (Gk.) An octave (in ancient 
 Greek and in medieval music) . . . Dia- 
 pason diapente, or diapason con dia- 
 pente, an octave plus a fifth, a twelfth. 
 . .Diap. diatessaron (diap. con diates- 
 saron), an octave plus a major fourth, a 
 major eleventh . . . Diap. ditom, an oc- 
 tave plus a major third, a major tenth. 
 . .Diap. semi-ditone, an octave plus a 
 minor third, a minor tenth. 
 
 Diapa'son (Engl.) i. An octave. 2. 
 Either of the 2 principal foundation- 
 stops of the organ, the open diapason 
 and the stopped diapason, both com- 
 monly of 8-foot pitch; if there are 2 op. 
 diap.s on a manual, one is sometimes of 
 16' pitch ; pedal-diapasons are generally 
 16' stops. The open d. has metal pipes 
 open at the top, and usually of large 
 scale, though the scale differs when 2 
 or more diapasons are on one manual ; 
 the tone is bright, full, and sonorous. 
 . . The stopped d. has wooden pipes of 
 large scale, closed at the top by wooden 
 plugs, and yielding a powerful fluty, 
 and somewhat hollow, tone. 3. Com- 
 pass of a voice or instr. ; chiefly poetical. 
 
 Diapason (Fr.) I. Compass of a voice 
 or instr. 2. A rule or scale, ace. to 
 which makers of various instr. s regu- 
 late the size of the latter, and that of 
 their parts. 3. An organ-stop (dia- 
 pason). 4. A tuning-fork or pitch-pipe. 
 5. Absolute pitch ... Diapason nor- 
 mal, the standard pitch or - 
 scale adopted in 1859 by the \( 
 French Academy, in which a 1 , 
 has 870 single or 435 double vibrations 
 per second of time (so-called " inter- 
 national pitch ").
 
 DIAPENTE DIMINISHED. 
 
 57 
 
 Diapen'te (Gk. and Lat.) The interval 
 of a fifth. . . D. cum ditono, a major ~th. 
 . .D. cum semiditono, minor yth. . .D. 
 cum semitonio, minor 6th . . .D. cum 
 tono, a major 6th. 
 
 Diapenter (Fr.), Diapentisa're (It.) 
 To progress by skips of a fifth. 
 
 Diaph'ony. (Gk. diaphoni'a.) i. A dis- 
 sonance. 2. See Organum. 
 
 Diaschis'ma (Gk.) The difference be- 
 tween the second tierce below the 4th 
 quint in the descending circle of fifths, 
 and the 3rd octave below the given tone 
 : 2048). 
 
 Diaste'ma (Gk.) An interval. 
 
 Diates'saron (Gk.) The interval of a 
 fourth. 
 
 Diaton'ic. I. See Greek music, 2. 
 2. (In modern usage.) By, through, 
 with, within, or embracing the tones of 
 the standard major or minor scale... 
 Diatonic instr., one yielding only the 
 tones of that scale of which its funda- 
 mental tone is the key-note. . .Diatonic 
 interval, one formed by 2 tones of the 
 same standard scale. . .Diatonic har- 
 mony or melody, that employing the 
 tones of but one scale. . .Diatonic mod- 
 ulation, see Modulation. . .Diatonic 
 progression, stepwise progression within 
 one scale. . .Diatonic scale, see Scale. 
 
 Diau'los (Gk.) A double aulos, the 
 tubes meeting in an acute angle, and 
 connected by and blown through a com- 
 mon mouthpiece. 
 
 Diazeuc'tic (Gk.) Disjoined (see Greek 
 music, i). . .Diazeu'xis, the separation 
 of 2 neighboring tetrachords by the in- 
 terval of a tone ; also, the tone itself. 
 
 Di'brach, Di'brachys. A metrical foot 
 consisting of 2 short syllables (>" ") ; a 
 pyrrhic. 
 
 Di'chord. I. An ancient species of 
 harp or lute having 2 strings. 2. Any 
 instr. having 2 strings to each note. 
 
 Dicho'ree, Dichore'us. A double cho- 
 ree or trochee ; a metrical foot consist- 
 ing of 2 long and 2 short syllables in al- 
 ternation ( -* -^). 
 
 Dictee musicale (Fr., "musical dicta- 
 tion".) A modern method of training 
 the faculty of musical apprehension, in 
 which the teacher plays or sings short 
 phrases which the pupils take down on 
 paper. 
 
 Diecet'to (It.) A piece for 10 instr.s. 
 
 Diesa're (It.) To sharp. .. Die'sis, a 
 sharp. 
 
 Didser (Fr.) To sharp. . . Dii-se, a sharp. 
 
 Dies irae (Lat., "day of wrath".) The 
 sequence of the Missa pro defunctis ; 
 it now forms the 2nd division of the 
 Requiem. 
 
 Di'esis (Gk.) I. The Pythagorean 
 semitone (later Lint ma), which is the 
 difference between a fourth and 2 
 greater whole tones, = 256:243. 2. In 
 modern theory, the difference between 
 an octave and 3 major thirds, the mod- 
 ern enharmonic diesis (128:125). 
 
 Diezeug'menon (Gk.) Disjoined (see 
 Greek music, l). 
 
 Difference-tone. See Acoustics. 
 
 Differen'tia (Lat.) The diffsren' titg 
 tono'rum in the medieval Gregorian 
 chants were the different forms of the 
 cadences or tropes to the Seculo'rum 
 a' men, according to the tone to which 
 transition was to be effected. (Also 
 distinctio.) 
 
 Diffi'cile (It.), Diffici'le (Fr.) Difficult. 
 
 Dig'ital. A key on the keyboard of the 
 pfte. , organ, etc.; opp. to pedal (fin- 
 ger-key opp. to/w/-key). 
 
 Digito'rium. A small portable appara- 
 tus for exercising the fingers, resem- 
 bling a diminutive piano in shape, and 
 having 5 keys set on strong springs ; 
 sometimes called Dumb piano. 
 
 Di gra'do (It.) (Progression) by de- 
 grees, step-wise. 
 
 Diiamb', Diiam'bus. A double iam- 
 bus ; a metrical foot consisting of 2 
 short and 2 long syllables in alternation 
 (----) 
 
 Dilettart'. (It. dilettan' te) An amateur. 
 
 Diligen'Zii (It.) Diligence, care. 
 
 Dilu'dium (Lat.) An interlude, espe- 
 cially that between the separate lines of 
 chorals. 
 
 Diluen'do (It.) Decreasing in loudness, 
 dying away. 
 
 Dim'eter. i. Consisting of 2 measures ; 
 divisible into 2 feet. 2. A verse or 
 period consisting of two feet. 
 
 Diminished. (Ger. verklei'nert; Fr. di- 
 mhiue\e) ; It. diminu'lo.) Dim. inter- 
 val, a perfect or minor interval con- 
 tracted by achromatic semitone. . . Dim. 
 chord, a chord, the highest and lowest 
 tones of which form a dimin. interval. 
 . . Dim. subject or theme, one repeated
 
 DIMINUENDO DISSONANCE. 
 
 or imitated in diminution. . .Dim. triad, 
 a root with minor third and dimin. fifth. 
 
 Diminuen'do (It) Diminishing in loud- 
 ness. . .Dim. pedal, see P-sdal. 
 
 Diminuer (Fr.) To diminish (in loud- 
 ness). .. En diminuant beancoup,-=. di- 
 minuendo molto. 
 
 Diminution. (Ger. Verklei'nerung ; Fr. 
 diminution ; It. diminuzio'ne.) I. The 
 repetition or imitation of a theme in 
 notes of smaller time-value (^, ^j, or 
 ^ that of the original). 2. See Dota- 
 tion , ^2. 
 
 Dioxia (Gk.) Less common term for 
 Diapente. 
 
 Dip. The vertical fall of a digital or peda? 
 when depressed to the full extent ; also 
 key-fall. 
 
 Dipho'nium (Lat ) A composition for 
 2 voices. 
 
 Diphtho'nia. A vocal anomaly produced 
 by inflammatory nodules seated on the 
 vocal cords, which on closure of the 
 latter divide the glottis into an anterior 
 and a posterior half, so that 2 tones are 
 sounded on singing, instead of one. 
 
 Diplas'ic. Two-fold... D. footor rhythm, 
 that in which the thesis has twice the 
 length of the arsis. 
 
 Dip'ody. A group of 2 similar metrical 
 feet, or double foot, especially when 
 constituting a single measure. 
 
 Direct. I. (Ger. and Lat. Cus'tos ; 
 Fr. guidon ; It. gui'da, mo'stra.) The 
 sign /w or >/ set at the end of a staff to 
 show the position of the first note on 
 the next staff. (N. B. The Germans 
 often use it as a mere mark of continu- 
 ation equivalent to "etc.", without 
 reference to the pitch of any note.) 2. 
 See Motion and Turn. 
 
 Directeur (Fr.) Conductor, director. 
 
 Dirge. A funeral hymn or similar 
 music. 
 
 Dirigent' (Ger.) Conductor, director. 
 
 Diriger (Fr.), Dirigie'ren (Ger.) To 
 direct, conduct. 
 
 Dirit'to,-a (It.) Direct, straight. . .Alia 
 dirit'ta, in direct motion. 
 
 Dis (Ger.) D. . .Disis, D x . 
 
 Dis'cant. i. (Lat. discan'tus ; Ger. 
 Diskant' '; Fr. de'chant.} The first at- 
 tempts at polyphony with contrary mo- 
 tion in the parts, beginning in the I2th 
 century ; opp. to the organum, in 
 
 which parallel motion was the rule. 
 2. (Fr. dessus.) Treble or soprano 
 voice ; the highest part in part-music. 
 
 Discord, i. A dissonance. 2. Caco- 
 phony. 
 
 Discre'to (It.) Discreet ; comparatively 
 subdued... Discrezio'ne, discretion; con 
 discrezione, with discretion or due re- 
 serve ; with judicious subordination to 
 a leading part or parts. 
 
 Disdiapa'son (Gk., Lat ) In medieval 
 music, the interval of a double octave. 
 
 Dis'dis (Ger.) D x (usually Disis). 
 
 Disinvol'to (It.) Free, easy, graceful. 
 . . Con disinvoltu'ra, with ease, grace ; 
 
 Dis'is (Ger.) D x . [flowingly. 
 
 Disjunct'. (Fr. disjoint,-e.) See Motion, 
 Tetrachord (disjoined). 
 
 Diskant' (Ger.) i. Discant, treble. 
 Ditkanfgetge, the violin (the treble 
 instr. of its class). . .Diskantist' , treble 
 singer. . .Diskant' register, Diskant'- 
 stimme, in the organ, a half-stop (also 
 Hal'bestimme). . .Diskant'schlussel, so- 
 prano-clef. 
 
 Disparate, in (It.) Aside. 
 
 Dispera'to (It.) Desperate, hopeless... 
 Disperazio'ne, con, in a style expres- 
 sive of desperation or despair. 
 
 Dispersed. See Harmony. 
 
 Dispon'dee, Disponde'us. A double 
 spondee ; a compound metrical foot 
 containing 2 spondees. 
 
 Disposition' (Ger.) The D. of an organ 
 is properly the preliminary estimate of 
 its cost, fixing the varieties of stops, 
 number of manuals, etc. ; but also 
 signifies a concise description of the 
 working parts of a finished organ, 
 especially an enumeration of the stops, 
 couplers, combination-stops, etc. 
 
 Disposition (Fr.) Gift, talent, genius. 
 
 Dis'sonance. (Ger. Dissonanz' '; Fr. 
 dissonance; It. dissonan'za.) I. In 
 theory, the simultaneous sounding of 
 tones so remotely related that their 
 combination produces beats. 2. In 
 practice, a combination of 2 or more 
 tones requiring resolution ; opp. to 
 Consonance .. .Dissonant, consisting of 
 tones forming a dissonance 2 ; opp. to 
 consonant . . .Dissonant interval, 2 tones 
 forming a dissonance. The dissonant 
 intervals are the seconds and their in- 
 versions, the sevenths, also all dimin- 
 ished and augmented intervals... Dit*
 
 DISSONARE DOH. 
 
 59 
 
 sonant chord, a chord containing one 
 or more diss. intervals. 
 
 Dissona're (It.) To be dissonant, to 
 form a dissonance. 
 
 Distance. Interval. [Seldom used.] 
 
 Distan'za (It.) An interval ; distance... 
 In distanza, at a distance, marking 
 music to be performed as if far away. 
 
 Dis'tich. A group of 2 lines or verses ; 
 usually called couplet in modern rhym- 
 ing versification. 
 
 Distinc'tio (Lat.) I. In Gregorian music, 
 the pauses or breaks dividing vocal 
 melodies into convenient phrases. 2. 
 See Differentia. 
 
 Distin'to (It.) Distinct, clear. ..Di- 
 stinlamen'te, distinctly. 
 
 Distona're (It.) To sing or play out of 
 tune ; also stonare. 
 
 Dit'al. A key which, on pressure with 
 the finger or thumb, raises the pitch of 
 a guitar-string or lute-string by a semi- 
 tone ; opp. to pedal. . .Dital harp, a 
 chromatic lute shaped like a guitar, 
 having from 12 to 1 8 strings, each con- 
 trolled by a dital to raise its pitch by a 
 semitone; inv. by Light in 1798, and 
 later improved by him. (Comp. Klavier- 
 Harfe.} 
 
 Diteggiatu'ra (It.) Fingering. 
 
 Dith'yramb, Dithyram'bus. A form 
 of Greek lyric composition, originally 
 a hymn in praise of Dionysus ; later 
 greatly modified. Its leading char- 
 acteristics were a lofty enthusiasm, 
 frequently degenerating into bacchantic 
 wildness (whence the adj. dithyram'bic), 
 and the irregular form of its strophes, 
 no two of which were identical. 
 
 Di'to (It.) Finger. 
 
 Ditone. (Lat. di'tonus; Fr. diton.~) A 
 Pythagorean major third of 2 greater 
 whole tones (81:64); wider by a 
 comma than a true major third (5 : 4). 
 
 Ditro'chee, Ditrochae'us. A compound 
 metrical foot consisting of 2 trochees 
 ( -^ - -~>) ; also Dichoree. 
 
 Ditty. A short, simple song. 
 
 Divertimento (It.) i t . A short poem 
 
 Divertissement (Fr.) \ set to music, 
 and interspersed with songs and dances, 
 for some special occasion. 2. Light and 
 easy pieces of instrumental music, such 
 as variations, potpourris, etc. 3. An 
 instrumental composition in 6 or 7 
 movements, similar to a serenade or 
 
 cassation. 4. An entr'acte in an opera, 
 or between compositions of consider- 
 able length, in the form of a short 
 ballet or other entertainment. 5. Epi- 
 sode in a fugue ; development of a 
 principal theme. 
 
 Divide. To play divisions. 
 
 Divi'si (It.) Divided. A direction in 
 scores signifying that 2 parts appearing 
 on one and the same staff are not to be 
 played as double-stops, but by the 
 division into two bodies of the instr.s 
 playing from that staff. The return to 
 the unison is marked by the direction 
 a due, (or by unis., or a 2). 
 
 Division. A " dividing-up " of a mel- 
 odic series of tones, vocal or instru- 
 mental, into a rapid coloratura pas- 
 sage ; if for voice, the passage was lx> 
 be sung in one breath. (Obsolete.). . 
 To run a division, to execute such a 
 passage . . . Division-viol, the Viola da 
 gamba. 
 
 Division-mark. A slur connecting a 
 group of notes, and provided with a 
 figure indicating their number, show- 
 ing that their rhythm differs from the 
 ruling rhythm of the piece ; as for a 
 quintuplet, triplet, etc. 
 
 Divo'to, Divotamen'te. See Devoto. 
 
 Dixieme (Fr.) The interval of a tenth. 
 
 Do. The Italian name for C; supposed 
 to have been introduced by Bononcini 
 in 1673. It is now also generally 
 adopted in France instead of the 
 Aretinian Ut. 
 
 Do. In solmisation, the usual syllable- 
 name for the 1st degree of the scale. 
 In the fixed-Do method of instruction, 
 Do is the name for all notes bearing the 
 letter-name C, whether key-notes or 
 not. In the movable-Do method, Do 
 is always the key-note, whatever key is 
 sung in or modulation reached. In the 
 Tonic Sol-fa system, spelled Doh. 
 
 Doch'mius. A metrical foot consisting 
 of 5 syllables (~ ^ -" ). 
 
 Doctor of Music. See Bachelor. 
 
 Dodecachor'don (Gk.) I. See Bissex. 
 2. A treatise by Glareanus (1547) on 
 the theory of the 1 2 keys or modes. 
 
 Dode'cupla di cro'me (It.) 12-8 time: 
 di semicrome, 12-16 time. 
 
 Dodec'uplet. A group of 12 equal notes 
 to he performed in the time of 8 in the 
 regular rhythm. 
 
 Doh. See Do.
 
 6o 
 
 DOI DOT. 
 
 Do'i (It.) Same as Due. 
 
 Doigt (Fr.) Finger ... Doigte", fingered. 
 . . Doigt if, or doigter, fingering ; doig- 
 te"s fourchus, cross-fingerings. 
 
 Dol'can. See Dukia'na. 
 
 Dol'ce (It.) i. Sweet, soft, suave ; dol- 
 cemen'te, sweetly, softly. 2. A sweet- 
 toned organ-stop. 
 
 Dolcez'za (It.) Sweetness, softness; 
 con J., softly, gently. 
 
 Dolcian' (Ger.), Dolcia'na, Dolcia'no 
 (It.) I. A species of bassoon in vogue 
 during the i6th and I7th centuries. 2. 
 In the organ, a reed-stop of 8 or 16- 
 foot pitch ; a fagotto. 
 
 Dolcia'to (It.) See Raddolciato. 
 
 Dolcis'simo (It.) Very sweetly, softly. 
 . . Also, a very soft-toned 8-foot flute- 
 stop in the organ. 
 
 Dolen'do, Dolen'te (It.) Doleful, plaint- 
 ive, sad. . .Dolenlemen' te, dolefully, etc. 
 
 Dolo're (It.) Pain, grief ; con dolore, in 
 a style expressive of pain or grief ; 
 pathetically (also dolorosameri ' te, dolo- 
 ro'so). 
 
 Dolz'flote (Ger.; Fr. fidte douce ; It. 
 jla'uto dol'ce.') i. An obsolete trans- 
 verse flute, having a half-plug within 
 the embouchure. 2. In the organ, an 
 open flute-stop of rather narrow scale 
 and 8-foot pitch. 
 
 Dom'chor (Ger.) Cathedral-choir. 
 
 Dom'inant. i. (Ger., Fr., and It. 
 Dominan'te.) The fifth tone in the 
 major or minor scale . . . D. chord, (a) 
 the dominant triad ; (b) the dom. chord 
 of the 7th. . .D. section, of a movement, 
 a section written in the key of the domi- 
 nant, lying between and contrasting 
 with two others in the key of the tonic. 
 . .D. triad, that having the dominant as 
 root. 2. The reciting-tone in the Gre- 
 gorian modes. 
 
 Dona nobis pacem. See Mass. 
 
 Doodlesack. See Ger. Dudelsack. 
 
 Do'po (It.) After. 
 
 Dop'pel- (Ger.) Double. . .Dop'pel-B, 
 Dop'pelbe, the double-flat. . .Dop'pel- 
 blatt, double reed. . .Dop'pelchor, double 
 chorus . . . Dop'pelfagott, double-bassoon. 
 .. Dop'pel flote (Dui fldte), (It. fla'uto 
 dop'pio), an organ-register of 8- foot 
 stopped pipes, each pipe having 2 
 mouths, 2 windways, etc., one on either 
 side (behind and in front) like the Bi- 
 
 fara, but at exactly the same height, so 
 that the tone does not beat, but is 
 merely reinforced. . .Dop'pelJiHgel, see 
 Vis-a-vis... Dop' pel fuge, a double fugue 
 or canon. . .Dop'pelgeige, viola d'amore. 
 . . Dop'pelgriff, double-stop (on the vio- 
 lin), paired notes (on keyboard-instr.s ; 
 e. g. thirds, sixths, and octaves)... 
 Dop'peloktave, double octave. . .Dop'- 
 pelpunkt, double dot ^'..). . .Dop'pel- 
 quintpommer, a large variety of bom- 
 bard . . . Dop'pelschlag, a turn . . . Dop'- 
 pelzunge, double-tonguing. 
 
 Dop'pio (It.) Double... D. movimen'lo, 
 twice as fast...Z>. no'te, d. valo're, 
 twice as slow (absolute time-value of 
 notes is doubled). . .D.peda'le (in organ- 
 playing), the pedal-part in octaves... 
 Doppio signifies, with names of instr.s, 
 larger in size and consequently deeper 
 in tone. 
 
 Do'rian or Dor'ic mode. See Mode. 
 
 Dot. (Ger. Punkt ; Fr. point ; It. pun'- 
 to.) I. A dot set after a note prolongs 
 
 its time-value by half (d- = sj *) \ a 
 
 second dot or third dot prolongs the 
 time-value of the dot immediately pre- 
 ceding it by half (J... = J j J* **). 
 
 (The dot after ztioteupon a line is pre- 
 ferably written above the line when the 
 next note is higher, below the line when, 
 it is lower : 
 
 The dot of prolongation was formerly 
 often set in the next measure, quite 
 away from the note ; e. g. 
 X X 
 
 which we now write : 
 
 2. A dot set over or under a note in- 
 dicates that it is to be executed staccato: 
 (J f) ; a slur connecting several such 
 dots calls for the mezzo-staccato. (Some- 
 times, especially in earlier authors, the 
 staccato-dot calls rather for a sforzandv 
 than a staccato ) 3. In old music, sev- 
 eral dots set above a note indicate that 
 it is to be subdivided into so many short 
 notes (\ ~ " ~ *T) ! now used over a 
 tremolo-sign in violin-music to mark
 
 DOUBLE DRAMMA. 
 
 61 
 
 the exact subdivision of the large note 
 
 ). 4. Two 
 
 or four dots 
 
 set in the spaces of the staff, before or 
 after a double-bar, form a Repeat. 
 Double, i. A variation. 2. A repetition 
 of words in a song. 3. In organ-play- 
 ing, a 1 6-foot stop (as accompanying or 
 doubling the 8-foot stops in the lower 
 octave). 4. In the opera, etc., a sub- 
 stitute singer. 5. (Also Grandsire.) In 
 change-ringing, changes on 5 bells. 6. 
 As an adjective with names of mus. 
 instr.s, double signifies "producing a 
 tone an octave lower " ; e. g. double- 
 bassoon, double-bourdon, etc. 7. The 
 verb double signifies, to add (to any 
 tone or tones of a melody or harmony) 
 the higher or lower octave. 
 
 Double (Fr.) i (pi. doubles'). See 
 Variation. 2. The alternative in a 
 minuet, when merely a variation of 
 the principal theme and retaining the 
 harmonic basis of the latter. 3. As an 
 adjective, double ; as double-barre, 
 double-bar ; d. coup de langue, double- 
 tonguing ; double-croche, a i6th-note ; 
 etc ... Double - corde, double-stop . . . 
 Double-main, an octave-coupler (organ). 
 . . Double-octave, double octave . . Dou- 
 ble-touche, a mechanism in the keyboard 
 of harmoniums, etc., for adjusting the 
 key-fall at 2 different levels, with corre- 
 sponding differences in the degree of 
 loudness of tone produced. . .Double- 
 triple, 3-2 time. 
 
 Double (Fr.) A turn. 
 
 Double-bar. (Ger. Dop'peltaktstrich, 
 Schluss'striche; Fr. double-barre; It. 
 dop'pio bar'ra.) I. The two thick 
 vertical strokes drawn across the staff 
 to mark the end of a division, (repeat), 
 movement, or entire piece. 2. Two 
 thin vertical lines 
 (bars) dividing one ( r ) 
 section of a move- 
 ment from the next 
 section: 
 
 Double-bass. (Ger. Kon'trabass; Fr. 
 contre-basse; violonar; It. contrabbas'- 
 so.) The largest and deepest-toned 
 instr. of the violin family (with the ex- 
 ception of the rare contrabbasso doppio 
 and the Octobass), with either 3 strings 
 (Gi-D-A being the Italian, ^4, -Z?-G- the 
 English accordatura), or 4 strings 
 (tuned Ei-Ai-D-G). Compass: 
 
 (the German tuning). 
 
 Double-stop. (Ger. Dop'pelgriff; Fr. 
 double-corde; It. dop'pia ferma (a.) In 
 violin-playing, to stop 2 strings to- 
 gether, thus obtaining 2-part harmony. 
 
 Double-tongue. (Ger. Dop'pfhunge; 
 Fr. double coup de langue.) In play- 
 ing the flute, and certain brass instr.s, 
 applying the tongue in rapid alterna- 
 tion to the upper front teeth and the 
 hard palate, to obtain a clear-cut and 
 brilliant staccato. (Also Double-tang- 
 uittg.) 
 
 Double-trouble. A step peculiar to the 
 " breakdown." 
 
 Doublette (Fr.) A 2-foot organ-stop, 
 octave of the principal. 
 
 Doublophone. A combined Euphoni- 
 um and Valve-trombone, with one com- 
 mon mouthpiece ; a valve operated by 
 the left thumb throws the current of 
 air from the mouthpiece into the tube 
 of either instr. at will. Inv. by Fon- 
 taine Besson of Paris in 1891. 
 
 Doublure (Fr.) See Double 4 (Engl.) 
 
 Doucement. (Fr.) Gently, softly... 
 Deux, douce, soft, gentle, sweet. 
 
 Douzieme (Fr.) The interval of a 
 twelfth. 
 
 Down-beat, i. The downward stroke 
 of the hand in beating time, which 
 marks the primary or first accent in 
 each measure. 2. Hence, the accent 
 itself (thesis, strong beat). 
 
 Down-bow. (Ger. Herunterstrich; Fr. 
 tirez; It. area in giu.) In violin-play- 
 ing, the downward stroke of the bow 
 from nut to point ; on the 'cello and 
 double-bass, the stroke from nut to 
 point ; usual sign pj . 
 
 Doxology (Gk.) A psalm or hymn of 
 praise to God ; especially the Greater 
 D. (Gloria in excelsis Deo), and the 
 Lesser D. (Gloria Patri, etc.) 
 
 Drag. i. A rallentando. 2. A de- 
 scending portamento in lute-playing. 
 
 Draht'saite (Ger.) Wire string. , 
 Dramatic music. I. Same as Program- 
 music. 2. Music accompanying and 
 illustrating an actual drama on the 
 stage. 
 
 Dram'ma (It.) Drama. D. li'rico, a 
 lyric drama. . .D. musica'le, a music-
 
 62 
 
 DRANGEND DULCIMER. 
 
 drama, opera.../?, per mu'sica, a 
 musical drama, opera ... Drammatica- 
 men'te, dramatically. . .Dramma'tico, 
 dramatic. 
 
 Drang'end (Ger.) 
 hurrying. 
 
 Pressing, hastening, 
 
 Draw-stop. In the organ, one of the 
 projecting knobs within easy reach of 
 the organist, which, when drawn out, 
 shift the corresponding slides so as to 
 admit wind to the grooves communicat- 
 ing with a set of pipes or a combination 
 of stops, or else effect a coupling. 
 Draw-stop action, the entire mechan- 
 ism controlled and set in operation by 
 the draw-stops. 
 
 Dreh'er (Ger.) An obsolete variety of 
 waltz resembling the Landler, of Bo- 
 hemian or Austrian origin, in 3-8 or 
 3-4 time. 
 
 Dreh'orgel (Ger.) A barrel-organ. 
 
 Drei (Ger.) Three ... Drei'chorig, (a) 
 for 3 choirs ; (b) trichord (said of a 
 pfte.). . . Drei' gestric hen, 3-lined, thrice- 
 accented. . .Drei'klang, a triad. . . 
 Drei'stimmig, three-part, in 3 parts, 
 for 3 voices. 
 
 Drit'ta (It.) See Diritta. 
 
 Driving-note. Syncopated note. (Ob- 
 solete.) 
 
 Droit(e) (Fr.) Right ... Main droite, 
 right hand (abbr. m. d.) 
 
 Drone. (Ger. Stim'mer, Bordun' ; Fr. 
 bourdon; It. bordo'ne.) In the bag- 
 pipe, one of the continuously sounding 
 pipes of constant pitch. (Also see 
 Drone-bass.). . .Drone-bass, a bass on 
 the tonic, or tonic and dominant, which 
 is persistent throughout a movement 
 or piece, as in the Musette 2 ... Drone- 
 pipe, same as Drone. 
 
 Driick'balg (Ger.) Concussion-bellows. 
 
 Druck'er (Ger.) A specially brilliant 
 (sometimes a forced) effect ; einen 
 Drucker auf'setzen, to bring out such 
 an effect. 
 
 Drii'cker (Ger.) See Stecher. 
 
 Druck'werk (Ger.) An organ -action 
 operating by the pressure of stickers on 
 the remoter parts of the mechanism. 
 (See Zugwerk.) 
 
 Drum. An instr. of percussion, consist- 
 ing of a hollow body of wood or metal, 
 over one or both ends of which a mem- 
 brane (the head) is stretched tightly by 
 means of a hoofi, to which is attached an 
 
 endless cord tightened by leathern 
 braces, or by a system of rods and 
 screws. The two chief classes of drums 
 are the rhythmical (those employed to 
 vary and emphasize the rhythm), and 
 the musical (those capable of produc- 
 ing a mus. tone distinct in pitch). The 
 commonest forms of the first class in 
 modern use are : (i) The side-drum 
 (Ger. Trommel; Fr. tambour; It. tarn- 
 bur o)\ it has a cylindrical body of 
 wood or metal, and 2 heads, is slung 
 across the left thigh, and only the up- 
 per head is beaten with the 2 drumsticks; 
 when gut strings (snares) are stretched 
 across the lower head, the instr. is 
 called a snare-drum. (2) The bass 
 drum (Ger. grosse Trommel; Fr. grosse 
 caisse; It. gran cassa, gran tamburo), 
 similar in form to I, but much larger, 
 and beaten on one or both heads with 
 a stick having a soft round knob at the 
 end. (3) See Tambourine. . .The sole 
 representative of the second class is the 
 Kettledrum (which see). 
 
 Duc'tus (Lat.) A series of tones in 
 stepwise progression ; as d. rec'tus, 
 ascending ; d. rever'tens, descending ; 
 d. circumcur'rens, first ascending and 
 then descending. 
 
 Du'delsack (Ger.) Bagpipe. 
 
 Du'e (It.) Tvfo...Adue, signifies (l) 
 for two ; as a due -voci, for 2 parts or 
 voices ; (2) both together (see Divisi). 
 . . Due corde, ' ' two strings ' ' ; see 
 Cor da . . . Due volte, twice . . . / due pe- 
 dale, both (pfte.-) pedals at once. 
 
 Duet'. (Ger. Duetf; Fr. duo; It. duef- 
 to.) I. A composition for 2 voices or 
 instr.s. 2. A composition for 2 per- 
 formers on one instr. , as the pfte. 3. 
 A composition for the organ, in 2 
 parts, each to be played on a separate 
 manual. 
 
 Duetti'no (It., dimin. of duetto.) A 
 short and simple duet. 
 
 Dulcian' (Ger.) See Dolcian. 
 
 Dulcian'a. I. An organ-stop having 
 metal pipes of narrow scale and yield- 
 ing a somewhat sharp, thin tone. 2. A 
 reed-stop of delicate tone. 3. A small 
 bassoon. 
 
 Dul'cimer. (Ger. Hack'brett; Fr. tym- 
 panon ; It. ceni'balo.) A very ancient 
 stringed instr., greatly varying in con- 
 struction and form ; typical character- 
 istic, the wire strings stretched over a 
 soundboard or resonance-box and struck
 
 DUMB PIANO DURUS. 
 
 with mallets or hammers. In the modern 
 forms the string-tension is regulated by 
 wrest-pins, and the mallet-heads have 
 one soft and one hard face, which pro- 
 duce different effects ^ (> 
 
 of tone. Compass 2 o rt~ ' 
 
 to 3 octaves, g to g 3 : 
 The dulcimer was the *, ^- 
 precursor, and is often called the proto- 
 type, of the pianoforte. See Pantalon. 
 
 Dumb piano. An instr. like a small 
 piano in form, having a keyboard of 
 narrow compass, but neither hammers 
 nor strings ; intended for silent finger- 
 practice, i. e. merely for increasing the 
 mechanical dexterity of the fingers 
 (Comp. Digi tori urn, and Virgil Prac- 
 tice-Clavier). . .Dumb spinet, seeMani- 
 chord, 
 
 Dummy pipes. Pipes which do not 
 speak, displayed in the front of an 
 organ. 
 
 Dump. An obsolete dance in slow tempo 
 and common time. 
 
 Du'o (It. and Fr.) A duet. (In English 
 usage, duo is sometimes distinguished 
 from duet by applying the former term 
 to a 2-part composition for 2 voices or 
 instr.s of different kinds, and the latter 
 to such a composition for 2 voices or 
 instr.s of the same kind.) 
 
 Duode'cima (It.) I. The interval of a 
 twelfth. 2. A Twelfth (organ-stop). 
 
 Duodecimo'le (Ger.) Dodecuplet. 
 
 Du'odene. A 12-tone group composed of 
 4 trines, applied to the solution and 
 correction of problems in temperament 
 and harmony. A duode'nal is the sym- 
 bol of the root-tone of a duodene. The 
 term (as also Trine, Decad, Heptad, 
 Heptadecad, etc. ) is the invention of A. 
 J. Ellis, a full explanation of whose 
 system of acoustics will be found in his 
 original Appendices to the Second Eng- 
 lish Edition of Helmholtz's work "On 
 the Sensations of Tone," (1885, trans- 
 lated by Ellis himself i. 
 
 Duodra'ma. (It. duodram'ma.) A kind of 
 melodrama, or spoken dialogue accom- 
 panied by the orchestra. 
 
 Duo'i (It.) Same as Due. 
 
 Duo'le (Ger.) Couplet 2. 
 
 Duo'lo (It.) Grief, sadness, melancholy. 
 
 Du'pla (proportio). See Notation, 3. 
 
 Duple. Double.../?, rhythm, rhythm 
 of 2 beats to a measure. 
 
 Dur (Ger.) Major. 
 
 Dur,-e (Fr.) Harsh, unpleasing in tone. 
 
 Duramen'te (It) Sternly, harshly. 
 
 Durch'fuhrung (Ger.) In a general sense, 
 the mus. construction or working-out of 
 a movement ; specifically, the develop- 
 ment of a theme, as in the fugue or 
 sonata. (See Development, Form.) 
 
 Durch'gang (Ger. ; Lat. tran' situs.) The 
 " passage " or progression of one prin- 
 cipal tone to another through a tone or 
 tones foreign to the harmony or key. . . 
 Durch'gangston, passing-tone, chang- 
 ing-tone ; re'gelmdssiger D.ton, one 
 falling on a weak beat ; un'regelmds- 
 siger Durchgangston, one falling on a 
 strong beat, also called a sch-we'rer 
 Durchgang, " heavy passing - tone," 
 though properly an anticipation or free 
 suspension. 
 
 Durch'gehend (Ger.) i. Passing, as 
 Durch'gehender Akkord', passing- 
 chord. 2. Transitional, as durckge- 
 hende Aus'weichungen, the transitional 
 or continuous modulations necessary in 
 passing to a key harmonically remote. 
 3. Complete ; as durch'gehende 
 Stim'men, complete (organ-) stops. 
 
 Durch'komponieren (Ger.) In song- 
 writing, to set each strophe to differ- 
 ent music, thus following the changing 
 mood more closely than in the ballad or 
 folk-song, where melody and harmony 
 are generally the same for each verse. 
 ..Durchkomponiert, " through-com- 
 posed," progressively composed. 
 
 Durch'schlagende Zung'e (Ger.) Free 
 reed. 
 
 Durch'stechen (Ger.) Running (of 
 wind in an organ). Also said of a pip6 
 which, when facing another, causes th& 
 latter to speak by the wind issuing from 
 its mouth. Durch'stecher, tones pro- 
 duced by the above defects. 
 
 Dure"e (Fr.) Duration, time-value (of a 
 note). 
 
 Durez'za (It.) Sternness, harshness. 
 
 Dur Moll'-Tonart (Ger., " major-minor 
 mode".) The "combined" mode de- 
 rived theoretically from the resolution 
 of the dominant chord in minor to the 
 tonic in major (mode with major third 
 and minor sixth); expressed by the 
 Hauptmann formula 
 
 D/F-ab-C-e-G-b-D/F. 
 
 Du'ro,-a (It.) Stern, harsh. 
 Du'rus,-a,-um (Lat., "hard".) Equi-
 
 6 4 
 
 DOSTER EIN. 
 
 valent to major in the phrases cantus 
 durus, hexachor'dum durum; i. e. a 
 chant (vocal music) and hexachord with 
 major third ; opp. to Mollis. B durum, 
 B natural. 
 
 Dii'ster (Ger.) Gloomy, mournful. 
 
 Dutch concert. See Concert. 
 
 Dux (Lat., "leader, guide".) Subject 
 or theme of a fugue. 
 
 Dynam'ics. The theory of mus. dyna- 
 mics is the scientific explanation of the 
 varying and contrasting degrees of in- 
 tensity or loudness in mus. tones. 
 
 E. 
 
 E. (Ger. E; Fr. and It. mi.) The 3d 
 tone or degree in the typical diatonic 
 scale of C-major. (Compare Alphabet- 
 ical Notation, and Solmisation.) 
 
 E (It.) And ; (before a vowel, ed). 
 
 Bar. I. (Ger. Ohr, Gehor'; Fr. oreille; 
 It. orec'chio.) A mus. ear is one im- 
 pressionable to mus. tones, thus afford- 
 ing to its possessor, after more or less 
 practice, the capability of accurately 
 reproducing them, and of appreciating 
 and correctly analyzing compositions 
 performed by others. 2. One of the 
 2 projecting plates of metal on either 
 side of the mouth of an organ-pipe. 
 
 Ebollimen'to, Ebollizio'ne (It.) Ebul- 
 lition ; a sudden and passionate ex- 
 pression of feeling. 
 
 Ecart (Fr.) A wide stretch on the pfte. 
 
 Ec'bole (Gk.) The raising or sharping 
 of a tone ; opp. to EC* lysis. 
 
 Ecceden'te (It.) Augmented (of inter- 
 vals). 
 
 Ecclesiastical modes. See Modes. 
 
 Ec'co (It.) Echo. 
 
 Echappement (Fr.) The hopper or es- 
 capement in a double-action pfte. 
 
 Echelette (Fr.) Xylophone. 
 
 E"chelle (Fr.) Scale. 
 
 Echo. i. A subdued repetition of a 
 strain or phrase. 2. An echo-stop. 
 3. A harpsichord -stop. . .Echo-organ, 
 a separate set of pipes, either enclosed 
 in a box within the organ, or placed at a 
 distance from the latter, to produce the 
 effect of an echo ; it has separate stops, 
 and often a special manual . . . Echo- 
 slop, one producing an echo-like effect, 
 either by itself or in an echo-organ. 
 
 Eclisses (Fr.) Ribs (of a violin). . 
 Contre-e'clisses, linings. 
 
 Iiclogue. See Eglogue. 
 
 Ec'lysis (Gk.) The flatting or depression 
 of a tone ; opp. to EC' bole. 
 
 E'co (It.) Echo. 
 
 Ecossaise (Fr.) Originally, a Scotch 
 round dance in 3-2 or 3-4 time ; now, a 
 lively contredanse in 2-4 time. (Com- 
 pare Schottische.) 
 
 Ecu (Fr.) Shield (on face of lute, man- 
 dolin, etc.) 
 
 Ed (It.) And. 
 
 E'del (Ger.) Noble ; refined, chaste. 
 
 Effekt' (Ger.) Effect. . .Effekt'piano, 
 the effect of the forte-piano (fp). 
 
 Effet (Fr.), Effet'to (It.) Effect, im- 
 pression. 
 
 Effort (Fr.) In singing, a rough and 
 guttural attack. 
 
 Egalit6 (Fr.) Evenness, smoothness. 
 
 Eglogue (Fr.) A pastoral, or idyl, 
 though in somewhat more animated 
 style than the latter. 
 
 Egua'le (It.) Equal; even, smooth... 
 Egualmen'te, evenly, smoothly. 
 
 Eidomu'sikon. See Melograph. 
 
 Ei'gentlich (Ger.) Proper, actual, true, 
 real . . . Ei'gentliche Fuge, a strict fugue. 
 . .Ei'gentliche Kadenz' ', perfect ca- 
 dence. . .Ei'gentlicher Drei'klang, com- 
 mon chord. 
 
 Ei'genton (Ger.) Natural tone (of a 
 wind-instr.) ; tone proper to, or pro- 
 duced by, a sonorous body or hollow 
 space. 
 
 Eighteenth. An interval of 2 octaves 
 and a fourth. 
 
 Eighth. I. An octave. 2. An eighth- 
 note . . . Eighth-note, a note representing 
 one-eighth of the time-value of a whole 
 note ; a quaver ( * ^ ) Eighth-rest, a 
 rest equal in time-value to an eighth- 
 note. 
 
 Ei'len (Ger.) To hasten, accelerate, go 
 faster. . .Ei'lend, hastening ; acceleran- 
 do, stringendo. . .Ei'lig, hasty, in a hur- 
 ried style; rapid, swift. 
 
 Ein, Eins (Ger.) One. . .Ein'chori^, (a) 
 having one string to each note ; (l>) for 
 single (or undivided) chorus (choir;. . . 
 Ein'fach, simple, plain. . .Ein' gang, in- 
 troduction. . .Ein'gestrichen, one-lined. 
 . .Ein'gr eifen, (a) to touch or sound 
 (strings) ; (6) in pfte. -playing, to inter-
 
 EIS EMPATER. 
 
 lace the fingers. . .Ein'klang, unison. . . 
 Ein'lage, a short piece introduced (ein'- 
 gelegt) between 2 compositions or in the 
 midst of a long one . . . Ein'leitung, in- 
 troduction . . . Ein'mal, once . . . Ein'- 
 saiter, monochord. . .Ein'satz, entrance 
 (of a vocal or instrumental part) ; attack. 
 Ein'satzsttick, a crook (usually Bogeri). 
 Ein'satzzeichen, in a canon, the presa. 
 . . Ein'schnitt, a pause at the end of a 
 melodic phrase or section . . . Ein'setzen, 
 to enter (as a part) ; to attack ; to strike 
 or fall in ; ein'setzender Hornisf , a 
 horn-player who sets the mouthpiece 
 rather within than against his lips ; a 
 lipping sometimes necessitated by thick 
 lips. . . Ein' sing-en, (a) to sing to sleep ; 
 () to practise singing until confidence 
 is attained. . .Ein'spielen, (a) to play on 
 a new instr. till it works smoothly ; (/) to 
 practise a part or piece until confidence 
 is attained . . . Ein sti rumen, to tune (in 
 concert with other instr. s). . .Ein'stim- 
 mig, for one part or voice . . . Ein'tritt, 
 entrance ; beginning. 
 
 Els (Ger.) E$. ..E'tsis, E x . 
 
 Ei'senvioline (Ger.) See Nagelgeige. 
 
 Eklo'g(u)e. Ger. spelling of Eglogue. 
 
 Ela. Name of the highest 
 note in the Aretinian scale : 
 
 Electric Organ. See Organ. . .Electric 
 Pianoforte (Ger. elektropho'nisches Kla- 
 vier r ), inv. in 1891 by Dr. Eisenmann 
 of Berlin. Over each unison of strings 
 an electro-magnet is fixed ; on closing 
 the circuit (by depressing a digital) each 
 magnet attracts its strings, and (the 
 magnetic action being duly controlled 
 and limited by a set of microphones) 
 causes their continuous vibration. 
 Tone (of the improved instr.) full, sweet, 
 capable of the most various dynamic 
 Elevation. 
 
 shading ; timbre like that of the string- 
 orchestra ; the ordinary hammer-action 
 may be employed alone, or in combina- 
 tion with the above. A peculiar (sus- 
 taining) pedal-mechanism permits a 
 given tone, a full chord, or any har- 
 mony, to sound on as long as desired, 
 even after lifting the fingers. Numer- 
 ous combined effects of tone are pos- 
 sible. 
 
 E16gamment (Fr.) Elegantly. 
 
 Elegan'te (It.) Eiegant, graceful... 
 Elegantemen' te , elegantly, etc. 
 
 Elegie'zither (Ger.) See Zither. 
 
 El'egy. (Fr. Mgie ; It. elegi'a.) A 
 composition of a mournful cast, either 
 vocal or instrumental ; a dirge . . . EIS- 
 giac, a pentameter, i. e. a verse com- 
 posed of 2 dactylic penthemims or 
 written in elegiac metre. . . Elegiac verse, 
 that in which elegiac poems or verses 
 are written, consisting of elegiac dis- 
 tiches ; an elegiac distich being one in 
 which the first line is a dactylic hexa- 
 meter, and the second a pentameter, 
 thus: 
 
 written : 
 
 played : 
 
 i 
 J 
 
 Element (Fr.) The entire range of 
 tones embraced in the mus. scale... 
 Element mttrique, a measure-note. 
 
 Eleva'tio (Lat.) i. Up-beat ; unac- 
 cented count. 2. The rising of a mel- 
 ody over the ambitus of the mode. 3. 
 A mus. composition accompanying the 
 elevation of the Host. 
 
 Elevation. See Elevatio. . .Also, the 
 name of 2 obsolete graces, the elevation 
 and shaked elevation : 
 
 Shaked Elevation. 
 
 * 
 Ir i"'f ^= 
 
 lileVation (Fr.) I. Up-beat or weak 
 beat (also leve"} ; opp. to Frappe". 2. 
 Same as Elevatio 2 and 3. 
 
 Eleva'to (It.) Elevated, lofty, sublime. 
 . . Elevazio'ne, see Elevation. 
 
 Embellir (Fr.) To embellish, orna- 
 ment. 
 
 Embellishment. See Grace. 
 
 Embouchure (Fr.) i. The mouthpiece 
 of a wind-instr., or the oval orifice of 
 a flute. 2. See Lip. 
 
 Empater les sons (Fr.) To produce a 
 very smooth and suave legato. . .Exe"- 
 rutiii (vi>ix) empAte'e, an instrumental 
 (vocal) style lacking in neatness and 
 distinctness.
 
 66 
 
 EMPFINDUNG ENTREE. 
 
 Empfin'dung(Ger.) Feeling, emotion.. . 
 Empfin'duHgs-voll, full of feeling ; feel- 
 ingly, with emotion. 
 
 Empha'se (Ger. and Fr.) Emphasis, 
 stress. 
 
 Emporte",-e (Fr.) Carried away by feel- 
 ing or passion. 
 
 Empress6,-e (Fr.) Urgent, eager ; in 
 haste. 
 
 Enarmo'nico (It.) Enharmonic. 
 
 En badinant (Fr.) See Scherzando. 
 
 Enclavure du manche (Fr.) Space cut 
 in belly (of violin) for insertion of neck. 
 
 Encore (Fr.) "Again!" (in English 
 usage; the French use the word "bis" 
 when recalling an actor or performer). 
 Also used for recall (noun and verb), 
 and for the piece or performance re- 
 peated. 
 
 End-man. In the "negro minstrels", 
 a man who sits at the end of the semi- 
 circle formed by the company on com- 
 mencing the performance. There are 
 2 or 4 such end-men, who provide a 
 good part of the fun apart from the 
 songs, and likewise perform on the 
 " bones " and the tambourine. 
 
 X 
 
 Energi'a (It.), Energie(Fr.) Energy. . . 
 Energicamen' 'te (It.), or con energia, 
 with energy and decision, energetically. 
 
 Ener'gico (It.),*Ener'gisch (Ger.) En- 
 ergetic, vigorous ; indicates that the 
 passage so marked is to be vigorously 
 accented and distinctly phrased. 
 
 Enfant de chceur (Fr.) A choir-boy. 
 
 Enfa'si, con (It.) With emphasis, em- 
 phatically. . .Enfa'tico, emphatic. 
 
 Eng (Ger.) Narrow, close ... Eng'e 
 Harmonie' (Lage), close harmony. 
 
 Eng'elstimme (Ger.) Vox angelica. 
 
 Eng'fuhrung (Ger.) The stretto in a 
 fugue. 
 
 Eng'lisch (Ger.) English. . .Englisch 
 Horn, cor anglais. . .Eng'lische Me- 
 cha'nik, English action (pfte.). . Eng f - 
 lischer Tanz, anglaise . . . Englisch Vio- 
 lef, (a) an obsolete bow-instr. re- 
 sembling the viola d'amore, with 14 
 sympathetic strings stretched below 
 the fingerboard ; (b) a former tuning 
 of the violin (e-a-e*-a } ). 
 
 Enharmon'ic. (Ger. enharmo'ni sch ; 
 Fr. enharmonique ; It. enarmo'nico.) 
 In Greek music, the enh. genus was 
 distinguished by a tetrachord, the first 
 2 steps in which were (approximately) 
 
 quarter-tones, and the third step a 
 major third. In modern music, enhar~ 
 monic tones are tones derived from dif- 
 ferent degrees, but practically identical 
 in pitch, as c$ and d\) on the pfte. or 
 organ. . .Enharmonic change, a change 
 effected in the harmonic relations of a 
 tone or chord by treating it as identical 
 in pitch with another p^ v=& 
 tone or chord of dif- 
 ferent notation ; thus: 
 where the enharm. change of #> to 0} 
 brings about a different resolution of 
 the diminished seventh-chord by chang- 
 ing its tonality: 
 (i) a'-minor. (2) ^-minor. 
 
 . .Enharmonic chords, chords (like I 
 and 2 above) alike in pitch but unlike 
 in notation and derivation. . .Enharm. 
 di'esis, see Diesis. . .Enharm. interval, 
 one derived from an enharm. change. . . 
 Enharm. modulation, an enharm. 
 change of chords, as above. . .Enharm. 
 organ, pianoforte, scale, one in which 
 the identity of the enharmonic tones is 
 denied, and an attempt made to realize 
 practically the minute differences in 
 pitch between such tones, e. g. by add- 
 ing an extra digital for d\) as distinct 
 from f$ ; etc. 
 
 Ensemble (Fr.) Concert, in the sense 
 of " agreement of 2 or more in a de- 
 sign or plan". i. The unity of a 
 composition ; the harmonious agree- 
 ment of parts which forms a well-bal- 
 anced whole. 2. The harmonious co- 
 operation of the various factors in a 
 performance ; of the actors, singers, 
 musicians, or instruments, taken in 
 groups or together. . .Morceaux d' en- 
 semble, concerted music. 
 
 En serrant (Fr.) Stringendo. 
 
 Entr'acte (Fr., " interval between acts".) 
 A light instrumental composition or 
 short ballet, intended or adapted for 
 performance between acts. 
 
 Entra'ta (It.) See Entree, and Intrada. 
 
 Entr6e (Fr.) I. See Intrada; also, 
 specifically, the orchestral prelude to a 
 ballet, following the overture. 2. En- 
 trance (of a part or actor). 3. A division 
 of a ballet corresponding to a " scene " 
 in a dramatic performance ; also, the 
 dance-music accompanying it. 4. An 
 old dance resembling the Polonaise in 
 character, usually in 4-4 time ; often
 
 ENTRY ESPRESSIONE. 
 
 occurs as first movement in the Sere- 
 nata. 
 
 Entry. An act of an opera, burletta, etc. 
 (Obsolete.) 
 
 Entschlos'sen (Ger.) Resolute(ly), de- 
 termined, in a determined manner. 
 
 EntwurP (Ger.) Sketch, plan, design. 
 
 Eo'lian. See sEolian. 
 
 Ep'icede. (Lat. epice'dium ; Fr. epi- 
 cede ; It. fpice'dio.) A funeral song, 
 dirge. 
 
 Epigo'nion (Gk.) The ancient Greek 
 lyre with 40 strings, named after its re- 
 puted inventor Epigonos. 
 
 E~pinette (Fr.) Spinet. 
 
 Epini'cion (Gk,) i. A triumphal song 
 in celebration of a victory. 2. In the 
 Greek Church, the triumphal hymn, the 
 Sanctus. 
 
 Epio'dion (Gk.) A funeral song. 
 
 Episode. (Ger. Z'uisch'ensatz; Fr. Epi- 
 sode; \\..divertimen'to.) An intermedi- 
 ate or incidental section ; a digression 
 from and interpolation between the 
 repetitions or developments of the prin- 
 cipal theme or themes of a composition ; 
 specifically, in the fugue, a passage of 
 the above character ordinarily formed of 
 motives taken from the subject or coun- 
 tersubject. 
 
 Epistle side (of the altar). That on the 
 priest's left, when he is facing the con- 
 gregation ; the south side ; opp. to the 
 gospel or north side. 
 
 Epis'trophe (Gk.) In a cyclic composi- 
 tion, a refrain. 
 
 Epit'asis (Gk.) The raising of the voice, 
 or the strings of an instr., from a lower 
 to a higher pitch. (See Anesis.) 
 
 Epithala'mium (Lat.), Epithala'mion 
 (Gk.) A nuptial song or poem. 
 
 Epito'nion (Gk.) A tuning-wrench ; a 
 pitch-pipe. 
 
 Ep'itrite. Same as Hippius. 
 
 Ep'ode (Gk., "after-song".) i. A re- 
 frain. 2. The concluding stanza of an 
 ode, following the strophe and anti- 
 strophe. 
 
 Eptacorde (Fr.), Eptacor'do (It.) I. 
 
 Heptachord. 2. A scale of 7 notes. 
 
 3. The interval of a seventh. 
 
 Equa'bile (It.) Equable, even, uniform, 
 
 similar. . .Equabilmen'te, equably, etc. 
 
 Equal counterpoint, temperament. 
 
 See the nouns .Equal voices, voices 
 
 of the same class, i. e. either women's 
 
 (or boys') voices (contralto and soprano), 
 or men's voices (tenor, bass) ; opp. to 
 "unequal voices," a term equivalent to 
 mixed chorus. 
 
 E'quisonance. In medieval music, the 
 unison (of primes or octaves). 
 
 Equisonnance (Fr.) The unison (of 
 octaves, double octaves, etc.) 
 
 Equi'sono (It.) In unison or octaves. 
 
 Equiv'ocal or doubtful chord. See 
 Chord. 
 
 Ergrif'fen (Ger.) Affected, stirred, mov- 
 ed. . .Ergrif'fenheit, emotion, agita- 
 tion. 
 
 Erha'ben (Ger.) Lofty, exalted, sub- 
 lime. . .Erha'benheit, sublimity, etc. 
 
 E rhoh'ung (Ger.) Raising (the pitch of) ; 
 sharping. . .Erhdh'ungszeichen, sign of 
 raising, as the Jf, or a Q after a \). 
 
 Ermat'tet (Ger.) Exhausted, wearied. 
 
 Ernie'drigung (Ger.) Lowering (the 
 pitch of) ; flatting. . . Ernie' drigungs- 
 zeicAen, sign of lowering, as the \>, or 
 the p after a . 
 
 Ernst (Ger.) Earnest, serious, grave. 
 (Also adverb.) 
 
 Ero'ico,-a (It.) Heroic ; strong and 
 dignified. 
 
 Erot'ic. (It. ero'tico^ i. Amatory. 2. 
 An amatory poem, a love-song. 
 
 Er'ster,-e,-es (Ger.) First. . .Et'ste 
 Stim'me, the highest part or voice. 
 
 Erwei'tern (Ger.) To extend, expand. 
 Envei'terte Harmonie' , see Lagf, iveite. 
 . . Ertuei' terter Satz, a movement in 
 which there is a full exposition of the 
 subject by development, repetition, etc. 
 . .Er-wei terung (of a fugal theme), the 
 widening of any of its intervals. 
 
 Erzah'ler (Ger.) The Evangelist or 
 Narrator in a Passion-play. 
 
 Erz'laute (Ger.) Archlute. 
 Es(Ger.) ty...Es'es, E^b- 
 
 Esacor'do (It.) i. Hexachord. 2. The 
 interval of a sixth. 
 
 Esat'to (It.) Exact, true. 
 
 Esecuzio'ne (It.) Execution. 
 
 Eserci'zio (It.) Exercise ; practice. 
 
 E space (Fr.) Space (in staff). 
 
 Espiran'do (It.) Expiring, dying away. 
 
 Espressio'ne, con (It.) \Vith expres- 
 sion, expressively. . .Esfressi'vo, ex- 
 pressive.
 
 68 
 
 ESSENTIAL HARMONY EXTEMPORIZE. 
 
 Essential harmony. See Harmony.. . 
 ss. notes, chord-notes. .. Ess. "jth, (a) 
 the leading-note ; (/>) the dominant 
 chord of the 7th. 
 
 Estensio'ne (It.) Compass. . .Esteso,-a 
 (pi. estesi,-e), extended. 
 
 Estinguen'do (It.) Extinguishing, dy- 
 ing away. 
 
 Estin'to (It.) Barely audible ; the ex- 
 treme of pianissimo. 
 
 Estravagan'za (It.) Extravaganza. 
 
 Etalon (Fr.) Scale 3. 
 
 Etendue (Fr.) Compass. 
 
 EtoffeXe) (Fr.) Having " body". . . Voix 
 ttoffec^ a full, sonorous voice. 
 
 touffe>e (Fr.) Stifled, damped, muf- 
 fled . . . Etouffoir, damper (pf te.) 
 
 Ettacor'do (It.) See Eptacordo. 
 
 etude (Fr.) A study ; especially, one 
 affording practice in some particular 
 technical difficulty. . .Etude de concert, 
 an etude designed for public perform- 
 ance ; a species of characteristic piece. 
 
 Et' was (Ger.) Rather, somewhat. 
 
 Euharmon'ic. Producing harmonies 
 perfectly pure ; opp. to tempered. . . 
 Euharmonic organ, one having a suf- 
 ficient number of keys to produce all 
 the fundamental and the chief deriva- 
 tive tones. 
 
 EUOUAE. See E VO VAE. 
 
 Eupho'ne. i. (Also Euphon.) See 
 Euphonium. 2. In the organ, a 16- 
 foot free-reed stop, with a soft sweet 
 tone like that of the clarinet. 
 
 Eupho'nia (It.) Euphony. 
 
 Eupho'niad. A kind of orchestrion. 
 
 Eupho'nium. i. An instr. inv. by 
 Chladni in 1790, consisting of gradu- 
 ated glass tubes set in vibration with 
 the moistened fingers, and connected 
 with steel rods. (Also Euphon.) 2. 
 The bass Saxhorn. 
 
 Euter'pe. One of the nine Muses, the 
 inventress of the double flute, and pa- 
 troness of flute-players and of primitive 
 and simple melody. 
 
 Evacua'tio (Lat.) In mensurable nota- 
 tion, writing only the outlines of solid 
 notes, thus reducing their value by one- 
 half. 
 
 Evakuant' (Ger.) The exhaust-valve 
 or exhaust-pallet in the organ ; (Engl. 
 also evacuant). 
 
 Evening-song, Even-song. In the 
 
 Anglican Church, a form of worship 
 appointed to be said or sung at eve- 
 ning ; known as Vespers in the R. C. 
 Church. 
 
 Ever'sio, Evolu'tio (Lat.) The inver- 
 sion of the parts in double counter- 
 point. 
 
 Evira'to (It.) See Castrato. 
 
 Evolution (Fr.) See Renversement. 
 
 EVOVAE. The vowels of Stculorum 
 amen, the last two words in the Gloria 
 Patri. In Gregorian music, the trope 
 closing the Lesser Doxology; in a wider 
 sense, any trope. 
 
 Exercise. (Ger. LJ'bung, U'bungsstiick; 
 Fr. exercice; It. eserci'zio.) A short 
 technical study, often consisting of but 
 one repeated measure, for training the 
 fingers (or vocal organs) to overcome 
 some special difficulty ; also, a short 
 study in composition, consisting of an 
 outline (e. g. a figured bass, or a cantus 
 firmus) to be filled out harmonically or 
 contrapuntally by the student. 
 
 Exhaust-pallet or -valve. A valve 
 opened by a draw-stop, to let off the 
 wind in the bellows after playing ; an 
 evacuant. 
 
 Exposition, i. (Ger. er'ste Durch'fiih- 
 rung.) See Fugue. 2. (Ger.,[-//o'].) 
 Development. 
 
 Expression (Fr.) i. Expression. 2. 
 The vibrato effect on bow-instr.s. 
 
 Expression. (Ger. Aus'druck; Fr. ex- 
 pression; It. espressio'ne.) The clear 
 and effective presentation of the emo- 
 tional and intellectual content of a 
 work ; its proper reading and interpre- 
 tation, rendering and execution. . .Ex- 
 pression-mark, a written direction 
 (either a sign, word, or phrase) for the 
 performance of a piece ... Expression- 
 stop, in the harmonium, a stop which 
 closes the escape-valve of the bellows, 
 so that the wind-pressure, and conse- 
 quently the intensity of the tone, is 
 partly under the control of the pedals. 
 
 Expressive organ. (Ger. Expressii/- 
 orgel; Fr. orgue expressif.) The har- 
 monium. 
 
 Extem'pore. Without previous prepar- 
 ation ; on the spur of the moment ; off- 
 hand. 
 
 Extem'porize. (Ger. extemporie'ren.) 
 To improvise. . . Ex temporizing-ma- 
 chine t an apparatus for mechanically
 
 EXTENDED COMPASS FAGOTTO. 
 
 69 
 
 recording improvisations on the pfte. 
 or organ by means of a mechanism 
 placed in communication with the key- 
 board. See Melograph. 
 
 Extended compass, harmony, inter- 
 val. See the nouns. 
 
 Extension (Fr.) i. On the pfte.. a 
 stretch ; on the violin, the extension of 
 the little finger or forefinger of the left 
 hand. 2. Same as Etendue. 
 
 Extension-pedal. See Pedal. 
 
 i. 2. 
 
 Extraneous chromatic signs. Those 
 not proper to the key. . .Extraneous 
 modulation, one to a remote key. 
 
 Extravagan'za. A composition of an 
 extravagant, whimsical, or fantastic 
 character ; a burlesque. 
 
 Extreme. I. Of intervals, augmented. 
 The chord of the extreme sixth has a 
 major third and sharp sixth, and oc- 
 curs on the 6th degree in minor in 3 
 principal forms : 
 3- 
 
 fff 
 
 
 
 
 nd i 
 
 -+-1 
 
 
 
 
 
 
 ^=^= 
 
 
 ^ D; 
 
 
 
 
 
 J 
 
 
 I 
 
 P r 
 
 -s>- 
 
 1 
 
 A. 
 
 d 
 
 ^=, 
 
 * 
 
 T r 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 or with progression to major ({?). 
 The first form is called the Italian 
 sixth; the second, the French sixth; 
 and the third, the German sixth. 2 
 (pi.) In part-music, the outer parts. 
 3. Extreme key, a remote key. 
 
 F. 
 
 F. (Ger. F; Fr. and It. fa.) The fourth 
 tone and degree in the typical diatonic 
 scale of C-major. (Comp. Alphabeti- 
 cal notation, Solmisation.} f forte; 
 ff or fff (seldom ffff} , fortissimo. 
 
 Fa. i. The fourth of the Aretinian 
 syllables. 2. Name of the tone F in 
 Italy, France, etc. . .Fa feint (Fr.), fa 
 Jic'tum (Lat.), former term for any 
 flatted note... Fa mi, in solmisation, 
 the descending step of a semitone; 
 originally that from F to E, thereafter 
 from By to A, E}) to D, etc. 
 
 Fabliau (Fr.) A versified tale or ro- 
 mance of the trouveres, in vogue chief- 
 ly during the I2thand I3th centuries. 
 . .Fablier (Proven9al), a Trouvere. 
 
 Fa'burden. (Fr. faux bourdon; It. 
 fal'so bordo'ne.') I. In medieval music, 
 the primitive harmonization of a c. f. 
 by adding the third and the sixth above, 
 and progressing in parallel motion 
 throughout, only the first and last 
 chords having key-note, fifth, and oc- 
 tave. 2. Later, the setting of a simple 
 (note against note) counterpoint to the 
 c. f., strict parallel motion being given 
 up to some extent ; dissonances were 
 avoided, various embellishments added, 
 and the whole counterpoint frequently 
 
 improvised. 3. A drone-bass, a bur- 
 den. 4. The intonation of the Psalms 
 
 Face (Fr.) The position of a chord, either 
 as a fundamental chord or inversion ; 
 e. g. a triad has 3 faces. 
 
 -fach (Ger., "-fold ".) When compounded 
 with a numeral, equivalent to ranks, i.e. 
 in a mixture-stop ; zu>ei'fach v;\\h 2 
 ranks, drei'facA=vrith 3 ranks, etc. 
 
 Fach'erfbrmiges Pedal' (Ger.) A 
 "fan-shaped" or radiating pedal-key- 
 board. 
 
 Faci'le (Fr.), Fa'cile (It.) Facile, easy, 
 fluent ... Fadlement (It. facilmen'te), 
 easily, fluently. . . Facility (ll.facilita')^ 
 ease, easiness, facility, fluency ; facili- 
 te'(e) also signifies made easy, as an easy 
 arrangement of a difficult piece or 
 passage. 
 
 Fack'eltanz (Ger.," torch-dance ".) A 
 torch-light procession arranged at some 
 German courts at the marriage of a 
 member of the reigning family ; the 
 music is a polonaise in march-time, for 
 military band, and in minuet-form. 
 
 Facture (Fr. ; Ger. Faktnr'; It. fattu'- 
 ra.) I. The plan, build, structure, 
 construction of a composition. 2. (Fr. 
 and It.) Scale (of organ-pipes). 
 
 -fa'dig (Ger.) Equivalent to threads (of 
 violin-strings), as Jfiidig, having 4 
 threads. 
 
 Fad'ing. An Irish dance ; also, the 
 burden of a song. 
 
 Fagott' (Ger.) Bassoon ... Fagot? zug 
 (or simply Fagott), a reed-stop in the 
 organ. 
 
 Fagot'to (It.) Bassoon. . .Fagotti' no, a
 
 FAH FAUSSE. 
 
 " small bassoon " pitched a fifth higher 
 than the ordinary one (Ger. Quint'- 
 fagott, Tenor' fagott). . . Fagotti' sta, a 
 bassoonist, bassoon-player. . . Fagotto' 'ne, 
 double-bassoon. 
 
 Fah. For/a, in Tonic Sol-fa. 
 
 Faible (Fr.) Weak . . . Temp s faible, 
 weak beat. 
 
 Faktur' (Ger.) See Facture. 
 
 Fa-la. See Ballet 3... Also, in Italy, a 
 kind of arietta ending with a burden of 
 fa-la. 
 
 Fall. I. Same as Fly. 2. A cadence 
 or close. 3. A lowering of the voice. 
 
 Fall (Ger.) See Ton' fall. 
 
 Falling rhythm. A descending rhythm. 
 
 Fal'sa (Lat. and It. ; Ger. falsch) False, 
 wrong ... Mu'sica falsa, see Ficta... 
 Quin'ta falsa (Ger. fal'sche Quin'te), 
 diminished fifth. 
 
 False. (Ger. falsch ; Fr. faux, fausse ; 
 It. fatso, -a.) Wrong ; not true to 
 pitch, out of tune . . . False cadence, 
 chord, fifth, harmony, see the nouns. . . 
 False relation, also inharmonic rel., 
 cross-rel., an harmonic discrepancy 
 arising from the chromatic contradiction 
 of a tone in one part by another part. 
 In equal counterpoint it is apt to occur 
 at a modulation, and consists in sound- 
 ing, either simultaneously or success- 
 ively, a tone and its chromatically al- 
 tered octave. The former case is 
 generally confined to passing-notes in 
 figuration, and then has no ill effect ; 
 the latter case occurs when a chromatic- 
 ally changed tone, which might have 
 been reached in one part by the step of 
 a chromatic semitone, enters in another 
 octave in another part ; the effect is 
 harshest in passing from a major chord 
 toaparal- ^j j , i 
 
 ^ ~~ - 
 
 lei mnor i - 
 chord, orlTO 
 vice versa: */ 
 
 I 
 
 P~ 
 
 Falset'to (It. ; Ger. Falsetf ' Fr. voix 
 defausset, fausset.) The highest of the 3 
 vocal registers (chest-voice, head -voice, 
 falsetto), so named from its forced or 
 unnatural character ; often reckoned to 
 the head-register . . . Falset'tist, a falset- 
 to singer. 
 
 Fal'so,-a (It.) false.. . .Falso bordone, 
 (a) see Faburden ; (b) the reciting-note. 
 
 Fancy. A short piece of an impromptu 
 character ; a fantasy. 
 
 Fandango. (Span.) A lively Spanish 
 
 dance in triple time, for 2 dancers of 
 different sex, who accompany it with 
 castanets, or sometimes (in the case 
 of the man) with a tambourine. The 
 dance alternates with vocal couplets, 
 both dance and song having a guitar- 
 accomp.; the following is the Castanet- 
 
 rhythm: / j^j J==J / 
 
 Fanfa'ra (It), Fanfare (Fr.) i. A 
 brass-band. 2. A fanfare. 
 
 Fan'fare. A flourish of trumpets or 
 trumpet-call, either in the orchestra,, 
 on a hunt, or at warlike gatherings. 
 
 Fantasi'a (It.; Ger. Fantasie' ', Phan- 
 tasie' ; Fr. fantaisie.) I. An impro- 
 visation or impromptu. 2. In the 1 7th 
 and 1 8th centuries, an instrumental 
 composition in free imitation, as con- 
 trasting with one in strict imitation. 
 3. Later, a composition free in form 
 and more or less fantastic in character. 
 4. A term loosely applied to pot- 
 pourris and paraphrases . . . Free fan- 
 tasia, that part of the first movement of 
 a symphony or sonata which follows the 
 double-bar (repeat of first part) and 
 precedes the reintroduction of the prin- 
 cipal theme ; it consists chiefly of a free 
 development of motives taken from the 
 first part. 
 
 Fantasie'ren (Ger.) See Phantasieren. 
 . . Fantasie' stuck, see Phantasiestiick. 
 
 Fanta'stico (It.), Fantastique (Fr.), 
 Fantas'tisch (Ger.) Fantastic, giving 
 free rein to the fancy. 
 
 Fan'tasy. See Fantasia. 
 
 Farando'la, Farando'le. A circle- 
 dance of southern France and the ad- 
 joining Italian provinces, in 6-8 time 
 and very rapid tempo. 
 
 Farce. I. (It. far'sa.) A one-act opera 
 or operetta of ultra-comical or burlesque 
 character. 2. (It. farsia.) A canticle 
 in the vernacular intermingled wiCi 
 Latin, formerly sung at the principal 
 festivals of the R. C. Church, and later 
 finding ludicrous imitation in the farsa. 
 or farce. 
 
 Fa'scia (It.) I. A tie. 2 (pi., fascie). 
 Ribs. 
 
 Fastosamen'te (It.) Pompously, in 
 a stately style . . . Pas to' so, pompous, 
 stately. 
 
 Fatigue-call. A signal to soldiers, call- 
 ing them to fatigue-duty. 
 
 Fattu'ra (It.) See Facture. 
 
 Fausse (Fr., masc. faux.) False.../';
 
 FAUSSET FIFTH. 
 
 quintf, dimin. fifth. ..F. relation, false 
 relation. 
 Fausset (Fr.) See Falsetto. 
 
 Faux (Fr.) False. . .Faux -bourdon, see 
 Faburden. 
 
 F-clef. (Ger. F-schliissel ; Fr. clef de 
 fa ; It. chiave di basso.) See Clef. 
 
 Fe'derklavier (Ger.) Spinet. 
 
 Feeder. In the organ, see Organ, (i) 
 Wind-supply. 
 
 Fei'erlich (Ger.) Festive ; solemn, 
 grave, serious. (Also adverb.) 
 
 Fei'Ien (Ger.) To file, polish, refine, 
 put the finishing touches to. 
 
 Fein (Ger.) Fine, delicate, refined. 
 
 Feint,-e (Fr.) See Ficta. 
 
 Feld'flote.-pfeife (Ger.) i. SzeBauern- 
 fiote. 2. A fife. 3. See Schweizer- 
 fiote 2. 
 
 Feld'stiick (Ger.) A cavalry-call or 
 signal. 
 
 Female or feminine rhyme. A rhyme 
 ending with an unaccented syllable, as 
 fate'ful ungrate'ful. 
 
 Fermamen'te (It.) Firmly, with de- 
 cision. 
 
 Ferma're il tuono. See Messa di voce. 
 
 Ferma'ta (It.), Ferma'te (Ger.) i. A 
 pause, stop, or interruption, as that be- 
 fore the cadenza of a concerto. 2. A 
 hold (T\). 3. A stop (on the violin). 
 
 Fermez'za, con (It.) In a firm, de- 
 cided, energetic style (deciso). 
 
 Fer'mo (It.) Firm, decided; fixed, un- 
 changed (as canto fermo). 
 
 Fer'ne (Ger.) Distance. . . Wie aiis der 
 Feme, as if from a distance. 
 
 Fern'flbte (Ger.) A covered 8' organ- 
 stop of very soft tone. 
 
 Fern'werk (Ger.) Echo-organ. 
 
 Fero'ce (It.) Wild, fierce, vehement... 
 Ferocita' ', wildness, vehemence ... Con 
 ferocita, wildly, vehemently. 
 
 Fer'tig (Ger.) Ready; done, finished ; 
 prompt, skilful, dexterous. .. Fer'tigkeit, 
 readiness, skill, dexterity ; technical 
 finish. 
 
 Ferven'te (It.) Fervent, ardent, pas- 
 sionate. 
 
 Fes (Ger.) F? . . .Fes'es, Fft?. 
 
 Fest (Ger.) I. A festival. . . Muiik'fest, 
 mus. festival. 2. Firm, steady. (Also 
 adv.) 
 
 Fa fie'- 
 
 Festivamen'te (It.) In a gay, festive 
 manner. . .Festivita', festivity, mirth: 
 con /., in a gay and festive style. . . Fes- 
 ti'vo (Gn. Jest' lie A), festive, festal (also 
 festo'so). 
 
 Feu'er (Ger.) Fire, ardor, passion... 
 Feu'erig, fiery ; with fire, ardently, pas- 
 sionately. 
 
 F-holes. (Ger. F'-locher ; Fr. Us F.) 
 The 2 /-shaped soundholes cut in the 
 belly of the violin, etc. 
 
 Fiac'co (It.) Languishing. 
 
 Fia'sco (It.) Failure. 
 
 Fia'to (It.) Breath, breeze, wind... 
 Strumen'todaf., wind-instr. 
 
 Fic'ta,-um (Lat., " feigned ".) 
 
 turn, see Fa. . . Mu'sica ficta, see Mu- 
 sica t in APPENDIX. 
 
 Fiddle. (Ger. Fi'del, Fie'del.) See Vio- 
 lin. . .Fiddle-bow, fiddlestick, see Bow. 
 
 Fi'des (Lat.) i. The string of a mus. 
 instr. 2. A lute, lyre, cithara. 
 
 Fi'dicen (Lat.; fern, fidicina?) A player 
 on a stringed instr. 
 
 Fidic'ula (Lat.) Dimin. of Fides. 
 
 Fidu'cia (It.) Confidence, boldness. 
 
 Fie'del (Ger.) Fiddle. . .Stroh'fiedel, 
 xylophone. 
 
 Fier, Fiere (Fr.) Proud, haughty. 
 
 Fie'ro,-a (It.) Wild, fierce ; bold, vig- 
 orous. . .Fier amen' 'te, wildly, boldly. . . 
 Fierez'za, fierceness, boldness, vigor. 
 
 Fife. (Ger. Quer'pfeife ; Fr. fifre ; It. 
 piffero.) i. An octave 
 cross-flute with 6 holes and 
 without keys (thus differ- 
 ing from the Piccolo) ; 
 compass about 
 used chiefly as a march-accomp. with 
 the drum. 2. An organ-stop of 2-foot 
 pitch ; a piccolo-stop. 
 
 Fifteenth. I. (Ger. Quint' dezime; Fr. 
 quinzieme ; It. quindice'sima.) A 
 double octave. 2. An organ-stop of 2- 
 foot pitch. 
 
 Fifth. (Ger. Quin'te ; Fr. quinte ; It. 
 yitin'ta.) An interval of 5 diatonic de- 
 grees (see Interval) ; also, the 5th de- 
 gree in the diatonic scale, the dominant. 
 ..The typical or standard interval of 
 this name is \hzperfect (or major) fifth, 
 equal to the interval between the key- 
 note and the fifth tone of ' 
 the diatonic scale ; e. g. 
 (c-g), the vibrational ratio being c : 
 . . Diminished (imperfect, defective.
 
 FIFTHY FINGER-CYMBALS. 
 
 minor, or false) fifth, an interval nar- 
 rower by a semitone than a perfect fifth. 
 . .Augmented {pluperfect, superfluous, 
 or extreme) fifth, one wider by a chro- 
 matic semitone than a perfect fifth. . . 
 Consecutive (<yt parallel) fifths . see Con- 
 secutive. . . Covered (concealedot hidden) 
 fifths, see Octave. . . Circle of fifths, 
 see Temperament. 
 
 Fifthy. Having the second harmonic 
 (fifth above the octave of the generator) 
 specially prominent. 
 
 Figur 7 (Ger.) See Figure 2. 
 
 Figu'ra mu'ta (Lat. and It.) A rest. 
 
 Figu'ra obli'qua (Lat.) The "oblique 
 figure " of Plain chant and mensurable 
 music was a simple ligature formed by 
 uniting 2 notes ; (a) in Plain chant, it 
 was written in 2 ways : 
 I. 2. 
 
 sung 
 
 in mensurable notation thus : 
 
 
 ends of the figure marked the seats of 
 the 2 notes. In the midst of a ligature 
 it possessed no special significance ; but 
 at the termination it denoted the imper- 
 fection of the final note. 
 
 Flg'ural. See Figurate. . .Figural'ge- 
 sang(Ger.), cantus figuralis. ..Figural'- 
 musik, unequal or figurate counterpoint. 
 
 Figurate. (Ger. figuriert' ; Fr. figure'; 
 It. figura'to.) Having, or consisting 
 of, figurations. (Also Figurative.) 
 
 Figuration. I. In counterpoint, the 
 introduction of comparatively rapid fig- 
 ures or phrases, containing passing and 
 changing-notes, into the counterpoint. 
 2. The variation of a theme by accom- 
 panying it with florid runs and pas- 
 sages, or by substituting for its own 
 melody-notes more or less florid varia- 
 tions. 3. The writing-out of a figured 
 bass. 
 
 Figure. I. (Ger. Figur 1 '; Fr. figure; 
 It. figura.) A distinct group of notes, 
 a motive. 2. (Ger. Ziffer; Fr. chiffre; 
 It. ci'fra.) A numeral, as used in 
 thorough-bass. 
 
 Figured. I. (Ger. beziffert; Fr. chif- 
 fr/(e); It. cifra'to.) Provided with fig- 
 ures, as a bass (see Thorough-bass). 
 2. Figurate. 
 
 Fil (Fr.) Thread (of a violin-string). 
 
 Filar' il tuo'no, la voce (It.) In the 
 Italian method of singing, to produce 
 an even, sustained tone, without cre- 
 scendo or diminuendo. (Also affilar' 
 il tuono; Fr. filer un son, la voix.) 
 
 Fil'pen (Ger.) See Fistulieren. 
 Fi'lum (Lat.) Stem (of a note). 
 Fin (Fr.) End, close. 
 
 Final. In Gregorian music, that tone 
 (in any mode) on which the melody 
 must end (equiv. to key-note or tonic); 
 in the authentic modes it was the low 
 est tone ; in the plagal modes, the 4tb 
 tone from below. Irregular final tones 
 were called confinals ... Final close, 
 closing cadence. 
 
 Fina'le (It.) i. A final. 2. The con- 
 eluding movement of a sonata, sym- 
 phony, etc., or the closing number of 
 an act in an opera. An operatic finale 
 is generally an ensemble for soloists 
 and chorus, and intended to have a 
 highly dramatic or otherwise striking 
 effect. 
 
 Fina'lis (Lat.) See Accentus. 
 
 Fi'ne (It.) End, close ; indicates either 
 the end of a repeated section (after the 
 da capo or dal segno), or the end of a 
 piece in several divisions. 
 
 Fing'er (Ger.) Finger. . .Fing'erbildner, 
 ("finger-developer"), see Dactylion. 
 An apparatus of this name was also in- 
 vented by Seeber, and consists of a 
 separate attachment for each finger, 
 whereby the bad habit of bending the 
 last joint inwards is corrected. . . Fing'- 
 er -fertigkeit, "finger-dexterity", agility 
 and readiness of the fingers . . . Fiitg'er- 
 Icitcr, see Chiroplast. . .Fing' ersatz, 
 Fing'crsetzung, fingering ; eng'er F., 
 close fingering ; gedehn'ter F., spread 
 fingering, stretches. . .Fing'erwechsel, 
 change of fingers. 
 
 Fingerboard. I. (Ger. Griff' brett; Fr. 
 tone he, manche: It. tastie'ra.) In the 
 violin, guitar, etc., the thin, narrow 
 strip of wood glued upon the neck, 
 above which the strings are stretched, 
 and on which they are stopped with the 
 fingers of the left hand. 2. See Key- 
 board. 
 
 Finger-cymbals. Very small cymbals, 
 held in pairs on the thumb and fore- 
 finger of both hands. . .Finger-hole 
 (Ger. Ton'loch), in the flute, clarinet, 
 etc., a hole in the tube, to be closed by
 
 FINGERING-FLAUTANDO. 
 
 73 
 
 a finger or by a lever operated by a 
 finger, thus changing the pitch. 
 Fingering. (Ger. Fing'ersatz, Appli- 
 katur 1 ; Fr. doigter; It. ditteggiatu'ra.) 
 i. The method of applying the fingers 
 to the keys, holes, strings, etc., of mus. 
 instr.s. 2. The marks guiding the 
 performer in placing his fingers. . . Eng- 
 lish (or American .') fingering (for the 
 pfte.), that in which notes taken by the 
 thumb are marked x (or -f-) with I 2 
 
 3 4 for the fingers ; German (or conti- 
 nental) fingering, that in which the 
 thumb is marked I, and the fingers 2 3 
 
 4 5. (An earlier German system re- 
 sembled the English, merely using a o 
 instead of the x for the thumb.) 
 
 Fini're il tuono. See Messa di voce. 
 
 Fini'to (It.) Finished. 
 
 Fi'no (It.) Till, up to, as far as. 
 
 Fin'to,-a (It.) Feigned. . . Caden'za fin- 
 ta, deceptive cadence., .fa finto, see 
 fa feint. 
 
 Fiochet'to (It.) Somewhat hoarse ; 
 faint, veiled.. .Fiochez'za, hoarseness. 
 . .Fio'co,-a, hoarse, faint, veiled. 
 
 Fioreggia're (It.) To figurate. 
 
 Fioret'to (It.) Any melodic embellish- 
 ment. 
 
 Fiori'to (It.) Florid, embellished. . . 
 fioritu'ra, an embellishment, an orna- 
 mental turn, flourish, or phrase intro- 
 duced into a melody (commonly used 
 in pi., fieri tare). 
 
 First, i. Of voices or instr.s of the 
 same class, the highest ; e. g. first so- 
 prano, first violin. 2. In the staff, the 
 lowest ; as first line, first space. 3. 
 The first string of an instr. is the high- 
 est. 4. As the name of an interval, 
 the prime or unison. 
 
 Fis (Ger.) Z- .I-'is'is, F x . 
 
 Fis'telstimme (Ger.) Falsetto. (Also 
 Fistel.) 
 
 Fis'tula (Lat.) Pipe. 
 
 Fistulie'ren (Ger.) I. To sing falsetto. 
 2. Of an organ-pipe, to overblow in 
 such wise as to sound (unintentionally) 
 some harmonic tone instead of the 
 fundamental. 
 
 Fixed Do. The fixed-Do system of 
 solmisation is that in which the tone C, 
 and all its chromatic derivatives (CjJ, 
 C'x , and C'T, .'? are called Do, D 
 and its derivatives Re, etc., in whatever 
 key or harmony they may appear ; the 
 
 syllables are then termed fixed syllables. 
 . .Fixed-tone instr., (or instr. of fixed 
 intonation), one (like the pfte. or or- 
 gan) the pitch of whose tones cannot 
 be modified at the player's pleasure 
 like, for example, the tones of the 
 violin. 
 
 Flag. i. A hook (^). 2. Abbr. for 
 Jlageolet (-tones). 
 
 Flageolet, i. (Ger. Flageolet f ; Fr. 
 flageolet; It. fiagiolet f ta.) A modern- 
 ized flute a bee, a small wind-instr. of 
 the whistle family. There are 2 species 
 still in use, the English and the French ; 
 the latter is the more complicated, hav- 
 ing 4 holes above and 2 below, various 
 auxiliary keys, 6va It is not 
 
 and a compass \jm used in the 
 
 of 2 octavesp^ l/E^orchestra... 
 and 3 semi-NS) * D o u b I e 
 tones,^ 1 to^ : ' flageolet, an 
 
 instr. inv. by Bainbridge about 1800, 
 consisting of 2 flageolets of different 
 size placed side by side and having a 
 common mouthpiece ; simple duets 
 could be played on it, but it is no longer 
 in use. . . Flageolet-tones, see Harmonic 
 2. 2. A small flute-stop in the organ, 
 of i or 2-foot pitch. 
 
 Flageolett' (Ger.) i. Flageolet. 2. 
 General term for the harmonics (Flageo- 
 let" tone) produced on the violin, etc. 
 
 Flaschinet' (Ger.) Obs. spelling of 
 Flageolett. 
 
 Flat. (Ger. Be; Fr. be'mol ; It. beinofle.) 
 The character <>, which lowers the pitch 
 of a note before which it is set by a semi- 
 tone, and, when set in the signature^ 
 has a like effect on notes occurring on 
 its line or space (and every octave of 
 such line or space) unless cancelled. 
 Some earlier composers used the [> in- 
 stead of a JJ whenever a note was to be 
 lowered by a semitone. The double 
 fiat r>t? lowers a note by 2 chromatic 
 semitones ; for it the great fiat / was 
 sometimes written. . . Flat fifth, a dimin- 
 ished fifth.. .Flat tuning, a, method of 
 tuning the lute (also called French fiat 
 tuning, by reason of the comparative 
 lowness of the earlier French pitch). 
 
 Flatter la corde (Fr.) "To caress the 
 string," i. e. to play (on bow-instr.s) 
 with graceful and tender expression. 
 
 Flautan'do, Flauta'to (It.) A direc- 
 tion in music for the violin, etc., to play 
 near the fingerboard, and thus to pro-
 
 74 
 
 FLAUTO FOLK-SONG. 
 
 duce a somewhat flute-like tone. . . Also, 
 occasional for flageolet. 
 
 Fla'uto (It.) Flute.../"/, a becco, flute 
 a bee. ../"/. pic'colo, see Piccolo.. .Fl. 
 trover' so, cross or transverse flute. . . 
 Flauto also frequently occurs as a name 
 for organ-stops, e. g. flauto ama'bile, 
 flauto dol'ce, &.c...Flauti'no, a small 
 flute.. .Flauti'sta, a flute-player, flutist. 
 . . Flauto' ne, a large or bass flute. 
 
 Fle'bile (It.) Tearful ; plaintive, mourn- 
 ful. 
 
 Flessi'bile (It.) Flexible. 
 
 Flick'oper (Ger.) See Pasticcio. 
 
 Fling. A spirited Scotch dance, resem- 
 bling the Reel, and in quadruple time. 
 
 F'-lbcher (Ger.) /"-holes. 
 
 Florid. Embellished with figures, runs, 
 passages, etc. 
 
 Flo'te (Ger.) Flute. . .Flo'tenbass, bass 
 flute. . .Flo'tenstimme, a flute-stop (or- 
 gan).. . Flo' tenwerk , a small organ hav- 
 ing only flue-pipes (opp. to Schnarr- 
 werk, Zungenwerk, Rohriverk, and 
 Xegal). 
 
 Fliich'tig (Ger.) Lightly, nimbly, airily ; 
 fugitively, hastily, superficially. (Also 
 adj.) 
 
 Flue-pipe. (Ger. Labiafpfeife ; Fr. 
 tuyau a bouche ; It. can'na d'a'nima.) 
 See Pipe ; also Stop 2. 
 
 Flii'gel (Ger., "wing".) i. Formerly, 
 a wing-shaped clavier (clavichord) ; 
 now, a grand pfte. . . Flti'gelharfe , see 
 Spitzharfe. . .Flii'gelhorn, bugle, key- 
 bugle. 2. See Bart. 
 
 Flute. (Ger. Flo'te ; Fr. flute ; It. 
 fla'uto.) I. The orchestral flute (also 
 called German flute, cross-flute, and D- 
 flute, from its origin, the position in 
 which it is held, and its former low- 
 est tone respectively), in its present 
 form as improved by Boehm, has a 
 wooden tube of cylindrical bore, pro- 
 vided with 14 ventages closed by keys, 
 and caused to sound by a current of air 
 projected from the player's mouth 
 against the feather-edge of an oval 
 orifice near the upper end of the 
 tube ; the air-column within the tube 
 is set in vibration in the same way 
 as that within a &va 
 
 flue-pipe in the or- -: (f*;) 
 
 gan. Compass fromp^fe /T I 
 
 <:' to c* (rare ex4-K\) i j/~ 
 tremes b and c*$) * ("*") "**" 
 the first octave is obtained by moderate 
 
 wind-pressure, the second and third by 
 augmenting and forcing it, thus causing 
 the tone to change (by overblowing) to 
 the higher octave. It is a non-trans- 
 posing instr., and its music is therefore 
 written at the pitch at which it is to be 
 played. Together with the octave-flute 
 or piccolo it forms an incomplete family, 
 made in 6 sizes : 
 
 ( in C I in 
 
 Flute J. in Eh? Piccolo -< in 
 
 | in \f ( in 
 
 Ey 
 
 the typical member of which is the C- 
 flute. Its powerful and mellow tone 
 (more reedy than that of the old flute), 
 and extraordinary flexibility and agility, 
 render it the leader of the wood-wind. 
 The piccolos in Z>> and p are chiefly 
 used in military music. In the 1 5th and 
 i6th centuries complete families of flutes 
 were constructed, embracing bass, alto, 
 and treble instr.s. 2. Direct Flute, 
 the flageolet and flute a bee, having a 
 mouthpiece at the end. 
 
 Flute (Fr.) Flute... Fl. a bee, a direct 
 flute.../"/, allemande, a German flute. 
 . .Fl. a pavilion, an 8-foot organ-stop. 
 . .Fl. d' amour, (a) a flute in B$; (b) a. 
 soft-toned organ-stop.../ 1 /. dAngle- 
 terre, flageolet.. .Fl. douce, flauto dolce. 
 . .Fl. du Poitou, bagpipe (cornemuse). 
 . . Fl. harmonique, fl. octaviante, see 
 Harmonic stop. . .Fl. traversiere, trans- 
 verse flute. 
 
 Flute-work. In the organ, the flute- 
 work includes all flue-stops not belong- 
 ing to the principal-work and gedact- 
 work, as well as various modifications 
 of these two groups. 
 
 Fly. The hinged board or flap used as 
 a cover for the keyboard of the pfte. 
 and organ. 
 
 Fo'co (It.) See Fuoco. 
 
 Fogliet'to (It.) In orchestral music, the 
 part for the leader ; it contains cues for, 
 or the obbligato passages of, the other 
 instr.s, and can therefore be used by the 
 conductor in lieu of a score. 
 
 Foire des enfants (Fr.) See Toy Sym- 
 phony. 
 
 Fois (Fr.) Time ; premiere fois, first 
 time ; seconde fois, second time. 
 
 Foli'a (Span. ; lt.folli'a; usually in the 
 plural, as Fr. " folies d'Espagne".) A 
 Spanish dance for one person, in slow 
 tempo and 3-4 time. 
 
 Folk-song. (Ger. Volkslied.) A song 
 of the people, tinged by the musical
 
 FONDAMENTAL FORM. 
 
 75 
 
 peculiarities of the nation, and generally 
 of a simple, unaffected character, and 
 in ballad-form. Also, a song imitative 
 of the above. 
 
 Fondamental,-e (Fr.), Fondamenta'le 
 (It. ) Fundamental. . . Son fondamental, 
 generator. Basse fondamentale , see 
 Basse. 
 
 Fondamen'to (It.) Fundament, funda- 
 mental part. 
 
 Fonds d'orgue (Fr.) The foundation- 
 stops of the organ. 
 
 Foot. I. (Ger. Fuss,- Fr. pied; It. 
 pie'de.) In prosody, a group of syl- 
 lables, one of which is rendered special- 
 ly prominent by an ictus (accent) ; it 
 corresponds to the measure in music. 
 2. (Ger. Stiefel.) That part of an or- 
 gan-pipe below the mouth. 3. (Obs.) A 
 drone-bass; a refrain or burden. 4. The 
 unit of measure in designating the pitch 
 of organ-stops, and (by extension) that 
 of other instr.s, and of the several oc- 
 taves of the musical scale ; thus an 8- 
 foot (8') stop is one whose longest 
 
 pipe pro- rg^. m and is about 8 feet 
 
 duces the t~zi ~ ' n length, i. e. a 
 tone C : ~^ stop whose pipes 
 
 produce tones corresponding in pitch to 
 the keys depressed ; a 4-foot (4') stop is 
 an octave-stop ; a 1 6- foot (16') stop 
 yields tones an octave below those 
 indicated by the keys 
 touched. The 8-foot octave 
 embraces the 7 tones from C 
 upwards (comp. Pitch, i ); the flute 
 is an 8-foot instr. (because the pitch 
 of its tones is the same as that indi- 
 
 cated by the notes), while the piccolo 
 is a. 4-foot (or octave) instr. The 
 derivation of the term is as follows : The 
 velocity of sound-waves is estimated 
 at 1056 feet per second ; by dividing this 
 velocity by the vibration-number of the 
 given tone, we obtain the length of 
 one sound-wave of that tone ; for in- 
 stance, the tone C t having 33 vibrations 
 per second, 1056 -t- 33 = 32 feet, the 
 length of one sound-wave, and likewise 
 the length of an open flue-pipe capable 
 of producing the tone C t (CCC). 
 
 Foot-key. Pedal-key (of an organ). 
 
 Foreign chords or tones are such as 
 do not belong to a given key. 
 
 Forla'na (It.), Forlane (Fr.) A lively 
 Italian dance in 6-8 or 6-4 time. 
 
 Form. Form in music is that element, 
 or combination of elements, which, by 
 securing a proper balance between con- 
 trasting parts, produces finish of effect, 
 or Unity. What are called the musical 
 forms depend, in varying degree, for 
 their distinctive features, (i) on rhyth- 
 mical and metrical grouping ; (2) on the- 
 matic construction ; (3) on melodic and 
 harmonic contrast ; (4) on contrasting 
 tempi ; and (5) on contrasting moods. 
 Points i and 2 cover the ground of (I) 
 mechanical symmetry ; the contrasts of 
 melody, harmony, tempo, and mood 
 postulate a more highly developed sense 
 for (I I) asthetic symmetry. 
 
 I. (i.) The element of metrical 
 grouping is eminently characteristic of 
 ordinary dance-airs and simple songs ; 
 the following example exhibits its sim- 
 plest form : 
 
 Period. 
 
 \ Phrase 
 
 ^ 
 
 ^t=- 
 
 | section 
 
 Period. 
 
 flf*^ 
 
 
 
 iii 
 
 
 
 
 . 1 1 
 
 
 
 
 ^f=T, 
 
 L 1 LC * 1 r^J ! 1 ! L| L | 1 Lj L. 1 1 
 
 . ' ' i i MS- ii*- ' i 
 
 Analysis of this Sentence (compound 
 period, here a period of 16 measures), 
 which contains a musical thought com- 
 plete in itself, shows it to be composed 
 of 2 simple 8-measure Periods, each 
 period being formed by 2 Phrases, each 
 
 of which embraces 2 Sections formed, in 
 turn, of 2 Measures each. [The terra 
 motive for measure is to be rejected as 
 misleading and unnecessarily confusing, 
 except in the qualified shape of measure- 
 motive.] The punctuation of such a
 
 FORM. 
 
 musical sentence presents a striking 
 analogy to that of the grammatical 
 sentence from which its terminologyis in 
 part borrowed : Phrase I = subject and 
 predicate {comma}. Phrase 2 = limiting 
 clause {semicolon], Phrase 3, further 
 modification [comma]. Phrase 4, second 
 limiting clause and conclusion of sen- 
 tence {period}. The exact symmetrical 
 balance here observable, of 2 + 2, 4+4, 
 and 8 + 8, though of very common oc- 
 currence, is not the general rule, and 
 would engender wearisome monotony 
 (especially in extended compositions) if 
 regularly adhered to ; the variety of 
 changes caused by triple time, com- 
 pound measures, the opposition of un- 
 equal phrases, the expansion or con- 
 traction of periods, etc., etc., is prac- 
 tically limitless. But in all the musical 
 forms in which metrical symmetry is 
 observed, the simple period is, in one 
 shape or another, the form-element or 
 germ-cell, so to speak, on which their 
 construction is founded. 
 
 I. (2.) A theme or melody simply 
 repeated, (formula A + A, or |: A :|), 
 presents no distinctive departure from 
 the simplest form ; repeated in alterna- 
 tion with another | : A -f- B : | it ex- 
 
 I. Exposition : 
 
 ist Episode : 
 II. First Development : 
 
 2d Episode : 
 
 III. Second Development : " ist 
 
 Stretto : Theme brought out on the 4th 
 Coda. 
 
 II. (i.) The element of harmonic con- 
 trast is derived in part from contrasting 
 themes, in part from the deliberate 
 choice of keys directly or remotely re- 
 lated to that of the leading theme ; in 
 part, also, from the harmonies accom- 
 panying or varying the theme or themes. 
 Dependence on the harmonic variation 
 of repetitions of a single theme, to- 
 gether with the light and shade of vary- 
 ing tempi, is an important principle of 
 the Theme with Variations. 
 
 II. (2.) In cyclic compositions (the 
 Cyclical Forms), contrasting tempi (S = 
 slow, F = fast) in the successive 
 movements are a prominent feature. 
 The old Suite originally had the for- 
 mula (S + F + S + F) ; later a fifth 
 movement, either slow or fast, was in- 
 serted after (seldom before) the 2nd slow 
 one. The Sonata and Symphony are 
 essentially alike in plan ; either (F -+- 
 S + F), or more commonly (F -+- S + F 
 + F), or (S + F + S + F) or (F + F 
 
 " 5 th 
 
 ' 2d 
 
 hibits the peculiar feature of the song 
 with refrain ; once repeated, after any 
 digression (interlude, or second theme), 
 it produces the so-called Song-form 
 (Liedform, A+B+A), or that of the 
 Minuet with Alternativo. With 2 dis- 
 tinct themes alternating as follows : 
 (|: A + B :| + B [A] + A 4- B [in 
 the original key of A]), it has the 
 Sonata- form, or First-movement Form; 
 while the Rondo-form has the following- 
 alternations : ( A + B + B [A] + A + B 
 [62 in same key as A ; development- 
 section in the middle]); or : (A + B -(- A 
 [in same key as B] + B [same key 
 as A] + A). It must be added, how- 
 ever, that the Song-form, Sonata-form, 
 and Rondo-form, as carried out in 
 practice, present frequent deviations 
 from the above formulas. A theme re- 
 peated or imitated while still progress- 
 ing, produces the form of the Canon, 
 Catch, or Hound ; one or more themes 
 repeated in conjunction or alternation 
 with an accompanying or contrasting 
 counterpoint, according to a more or 
 less regular formula, the Fugue. The 
 following is a fairly exhaustive formula 
 for the construction of a simple 2-part 
 fugue : 
 
 Answer on 5th (dominant) 
 " " 3d (in diminut.) 
 " ist 
 
 " yth (inverted) 
 " 5 th 
 (with modulation to the subdominant) 
 
 Theme on ist deg. (tonic) 
 
 " " 6th " (in augment.) 
 
 (inverted) 
 
 + S + F) ; or, in 5 movements, (F -f S 
 +- F -f- S > -f- F) ; etc. ; a slow closing 
 movement rarely occurs. 
 
 II. (3.) The foregoing formal schemes 
 are a product of the slow evolution of 
 centuries. First, the primitive dance- 
 song develops into lyric and epic song 
 love-ditties, ballads, and into instru- 
 mental dance-tunes differently named 
 according to their character or origin ; 
 while a parallel progress is seen in the 
 rise of church-music from the severe 
 Gregorian Chant to the stupendous 
 contrapuntal works of the late middle 
 ages and the chaste style of Palestrina. 
 Instrumental art-music now borrows 
 and develops its forms from the vocal 
 style ; the forms of imitative music (can- 
 on and fugue) gradually near perfection, 
 finally attained by J. S. Bach ; through 
 the adoption by artists of the rhythmic 
 melody and monadic style of the hitherto 
 despised natural music (folk-music), 
 and the recognition of its harmonic
 
 FORMARE IL TUONO FREE CHANT. 
 
 77 
 
 basis, the two currents of art-music and 
 folk-music are slowly merged in one 
 broad stream ; the popular dance-tunes 
 are transformed into art-forms, and 
 combined in the Suite ; the rondo- 
 form and the first-movement (sonata-) 
 form are evolved step by step, and their 
 combination produces the Sonata and 
 Symphony; which latter, discarding the 
 scheme of 4 formal movements, and 
 aspiring to the uninterrupted flow and 
 sweep of an epico-lyrical drama without 
 words, becomes the Symphonic Poem. 
 [Compare also Passion, Oratorio, Op- 
 era, Overture] 
 
 Forma're il tuono. See Messa di voce. 
 
 Fort (Ger.) Off; as Flote fort (organ- 
 music). 
 
 Fort (Fr.) i. Forte. 2. Skilful, emi- 
 nent. . . Temps fort, strong beat. . . Four- 
 nit ur-? 3 tuyaux forte, a mixture-stop of 
 3 ranks. 
 
 Fortbien. A keyboard stringed instr. 
 inv. by Friederici in 1758, having a 
 softer tone and lighter touch than the 
 fortepiano then in vogue. 
 
 For'te (It.) I (adjective}. Loud, strong 
 (abbr. f) ; piu forte (//), louder ; po- 
 co forte (also //), rather loud ; forte 
 piano (fp), accent strongly, diminish- 
 ing instantly to piano ; fortemen'te, 
 loudly, forcibly ; forte pos si' bile, as loud 
 as possible. 2 (noun), (a) A passage 
 to be executed loudly or forcibly ; (b) 
 in the harmonium, a slide within the 
 chest containing one or more sets of 
 reeds, opened by a stop or knee-lever to 
 produce a forte effect ; sometimes di- 
 vided, one section affecting the treble 
 side and the other the bass side. 
 
 Fortepia'no (It.) Same as Pianoforte. 
 
 Fortis'simo (It., superl. of forte.) Very 
 loud, or extremely loud or forcible 
 (abbr. ff, or fffior the extreme) ; also 
 fortepossi'bile (ffff). 
 
 Fort'riicken (Ger., noun.) The ad- 
 vance of the hand on a keyboard or fin- 
 gerboard, as caused by the repetition of 
 a figure with the same fingering but at 
 a different pitch. 
 
 Fort'schreiten (Ger.) To progress... 
 Fort? schreitung, progression ; Fort'- 
 schreitung einer Dissonanz', resolution. 
 
 For'za (It.) Force, vigor ; con f., for- 
 cibly, etc. 
 
 Forzan'do (It, "forcing, straining".) 
 With force, energy ; indicates that a 
 note or chord is to be strongly accent- 
 
 ed ; abbr. fz. . . Also Forza'to, Sfor- 
 san'do (sfs). 
 
 Forzar'la vo'ce (It.) To force the voice. 
 
 Foundation-stops. See Stop. 
 
 Fourchette tonique (Fr.) Tuning-fork. 
 
 Fourniture (Fr.) A mixture-stop. 
 
 Four-part. (Ger. vier' stimmig ; Fr. a 
 quatrevoix ; It. a qttat'tro vo'ci.) Set 
 for, or performed by, 4 parts in har- 
 mony. 
 
 Fourth. (Ger. Quar'te ; Fr. quarte ; It. 
 quar'ta.) I. The fourth degree in the dia- 
 tonic scale ; the subdominant. 2. An 
 interval embracing 4 degrees (see In- 
 terval). The typical or standard fourth 
 is the perfect (or major) fourth, equal 
 to the interval between the key-note and 
 the 4th tone of r/ ^ _ its vibrational 
 the diatonic I @ -ratio being 
 scale, as c-f: <:/:: 3 14.. . 
 
 Diminished (imperfect, defective, mi- 
 nor, or false} fourth, an interval nar- 
 rower by a chromatic semitone than a 
 perfect fourth. . .Augmented {pluper- 
 fect, superfluous, at extreme) fourth, one 
 wider by a chromatic semitone than a 
 perfect fourth. 
 
 Franchise (Fr.) A dance in triple time, 
 resembling the country-dance. 
 
 Francamen'te (It.) Freely, with free- 
 dom (of delivery), boldly ; frankly, in- 
 genuously. 
 
 Franchez'za (It.), Franchise (Fr.) 
 Freedom, confidence, boldness .. Con 
 fr., see Francamente. 
 
 Franz'ton (Ger.) " French pitch " ; it is 
 lower than the ordinary Kammerton. 
 
 Frappe" (Fr., "beaten".) The down- 
 beat ; opp. to Leve". 
 
 Fra'se (It.) Phrase ; frase larga = 
 largamente. . .Fraseggia're, to phrase. 
 
 Fred'do,-a (It.) Cold. . .Freddamen'te, 
 coldly. 
 
 Fredon (Fr.) An obsolete term for a 
 roulade, trill, or tremolo ; also, a sign 
 calling for a florid extension of a single 
 written note. . . Fredonnement, trilling, 
 warbling ; humming . . . Fredonner, to 
 trill, warble ; to hum, sing to oneself. 
 
 Free chant. A form of recitative music 
 for the Psalms and Canticles, in which 
 a phrase, consisting of 2 chords only, is 
 applied to each hemistich of the words. 
 [STAINERAND BARRETT.]. .Free fugue, 
 see Fugue. . .Free part, an independent 
 part added to a canon or fugue to com- 
 plete or enrich the harmony. . .Free
 
 FREGIATURA FUGARA. 
 
 reed, see Reed. . . Free style (of compo- 
 sition), that in which the rules of strict 
 counterpoint are relaxed. 
 
 Fregiatu'ra (It.) A grace, an ornament. 
 
 Frei (Ger.) Yrt&...Frei'heit, a license 
 or liberty. 
 
 French Horn, Sixth, Violin-clef. See 
 the nouns. 
 
 Fret. (Ger. [equiv.] Bund ; Fr. touche ; 
 It. ta'sto.) One of the narrow ridges of 
 wood, metal, or ivory crossing the fin- 
 gerboard of the mandolin, guitar, zither, 
 etc., against which the strings are 
 pressed by the fingers to shorten their 
 vibrating length and thus raise the tone. 
 
 Fretel, Fretele (Fr.) A sylvan pipe ; 
 the Pan's-pipe with 7 reeds. Some- 
 times called sifflet des chandronniers. 
 (Also fretetel, fretea u , fretia n , frestel. ) 
 
 Fret'ta, con (It.) With haste, celerity ; 
 hurriedly. 
 
 Fricassee (Fr.) i. A sort of popular 
 dance interspersed with pantomime, in 
 vogue in the i8th century in the the"a- 
 tres des boulevards at Paris. 2. A kind 
 of part-song of the i6th century, each 
 part having different words. 
 
 Fries (Ger.) Purfling. 
 
 Frisch (Ger.) Brisk, lively, vigorous 
 (also adverb]. 
 
 Froh'lich (Ger.) Glad, joyous, gay, 
 (also adverb). 
 
 Front'pfeife (Ger.) See Prospekt. 
 
 Frosch (Ger.) Nut (of a bow). 
 
 Frot'tola (It., " comic ditty ".) A pop- 
 ular ballad or song intermediate between 
 the villanella and the madrigal ; in 
 great vogue during the i6th century. 
 
 F'-Schlussel (Ger.) F-clef. 
 
 Fu'ga (Lat. and It.) A fugue.. .F. ad 
 octa'vam \_quin' tani\ (Lat.), fugue at 
 the octave [fifth].. .F. tzqua'lis mo' Ins 
 (Lat.), fugue in similar motion, the 
 answer ascending and descending like 
 the subject. . .F. alcontra'rio \rever' so, 
 rove' scid\ (It.), see F. con tr aria. . .F. 
 authen'tica (Lat.), fugue with a subject 
 ascending above the key-note. . . F. ca- 
 no'nica \iotaf Us\ (Lat.), a canon... F. 
 compo' sita (Lat.), a fugue whose subject 
 progresses by conjunct degrees ... F. 
 contra'ria (Lat.), a fugue having the 
 answer in contrary motion to the sub- 
 ject.../ 1 , del tuo'no (It.), tonal fugue. 
 ..F. dop'pia (It.), double fugue. ..F. 
 homopho'na (Lat.), fugue with answer 
 
 at the unison.../', impro'pria (Lat.), 
 see F. irregula'ris . . . F. inczqua'lis 
 (Lat.), see F. contraria. . .F. incompo'- 
 sita (Lat.), a fugue whose subject pro- 
 gresses by disjunct degrees.../', in 
 conseguen za (It.), a canon. . .F. in con- 
 tra' rio tern' pore (L.3A..), szeF.per ar'sin 
 et the' sin . . . Fuga in no' mine, a ' ' fugue 
 in name," i. e. a nominal or free fugue. 
 ../'. inver'sa (Lat.), a fugue worked 
 throughout in double reversible coun- 
 terpoint, so that the inversions of the 
 parts may appear in contrary motion. 
 . . F. irreguufrit (Lat.), a fugue irregu- 
 lar in form. . .F. li'bera (Lat. and It.), 
 a fugue with free episodes. . .F. liga'ta 
 (Lat. and It ), a fugue without free 
 episodes, strictly developed from its 
 subject and countersubject. . .F. mix'ta 
 (Lat.), a fugue varied in development 
 by employing different contrapuntal de- 
 vices (augmentation, diminution, inver- 
 sion, etc.). . ./'. obbliga'ta (It.), see F. 
 ligata...F. par tin' Us (Lat.), a fugue 
 proper, in contradistinction to a canon. 
 . .F. per aiignientatio'netn \diminutio'- 
 nei\ (Lat.), a fugue in which the answer 
 is in augmentation [diminution] either 
 throughout, or as a rule. . .F.per the' sin 
 et ar'sin (Lat.), a fugue whose subject 
 begins on the strong beat, and the 
 answer on the weak beat, thus shifting 
 the accents throughout . . .F. per imi- 
 tatio'nem interrup' tarn (Lat.), a fugue 
 in which the answer is interrupted by 
 breaks or rests. . F. per mo' turn con- 
 tra' rium (Lat.), see F. contraria. ..F. 
 perio'dica (Lat.), see F. partialis. . .F. 
 perpe'tua (Lat.), a canon. . .F.plaga'lis 
 (Lat.), a fugue with subject descending 
 below the key-note. . . F. pro'pria (Lat. ), 
 see /'. regularis . ..F. rea'le (It.), a real 
 fugue. ..F. rec'ta (Lat.), see F. cequalis 
 motus...F. redi'ta or reddita (It.), a 
 fugue at the middle or end of which 
 all or some of the parts progress in 
 canon .../". regula'ris (Lat.), a fugue 
 in regular form. . .F. retrogra'da (Lat.), 
 a fugue having the answer in retrograde 
 progression ; or F. retrogra'da per mo'- 
 tum contra' rium, when the answer is in 
 retrograde progression and contrary 
 motion. . .F. ricerca'ta (It.), a fugue in 
 whose working-out the rarer and more 
 elaborate contrapuntal devices are 
 " sought out " for display ; a long and 
 elaborate master-fugue.../ 1 . tciaTtt 
 (It.), or solu'ta (Lat.), see F. li'bera. . . 
 F. tola' Us (Lat.), a canon. 
 Fuga'ra. (Ger. Foga'ra, Voga'ra) An
 
 FUGATO FULL ANTHEM. 
 
 79 
 
 organ-stop having metal flue-pipes gen- 
 erally of small scale and 8 or 4-foot 
 pitch ; tone of a sharp, " stringy " 
 quality. 
 
 Fuga'to (It. , "in fugue style ".) A pas- 
 sage or movement consisting of fugal 
 imitations, but not worked out as a 
 regular fugue. 
 
 Fu'ge (Ger.) Fugue. 
 
 Fuggi're la caden'za (It.) To avoid 
 the cadence (by interrupting it). 
 
 Fughet'ta (It., dimin. of Fuga.) A short 
 fugue, usually only a fugue-exposition. 
 
 Fugue. (Ger. Fu'ge ; Fr. fugue; It. 
 fu'ga.) The most highly developed 
 form of contrapuntal imitation, based 
 on the principle of the equality of the 
 parts, a theme proposed by one part 
 being taken up successively by all par- 
 ticipating parts, thus bringing each in 
 turn into special prominence. The 
 word fugue is presumably derived from 
 the Latin fuga, a flight, which aptly 
 characterizes the chasing and changing 
 of the subject through the several parts. 
 The elements essential to every fugue 
 are(i) Subject, (2) Answer, (3) Counter- 
 subject, (4) Stretio; to these are common- 
 ly added (5) Episode, (6) Organ-point, 
 (7) Coda; the (8) Codetta ismerely a fortu- 
 itous appendage to the actual subject, 
 bridging over the interval sometimes 
 left between the true end of the latter 
 and the entrance of the Answer. The 
 subject is usually short and suggestive ; 
 after its proposition by the part taking 
 the lead, it is taken up by the part next 
 following as the answer, and at a differ- 
 ent interval (usually a fifth higher or a 
 fourth lower than the original one), 
 being then accompanied by a contrast- 
 
 ing counterpoint, the counter subject, in 
 the first part ; if there are 3 parts, the 
 3rd resumes the subject at the octave of 
 its original pitch, followed (if there are 
 4 parts) by the answer in the 4th. This 
 first enunciation of the subject by all 
 the parts in turn, with contrapuntal 
 accomp. in the rest, is called the Expo- 
 sition ; this is commonly succeeded by 
 an Episode, which is generally construct- 
 ed (for the preservation of unity of 
 effect) of motives from the subject and 
 countersubject, with modulation into re- 
 lated keys ; then comes the First De- 
 velopment, or Repercussion, in which 
 subject and answer are taken up by the 
 several parts in a different order, fol- 
 lowed by a second and variously modi- 
 fied episode. Further developments 
 and episodes follow at the composer's 
 pleasure, varied by the contrapuntal de- 
 vices enumerated above, and generally 
 in freer form, the subject and answer 
 appearing in new keys and at a differ- 
 ent interval. The fugue may be con- 
 cluded by a Stretto or Final Develop- 
 ment, in which the subject and answer 
 overlap each other in consequence of 
 following in closer succession ; the 
 stretto is frequently above an organ- 
 point ; or the organ-point is used to 
 support the freer contrapuntal combina- 
 tions of the coda, a general finale or 
 winding-up ; or stretto and coda are 
 identical ; etc., etc. The modern fugue 
 has 2 principal varieties: (i) The-AVa/ 
 Fugue, in which the original form of 
 the subject is preserved in the answer 
 (i. e. the latter is an exact transposition 
 of the former) ; and (2) the Tonal 
 Fugue, in which the subject is modified 
 in the answer in order to return to the 
 original key ; e. g. 
 
 Subject. 
 
 Answer (Tonal). 
 
 Not: 
 
 FT' 
 
 Further varieties are the Double Fugue 
 (with 2 subjects, the exposition of the 
 1st being followed by that of the 2nd, 
 and finally by the combination of both) ; 
 the Triple Fugue (with 3 subjects) ; 
 etc. ; a fugue with 2 or more subjects is 
 sometimes called a Manifold Fugue. 
 A fugue in which the countersubject is 
 retained and developed together with 
 the subject throughout, is also called a 
 double fugue. The most elaborate 
 fugal form is the Fuga ricercata (comp. 
 
 Fuga). Fugues may be written for 
 voices or instr.s, or for solo instr.s 
 (pfte., organ). (Compare Form I, 2.) 
 
 Fugued, Fuguing. See Fuga' to. Writ- 
 ten in either strict or free fugal style. 
 
 Fiih'rer (Ger.) " Leader, dux", subject 
 (of a fugue.). .Fiih'rung, leading. 
 
 Full anthem. See Anthem.. . Full band, 
 a military band, or an orchestra, having 
 all the customary instr.s. . .Full cadence, 
 close, see the nouns. . . Full Choir (di-
 
 8o 
 
 FULLPFEIFE-GALANT. 
 
 rection in organ-playing), draw all stops 
 of the choir-organ . . . 'ull chord, one 
 represented by all its tones ; also (in 
 concerted music), one in which all the 
 parts unite. . . Full Great (in organ-play- 
 ing), draw all stops of great organ. . . 
 Full orchestra, see Full band.,. Full 
 organ, with all stops and couplers 
 drawn. ..Full score, see Score... Full 
 stop (in lute-playing), a full chord fol- 
 lowed by a pause ; also, a chord in 
 which all available ringers are occupied 
 in stopping the strings. . .Full Swell 
 (organ), draw all stops of swell-organ. 
 . .Full to fifteenth (in organ-playing), 
 draw all stops but mixtures and reeds. 
 
 Fiill'pfeife (Ger.) A dummy pipe. .. 
 Full'quinte, a very sharp-toned organ- 
 stop of si-foot pitch, to be drawn only 
 with a strong combination of founda- 
 tion-stops. . . FulFslelle, a passage put 
 in to" fill out"; padding. . .Full' stimme , 
 (a) a part reinforcing a principal part at 
 the octave or unison ; (b) a mutation- 
 stop a third or a fifth above the normal 
 pitch ; (c) pi. , in polyphonic composi- 
 tion, accessory parts not treated melodi- 
 cally like the principal parts, but brought 
 
 ' in occasionally to complete the harmony 
 or mark the rhythm. 
 
 Fundamental, i. The root of a chord. 
 2. A generator (in this sense also 
 fundamental bass, note and tone). . . 
 Fund, chord, triad, see Chord, Triad. 
 ..Fund, position, any arrangement of 
 the tones of a chord in which the root 
 remains the lowest. 
 
 Fundamentarbass (Ger.) Fundamen- 
 tal bass. . .Fundamental' ton, root ; key- 
 note, tonic (Grund'ton, To'nikd). 
 
 Funebre (Fr.), Fune'bre, Funera'le 
 (It.) Funereal, mournful. 
 
 Fiinf'fach (Ger.) See -fach. . .Fiinf- 
 stimmig, 5-part ; for 5 parts or voices. 
 . . Funf'stufige Ton' letter, pentatonic 
 scale. 
 
 Fuo'co [foo-6'-co] (It.) Fire, spirit ; con 
 f., or fuoco'so, with fire, fiery, spirited. 
 
 Fu'ria (It.) Fury, passion; con /., 
 wildly, passionately. 
 
 Furiant, Furie. A rapid Bohemian 
 dance with alternating rhythms and 
 changing accentuation. 
 
 Furibon'do (It.) Furious, frenzied. 
 
 Furio'so,-a (It.) Furious, passionate ; 
 furiosamen'te, passionately ; furiosis'- 
 simo, with extreme passion. 
 
 Furla'na (It.) See Forlana. 
 
 Furniture-stop. A mixture-stop. 
 
 Furo're (It.) A rage, mania, passionate 
 fondness (for anything).. .Also, fury, 
 passion, vehemence ; con f., passion- 
 ately. 
 
 Fu'sa(Lat.), Fuse(Fr.) An eighth note, 
 or quaver. 
 
 Fuse"e (Fr.) An ornament consisting of 
 a rapid ascending or descending dia- 
 tonic series of notes ; a slide. 
 
 Fusel (Ger.) Same as Fusa. 
 
 Fusel'la (Lat.) 32nd-note. . . Fuse? 'lala, 
 64th-note. 
 
 Fuss (Ger.) Foot ; -fussig, the adjective- 
 ending corresponding to -foot, astf/us- 
 sig (acht'fussig), 8-foot. . .Fuss'klavier, 
 pedals (of an organ). . .Fuss' ton, equiv- 
 alent to " -foot pitch", e. g. an organ- 
 pipe of 4-foot pitch is said to be of 4- 
 Fusston. 
 
 Fiit'terung (Ger.) Linings (of a violin). 
 
 G. 
 
 G. The fifth tone and degree in the 
 typical diatonic scale of C-major. . . G. 
 abbr. for gauche (m.g. = main gauche) ; 
 G. 0. (or simply G), grand-orgue. 
 
 Ga'belklavier (Ger.) A keyboard instr. 
 inv. in 1882 by Fischer and Fritzsch of 
 Leipzig, in which steel tuning-forks are 
 substituted for strings. The some- 
 what dull timbre, due to the lack of 
 harmonics, has been brightened by 
 adding, for each key, a second fork 
 tuned an octave higher than the first. . . 
 Ga'belton, "fork-tone," i.e. the tone a 1 
 pitched for tuning. . . Ga'belgriffe (pi.), 
 cross-fingerings. See Stimmgabel. 
 
 Gagliar'da (It.), Gagliar'de (Ger.) A 
 galliard. 
 
 Gai (Fr.) Gay, lively, brisk. . .Gaiement, 
 orgaiment, gaily, briskly. 
 
 Gaillarde (Fr.) A galliard. 
 
 Gajamen'te (It.) Gaily, lively.. .Ga'jo,-a, 
 
 gay- 
 
 Ga'la (It.) In the phrase di gala, gaily, 
 merrily. 
 
 Galamment (Fr.), Galantemen'te (It.) 
 Gallantly, gracefully, prettily. 
 
 Galant' (Ger.) Free ; e. g. galan'te 
 Fu'ge, free fugue ; galan'ter Stil, ga- 
 lan'te Schreib'art, free style, the homo- 
 phonous style of composition for the 
 clavichord or harpsichord, in vogue in
 
 GALANT GEFAHRTE. 
 
 Si 
 
 the i8th century ; opp. to gebun'dener 
 Stil, strict style, in which a certain 
 number of contrapuntal parts was ad- 
 hered to throughout. 
 
 Galant,-e (Fr.), Galan'te (It.) Gallant, 
 graceful, pretty. 
 
 Gal'liard. (Ger. Gagliar'de ; Fr. gail- 
 larde ; It. gagliar'da.) An old French 
 dance for 2 dancers (also called Roma- 
 ne'sca), of a gay and spirited character, 
 though not rapid, and in 3-4 time ; like 
 the Pavan, it had 3 reprises of 4, 8, or 
 12 measures. It was the precursor of 
 the Minuet. 
 
 Gal'op. (Fr. galop, galopade ; Ger. 
 Galopp'.) A very lively and spirited 
 round dance in 2-4 time ; supposed to 
 have been derived from the old German 
 Hop'ser or Rutsch'er (names descrip- 
 tive of the step). Introduced into 
 France early in the igth century. 
 
 Galoubg, Galoubet (Fr.) A kind of 
 small fife, the shrillest of all wind-in- 
 str.s, with 3 holes and a compass of 17 
 notes ; found only in Provence. 
 
 Gam'ba. i. See Viola da gamba. 2. 
 An organ-stop similar in tone to the 
 viola da gamba. 
 
 Gam'be (Ger.) Viola da gamba. . . Gam'- 
 benstimme, a gamba-stop. . . Gam'ben- 
 werk, piano-violin. 
 
 Gam'bist. A player on the viola da 
 gamba. 
 
 Gam'ma. The Greek G (T). In medie- 
 val music from the loth century on- 
 ward, the lowest tone of the mus. sys- 
 tem then obtaining was called F ; the 
 letter was . together with the F- 
 
 also used r~ _=z clef. Hence, its use 
 clef^ 
 
 as a clet to name the entire 
 
 scale (see Gamme and Gamut). . . Gam- 
 ma ut, 
 name 
 of G: 
 
 ' in the old system of 
 ; solmisation. 
 
 Gamme (Fr.) A scale (see Gamma).. . 
 G. diatonique (chromatique), diatonic 
 (chromatic) scale. 
 
 Gam'ut (from gamma ut). I. See Gam- 
 ma. 2. A scale. 3. The staff. 4. In 
 old English church-music, the key of G. 
 
 Gang (Ger.) Passage. (Plural Gauge.) 
 
 Ganz (Ger.) I . Whole. . . Gan'ze Note 
 {gan'ze Takt'note), whole note (ey). . . 
 Ganz' instrument, a metal wind-instr., 
 the lowest natural tone of whose tube 
 can be made to speak ; opp. to Halb'in- 
 .strument. . . Ganz'schluss, whole ca- 
 
 dence. . . Ganz' ton, or gan'zer Ton, 
 whole tone. 2. Very. 
 
 GarTio (It.) Grace, elegance. 
 
 Gas'senhauer (Ger.) In the i6th cen- 
 tury, a designation for popular songs or 
 folk-songs (Gas'senhawerlin) ; the word 
 now signifies a trite and threadbare 
 tune, and at the same time something 
 vulgar and unworthy of art. [RlEMANN. J 
 
 Gathering-note. In chanting, an irreg- 
 ular fermata on the last syllable of the 
 recitation, to enable the body of the 
 singers to catch up and begin the ca- 
 dence together. 
 
 Gauche (Fr.) Left; main g. (abbr. m. 
 g.), left hand. 
 
 Gaudio'so (It.) Joyous, jubilant. 
 
 Gau'menton (Ger.) A guttural tone. 
 
 Gavot'. (Fr. gavotte ; It. gavot'ta.) An 
 old French dance-form in strongly 
 marked duple time (( alia breve), be- 
 ginning with an auftakt, of a lively 
 though dignified character, and resem- 
 bling the Minuet. (See Suite.) The 
 Gavot has latterly been revived as an 
 instrumental piece. 
 
 Gaz'el. A piece with a short and oft-re- 
 curring theme or refrain. 
 
 G-clef. (Ger. G'-Schlussel; Fr. clef de 
 sol ; It. chiave di soprano.') The sign 
 
 f determining the position of the 
 note g 1 on the staff. (See Clef.) 
 a'se (Ger.) Bellows (of an organ ; 
 usually Balg). 
 
 Gebroch'en (Ger.) Broken. 
 
 Gebun'den (Ger.) i. Tied. 2. Legato, 
 tied ; as gebun'dene Dissonanz', pre- 
 pared dissonance ; gebun' 'denes Spiel, 
 legato playing ; gebun'dener Stil, strict 
 style. 3. Having 2 or more digitals to 
 one string (said of clavichords) ; opp. 
 to un'gebunden or bund'frei (i. e. 
 "fretted" or "fret-free" [GROVE]). 
 (Comp. Bundfrei.) 
 
 Gedackt' (Ger.) Stopped (of organ- 
 pipes) ; opp. to offen. (Also gedact, 
 gedakt.) 
 
 Gedampft' (Ger.) Damped ; muffled ; 
 muted. 
 
 Gedeckt' (Ger., "covered".) See Ge- 
 dackt. 
 
 Gedehnt' (Ger.) See Dehnen. 
 
 Gpdicht' (Gtr.) Poem. 
 
 Gefahr'te (Ger.) Answer (in fugal com- 
 position).
 
 82 
 
 GEFALLEN GESCHLEIFT. 
 
 Gefal'len (Ger.) Pleasure ; nach G., a 
 piacere. 
 
 Gefal'lig (Ger.) Pleasing, attractive, 
 graceful. 
 
 Geftihl' (Ger.) Feeling, emotion. . . Mil 
 G., with feeling, expression (also ge- 
 fuhlvoll). 
 
 Ge'gen (Ger.) Against, contrary to. . . 
 Ge'genbewegung, contrary motion. . . 
 Ge'genfuge, a fugue in which the an- 
 swer is an inversion of the subject. . . 
 Ge' genharmonie , counter-subject (in a 
 fugue). . . Ge'gensatz, (a) contrast ; (b) 
 contrasting movement or effect. . . Ge'- 
 genstimme, contrapuntal part ; counter- 
 subject. 
 
 Gegit'tertes B (Ger.) B cancellatum. 
 
 Gehal'ten (Ger.) Held, sustained. 
 
 Geh'end (Ger.) Andante. 
 
 Gei'ge (Ger.) Violin. . . Gei' genclavicym- 
 bel, Gei'genklavier, bow-piano. . . Gei'- 
 genharz, rosin. . . Gei'geninstrument, 
 bow-instr. . . Gei'genprincipal, violin- 
 diapason (organ-stop). . . Gei'genwerk, 
 piano-violin. . . Geigenzettel, the maker's 
 " label " or " inscription " on a violin. 
 
 Geist (Ger.) Spirit, soul ; mind, intel- 
 lect ; genius ; essence. 
 Gei'sterharfe (Ger.) JEolian harp. 
 
 Geist'lich (Ger.) Sacred ; opp. to welt'- 
 lich, secular. 
 
 Gelas'sen (Ger.) Calm, composed, 
 placid ; easy. (Also adverb.) 
 
 Gelau'fig (Ger.) Fluent, voluble ; easy, 
 familiar. . . Gelau'figkeit, fluency, celer- 
 ity, velocity ; ease, familiarity. 
 
 Gemach'lich (Ger.) Comfortable, easy, 
 commodious, convenient ; slow, gentle. 
 (Also adverb. ) Recht gemachlich , com- 
 modetto. 
 
 Gema'ssigt (Ger.) Moderate. (See 
 Massig.) 
 
 Gemisch'te Stim'men (Ger.) i. Mixed 
 voices. 2. In the organ, the mixtures, 
 or mixture-stops. 
 
 Gems'horn (Ger., "chamois-horn.") In 
 the organ, a metal flue-stop having ta- 
 pering pipes of 8, 4, or 2-foot pitch on 
 the manuals and of 1 6-foot pitch on the 
 pedal, with mellow, horn-like timbre. 
 . . Gems' ' hornquinte, a 5^-foot stop of 
 the above type. 
 
 Gemiit'(h) (Ger.) Soul, heart, spirit ; 
 mind ; disposition, temperament, na- 
 ture. 
 
 Ge'nera. Plural of Genus. 
 
 General'bass (Ger.) Thorough-bass; 
 General bassschri ft, thorough-bass no- 
 tation.. .General pause, a pause for all 
 instr.s or parts in the midst of a com- 
 position, particularly when so intro- 
 duced as to produce a striking effect. 
 A hold "* over the rest for such a 
 pause renders its duration indetermin- 
 ate ; i. e. robs it of rhythmic value, as 
 if the beats or counts were suspended 
 for the time being. . . General' probe, full 
 rehearsal. 
 
 Generator. (Fr. [son] ge'ne'rateur.) i. 
 A root, or fundamental tone. 2. A 
 tone which produces a series of har- 
 monics. 
 
 Ge'nere (It.) A mode or key ; a genus. 
 
 Genero'so,-a (It.) Generous, free, ample. 
 
 Genial' (Ger.) Relating to or exhibiting 
 genius ; talented, gifted, ingenious, 
 clever ; spirited. 
 
 G6nie (Fr.), Genie' (Ger.) Genius. 
 
 Genouilliere (Fr.) Knee-lever ; formerly- 
 used in German grand pftes. as a sub- 
 stitute for the earlier draw-stops, before 
 the general introduction of pedals. 
 
 Genre (Fr.) Genus, as g. diatonique* 
 chromatique, enharmonique . A 1 s o , 
 style. 
 
 Gentil,-le (Fr.) Genti'le (It.) Grace- 
 ful, delicate, pretty. Gentilment (gen- 
 tilmen'te), gracefully, etc. . . Gentilez'za, 
 con (It.), with dignity, refinement, grace. 
 
 Ge'nus (Lat.) i. In ancient music, a: 
 system of arranging the notes of a tetra- 
 chord ; for diatonic, chrom., enharm^ 
 genus, see Greek Music, 2. 2. A 
 mode or octave-scale. 
 
 Gera'de Bewe'gung (Ger.) Similar 
 or parallel motion. . . Gera'de Takfart 
 (gerader Takf), duple or quadruple time. 
 
 German flute, the cross-flute. . . German 
 sixth, see Extreme. 
 
 Ges (Ger.) G^.. . Ges'es, Gbb- 
 
 Gesang' (Ger.) Singing, song ; a song, 
 vocal composition ; melody, air. . . Ge- 
 sang' buck, a song-book, hymn-book. . . 
 Gesangs'kunst, the art of singing, vocal 
 art. . .Gesang'(s)massig, melodious; 
 adapted for singing, for the voice. . . 
 Gesang'verein, singing society, choral 
 society. 
 
 Geschlecht' (Ger.) Genus ; mode. 
 
 Geschleift' (Ger.) Slurred ; legato..
 
 GESCHMACK GOATHORN. 
 
 Geschmack' (Ger.) Taste. . . Geschmack'- 
 voll, tasteful(ly). 
 
 Geschwanzt' (Ger., "tailed".) Having 
 a hook or hooks ( p jj). 
 
 Geschwind' (Ger.) Swift, rapid, quick. 
 (Also adverb.) 
 
 Ges'es(Ger.) See Ges. 
 
 Gesicht' (Ger.) Front (of organ). . . Ge- 
 sichts'pfeifen, front pipes. 
 
 Gespon'nen (Ger. "spun".) Gesponnene 
 Saitf, ' ' covered " string. . . Gesponnener 
 Ton, "son file" (see Filar), an even, 
 sustained tone (voice or violin). 
 
 Gestei'gert (Ger.) Intensified; rinforzato. 
 
 Gestrich'en (Ger.) i. Having hooks. 
 2. In compound words, equivalent to 
 -lined, -accented, as ein'gestrichene Ok- 
 ta've, one-lined (once-accented) octave. 
 
 3. Crossed , i -Q or & & 4. Cut 
 
 with a stroke orpg) (as a scene in 
 line across, as \J <&- an opera). 
 
 Get(h)eilt' (Ger.) Divided, separated.. . 
 Geteil'te Violi'nen, violini divisi. . . Ge- 
 teifte Stint' men, partial stops (organ). 
 
 Getra'gen(Ger.) Sostenuto. See Tragen. 
 
 Geworfener Strich (Ger.) " Thrown 
 stroke " ; in violin-technics, a form of 
 the saltato. 
 
 Ghaz'al, Ghaz'el (Arabic.) See Gazel. 
 
 Ghiribiz'zo (It.) Whim, fancy, caprice. 
 . . Ghiribizzo'so, whimsical, etc. 
 
 Gi'ga (It.) See Gigue, 
 
 Gigeli'ra (It.) Xylophone. 
 
 Gigue (Fr.) I. Early name for the old 
 form of viol, which nearlyresembled that 
 of a ham (gigue) ; hence German Geige. 
 2. Ordinary title in the Suite for the jig. 
 
 Gioche'vole (It.) Playfully, merrily. 
 
 Giocon'do,-a (It.) Jocund, gay, playful. 
 . . Giocondamtn'te, joyously, merrily. 
 
 Gioco'so,-a (It.) Playful, sportive, ban- 
 tering; humorous. . . Giocosamen'te,play- 
 fully, etc. 
 
 Gio'ja (It.) Joy, delight, pleasure... 
 Giojan'te, joyfully, mirthfully. . .Gio- 
 jo'so,-a, joyful, mirthful. . . Giojosamen'- 
 te, joyfully, etc. 
 
 Giovia'le (It.) Jovial, cheerful. 
 
 Giraffe. An old-style upright grand pfte. 
 
 Gi'ro (It.) A turn. 
 
 Gis (Ger.) GJJ. . . Gis'is. G x . 
 
 Giubili'o (It., also giu'bilo, giubilazicf- 
 ne.) Joy, rejoicing, jubilation. . .Giu- 
 bilo'so,-a, jubilant. 
 
 Giuocan'te (It.) Playful, bantering. 
 . . Giuoche'vole, playfully, etc. 
 
 Giu'sto,-a (It.) Appropriate, strict, 
 moderate (as tempo giusto), exact, pre- 
 cise, correct. . .Allegro giusto (all. 
 mod*), moderately fast. . . Giustamen'te, 
 correctly, exactly.. . Giustez'za t con,-vn\h 
 precision. 
 
 Glas'harmonika (Ger.) Harmonica i. 
 
 Glee. A secular composition for 3 or 
 more unaccompanied solo voices, of 
 later origin and less contrapuntal inge- 
 nuity than the Madrigal, and peculiar 
 to England. It is of modern character, 
 both with regard to tonality and to its 
 employment of harmonic masses and 
 the perfect cadence. The name glee is 
 not properly descriptive of its nature, 
 as serious glees are written as well as 
 merry ones. 
 
 Gleich (Ger.) Equal. .. Glei'cher Kon'- 
 trapunkl, equal counterpoint. . . Glei'che 
 Stimmen, equal voices. . . Gleich' schwe- 
 bende Temperatur' , equal temperament. 
 
 Gli (It.) The (masc. pi.). 
 
 Glicibarifo'na (It.) A wind-instr. inv. 
 in Italy about 1827 by Catterini ; a 
 small 4-octave expressive organ. 
 
 Glide. The smooth connection of 2 tones 
 by slurring. 
 
 Glissan'do (also glissa'to, glissican'do, 
 glissica'to ; spurious It. forms imitated 
 from the Fr. glisser.) i. On bowed 
 instr.s, (a) calls for a flowing, unac- 
 cented, execution of a passage ; (b) 
 same as Portamento. 2. On the pfte., 
 a rapid scale-effect obtained by sliding 
 the thumb, or thumb and one finger, 
 over the white keys, producing either 
 the simple scale, or thirds, sixths, etc. 
 (easier and more effective on the Jankd 
 keyboard). 
 
 Glissg (Fr.) i. GUssando 2. 2. A di- 
 rection indicating that a passage is to 
 be executed smoothly and flowingly. 
 
 Glock'e (Ger. ; dimin. Glock'cJien.) Bell. 
 . . Glockenisf , same as Carillonneur. . . 
 Clock' enspiel, (a) a carillon ; (6) an 
 instr. consisting of bells or (more re- 
 cently) of steel bars, tuned diatonically 
 and struck with a small hammer ; oc- 
 casionally used in the orchestra ; (c) an 
 organ-stop which causes a set of small 
 bells to be sounded by the manual. 
 
 Glo'ria. See Doxology, Mass. 
 
 Gnac'care (It.) Same as Castagnette. 
 
 , Goathorn. See Gemshorn.
 
 8 4 
 
 GONDELLIED GRACE. 
 
 Gon'dellied (Ger.) Gondoliera. 
 Gondolie'ra (It.) See Barcarole. 
 
 Gong. (Tam-tam in Fr. and Ger. use.) 
 An instr. of percussion in the form of 
 a large round slightly concave plate or 
 basin of metal (alloy of 4 parts copper to 
 i part tin), with a raised rim. It is struck 
 with a stick having a padded leather 
 head, and is used in the orchestra to in- 
 tensify melodramatic effects. 
 
 Goose. (Fr. couac.) A harsh break in 
 the tone of the clarinet, oboe, or bas- 
 soon, caused by a defective reed or im- 
 proper manipulation. 
 
 Gorgheggia're (It.) To execute florid 
 vocal music ; also see Fredonner. . . 
 Gorgheggiamen'to, art of singing florid 
 passages, etc. . . Gorgheg'gio, a florid 
 passage. 
 
 Gospel side. See Epistle side. 
 
 Gout (Fr.) Taste. 
 
 Grace. (Ger. Verzie'rung ; Fr. orne- 
 ment, agre~ment ; It. abbellimen'to, fio- 
 
 rct'to.) A vocal or instrumental orna- 
 ment or embellishment not essential to 
 the melody or harmony of a composi- 
 tion. (The long appoggiatura is an ex- 
 ception ; it was formerly written as a 
 small note grace-note because care- 
 ful composers could thus nominally 
 evade the rule prohibiting the entrance 
 of unprepared dissonances. ) . . . Grace- 
 note, a note of embellishment, usually 
 distinguished by its smaller comparative 
 size. 
 
 The graces for harpsichord, clavichord, 
 pianoforte and voice, enumerated below in 
 alphabetical order, are given according to the 
 following authorities : j. H. d'Anglebert, 1689 
 (d 1 A.) ; J. S. Bach, 1720 (B.) ; C. Ph. E. Bach, 
 1787 (Em B.) ; Dr. John Blow, 1700 (Bl.) ; Dr. 
 Thomas Busby, 1786 (Bu.); Francois Couperin, 
 1713 (C.); J. W. Callcott, 1817 (Ca.) ; Etienne 
 Loulitf, 1696 (L.); N. deS. Lambert, 1697 (La.); 
 F. W. Marpurg, 1763 (M.) ; P. I. Milchmeyer, 
 1797 (Mi.); J. S. Petri, 1782 (P.); Fr. Pollini, 
 1711 (Po.) ; J. P. Rameau, 1737 (R.) ; Christ- 
 opher Simpson, 1659 (S.) ; G. F. Wolf, 1783-89 
 (W.) ; and J. G. Walther, 1732 (Wa.). 
 
 In every case, the special article in the body 
 of the book should also be consulted, the pri- 
 mary intention of this article being to give a 
 list of signs for ready reference. 
 
 (Bl.) 
 
 Arpegement en descen 
 en montant. dant. 
 
 Back Turn. 
 
 Balancement 
 
 Beat
 
 GRACE. 
 
 (S.) 
 
 -*, 
 
 Shaked Beat. 
 (^ (d'A.) 
 
 Bebung. Beisser. 
 (d'A.) 
 
 Brechung. 
 (B.) 
 
 Cadence. 
 ( m (B.) 
 
 (B) 
 
 ' 
 
 Doppelt-Cadence. 
 
 (B.) 
 
 Doppelt-Cadence 
 and Mordant. 
 
 
 Cadence pleine. 
 
 Cadence brisee. 
 
 Chute. 
 (d'A.) 
 I 
 
 (d'A.) 
 I i 
 
 Chute et Pince. 
 (dj\.) ^ (d'A.) 
 
 Chute. 
 
 
 Coule. 
 (d'A.) 
 
 (d'A.) 
 
 (R.) 
 
 * 
 
 Tierce coulee. Coule. 
 nr^.. ~(Km. B.) 
 
 , or SV9 v 
 
 Doppel- Geschnellter Doppelschlag. Prallender 
 schlag. Doppelschlag. 
 
 
 
 i.j 
 
 i. I 
 
 ^ (d'A.) 
 
 ~ (d'A.) 
 
 Umgekehrter Doppel vorschlag. Double. 
 Doppelschlag. 
 
 (d'A.) 
 
 (S-)-l-. 
 
 (S.) 
 
 D. sur une tierce. 
 
 Double. 
 
 Elevation. 
 
 Shaked 
 Elevation.
 
 86 
 
 GRACE. 
 
 (Po.) 
 
 (Po.) 
 
 (R.) 
 
 Gruppetto. 
 
 Liaison. 
 
 (Lo.) 
 
 it-V-r 
 
 vv vvv 
 
 /*v 
 
 \&^==t^S^^-^^^^-^^^J^^^ 
 
 Martellement M. double. M. triple, 
 simple. 
 (M.) (M.) 
 
 ^ /*V /vK" A 
 
 Mordant. 
 (M.) 
 
 1 *'J* i 1 l*"^> ' 1 ="!* i i ~1 
 
 fig 1- 
 
 T i UH i '^-^~ i | a *- 
 
 . p^ J 1 i M -! gg^ 4 
 
 Nachschlag. 
 (Wa.) 
 
 
 Springender Nachschlag. 
 
 Nachschlag 
 (modern). 
 
 Nachschlag. 
 
 Pince double. 
 
 Pince diese. 
 
 Pinces bdmolises. 
 
 (C.) 
 
 Pince continu. 
 (R.) 
 
 (R.) 
 
 (R.) 
 
 Pince. 
 
 " , _ y 
 
 M I J I 
 
 Pince et Port de voix. 
 (Lo.) 
 
 Pince lie. 
 
 (Lo.) 
 
 1 t 
 v Pince Pincfe Plain-beat. 
 
 double, etouffc. 
 
 (Lo.) or or 
 
 Port de voix. 
 
 Port de v. simple. Port de voix double. 
 
 Port de voix. 
 
 Pralltriller. 
 
 Single Relish
 
 GRACIEUX GRAZIA. 
 
 or // 
 
 Double Relish. 
 
 Schleifer. [Coule.] [Slide.] 
 
 (S.) a (Bu.) 
 
 Slide. 
 I (R-) 
 
 Springer. 
 
 Passing Shake. 
 
 , r , 
 
 (C.) ^ 
 
 (M.) 
 
 =*tt^ 
 
 Son Suspen- Trem- Tremblem. appuye. Tremblement. 
 
 coupe. sion. blement. 
 
 tr~*-- (**) ^ >c I es (*) *") 
 
 ^E^S^CT-^II , i^_=r^~ir: 
 
 Tremblem. continu. Turn. 
 
 ^ (Bl.) (P.) AV> J 
 
 Doppeltriller mit Nachschlag. 
 
 (Bl.) 
 
 |S (Bl.) 
 
 i^4^ 
 
 Mit Vor- und Nachschlag. Trill without 
 after-beat. 
 
 Trill with 
 
 Gracieux, Gracieuse (Fr.) Graceful. 
 
 Gra'cile (It.) Graceful and delicate ; 
 thin, slender (yo'ce gracile). 
 
 Grad (Ger.) Degree. 
 
 Gradation. An ascending or descend- 
 ing series of diatonic chords. 
 
 Grade'vole (It.) Pleasing, agreeable . . . 
 Gradevolmen'te, pleasingly. 
 
 Gra'do (It.) Degree, step. . .Gr. ascen- 
 dent te, ascending step... Gr. descenden' te , 
 descending step . . . Digrado, by a step, 
 stepwise ; opp. to di salto, by a skip. 
 
 Gradual. (Lat. gradita'le.) I. An anti- 
 phon following the epistle ; so called 
 because sung on the step (gradus) of the 
 ambo or pulpit. 2. A cantatorium 
 (book of chants) containing the grad- 
 uals, introits, and other antiphons of 
 the R. C. Mass. 
 
 Graduellement (Fr.) Gradually. 
 
 Grammatical accent. See Accent. 
 
 Gran cas'sa (It.) See Cassa...Gran 
 gu'sto, epithet applied to an eccentric or 
 highly effective composition. 
 
 Grand. Technical term for Grand Piano- 
 forte (see Pianoforte). . . Grand action, 
 an action such as is used in grand pftes. 
 . . Grand barre", see Barre. 
 
 Grand (Fr.) Large, great. . .Gr. barrt, 
 see Bar re". . . Gr. bourdon, double-bour- 
 don. . . Gr, chaur, full-organ. . . Gr.jcu, 
 
 (a) full organ ; (b) an harmonium-stop 
 which brings into action the full power 
 of the instr. ..A grand orchestre, for 
 full orchestra. . . Grand-orgue, (a) full 
 organ ; (^) great organ; (c) pipe -organ. 
 
 Grandeur (Fr.) Width (of intervals). 
 
 Grandez'za (It.) Grandeur, majesty, 
 dignity. 
 
 Grandio'so (It.) Grand, pompous, ma- 
 jestic. 
 
 Grandisonan'te (It.) Loud or long. 
 sounding, re-echoing ; sonorous. 
 
 Granulato (It., " granulated.") Non 
 legato. 
 
 Grap'pa (It.) Brace. 
 
 Grasseyement (Fr.) A guttural and 
 vicious pronunciation of the r and / in 
 singing. .. Grasseyer, to pronounce as 
 above. 
 
 Gratio'so (It.) Same as Grazioso. 
 
 Gra've (Fr. and It.) I. Grave or low in 
 pitch. 2. Heavy, slow, ponderous in 
 movement (see Tempo-marks). 3. 
 Grave or serious in expression. 
 
 Gravement (Fr.), Gravemen'te (It.) 
 Slowly, heavily, ponderously; seriously. 
 
 Gravicem'balo (It.) A harpsichord. 
 (Also Gravecembalo.) 
 
 Grav'is (Lat.) Heavy, ponderous ; see 
 Accentus eccl. 
 
 Gra'zia (It.) Grace, elegance; con gr.,
 
 88 
 
 GRAZIOS GREEK MUSIC. 
 
 gracefully, etc. . . Grazio' 'so ,-a , graceful, 
 elegant. . . Graziosamen'te, gracefully. 
 
 Crazies' (Ger.) Graceful(ly). 
 
 Great octave. See Pitch, absolute. . . 
 Great organ, see Organ. 
 
 Greater. Major. 
 
 Grec (Fr.) Greek. . .A chorus a la grec 
 is one introduced at an act-close, in 
 imitation of the ancient Greek tragedy. 
 
 Greek music. Without attempting to 
 explain the theoretical and mathemat- 
 ical subtleties of the system, a brief 
 statement of some leading features will 
 be given below. 
 
 i. The Modes, or Octave-scales. 
 The typical Greek scale was precisely 
 
 the reverse of our modern ascending 1 
 major scale, being conceived as a de- 
 scending minor scale. Harmony in the 
 modern sense was unknown ; the aim 
 of Greek theory in treating of harmonic 
 intervals was, therefore, to establish the 
 melodic succession of the tones, and 
 the Greeks conceived the scale as con- 
 stituted of a series of tetrachords (4-tone 
 groups with the compass of a perfect 
 fourth). 
 
 The primitive Greek modes were sim- 
 ple octave-scales ; the three most ancient 
 forms were (i) the Dorian, (2) the 
 Phrygian, and (3) the Lydian, to each 
 of which were later added 2 attendant 
 modes, making 9 in all : 
 
 I. Dorian. 
 
 e l d ' c^-^bagf^e 
 4. Hypodorian or ^Eolian. 
 
 Hyperdorian or Mixolydian. 
 
 2. Phrygian. 
 
 ' f' 
 
 d ^c^^bagfed 
 
 5. Hypophrygian or Ionian. 
 
 g l f l ^e l d l c l ^,b ag 
 8. Hyperphrygian or Locrian. 
 
 3. Lydian. 
 & agf^e d c 
 
 6. Hypolydian. 
 
 ,\ 
 
 l d ' c^-~>b agf 
 9. Hyperlydian. 
 
 b a g 
 
 (The signs and " indicate the step of a whole tone and semitone respectively.) 
 
 The prefix hypo signifies " a fifth be- 
 low " ; hyper, " a fifth above". (Compare 
 Mode.) The character and name of 
 each mode depended (a) upon the form 
 of the tetrachord, and (&) upon the 
 position of the diazeuctic tone. While 
 each of the 3 primitive modes is com- 
 posed of 2 tetrachords of like name and 
 form, which are disjoined (separated) by 
 the diazeuctic tone (marked f ; from dia- 
 zeuxis,a. separation), each of its 2 attend- 
 
 Major Mode. 
 
 ant modes is composed of 2 similar con- 
 joined tetrachords, united by one com- 
 mon tone, and preceded or followed by 
 the diazeuxis. The character of the te- 
 trachord depends on the position of the 
 semitone ; e. g. in the Dorian tetra- 
 chord, found in the Dorian and attend- 
 ant modes, the semitone occurs between 
 the third and fourth tones. This Do- 
 rian mode is an exact inversion of the 
 modern major mode : 
 
 Dorian Mode. 
 
 ,f f r> r F ,-. 
 
 2. The Perfect System is based on 
 the Dorian tetrachord ; it comprises the 
 
 following two octaves, in which the Do- 
 rian mode occupies the central portion: 
 
 g 
 
 c d 
 o o 
 
 
 
 o 
 
 o ^ 
 
 5 8-s- 
 1*311 
 
 -^ "Si 
 
 |||] 
 
 O^ o 
 
 g 8.-S-S 
 S 8^2 
 
 
 rt c/i o 
 
 1 1.| 
 
 W X^S 
 
 4) 5J ~~~ " 
 
 
 1u 
 
 a ? 
 
 H* 
 
 
 H 
 
 LH 
 
 CM -2- 
 
 . 
 
 A 1 
 
 . 
 
 . 
 
 -^ | , 
 
 
 
 
 
 |J> g ]~^~ /Iw 
 
 ?' d 1 c 1 b a g f -^ 
 
 " e d c ^ 
 rrrl 
 
 B A 
 
 1^ * J J 
 
 
 
 
 
 Dorian Mode.
 
 GREEK MUSIC. 
 
 89 
 
 This system is formed by adding, at 
 either extreme of the Dorian scale, a 
 conjoined tetrachord, and completing 
 the 2-octave system by the addition of 
 A (hence called Proslambanomenos, 
 "the acquired tone") in the lower 
 octave, thus forming a complete a- 
 minor descending scale. The 2 central 
 tetrachords were therefore disjoined ; 
 but, for modulations to the lower quint 
 
 Full Names of all Degrees in the Perfect System. 
 
 (which to the Greeks was the most 
 natural transition, just as that to the 
 key of the higher quint is to us), they 
 used the semitone above the highest 
 tone of the middle tetrachord, and con- 
 sequently distinguished a special "con- 
 joined tetrachord " (tetrachorJon synem- 
 menon) </'-c'-^p a, in opposition to the 
 " disjoined tetrachord " (tetr. diezeug- 
 menon) 
 
 f: 
 
 Nete hyperboleon 
 Paranete hyperb. 
 Trite hyperboleon 
 Nete diezeugmenon 
 
 (highest of the disjoined) 
 Paranete diezeugmenon 
 (next-highest of the disjoined) 
 Trite diezeugmenon 
 
 (third of the disjoined) 
 Paramese 
 (the [tone] next the middle) 
 
 Mese 
 
 (middle tone) 
 
 Lichanos meson 
 
 Parhypate ' ' 
 
 Hypate 
 
 Lichanos hypaton 
 
 Parhypate " 
 
 Hypate " 
 
 Proslambanomenos 
 
 The theorists attributed special impor- 
 tance to the middle tone Mese, as the 
 tonic of the perfect system. This sys- 
 tem also forms the foundation of me- 
 dieval mus. theory ; even the compass 
 given above was not overstepped till the 
 introduction of the F (gamma). Gre- 
 gorian music keeps within these limits, 
 and the notation in Latin letters retains 
 this same diatonic scale even to the 
 chromatic alteration of Paramese to 
 Trite synemmenon. This perfect sys- 
 tem (systema teleion) was also styled the 
 systema metabolon, the " mutable (i. e. 
 modulatory) system," with reference to 
 the modulation to the subdominant 
 made possible by employing the con- 
 joined tetrachord ; without this tetra- 
 chord it was called the systema amela- 
 bolon (immutable). [This diatonic divi- 
 sion of the tetrachord into 2 whole tones 
 and a semitone (as a g /W), of which 
 the Dorian tetrachord is the normal 
 type, was the distinctive feature of the 
 diatonic gen us (genus = melodic arrange- 
 ment of the tones within the tetrachord) ; 
 the earlier enharmonic genus was 
 formed by omitting the paranete or the 
 lichanos (as a -- f^e), and the later 
 
 (highest of the high) 
 (next-highest of the high) 
 (third of the high) 
 
 C 1 C 1 
 
 D D*} 
 
 \ K (forefir 
 F (next-l( 
 
 Nete synemmenon 
 (highest of the conjoined) 
 Paranete synemmenon 
 _ (next highest of the conjoined) 
 
 * Trite synemmenon 
 
 (third of the conjoined) 
 
 Mese 
 
 ger-tone of the middle) 
 >west of the middle) 
 
 Si 
 
 e (lowest of the middle) 
 
 d (forefinger-tone of the low) 
 
 C (next-lowest of the low) 
 
 B (lowest of the low) 
 
 A (acquired tone) [in no tetrachord] 
 
 enharmonic genus by dividing the 
 trite or the parhypale into 2 tones 
 (as a e 1 }, f^ e) ; while the chro- 
 matic genus, also omitting the dia- 
 tonic second degree, was expressed 
 by sharping either trite or parhypate 
 (asa^/tf -/-<?); etc.] 
 
 3. Transposing Scales. While 
 the perfect system remained the standard 
 in theory, the progress of Grecian musical 
 art widened its application in practice 
 until all flat and sharp semitones were 
 employed, and its range likewise ex- 
 tended. The chromatic alterations were 
 expressed in the Greek alphabetical 
 notation by different letters and differ- 
 ent positions of the same letter, which 
 were equivalent in effect to our Jf and \). 
 E. g., on substituting n the octave-scale 
 </' d the conjoined for the disjoined 
 tetrachord (i. e. Ity for &), this octave- 
 scale is no longer the Phrygian, but 
 becomes the Hypodorian, for the dis- 
 tinction between the modes depends on 
 the position of the semitonic step ; 
 moreover, as the Hypodorian octave- 
 scale is to be considered as that extend- 
 ing from the Dorian mese to proslam- 
 Ixinomenos, this octave-scale d^ d
 
 GREGORIAN CHANT GROUP. 
 
 with bf) belongs to a transposed Dorian 
 mode, having not A, but J, for pros- 
 lambanomenos. Greek music was not 
 tied, like the Gregorian, to the diatonic 
 scaled ' without chromatics, but em- 
 ployed transpositions of the perfect 
 2-octave system parallel to our 12 or 
 more sharp and flat keys ; finally, these 
 transpositions numbered 15 inall, those 
 first in vogue bearing the same names 
 as the first 7 octave-scales. In the 
 Greek method of alphabetical notation, 
 the natural scale (without chromatics) 
 was the Hypolydian : 
 
 fi^e l d l c^b agf 
 consequently, the 2-octave system A a 1 
 without chromatics is called the Hypo- 
 lydian (being the natural scale among 
 the transposing scales, as is C-major 
 among the sharp and flat keys), and the 
 transposing scales are named according 
 to the mode represented by the various 
 chromatic alterations of the octave-scale 
 
 l f. For instance, 
 
 being a Lydian octave, the 2-octave 
 system (or transposing scale) d d* 
 with one flat is called the Lydian trans- 
 posing scale. It follows, that the octave 
 / ' / belongs 
 without # or b to the system A a 1 
 
 (Hypolydian) 
 with I b to the system d d* 
 
 (Lydian) 
 
 (Hypophrygian) 
 ' 3b " " " fe* 
 
 (Phrygian) 
 
 ' 4b F /' 
 
 (Hypodorian) 
 
 5 b ^b ^*b 
 
 (Dorian) 
 
 6 b ^b e< *\) 
 
 (Mixolydian, or Hyperdorian) 
 On the other hand, all the sharp scales 
 (of later origin) show new names ; the 
 octave _/"'# /# belongs 
 withiJJ to the system ee* (Hyperiastian) 
 (high Mixolydian) 
 " 2$ " ' B ^'(lastian) 
 
 (high Dorian) 
 
 " 3$ " "-^3 -y^Hypoiastian) 
 
 (high Hypodorian) 
 
 (high Phrygian) 
 
 " 5S " " G$ ^'JJ(HypOceolian) 
 
 (high Hypophrygian) 
 
 " 6J{ " " d$ <?$( Hyperdorian) 
 
 (high Lydian) 
 
 The system </$ d-%, with 6 sharps, is 
 enharmonically identical with tfy e*b 
 with 6 flats ; both are named Hyper- 
 dorian ; here closes the circle of fifths. 
 The names of the sharp scales re- 
 emerge as those of church-modes (the 
 number of which was increased to 12 
 in the l6th century) ; namely, the 
 Ionian (= lastian), and Hypoionian, 
 ^iolian, and Hypoaeolian. 
 
 Gregorian chant. The forms of mus. 
 worship as revised and established by 
 Pope Gregory I. (the Great, d. 604) for 
 the R. C. Church, and known collect- 
 ively under the name of Plain Chant. 
 There was probably no essential differ- 
 ence between the Gregorian and Am- 
 brosian styles ; St. Gregory's chief 
 work was the careful revision of the 
 ritual music employed at his time, the 
 rejection of redundances and abuses, 
 and the final establishment of the ma- 
 terial thus sifted and arranged as the 
 norm for all Western Churches. He was 
 also presumably the arranger, if not the 
 originator, of the 4 Plagal modes par- 
 allel to the 4 Authentic modes of St. 
 Ambrose. (See Mode.) 
 
 Grei'fen (Ger.) To stop (on the violin); 
 to take or play (on other instr.s); to 
 finger ; to stretch (er kann eine De'- 
 zime greifen, he can stretch a tenth). 
 
 Griff (Ger.) Stop (on violin); touch, 
 stroke, stretch (welter Griff); finger- 
 ing . . . Griff' brett, fingerboard . . . Griff', 
 saite, a string stopped by the fingers ; 
 a melody-string. 
 
 Grob (Ger., " coarse.") Used as a suf- 
 fix, it means ' ' of broad scale" (said of 
 organ-pipes, as Grobgedackt). 
 
 Groove. (Ger. KanzeFle.) One of the 
 separate divisions of the windchest of 
 an organ, serving to conduct the wind 
 to the pipes. 
 
 Groppet'to (It.) See Gruppetlo. 
 
 Grop'po (It.) See Gruppo. 
 
 Gross (Ger.) Great, large, grand ; ma- 
 jor (s&gro'sse Terz, major Third)... 
 Gro'sse Okta've, great octave. 
 
 Grosse-caisse (Fr.) See Caisse. 
 
 Gros'so (It.) Large, great ; full, heavy. 
 
 Gros-tambour (Fr.) Bass drum. 
 
 Grotte'sco (It.) Grotesque, comic, hu- 
 morous. 
 
 Ground bass. See Bass. 
 
 Group. I. A short series of rapid notes ; 
 specifically, such a series sung to one
 
 GROUPE HACKBRETT. 
 
 syllable ; a division or run. 2. A sec- 
 tion of the orchestra, or of an orches- 
 tral score, embracing instr.s of one 
 class, e. g. the strings. 
 
 Groupe (Fr.) I. Group ; specifically, a 
 group of notes with their hooks slurred 
 together ; a turn. 2. A unison 2. 
 
 Grund (Ger.) Ground, foundation, funda- 
 ment . .Grund'akkord, a chord in the 
 fundamental position . . . Grund'bass, 
 fundamental bass. . . Grund'lage, fun- 
 damental position (of a chord)... 
 Grund'stimme, (a) see Grundbass; (i>) 
 a bass part ; (<:) foundatio-stop (organ). 
 ..Grund'ton, (a) root; (b) key-note. 
 . . Grund' tonart, ruling or principal key 
 in a composition. 
 
 Cnippet'to (It.) Formerly, a trill or 
 relish; in modern music, a turn. Also, 
 a collective term applied loosely to vari- 
 ous "groups" of grace-notes, such as: 
 
 etc. 
 
 Grup'po (It.) Group ; also, a turn. 
 Formerly, a grace similar to the trill. 
 (See Trillo.) 
 
 G'-Schliissel (Ger.) (7-clef. 
 
 Guara'cha (Span.) A lively Spanish 
 dance, one part of which is in 3-4 or 
 3-8 time and the other in 2-4 time ; 
 usually accompanied on the guitar by 
 the dancer himself. 
 
 Ge. An instr. of the violin kind, hav- 
 ing only 2 strings (of horsehair), and 
 played like a 'cello ; formerly used in 
 Shetland. [CENTURY DICT.] 
 
 Guerrie'ro (It.) Martial, warlike. 
 
 Gui'da (It.) i. Subject (of a fugue); 
 antecedent (in a canon or other imita- 
 tion). 2. A direct. 3. See Presa. 4. 
 In solfeggio, a tone or tones through 
 which the voice glides from one inter- 
 val-tone to the other. 
 
 Guide. I. Guida i and 2. 2. (Fr.) 
 Guida i and 4. . . Guide-main, " hand- 
 guide," chiroplast. 
 
 Guidon (Fr.) A direct. 
 
 Guido'nian hand. The Guidonian Hand 
 was a diagram, for memorizing the sol- 
 misation-syllables of the 2o-tone dia- 
 tonic scale (F to ee), in the shape of an 
 outstretched left hand with the sylla- 
 bles written in regular order on the suc- 
 cessive finger-tips and joints. The sylla- 
 bles were called the Aretinian or Gui- 
 donian syllables. (See Solmisation.) 
 
 Guimbard. (Fr. guimbarde.) A jew's- 
 harp. 
 
 Guitar 7 . (Span, guitar'ra; Ger. Gui- 
 tar' re; Fr. guitare; It. chitar'ra.) An 
 instr. of the lute family. The modern 
 (" Spanish") guitar has six strings, the 
 3 highest of gut, the 3 lowest of silk 
 covered with fine silver wire, tuned - 
 A-d-g-b-S: . 
 
 (or E-B-e-g*fb-e^\ but guitar-music is 
 written an octave higher, in the -clef. 
 The pitch of all 6 strings can be raised 
 a semitone by using the capotasto. 
 Compass ., . Jfr*^ (with the 
 
 3 octaves [s j^^y" 1 harmonics, 
 
 and a fourth: - \J~ an octave 
 more). The long fingerboard is fur- 
 nished with frets on which the strings 
 are stopped with the left hand, while the 
 right plucks the strings with the finger- 
 tips (the thumb taking the 3 lowest, the 
 forefinger g, the middle finger b, and 
 the ring-finger high e), or strikes them 
 with the back of the fingers ; the 
 thumb also sweeps the strings with the 
 arpeggio-effect called the rasgado. 
 The body of the guitar has a broad 
 waist, no corners, and a flat face and 
 back. It is used as a solo instr., and 
 in accompanying songs. 
 
 Guitare d'amour(Fr.), Guitar-violon- 
 cello. See Arpeggione. 
 
 Guiterne (Fr.) Former name for the 
 guitar. 
 
 Gu'sto (It.) Taste. . .Di buon g., in good 
 taste, tasteful. . . Gusto' so, with taste. . . 
 Gran gusto, see Gran. 
 
 Gut. Gut strings (in the singular Ger. 
 Darm'saite; Fr. corde a or de or en 
 boyau; It. minu'gia), popularly known 
 as catgut, are ordinarily manufactured 
 from the entrails of sheep, those of 
 young lambs yielding the evenest and 
 finest strings because they do not have 
 to be split. The best are the genuine 
 Roman strings. 
 
 Gut (Ger.) Good...Gu'ter Takt'tnl, 
 strong beat. 
 
 H. 
 
 H (Ger.) The note B. . .In scores, H\* 
 an abbr. for Horn; in organ-music, for 
 fftel ; in music for keyboard instr.s, 
 for Hand(r. h., I. h.} 
 
 Hacklarett (Ger.) Dulcimer.
 
 9 2 
 
 HALB HARMONIC. 
 
 Halb (Ger.) Half ; also, " smaller "... 
 Ha? be Applikatur', half-shift. . .Halb'- 
 bass, a double-bass of smaller size than 
 usual. . .Halb' cello, a small 'cello... 
 Halb'gedeckte Stim'mc, see Stimme 3. 
 . .Halb f instrument, see Ganzinstru- 
 ment. . . Halh' kadenz, half-cadence. . . 
 Halb'mond, crescent ... Hal' be .\~<>/V, 
 half-note. . .Hal' be Or' gel, an organ 
 lacking, even on the pedal, a stop lower 
 than 3-foot pitch. . . Hal' be Pau'se, half- 
 rest . . . Halb'prinzipal, an organ-stop of 
 4-foot pitch (disused). . .Halb'schluss, 
 half-close. . .Hal' be Slim' me, a half- 
 stop or partial stop. . . Hafbe Takt'note, 
 half-note. . .Halb' ton, .kafber Ton, 
 semitone . . . Halb'violine, three-quarter 
 violin (for children) . . . Halb'violon 
 [PAUL], see Halbbass, Deutscher Bass. 
 . . Halb'werk, see Halbe Or gel. 
 
 Half-cadence, -note, -rest, -shift, 
 
 -step, -stop, -tone, see the nouns. 
 Hallelujah. See Allelujah, 
 
 Hals (Ger.) I. Neck (of the violin, etc.) 
 2. Throat (of a singer). 3. Stem (of 
 a note). 
 
 Halt (Ger.) A hold ( ; usually Per- 
 ma'te. 
 
 Hammer. I. (Ger. Ham'mer; Fr. mar- 
 teau; It. mar lei' la.) That part of the 
 pfte. -action which strikes the strings 
 and evokes the tone. 2. A mallet, 
 used in playing the dulcimer. . .Ham'- 
 merclavier, -klavier (Ger.), early name 
 for the pianoforte (opp. to Feder- 
 klavier). 
 
 Hanac'ca. A Moravian dance in 3-4 
 time, resembling the Polonaise in the 
 shifting of the accent, but in more 
 rapid tempo. (Ger. Hana'kisch.) Alia 
 k., in the style of this dance. 
 
 Hand, harmonic. See Guidonian Hand. 
 
 Hand'bassl (Ger.) An obsolete bow- 
 instr. , intermediate in size between the 
 viola and 'cello ; employed as a bass- 
 instr. . . Hand'bildner, Hand'leiter, a 
 chiroplast . . . Hand*stiicke, short and 
 easy exercises or practice-pieces. . . 
 Hand' trommel, tambourine. 
 
 Hand-harmonica. Accordion. 
 
 Handle-piano. A mechanical pfte. on 
 the principle of the barrel-organ ; the 
 studs on the barrel catch levers con- 
 nected with the hammers, causing the 
 latter to strike the strings, a spring 
 forcing the hammer to recoil instantly. 
 The older instr.s have few or no damp- 
 
 ers ; more recent ones show an im- 
 provement in this regard. 
 
 Hand-note. Stopped tone (on the horn). 
 
 Hand-organ. A portable barrel-organ. 
 
 Hard. (Of tones, touch, execution.) 
 Coarse, rough, harsh ; cold, unsympa- 
 thetic, lacking expression or feeling. 
 
 Hardiment (Fr.) Boldly, vigorously, 
 dashingly. Also, Avec hardiesse. 
 
 Har'fe (Ger.) Harp . . . Har'fenbass, Al- 
 bertinian bass. . .Harfenett", see Spitz- 
 harfe. . . Har'feninstrumente, stringed 
 instr.s whose strings are plucked either 
 with the fingers or a plectrum. . .Har f - 
 fenlaute, dital harp. 
 
 Harmoni'a (Gk. and Lat.) Harmony. 
 
 Harmon'ic. I (adjective!) (Ger. har- 
 mo' nisch; Fr. harmomque; It. armo'- 
 nico.) Pertaining to chords (either 
 consonant or dissonant), and to the 
 theory and practice of harmony ; opp. 
 to melodic . . . H. curve, the curved fig- 
 ure described by a vibrating string. . . 
 H. figuration, broken chords. . .H~ 
 flute, see H. stop. . .H. hand, see Gui- 
 donian Hand. . .H, mark, in music for 
 the violin, etc., a sign () over a note, 
 calling for an harmonic tone. . . H. note, 
 see H. tone. . .H. reed, see H. stop. . . 
 H. scale, see Harmonic 2. . . H. stop, an 
 organ-stop having pipes double the 
 ordinary length, and pierced midway, 
 so that a i6-foot pipe yields an 8-foot 
 tone. Various solo stops are thus con- 
 structed : An harmonic flute is a flute- 
 stop, an harmonic reed a reed-stop, 
 made on this principle. . .H. tone, also 
 flageolet-tone, see Harmonic 2 (b). . ^ 
 H. triad, a major triad. 
 
 Harmonic. 2 (noun), (a) (Ger. O'ber- 
 ton; Fr. son harmonique; It. suono 
 armonico^) One of the series of tones 
 sounding with, but higher in pitch 
 and less intense than, its generator 
 (see Acoustics}. (b) (Ger. Flageolet'- 
 ton, Harmo'nikaton; fr.son harmoni- 
 que; It. suono armonico.) A tone 
 obtained, on any stringed instr. which 
 is stopped (violin, guitar, zither, etc.), 
 and also on the harp, by lightly 
 touching with the finger-tip a nodal 
 point of a string ; the string, when set 
 in vibration, can then not vibrate as a 
 whole, but on ly in independent sections, 
 each section corresponding in length 
 to the division of the string cut off by 
 the finger, and each producing one and; 
 the same tone the harmonic. Thus,
 
 HARMONICA HARMONY. 
 
 93 
 
 by lightly touching the G'-string of a 
 violin at its midpoint, it is divided into 
 2 vibrating sections, each producing the 
 octave of g, i. e., g l ; by touching it one- 
 third of the distance from nut to bridge, 
 it is divided into 3 vibrating sections, 
 each producing the fifth above the 
 octave of g, i. e., d* ; etc. Such har- 
 monics, obtained from open strings, 
 are called natural; when the string is 
 previously shortened by stopping, and 
 the harmonics then obtained by lightly 
 touching this shortened section, they are 
 called artificial. The following table 
 shows the harmonics obtained on a 
 string : By lightly touching 
 the octave, we get the octave ; 
 
 " fifth, " twelfth ; 
 
 '* fourth, " " " fifteenth ; 
 
 " third (maj.) " " its own 1 5th ; 
 
 " third (min.) " " " " I7th. 
 The harmonics are distinguished by 
 their soft, sweet, ethereal character, 
 and the "fluty" quality of their tone 
 (hence the epithets flautato, flageolet). 
 They are called for by the sign (the 
 " harmonic mark") over the notes to 
 be touched (not stopped). 
 Harmon'ica. (Comp. Ger. Jfarmo'nika.) 
 
 1. The instr. developed by Benjamin 
 Franklin from the musical glasses, and 
 named by him Armon'ica. It consisted 
 of a graduated series of glass bells or 
 basins forming a diatonic scale (lowest 
 tone to the left), and fastened in a row 
 upon a spindle, which was made to re- 
 volve by a treadle ; the ends of the 
 spindle were supported by the end- 
 pieces of a trough containing water to 
 moisten the revolving glasses, whose 
 edges were touched by the fingers in 
 playing. Melodies could be performed, 
 and accompanied harmonically by chords 
 as wide as the fingers could stretch. 
 
 2. See Mouth-harmonica. 
 
 Harmonicel'lo. A bow-instr. resembling 
 the 'cello, with 5 gut and 10 wire strings ; 
 inv. by Joh. Karl Bischoff of Nurem- 
 berg in the 2nd half of the i8th century. 
 
 Harmonichord. See Piano-violin. 
 
 Harmo'nici. Aristoxenos and his fol- 
 lowers, who deduced the rules of har- 
 mony from musical practice ; opp. to 
 Canonici (Pythagoras and his disciples), 
 who derived their rules from the math- 
 ematical determination of the intervals. 
 
 Harmon'icon. i. A mouth-harmonica. 
 a. An orchestrion. 3. A keyed har- 
 
 monica combined with a flue-stop or 
 stops ; inv. by W. C. M tiller. 
 
 Harmoni-cor (Fr.) See Harmonipkon 2. 
 
 Harmonicorde (Fr.) Harmonichord. 
 
 Harmo'nicum. An improved form of 
 Bandonion, inv. by Brendel and Klos- 
 ser of Mittweida (Saxony) in 1893. It 
 is, essentially, an accordion-body fixed 
 in an harmonium-case ; the keyboard is 
 made like either that of the harmonium 
 or bandonion ; the wind-supply is con- 
 trolled by treadles. 
 
 Harmonic' (Ger.) I. Harmony ; chord. 
 2. Music for the wind-instr.s (brass 
 and wood); also Harmonie'musik. 3. 
 The wind-instr.s (brass and wood) col- 
 lectively. Harmonie'eigen, harmonic, 
 chordal ; (tones) proper to a harmony ; 
 opp. to harmonic' fremd. . . f/armonie'- 
 lehre, theory of harmony. . .Harmonie'- 
 trompete, an instr. between a horn and 
 trumpet, which permitted of the suc- 
 cessful use of muted tones ; inv. early 
 in the igth century [RIEMANN]. 
 
 Harmonleux,-ieuse (Fr.) Harmonious. 
 
 Harmo'nika (Ger.) Accordion ; con- 
 certina ; see also Holz' 'harmonika, 
 Mund'harmonika, Zieh'harmonika. 
 
 Harmo'niker (Ger., pi.) Harmonici. 
 
 Harmon'iphon. I. A keyboard wind- 
 instr. inv. by Panis of Paris in 1837, 
 having a set of reed-pipes in imitation 
 of oboe-tubes ; hence the Ger. name 
 Klavieroboe. 2. The hamwni-cor, inv. 
 by Jaulin of Paris, similar to the above, 
 but with clarinet-tubes ; the wind is 
 supplied through a mouthpiece. 
 
 Harmo'nisch (Ger.) Harmonic. 
 
 Harmo'nium. Comp. Reed-organ. In 
 harmonium-music, numerals enclosed 
 in circles are used in lieu of the stop- 
 names in full, and signify: 
 
 Stops on bass 
 side (sign below 
 bass staff.) 
 Q Cor anglais 
 Bourdon 
 Clarion 
 Bassoon 
 
 Stops on Treble 
 side (sign above or 
 below treble staff.) 
 Flute 
 Gy Clarinet 
 Piccolo 
 Oboe 
 
 Harmonom'eter. An appliance for 
 measuring the harmonic relations of 
 tones (intervals). See Monochord. 
 
 Har'mony. (Ger. and Fr. HarmoniS ' ; 
 It. armoni'a.) In general, a combina- 
 tion of tones or chords producing mu- 
 sic. Specifically, 3. chord, either con- 
 sonant or dissonant, though usually
 
 94 
 
 HARP HARP-WAY TUNING. 
 
 applied to the former kind, especially 
 to the triad. Applied to an entire com- 
 position, the chordal (harmonic) struc- 
 ture, in contradistinction to the melody 
 and rhythm ; hence. 2-part, j-part har- 
 mony, according to the number 01 
 parts present. .. Chromatic A., that in 
 which many chromatic tones and mod- 
 ulations are introduced ; opp. to dia- 
 tonic h. . . Close h. (in 4-part writing), 
 that in which the 3 highest parts lie 
 within the compass of an octave ; opp. 
 to open h. . . Compound h., that in which 
 2 or more of the tones essential to a 
 chord are doubled ; opp. to simple h . . 
 .Dispersed, extended h., see Open h. . . 
 Essential h., (a) the fundamental triads 
 of a key ; (b) the harmonic skeleton of a 
 composition, left after pruning off all 
 figuration and ornaments . . . Figured h., 
 that in which the simple chords are va- 
 ried or broken up by foreign and pass- 
 ing tones, anticipations, suspensions, 
 and other devices ; opp. to plain h. . . 
 Open h. (in 4-part writing), that in 
 which the 3 highest parts spread be- 
 yond the compass of an octave . . . Pure 
 h., music performed with pure intona- 
 tion (motet, string-quartet ;) opp. to 
 tempered h... Spread h., open h... 
 Strict h., composition according to 
 strict rules for the preparation and reso- 
 lution of dissonances. . . Tempered h., 
 music performed with tempered intona- 
 tion (pfte., organ); see Temperament. 
 Harp. (Ger. Har'fe; Fr. harpe; It. 
 ar'pa.) A stringed instr. of ancient 
 origin and wide dissemination, played 
 by plucking the strings with the fingers 
 and thumbs of both hands. The mod- 
 ern orchestral harp (Erard's double- 
 action harp) has a nearly 3-cornered 
 wooden frame, the apex or foot of 
 which is formed by an upright pillar 
 meeting the hollow back (the upper side 
 of which bears the soundboard] in the 
 pedestal; the upper, divergent ends of 
 pillar and back are united by the curv- 
 ing neck. The gut strings, stretched 
 vertically between soundboard and 
 neck, and tuned by ivrestpins inserted 
 in the latter, are 46 (or 47) in number, 
 and variously colored to render them 
 readily distinguish- 
 able ; the 8 lowest 
 strings are covered 
 with fine wire. Com- 
 pass, six and one- 
 half octaves, from 
 
 this is the fundamental diatonic scale ; 
 the intermediate chromatic tones are ob- 
 tained by the use of 7 pedals adjusted in 
 the pedestal, each pedal acting on all the 
 strings of the same letter-name in such 
 a way that, when pressed to its first posi- 
 tion, the pitch of every string affected is 
 raised a semitone, and, when the pedal 
 is pressed down to its second position, a 
 semitone higher. Thus, by depressing 
 all 7 pedals once, the scale would be 
 raised from C\) to C; by depressing 
 them twice, to C$ (/>?); by suitable 
 combinations, any desired key may be 
 obtained. The depressed pedals are 
 held in position by notches. As on the 
 Janko keyboard, the fingering of the 
 scale is the same for every key. Natur- 
 al harmonics are obtainable ; the first 
 harmonic (the octave of the tone of the 
 open string) is that almost exclusively 
 employed. Music for the harp is 
 written on 2 staves as for the pfte. In 
 the old single-action harp each pedal 
 can change the pitch of 
 its note by only one semi- 
 tone ; scale, E$ ', com- 
 pass, 5 octaves and a 
 sixth, from F\ to d*: 
 A Double Harp has 2 rows of strings 
 tuned dissimilarly ; a Triple Harp has 
 3 such rows. . .sEolian h., see sEolian. 
 . . Couched h., the spinet . . . Dital harp, 
 see Dital... Double-action pedal-harp, see 
 Harp . . . Welsh h. , a kind of triple harp. 
 
 Harpeg'gio, Harpeggie'ren. See Ar- 
 peggio, Arpeggiate. 
 
 Harpicor'do. Same as Arpicordo. 
 
 Harp-lute. See Dital harp. 
 
 Harpo-lyre (Fr.) A kind of improved 
 guitar, with 21 strings and 3 necks ; 
 inv. 1829 by Salomon of Besan9on. 
 
 Harp-pedal. See Pedal. 
 
 Harp'sichord. (Ger. Kiel'flilgel; Fr. 
 clavecin; It. arpicor'do, clamcem'balo.) 
 A keyboard stringed instr. in which the 
 strings were twanged by quills or bits 
 of hard leather (see Pianoforte). Vis- 
 a-vis harpsichord, one with a keyboard 
 at either end or side, for 2 performers. 
 
 Harp-way tuning. Favorite early Eng- 
 lish tunings (scordature) of the viola da 
 gamba ; termed harp-way tunings be- 
 cause admitting of a ready execution of 
 arpeggios : 
 
 Sharp : 
 
 Flat:
 
 HART HEROIC. 
 
 95 
 
 Other variants are found in German 
 works. 
 
 Hart (Ger.) Hard ; major (usually dur) ; 
 abrupt, unprepared (of a progression 
 or modulation). . .11 art vermin' dertt-r 
 Drei'klang, triad with major third and 
 diminished fifth, as B-d$-f. 
 
 Haupt (Ger., "head".) Chief, princi- 
 pal. . .Haupt' accent, primary accent. 
 . . Haupt' akkord, fundamental triad. 
 . . Haupfgesang, leading melody 
 {Haupt' melodic). . .Haupt? kadenz, full 
 cadence. . .Haupt' manual, great -organ 
 nanual (abbr. Alan. /.). . .Haupt' note, 
 (a) principal note ; (l>) chord-note ; (c) 
 accented note; (d) melody-note... 
 Haupf principal, 8-foot diapason (on 
 manual), i6-foot (on pedal). . .Haupt' - 
 t>robe, see Generalprobe. . . Haupt? satz, 
 principal theme. . . Haupt' schluss, full 
 cadence. . . Haupt' septime, dominant 
 7th. . . Haupt' stimme, principal part. . . 
 Haupt? thema, first or principal theme. 
 ..Haupt? ton, (a) root (of a chord; in 
 ecent theory, the fifth of the minor 
 triad) ; (b) key-note ; (t) see Haupt- 
 note . . .Haupt' tonart, the principal or 
 ruling key in a composition. . . Haupt '- 
 werk (abbr. H. JF.), great organ. 
 
 Hausse (Fr.) Nut (of a bow). . . Hausser, 
 to raise (the pitch). 
 
 Haut,-e (Fr.) High, acute ... Haute- 
 contre, high tenor. . .Hant-dessus, high 
 soprano. . .Haute-taille, high tenor. 
 
 Hautbois (Fr.) Oboe...//, d' amour, 
 see Oboe. 
 
 Hautboist' (Ger.) A player in a military 
 band. 
 
 Haut'boy. Oboe. 
 
 Head. i. Point (of bow). 2. In the 
 violin, lute, etc., the part above the 
 neck, comprising peg-box and scroll. 
 3. In the drum, the membrane stretched 
 over one or both ends. 4. In a note, 
 the oval (formerly square or diamond- 
 shaped) part which determines its place 
 on the staff . . . Head-tones, Head-voice, 
 the vocal tones of the head-register ; 
 opp. to chest-tones, etc. 
 
 Heel. (Ger. Stockchen [des Halses] ; 
 Fr. talon\Ae la manche].) In the violin, 
 etc., the wooden elbow or brace by 
 which the neck is firmly fastened to the 
 body. 
 
 Heer'pauke (Ger.) An old and very 
 large form of kettledrum. 
 
 Heftig (Ger.) Vehement, impetuous, 
 
 passionate (also adverb) . . . Heftigkeit, 
 vehemence, passion. 
 
 Heim'lich (Ger.) Secret, mysterious ; 
 furtive, stealthy, clandestine. (Also 
 adverb?) 
 
 Hei'ter (Ger.) Serene, cheerful, glad. 
 (Also adverb?) 
 
 Hel'dentenor (Ger.) See Tenor i. 
 
 Hel'icoa. (Ger. Helikon.} I. An an- 
 cient instr. for illustrating the theory of 
 the mus. intervals, consisting of 9 
 strings stretched across a square reso- 
 nance-box. 2. A brass wind-instr. of 
 recent invention, used chiefly in mili- 
 tary music as a bass ; its tube is bent to 
 form a circle, and it is carried over the 
 shoulder. It is constructed in various 
 pitches (F, E$, C, fy), and of broad 
 scale, so that its lowest natural tone 
 speaks (2 octaves .,*. - IL i I i i \ 
 below the notes pEp||l * lb^=P' 
 on the bass-staff , 5 m. 
 
 Helper. An octave-pipe set beside and 
 sounding with another of 8-foot pitch, 
 for the sake of brilliancy. 
 
 Hemidemisemiqua'ver. A 64th-note, 
 . .H.-rest, a 64th-rest. 
 
 Hemidiapen'te. In Gk. music, a dimin. 
 ished fifth. 
 
 Hemidi'tone. In Gk. music, a minor 
 third. 
 
 Heraio'la, Hemio / lia(Gk.) i. In ancient 
 music, quintuple rhythm (5-4, 5-8 time). 
 2. The interval of a fifth (2 : 3). 3. 
 A triplet (3 : 2). 4. In mensurable no- 
 tation, see Notation, 3, Color. 
 
 Hem'iphrase. A half-phrase. 
 
 Hem'itone. In Greek music, the'nter- 
 val of a half-tone (256 : 243), the mod- 
 ern (diatonic) semitone being 16 . 15. 
 
 Heptachord. In Greek music, a dia- 
 tonic series of 7 tones, with one semi- 
 tone-step between the 3rd and 4th. 
 2. The interval of a major 7th. 3. A 
 7-stringed instr. 4. The 7-tone scale. 
 
 Hep'tad, Heptadec'ad. See Duodene. 
 
 Herab'strich (Ger.) Down-bow. 
 
 Herauf'strich (Ger.) See Hinaufstrich. 
 
 Heroic. (Ger. hero'isch; Fr. he"roi<]ue; 
 It. ero'ico,-a.) Grand, imposing, noble, 
 bold, daring (in conception, or con- 
 struction). . .The " Heroic Symphony" 
 (Sinfoni'a ero'ica) by Beethoven is the 
 1 liird. Op. 55 in !$ ... Heroic verse, 
 (<;) in classical poetry, the hexameter ; 
 (//)in Kntjl., Ger., It. poetry, the iambic
 
 HERSTRICH HOOK. 
 
 of lo syllables ; (() in Fr. poetry, the 
 Alexandrine. 
 
 Her'strich (Ger., "hither-stroke".) 
 Down-bow (on the 'cello and double- 
 bass). 
 
 Herun'terstrich (Ger.) Down-bow (on 
 the violin, etc.) 
 
 Her'zig (Ger., "hearty," "heartily".) 
 Same as Innig, but perhaps implies 
 greater naivet/. 
 
 Hes (Ger., " fy") Unusual for (Ger.) 
 B L = (Eng.) Bt>]. . .Hes'es, Bbb- 
 
 Heu'len (Ger.) Ciphering. 
 
 Hex'achord. i. In Greek music, (a) a 
 diatonic series of 6 tones ; (i>) the inter- 
 val of a major sixth. 2. See Soltni- 
 sation. 
 
 Hexam'eter. The usual hexameter-line 
 has 6 feet, the first 4 being dactyls or 
 spondees, the 5th a dactyl or spondee, 
 and the 6th a spondee or trochee, thus : 
 
 Hidden. See Octave. 
 
 Hift'horn (Ger.) A kind of wooden 
 hunting-horn producing 2 or 3 tones ; 
 there were 3 varieties, the Zin'ke (high), 
 Halb' rudenhorn (medium), and Ru 'den- 
 horn (low pitch). 
 
 Hilfs- (Ger.) Auxiliary ... Hilfs'linie, 
 leger-line . . . Hilfs'note, auxiliary note. 
 . .Hilfs'stimme, mutation-stop. (Of- 
 ten Hulfs-.} 
 
 Hinauf'strich (Ger.) Up-bow (on the 
 violin, etc.) 
 
 Hin'strich(Ger., " thither-stroke ".) Up- 
 bow (on the 'cello, and double-bass). 
 
 Hin'tersatz (Ger.) In old German or- 
 gans, a mixture-stop placed behind the 
 diapason, which it reinforced. 
 
 Hip'pius. I. A metrical foot of 4 syl- 
 lables, 3 long and I short ; called 1st, 
 2nd, 3rd or 4th hippius according as 
 the short syllable occupies the 1st, 2nd, 
 3rd or 4th place. 2. Same as Molossus. 
 
 His (Ger.) BJf . . . His' is, B x . 
 
 Histor'icus (Lat.) Narrator (oratorio). 
 
 Hobo'e (Ger.) See Oboe. 
 
 Hoch (Ger.) High, acute... Hoch'amt, 
 high Mass. . .Hoch'zeilsmarsch, wed- 
 ding-march. 
 
 Hock'et. An early form of contrapuntal 
 vocal composition in 2 or 3 parts, char- 
 acterized by the frequent and sudden 
 interruption, in rapid alternation, of the 
 vocal parts, producing a spasmodic, 
 
 " hiccupy " effect; chiefly in vogue 
 during the I2th and I3th centuries. 
 (Also spelled hoquet, hocquet, hoquetui, 
 ochetus, etc.) 
 
 Hoh'e (Ger.) High pitch, acuteness ; 
 high register (e. g. ' ' Obo'enhohe ", high- 
 est notes of the oboe). 
 
 Hohl'flote (Ger. ; Fr. Jldte creuse; the 
 smaller sizes are also called Hohlpfei- 
 fen.) In the organ, an open flue-stop 
 of broad scale, usually with eared pipes, 
 having a dark, mellow timbre, some- 
 what hollow (whence the name), gener- 
 ally of 8 or 4-foot pitch, seldom of 16' 
 or 2'. As a mutation-stop in the fifth 
 it is called the Hohl'quinte. 
 
 Hold. (fjtx.Femufte; Yr.pointd'arre't, 
 couronne; \\..fenna'ta, coro'na.} The 
 sign "> over, or \i/ under, a note or 
 rest, indicating the indefinite prolonga- 
 tion of its time-value, at the performer's 
 discretion, in accordance with the 
 rhythm of the composition. . .In orches- 
 tral scores often called (Ger.) General' - 
 pause, (It.) pa' sa genera' k. (In Eng- 
 land, usually called a Pause.} Placed 
 over a bar or double-bar, the hold in- 
 dicates a slight pause or breathing-spell 
 before attacking what follows ; opp. in 
 this sense to Attacca. 
 
 Holding-note. A note sustained in one 
 part while the others are in motion. 
 [STAINER AND BARRETT.] 
 
 Holz'blaser (Ger., sing, and pi.) Play- 
 er(s) on wood wind-instr.s. (Abbr. 
 Hzbl.}. . . Holz'blasinstrumente, wood 
 wind-instr.s; technically, the "wood- 
 wind ". 
 
 Hol'zernes Gelach'ter ) (Ger.) Xylo- 
 
 Holz'harmonika f phone. 
 
 Homophone (Fr.) The enharmonic of 
 a given tone, as d of c x , dty of c$, etc. 
 
 Homophonic,-ous. (Lit.,alikein sound 
 or pitch.) I. In earlier music, unison- 
 ous, in unison ; opp. to antiphonic. 2. 
 In modern music, a style in which one 
 melody or part, supported to a greater 
 or less extent by chords or chordal 
 combinations, (i. e. an accompanied 
 melody}, predominates, is called homo- 
 phonic ; opp. to polyphonic . . . Homo- 
 phony, homophonic music; opp. to an- 
 tiphony and polyphony. (See Monodv.) 
 
 Hook. (Ger. Fah'ne, Fahn'chen ; Fr. 
 crochet ; It. co'da uncina'ta.) A stroke 
 attached to the stems of eighth-notes, 
 i6th-notes, etc. (J* * ). Also flag, 
 Pennant.
 
 HOQUETUS HORNSORDIN. 
 
 97 
 
 Hoquetus. Hocket. 
 
 Ho'rae cano'nicae (Lat.) The canonical 
 hours. 
 
 Horn. (Ger. Horn ; Fr. cor; It. cor'no.) 
 One of a group of brass wind-instr.s 
 distinguished by the following charac- 
 teristics : Cupped mouthpiece of coni- 
 cal shape ; conical tube, narrow and 
 long, variously bent upon itself (the 
 smallest horn generally used, in high 
 Bp, has a tube nearly 9 feet long ; that 
 an octave lower in pitch, nearly 18 feet); 
 wide and flaring bell ; the tone is rich 
 and mellow, sonorous and penetrating ; 
 the compass lies between the 2nd and 
 i6th tones of the harmonic scale. The 
 older natural or French Horn, yielding 
 only the natural tones supplemented by 
 
 "stopped tones", has a fairly com- 
 plete chromatic scale of 2 octaves and a 
 fifth, from the 3rd partial (lowered by 
 stopping) up to the i6th partial; there 
 are 16 crooks in all, 
 giving a total possible 
 compass of 3 > octaves: 
 but only 8 or 10 are in general use in 
 the symphony-orchestra ; the following 
 tones at either end of this scale are 
 difficult : 
 
 Thus the highest " safe " tones on the 
 horns in common use would be (accord- 
 ing to GEVAERT): 
 
 
 \>s> to 
 
 
 -j <<=-> 
 
 
 
 Horn in Bb CD 
 
 Eb E 
 
 !*=- ,*. 
 
 F G Ab 
 
 <= 
 
 A Bb (C) 
 
 Partial tonei6 16 15 14 13 13 12 10 10 10 IO 
 
 The stopped tones have a peculiarly 
 sombre quality, and are often utilized 
 for special effects ; they can be pro- 
 duced on the valve-horn in exactly the 
 Bb C D Eb E 
 
 same manner as on the natural horn 
 (also comp. Trumpet}. This modern 
 Valve-horn is usually constructed in 
 the following sizes [RIEMANN]: 
 F G Ab A Bj> C 
 
 low 
 
 the given pitch-note being in each case 
 the 2nd partial tone (octave of the gen- 
 erator), and repre- SF: := ^ the horn be- 
 sented in each ing a trans- 
 
 case by the note: ^ posing in- 
 str. ; when the 6"-clef is employed, the 
 notes are written an octave higher than 
 when noted in the /'-clef, consequently 
 
 Horn-band. A band of trumpeters... 
 Russian horn-band, a band of perform- 
 ers on hunting-horns, each of which 
 produces but one tone, the number of 
 players and instr.s being equal to that 
 of the scale-tones required by any given 
 piece ; e. g. 37 for the chromatic scale 
 of 3 octaves. 
 
 Horner (Ger.) Plural of Horn, equiv. to 
 corni, (Abbr. 7/r.) 
 
 Horning. A mock serenade with tinhorns 
 and other discordant instr.s, performed 
 either in humorous congratulation, as of 
 a newly married couple, or as a mani- 
 festation of public disapproval, as of 
 some obnoxious person. (Local U. S.) 
 [CENTURY DICT.] A callithumpian 
 concert. 
 
 Horn'musik (Ger.) See Harmoniemusik. 
 
 Hornpipe. I. An obsolete English 
 mus. instr. 2. An old English dance 
 in lively tempo, the earlier ones in 3-2 
 time with frequent syncopations, and 
 the later in 4-4 time ; very popular 
 during the i8th century. 
 
 Horn'quinten (Ger., "horn-fifths".) The 
 covered fifths produced by the natural 
 tones of 
 
 horns: 
 Horn'sordin (Ger.) Mute for a horn.
 
 HOSANNA IDYL. 
 
 Hosan'na ; Hosian'na (Hebr.) Lit. 
 " save, I pray"; an interjection used as 
 a prayer for deliverance or as an accla- 
 mation. In the Mass, a part of the 
 Sanctus. 
 
 Hue'huetl (Aztec.) (Also huehuitl, vevtl, 
 tlapanhuehuetl.) Drum of the abori- 
 gines in Mexico and Central America, 
 consisting of a section of a log hollowed 
 out, carved on the outside, from 3 to 4 
 feet in height, as thick as a man's body, 
 and set upon a tripod. The upper end 
 was furnished with a head of leather or 
 parchment which could be tightened or 
 relaxed, thus raising or lowering the 
 tone. It was struck with the fingers, 
 and considerable skill was required to 
 play it. From the indistinct accounts 
 of the old Spanish writers it appears to 
 have yielded, in conjunction with the 
 Teponaztli, a rude harmonic bass accom- 
 paniment. 
 
 Huit-pieds (Fr.) Same as Halbe Or gel. 
 
 Hiilfs- (Ger.) See Hilfs-. 
 
 Hum'mel, Hiim'melchen (Ger.) i. A 
 drone. 2. An obsolete organ-stop, by 
 drawing which 2 reed-pipes were caused 
 to sound continuously until it was 
 pushed in. 3. The Balalaika, which 
 has a sympathetic string. 4. The 
 " drones " of the hurdy-gurdy. 
 
 Humoresque. (Ger. Humores'ke.) A 
 composition of humorous or fantastic 
 style. See Caprice. 
 
 Hurdy-gurdy. (Ger. Dreh'leier, Bait- 
 er nleier; Fr. vielle ; It. li'ra tedf'sca.) 
 A stringed instr. with a body shaped like 
 that of a lute or guitar, and from 4 to 6 
 strings, only 2 of which are melody- 
 strings, the others being merely drones 
 tuned a fifth apart. The melody-strings 
 (compass I^F /j are stopped by 
 
 about 2 1^9 _J ) means of keys 
 
 octaves : *^ -*- controlled by 
 
 the left hand ; the right hand turns 
 a crank at the tail-end of the instr., 
 which causes a rosined wheel impinging 
 on all the strings to revolve, thus pro- 
 ducing the harsh and strident tone. 
 This wheel and the key-mechanism are 
 contained in an oblong box correspond- 
 ing to the neck of the lute, etc., but set 
 directly on the belly, only the peg-box 
 and head projecting beyond. The 
 melody-strings pass through this box, 
 and are attached to a tailpiece ; the 
 drones lie outside. The music pro- 
 duced is of the rudest description. 
 
 The hurdy-gurdy was in great vogue 
 from the loth to the I2th century. 
 
 Hur'tig(Ger.) Quick, brisk, swift; presto. 
 
 Hydrau'licon. An hydraulic organ. 
 
 Hydraulic organ. (Ger. Was'serorgel; 
 Gk. hydrau'los; Lat. or'ganum hydrau'- 
 licum.) A small kind of organ, inv. by 
 Ktesibios of Alexandria (180 B. C.), in, 
 which the wind-pressure was regulated 
 by water. 
 
 Hymn. (Ger. and Fr. Hymne; It. in'no.) 
 A religious or sacred song ; usually, a 
 metrical poem to be sung by a congre- 
 gation...^ foreign usage, a national 
 song of lofty character, such as the 
 Marseillaise. 
 
 Hy'per (Gk.) Over, above ; often occurs 
 in compounds, as hyperdiapa' son , the 
 octave above ; hyperdiapen'te, the fifth 
 above, etc. . .In the Greek transposing 
 scales (see Greek music) hyper signified 
 a fourth higher. (Lat. equivalent super.) 
 
 Hypercatalectic. In dipodic versifica- 
 tion, a line having a redundant half- 
 foot (either thesis or arsis) is thus 
 termed ; hypercatalexis being such state 
 of redundancy. 
 
 Hy'po (Gk.) Under, below ; frequent 
 in compounds, as hypodiapa' son , the 
 octave below, hypodiapen' te , the fifth 
 below, hypodit' onos , the third below. . . 
 In the Greek transposing scales (see 
 Greek music) and the church-modes 
 (see Mode), hypo signified a fourth 
 below ; in the ancient Greek modes, a 
 fifth below. (Lat. equivalent sub.) 
 
 I. 
 
 I (It., masc. pi.) The. 
 
 lam'bus. A metrical foot of 2 syllables, 
 one short and one long, with the ictus 
 on the long (>" <: ). 
 
 las'tian. Same as Ionian. 
 
 Ic'tus. Accent or stress, either rhythmi- 
 cal or metrical. 
 
 Idea. A musical idea is a figure, motive, 
 phrase or strain, with or without har- 
 monic concomitants ; also, a fully de- 
 veloped theme or subject. 
 
 Id6e fixe (Fr.) Berlioz's term for an 
 oft-recurring and characteristic idea or 
 theme ; a sort of leading-motive. 
 
 I'dyl. (Ger. and Fr. Idyl'le; It. idil'Ko.) 
 A composition of a pastoral or tenderly 
 romantic character.
 
 IL INBETONT. 
 
 99 
 
 II (It., masc. sing.) The. 
 
 Imboccatu'ra (It.) i. Mouthpiece (of 
 a wind-instr.) 2. Lip 2. 
 
 Imbro'glio (It.) " Embroilment, con- 
 fusion". A passage in which the rhythm 
 of the different parts is sharply con- 
 trasted and perplexing in effect. 
 
 Imitan'do (It.) Imitating. 
 
 Imitation. (La\..imita'tio;fr. imitation; 
 It. imitazio'ne; Ger. Nach'ahitnin^.) 
 The repetition of a motive, phrase or 
 theme proposed by one part (the ante- 
 cedent) in another part (the consequent), 
 with or without modification . . . /. at 
 the fifth, octave, etc., that in which the 
 consequent follows the antecedent at 
 the interval of a fifth, octave, etc . . . /. by 
 augmentation, that in which the time- 
 value of each note of the antecedent is 
 increased according to a certain ratio in 
 the consequent (J J, or J = J . etc). 
 . . /. by diminution, that in which the 
 time-value of each note in the ante- 
 cedent is decreased according to a cer- 
 tain ratio in the consequent (J = J 
 etc.).../. by inversion, that in which 
 each ascending interval of the ante- 
 cedent is answered by a like descend- 
 ing interval in the consequent, and 
 descending intervals by ascending ones. 
 ..Canonic i., strict imitation (see Ca- 
 non)... Free i., that in which certain 
 modifications of the antecedent are per- 
 mitted in the consequent (e. g. augmen- 
 tation, diminution, reversed imitation, 
 as explained above ; or when certain 
 intervals are answered by others, the 
 time-value of certain notes altered, etc. ) ; 
 opposed to Strict imitation, in which 
 the consequent answers the antecedent 
 note for note and interval for interval . 
 ..Retrograde i., that in which the 
 theme is repeated backwards (recte e 
 retro); see Cancrizans. 
 
 Im'mer (Ger.) Always ; continuously ; 
 immer starker werdend, continually 
 growing louder ; immer langsamer, 
 slower and slower ; immer langsam, 
 slowly throughout. 
 
 Immuta'bilis (Lat.) One of the accentus 
 eccl. 
 
 Impazien'te (It.) Impatient, restless, 
 vehement. . .Impazientetnen'te, impa- 
 tiently, etc. 
 
 Imperfect cadence, consonance, in- 
 terval, measure. Seethe nouns... 
 Imp. time, see Notation, 3. 
 
 Imperfection, i. See Notation, 3. 
 2. In a ligature, the presence of a breve 
 as final note, indicated by using the 
 figura obliqua ( fe ). 
 
 Imperio'so,-a (It.) Imperious, haughty, 
 lofty. 
 
 Im'peto (It) Impetuosity. . .Con i., or 
 impctuosamen'te, impetuously . . . Impe- 
 tuosita' , impetuosity. . .Jmpctuo'so, -a, 
 impetuous. 
 
 Implied discord. An interval which, 
 though not itself dissonant, is contained 
 within a dissonant chord ; e. g. a ma- 
 jor third in j(S% ftjg - ...Implied in- 
 the chord : i^ ^ terval (in tho- 
 rough-bass), an interval not indicated 
 by a figure, but understood, 2 
 
 e. g. the sixth and fourth LS%f= 
 in a chord of the second : P" =* 
 
 Imponen'te (It.) Imposing, impressive. 
 
 Impresa'rio (It.) The agent or mana- 
 ger of a traveling opera or concert-com- 
 pany. Occasionally, an instructor of 
 singers in opera or concert. 
 
 Impromp'tu. I. An improvisation. 
 2. A composition of loose and extem- 
 poraneous form and slight develop- 
 ment ; a fantasia. 
 
 Imprope'ria (Lat., "reproaches".) In 
 the Roman ritual, a series of antiphons 
 and responses forming part of the 
 solemn service substituted, on the 
 morning of Good Friday, for the usual 
 daily Mass. 
 
 Impropri'etas (Lat) A term applied 
 to a ligature when its first note is not a 
 breve, but a long ; indicated, when the 
 second note ascends, by a descending 
 tail to the right or left of the first ; 
 when the second note descends, by the 
 absence of the tail. Opp. to Proprietas. 
 
 Improvisation. Extemporaneous music- 
 al performance. 
 
 Improviser (Fr.) To improvise ... Im- 
 provisateur {-trice), a male (female) im- 
 proviser. 
 
 Improvisier'maschine (Ger.) A melo- 
 graph. 
 
 Improwisa're (It.) To improvise... 
 Improvvi sa men'te, extemporaneously . 
 . .Improvvi so 1 ta, an improvisation, im- 
 promptu . . . Improvvisato're (-tri'ce), a 
 male (female) improviser. . .AlTimprov- 
 in'sta, extempore. 
 
 In'betont (Ger.) With mediate accent 
 (See Abbetont.)
 
 INCALZANDO INTERLUDE. 
 
 Incalzan'do (It.) "Pursuing hotly." 
 
 See Stringendo. 
 Incarna'tus. Part of the Credo. See 
 
 Mass. 
 
 Inch of Wind. See Weight. 
 Inchoa'tio (Lat.) The introductory tones 
 
 or intonation of a plain-song chant. 
 
 Incomplete stop. A partial stop (or- 
 gan). 
 
 Incrociamen'to (It.) Crossing. 
 
 Indeci'so (It.) Undecided. 
 
 Independent chord, harmony, triad. 
 One which is consonant (i. e. contains 
 no dissonance), and is therefore not 
 obliged to change to another by pro- 
 gression or resolution ; opp. to Depend- 
 ent. 
 
 Index. Same as Direct. 
 
 Indifferen'te (It.) Indifferent, careless. 
 . .IndijferenUmen'te, or con indiffe- 
 ren'za, indifferently, etc. 
 
 Inferna'le (It.) Infernal, hellish. 
 
 Infinite canon. (It. ca'none injini'to.) 
 See Canone. 
 
 Inflati'lia (Lat.) Inflatile or wind-in- 
 struments. 
 
 Infrabass' (Ger.) Subbass. 
 
 Ingan'no (It.) Deceit ... Caden'za ctin- 
 ganno, deceptive cadence. 
 
 Ingres'sa. Name of the Introit in the 
 Ambrosian rite. 
 
 In'halt (Ger.) Contents ; idea, concep- 
 tion ; subject-matter. 
 
 Inharmonic relation. See False rela- 
 tion. 
 
 Inner parts. Parts lying between the 
 highest and lowest . . . Inner pedal, a 
 pedal-point in such part or parts. 
 
 In'nig (Ger.) Heartfelt, sincere ; fer- 
 vent, intense ; with deep, true feeling ; 
 equivalent to Tt. affeltuo'so, con affet'- 
 to; in'timo, intimis' simo. . .Mit in'- 
 nigem Aus'druck, with heartfelt ex- 
 pression . . . In'nigkeit, deep emotion or 
 feeling, fervency, intensity. . .In'nig- 
 lich, same as Innig. 
 
 In'no (It.) Hymn. 
 
 Innocen'te (It.) Natural, unaffected. . . 
 Innoceniemeri 'te ; naturally, artlessly. . . 
 Innocen'za. naturalness, artlessness, etc. 
 
 In no'mine (Lat., "in the name".) i. 
 
 A kind of motet or antiphon. 2. See 
 
 Fuga in nomine. 
 Inquie'to (It.) Unrestful, restless. _ 
 
 Insensi'bile (It.) Imperceptible. ../* 
 sensibilmen' te , insensibly. 
 
 Insisten'do (It.) Insistently, urgently, 
 with strong stress. (Also con insisten- 
 za.) 
 
 In'standig (Ger.) Urgent, pressing. 
 (Also adverb.) 
 
 Instan'te (It.) Urgent, pressing .../- 
 stantenien'te, urgently, etc. 
 
 Instrument. (Ger. and Fr. Instrument'; 
 It. instrumen'to, istrumen'to, stromen'- 
 to, strumen'to.) A list of the principal 
 modern instruments is given opposite, 
 according to Gevaert's classification ; 
 the asterisk (*) indicates that the instr. is 
 little used in the orchestra ; the brack, 
 ets ([ ]), that it is obsolete, or nearly so 
 
 Instrument (Fr ) /. a archet, bow-in, 
 strument. . .1. a cordes, stringed instru- 
 ment. ..La percussion, percussive in- 
 strument. . ./. ci vent, wind-instrument. 
 
 Instrumentation. (Ger. Instr umentie'- 
 rung; Fr. instrumentation; It. isiru- 
 mentazio'ne.) The theory and practice 
 of composing, arranging, or adapting 
 music for a body of instruments of dif- 
 ferent kinds, especially for orchestra. 
 (See Orchestra, Orchestration.) /;/- 
 strumentierung (Ger.) is a term also oc- 
 casionally applied to pfte. -music to de- 
 note dynamic shading and variety of 
 touch ; sometimes with reference to all, 
 at others to single, parts. 
 
 Intavola're (It.) i. To write out or 
 copy in tablature or score. 2. To set 
 to music. ..Intavolatu'ra, (a) tablature ; 
 (6) notation ; (c) figured bass. 
 In'teger va'lor nota'rum (Lat.) "In- 
 tegral value of the notes", i. e. their 
 absolute duration at an average tempo, 
 a question of high importance before 
 the invention of tempo-marks and the 
 metronome. Michael Praetorius saya 
 (1620), that about 80 tempora ( = breves, 
 the tempus, or unit of measure, then 
 being the breve j^ ) should fill 7^ 
 minutes, thus : 
 
 80 I | =yi minutes 
 loj tsj =i min. = iCHf M.M.; hence 
 O = 2iJ M.M.; ^ =42$ M.M.; and 
 ^=8 5 iM.M. (J=8 5 t M.M.) 
 
 [KlEMANN.] 
 
 Intenziona'to (It.) With stress, em- 
 
 phasis. 
 Interlude, r. An intermezzo. 2. An
 
 INTERMEDE INTERROGATIVUS. 
 
 101 
 
 CLASSIFIED LIST OF MUSICAL INSTRUMENTS. 
 I. Stringed Instruments. 
 
 ith 4 strings 
 
 fa) by a bow ^ with more 
 
 A. Strings, rubbed { 4 strings 
 
 (b) by a wheel turned by a crank 
 
 'Viola d'amore 
 [Viols, various] 
 
 Hu riiy-git rt/jf , / 'in no-violin 
 
 A. With mouth- ( a) lateral 
 hole 
 
 II. Wind-instruments. 
 
 Flutes, Piccolos. Fife 
 
 B. With reed 
 
 i b) whistle-like 
 
 a) cylindrical tube -f- beating reed 
 
 b) conical tube -|- beating reed 
 
 c) conical tube -f- double reed 
 
 f a) natural 
 
 C. With mouth- 
 piece 
 
 [b) chromatic 
 
 i. with slide 
 
 [Flutes a becj, 'Flageolet 
 I [Chalumeau], clarinets, 'alt-cla- 
 ) rinet (basset-horn), bass-cl. 
 Saxophones, 'octavin 
 Oboe.'hautbois d'amour, alt-oboe or 
 
 cor anglais 
 *Sarrusophones 
 Bassoon, quint-bassoon, double-has* 
 
 soon 
 
 Horn, natural 
 Trumpet, natural 
 'Post-horn 
 x *Bugle, military 
 Trombones, slide-trumpet 
 [Cornetto, Serpent] 
 
 mpel 
 
 D. Polyphonic ( a > without keyboard 
 
 I [Cornetto, Serpent] 
 
 2. with holes (keys) < 'Key-bugle, or key-trur 
 I'Ophicleide 
 
 I Valve-horn 
 Valve -trumpet 
 Valve-trombone, ('alto, tenor, 'bass) 
 Cornet a pistons 
 
 I Valve-bugles or saxhorns ; Tubas or 
 I. saxhorns 
 
 / a; wunoui Key ooaru 
 
 1b) with keyboard \ J; ^^^ Hafmonium, 'Vocalic 
 
 III. Instruments of Percussion. 
 
 A. With a me 
 
 brane 
 
 B. Autophonic 
 
 a) with tones of determinate pitch 
 
 b) with tones of indeterm. pitch 
 
 a) with tones of determinate pitch 
 
 b) with tones of indeterm. pitch 
 
 Kettledrums 
 
 Bass drum, side-drum, etc. 
 
 Bells, carillons, Glockenspiel 
 
 {Triangle, cymbals, tam-tam, cas> 
 tanets, etc. 
 
 instrumental strain or passage connect- 
 ing the lines or stanzas of a hymn, etc. 
 3. An instrumental piece played 
 between certain portions of the church 
 service (Lat. interlu' diuni). 
 
 Intermede (Fr.) i. Interlude i. 2. An 
 operetta in one act. 
 
 Interme'dio (It., dimin. intermediet'to.') 
 Interlude 2. 
 
 Intermez'zo (It.) Intermezzi were orig- 
 inally short mus. entr'actes in the Italian 
 tragedies, of a very simple description, 
 and quite independent of each other ; 
 towards the end of the l6th century 
 they assumed larger proportions ; finally 
 they were treated as separate parts of 
 a whole mus. drama, of a less serious 
 cast than the principal work which they 
 were intended to embellish, their acts 
 alternating with those of the latter. 
 
 Having reached this stage, they merely 
 had to be detached from the larger Work 
 to form a self-existent operetta or opera 
 buffa. Instrumental music sometimes 
 takes the place of the old intermezzi in 
 modern dramas (e. g. that to the " Mid- 
 summer-night's Dream," by Mendels- 
 sohn)... The term intermezzo is also 
 technically applied to many short move- 
 ments connecting the main divisions of 
 a symphony or other extended work ; 
 sometimes to entire long movements, 
 or even to independent compositions.. . 
 Inter mfz'zi in the Suite are such dances 
 (movements) as do not form one of its 
 regular constituent parts, but are occa- 
 sionally introduced for variety's sake, 
 and usually between Sarabande and 
 Gigue. 
 
 Interrogati'vus. One of the accentuseccL
 
 ro2 
 
 INTERROTTO INTERVAL. 
 
 Interrot'to (It.) Interrupted. . .Inter- 
 ruzio'ne, interruption. 
 
 Interval. (Lat. interval' lum ; Ger. In- 
 tervall'j-fr. inter valle ; It. interval' lo.) 
 The difference in pitch between 2 tones. 
 For naming the various intervals 
 there are 2 systems in vogue ; both are 
 founded upon and derived from the 
 names of the intervals formed, in the 
 diatonic major scale, between the key- 
 note and the successive ascending de- 
 grees ; in both the 1st degree is called 
 a Prime (or First), the 2nd a Second, 
 the 3rd a Third (or Tierce), 4th a 
 Fourth (or Quart), 5th a Fifth (or 
 Quint), 6th a Sixth (or Sext), 7th a 
 Seventh (or Sept), and the 8th an Octave 
 (or Eighth). In the typical scale of C- 
 major the standard intervals are as 
 follows, counting upward from the key- 
 note, C: 
 
 (TABLE I.) 
 
 
 
 (i) The older system, that in general 
 use, will be explained first ; premising, 
 that intervals are always considered as 
 measured upwards from the lower tone 
 to the higher, unless expressly accom- 
 panied with the epithet below or lower. 
 Table III includes the standard inter- 
 vals and their direct derivatives between 
 
 Table III shows (A) that each major 
 or perfect interval, when widened by a 
 semitone, becomes augmented ; that 
 each major interval, narrowed by a 
 semitone, becomes minor; and that 
 each minor or perfect interval, narrowed 
 by a semitone, becomes diminished; 
 (B) that by inverting the intervals : 
 
 a Perfect 
 
 a Major 
 
 a Minor 
 
 an Augmented 
 
 a Diminished 
 
 2345678 
 
 7.654321 
 interval becomes perfect 
 " " minor 
 
 major 
 diminished 
 augmented ; 
 
 (C) the regular order of the standard 
 intervals according to their pitch (com- 
 pare Vibration), both in Just Intona- 
 tion and Equal Temperament^ inter- 
 vals bracketted together being Enhar- 
 
 monic ; (D) the division of the Octave 
 in Equal Temperament. 
 
 (2) In the newer system, all the 
 standard intervals are called major; 
 any major interval widened by a semi- 
 tone becomes augmented, if narrowed 
 by a semitone, it is minor ; and any 
 minor interval narrowed by a semitone 
 becomes diminished ' ; 
 
 (TABLE II.) 
 
 Inter- Ma- Aug- MJ Diminished, 
 vals. jor. mented. 
 
 Second.. .CD C Djt C Db C Dt>K or C# Df> 
 
 Third... E Efl EJ> EjS Eh 
 
 Fourth.. F F FH F&|> F|> 
 
 Fifth.... G G;t G"> G(x> GO 
 
 Sixth.... A A:: A|> AW> A> 
 
 Seventh. B BJ B[> BW> B|> 
 
 Octave.. C Cjf Q> C|>> C|> 
 
 The latter system is simpler and more 
 consistent than the old, and might be 
 advantageously substituted for it if all 
 leading musicians in England and 
 America would agree to adopt it ; other- 
 wise, its occasional use can serve on]y 
 to increase the confusion unhappily pre- 
 vailing in English musical terminology. 
 In this Dictionary the older system is. 
 adhered to throughout. An interval is : 
 Augmented, when wider by achroma- 
 tic semitone than major or perfect. . . 
 Chromatic, when occurring between a. 
 key-tone and a tone foreign to the key. 
 . . Compound, when wider than an oc- 
 tave ; thus a Ninth is an Octave plus a 
 Second, a Tenth is an Octave plus a 
 Third, etc. . . Consonant, when not re- 
 quiring resolution (comp. Consonance). 
 . .Diatonic, when occurring between 2 
 tones belonging to the same key (ex- 
 ceptions, the augm. 2nd and 5th of 
 the harmonic minor scale). . .Dimin- 
 ished, when a chromatic semitone nar- 
 rower than minor or perfect. . .Disso- 
 nant, when requiring resolution (comp. 
 Dissonance). . .Enharmonic, when both 
 its tones, though having different letter- 
 names, are represented by one and the 
 same tone on an instr. of fixed intona- 
 tion. . .Extreme, see Augmented. . . 
 Flat, see Diminished. . .Harmonic, 
 when both tones are sounded together. . . 
 Imperfect, see Diminished. . . Inverted, 
 when the higher tone is lowered, or the 
 lower tone raised, by an octave (see 
 Table I). . .Major ; according to Table 
 I, the major intervals of the major 
 scale are the Second, Third, Sixth, and 
 Seventh ; ace. to Table II, all its inter- 
 vals are major ... Melodic, when the 2. 
 tones are sounded in succession . . .
 
 INTERVAL. 
 
 103 
 
 ( TABLE III. \ 
 
 C. D. 
 
 B. f 
 
 ~'i ^J?" 
 
 S- A. 
 
 Vibrational Ratio in Division of 
 
 Inverted Inter- 
 vals. 
 
 Perfect Octave" 
 (i: 2) 
 
 * 7& 
 
 1- 
 
 Standard 
 Intervals. 
 
 Perfect Prime 
 
 Just In- 
 tonation. 
 
 I : I 
 
 Tempered 
 Intonation. 
 
 I : I 
 
 Octave in 
 Equal Tem- 
 perament. 
 
 O.OOOOO 
 
 Dimin. Octave" * 
 
 (25 : 48) 
 
 Major Seventh " ' 
 
 \\: 
 
 ,1; 
 
 Augm. Prime 
 (Chromatic 
 Second)* 
 Minor Second 
 
 128 : 135 
 15 : 16 
 
 }.,., 
 
 0.08333 
 
 (8: 15) 
 i 
 
 i (fil 
 
 (Step of Lead- 
 
 
 
 
 Minor Seventh 
 
 i ^ 
 
 ing-tone) 
 
 
 
 
 (9 : 16) 
 
 rk 
 
 Major Secondf 
 
 8:9 
 
 I : i| 
 
 0.16666 
 
 Dimin. Seventh 
 (75 : 128) 
 
 * V- 
 
 Augm. Second 
 
 64: 75 
 
 j 
 
 
 Major Sixth 
 t~ . *\ 
 
 *| 0" 
 
 Minor Third 
 
 5 : 6 
 
 j-i:i| 
 
 0.25 
 
 (3 : 5) 
 
 
 
 
 
 
 Minor Sixth 
 (5:8) 
 
 I (5> 
 
 Major Third 
 
 4: 5 
 
 I 
 
 
 Augm. Fifth 
 (16 : 25) 
 
 1 ' 0|* 
 
 Dimin. Fourth 
 
 25 : 32 
 
 |ip4 
 
 0-33333 
 
 Dimin. Sixth 
 (675 : 1024) 
 
 t-$i 
 
 Augm. Third 
 
 512: 675 
 
 j 
 
 
 
 i\ ' m 
 
 
 
 i * ^11 
 
 0.41666 
 
 Perfect Fifth 
 
 T $n- 
 
 Perfect Fourth 
 
 3 : 4 
 
 ) 
 
 
 (2:3) 
 
 1 
 
 
 
 
 
 Dimin. Fifth 
 
 (25 : 36) 
 
 T*T 
 
 Augm. Fourth 
 
 18 : 25 
 
 j 
 
 
 Augm. Fourth 
 (18:25) 
 
 i^ 
 
 Dimin. Fifth 
 
 25 : 36 
 
 |i*4 
 
 0-5 
 
 Perfect Fourth 
 (3=4) 
 
 : ^" 
 
 Perfect Fifth 
 
 2: 3 
 
 it** 
 
 0.58333 
 
 Dimin. P'ourth 
 
 > V 
 
 
 
 
 
 (25 : 32) 
 
 V 
 
 " Augm. Fifth 
 
 16 :. 25 
 
 \ 
 
 
 Major Third 
 
 ( i . r\ 
 
 ~Tto 1* 
 
 Minor Sixth 
 
 5 : 8 
 
 r" 
 
 0.66666 
 
 (4 5) 
 
 
 
 
 
 
 
 Minor Third 
 (5:6) 
 
 _ in :: 
 
 Major Sixth 
 
 3: 5 
 
 ,:,} 
 
 0.75 
 
 Dimin. Third 
 (225 : 256) 
 
 v< 
 
 - Augm. Sixth 
 
 128 : 225 
 
 ) 
 
 
 Major Second 
 (8:9) 
 
 1'' 
 
 i 
 
 L - - Minor Seventh 
 
 9 : 16 
 
 |>.4 
 
 0.83333 
 
 Minor Second 
 (15 : 16) 
 
 r 
 
 T 
 
 ' Major Seventh 
 
 8:15 
 
 . 
 
 
 Augm. Prime 
 (128 : 135) 
 
 -i 
 (i 
 
 * Dimin. Octave 
 
 25:48 
 
 [.:. 
 
 0.91666 
 
 Perfect Prime 
 
 T*% 
 
 : : 
 
 
 
 
 (1:1) 
 
 1 
 
 * -Perfect Octave 
 
 i : 2 
 
 i : 2 
 
 1. 00000 
 
 * The greater chromatic Second ; the lesser (e. g. d-d'jf) is 24 : 25. 
 f The greater whole tone ; the lesser (e. g. J-e) is 9 IO.
 
 IO4 
 
 INTIMO ISORRHYTHMIC. 
 
 Minor, when a chromatic semitone nar- 
 rower than major or perfect. . .Perfect: 
 the Prime, Fourth, Fifth, and Octave. 
 . .Redundant, see Augmented. . . Sharp, 
 see Augmented.- Simple, when not 
 wider than the Octave . . . Superfluous, 
 see Augmented. 
 
 In'timo, Intimis'simo (It.) Compare 
 Innig. 
 
 Intona're (It.) To intone. 
 
 Intonation, i. The production of tone, 
 either instrumental or vocal, especially 
 the latter ; when applied to the pitch of 
 the tone produced, it is said to be cor- 
 rect, pure, just, true, etc., in opposition 
 to incorrect, impure, false. 2. The 
 method of chanting employed in Plain 
 Song. 3. The opening notes leading 
 up to the reciting-tone of a chant . . . 
 Fixed intonation, see Fixed. 
 
 In'tonator. See Monochord i. 
 
 Intonatu'ra, Intonazio'ne (It.) Intona- 
 tion ; pitch. 
 
 Intonie'ren (Ger.) To intone ; also, to 
 voice (as organ-pipes) ; voicing. 
 
 Intra'da. (It. intra'ta, entra'ta ; Ger. 
 Intra'de ; Fr. entr/e.) I. An instru- 
 mental prelude or overture, especially 
 the pompous introduction to the earlier 
 dramas and operas ; hence applied to 
 opening movements of various descrip- 
 tions. 2. See Entre"e. 
 
 Intre'pido,-a (It.) Bold . . . Intrepida- 
 men te, boldly. . .Intrepidez'za, boldness. 
 
 Introduction. A phrase or division pre- 
 liminary to and preparatory of a com- 
 position or movement ; may vary in 
 length from a short strain up to an ex- 
 tended and independent movement. 
 (It. introduzi</ne.) 
 
 Intro'it. (Lat. intro'itus, "entrance"; 
 It. intro'ito.) An antiphon sung while 
 the priest is approaching the altar to 
 celebrate the Mass ; formerly an entire 
 psalm, but abbreviated later. In the 
 modern Anglican Church, an anthem or 
 psalm. 
 
 Invention. A short piece in free con- 
 trapuntal style, developing one motive 
 in an impromptu fashion. (Comp. 
 Bach's 30 Inventions.) 
 
 Inversion, i. (Ger. Um'kehrung ; Fr. 
 renversement; It. river samen' to, rivol'- 
 to.) The transposition of the notes form- 
 ing an interval or a fundamental chord : 
 (A) A simple interval is inverted by 
 setting its lower note an octave higher, 
 
 or its higher note an octave lower (see 
 Interval); compound intervals must first 
 be reduced to simple ones, and then in- 
 verted : (B) A chord is inverted when 
 its lowest note is not the root ; thus any 
 triad has 2 inversions, e.g.: 
 a be 
 
 ist inv. zndinv. 
 
 a is the fundamental position; b, ist in- 
 version, or chord of the sixth ; c , 2nJ 
 inversion, or chord of the fourth and 
 sixth ; a chord of the seventh has 3 
 inversions, e. g. : 
 
 abed 
 
 ist inv. 2nd inv. yd inv. 
 
 a, fund, position ; b, ist inversion, or 
 chord of the fifth and sixth ; c, 2nd in- 
 version, or chord of the third and fourth ; 
 d, jrd inversion, or chord of the second. 
 2. In double counterpoint, the trans- 
 position of 2 parts, the higher being set 
 below the lower, or vice versa; this trans- 
 position may be by an octave or some 
 other interval, and is technically termed 
 ' ' inversion in the octave ", ' 'in the fifth", 
 " in the tenth", etc. 3. The repetition 
 of a theme in contrary motion, ascend- 
 ing intervals being answered by de- 
 scending ones, and vice versa ; also 
 called imitation in contrary motion, or 
 imitation by inversion. 4. An organ- 
 point is termed inverted when in some 
 other part than the lowest. 
 
 Invi'tatory. (Lat. im'itato'rium^) In 
 the R. C. Church, the variable antiphon 
 to the Venite, at matins ; in the Greek 
 Church, the triple "O come, let us 
 worship ", preceding the psalm at each 
 of the canonical hours ; in the Angli- 
 can Church, the versicle " Praise ye the 
 Lord " with the response " the Lord's 
 name be praised", at matins. 
 
 Ionian. See Mode. 
 
 I'ra (It.) Wrath, passion ; con ira, 
 wrathfully, passionately. ..Ira' to, wrath- 
 ful, passionate. 
 
 Irlandais,-e (Fr ) Hibernian, Irish. 
 
 Iro'nico,-a(It.) Ironical. . .Ironicamen'- 
 te, ironically. 
 
 Irregular cadence. See Cadence. 
 
 Irresolu'to (It.) Irresolute, undecided, 
 hesitating. 
 
 Isorrhyth'mic. (Ger. isorrhyth'misch.)
 
 ISTESSO TEMPO JUBELHORN. 
 
 105 
 
 In prosody, an isorr. foot is one divisi- 
 ble into 2 parts containing an equal 
 number of rhythmic units, i. e. one 
 having thesis and arsis of equal length ; 
 as the dactyl ( i^ ), anapest ( ' ^j 
 ), and spondee ( | ). 
 
 Istes'so tempo,!' (It.) "The same 
 tempo" (or time) ; signifies (i) that the 
 tempo of either the measure or measure- 
 note remains as before, after a change 
 of time-signature ; or (2) that a move- 
 ment previously interrupted is to be re- 
 sumed. (Also Lo slesso tempo.') 
 
 Istrumen'to (It.) Instrument. . ./r/rw- 
 menli a piz'zico (Ger. Kneifinstru- 
 mente), stringed instr.s plucked with 
 fingers or plectrum . . . Islrumentazio'- 
 ne, instrumentation. 
 
 Italian sixth. See Extreme. 
 
 Italien,-ne (Fr.) Italian ; a Vitalienne, 
 in the Italian style. 
 
 I'te, mis'sa est. See Mass. 
 
 J. 
 
 Jack. i. In the harpsichord and clavi- 
 chord, an upright slip of wood on the 
 rear end of the key-lever, carrying (in 
 the former) a bit of crow-quill set at a 
 right angle so as to pluck or twang the 
 string, or (in the latter) a metallic tan- 
 gent. 2. In the pfte., the escapement- 
 lever, usually called the hopper o* grass- 
 hopper. 
 
 Jagd'horn (Ger.) Hunting-horn.. .Jagd'- 
 stuck, hunting-piece. 
 
 Ja'gerchor (Ger.) Hunters' chorus ; 
 hunting-chorus. 
 
 Jale'o (Span.) A Spanish national dance 
 for one performer, in 3-8 time and 
 moderate tempo. 
 
 Jalousie'schweller (Ger.) The "Vene- 
 tian-blind " swell. See Swell. 
 
 Jan'izary music. (Ger. Janitscha'ren- 
 musik, music for triangle, cymbals, and 
 bass drum.) According to GROVE, the 
 Janizary band "contained I large and 
 3 small oboes, and I piccolo flute, all of 
 very shrill character ; I large and 2 
 small kettledrums, one big and 3 small 
 long drums, 3 cymbals, and 2 triangles". 
 
 Janko keyboard. See Keyboard. 
 
 Jeu (Fr.) i. Style of playing. 2 (pl.jeux). 
 A stop of an organ, harmonium, harp- 
 sichord, etc. . .Jeu <J douche, flue-stop. 
 . .Jeu c/leste, see Celeste . . .Jeu d'anche, 
 reed-stop. . .Jeu d'ange, vox angelica. 
 
 . .Jeu de flutes, flute-stop. . .Jeu df mu- 
 tation, (a) mutation-stop ; (b) mixture- 
 stop. . .Jeu dc timbres, Glockenspiel. . . 
 
 Jeu de violes, consort of viols . . .Jeu de 
 Tv/.t hiimaine, vox humana. . . Grand 
 
 jeu, pit-in Jen, full organ ; full power. 
 . .Demi-jeii, half power. 
 
 Jew's-harp. (Ger. Maultrommel; Fr. 
 trompe, guimbtirde ; It. trt>m'ba.) A 
 small instr. with a rigid iron frame, 
 within which is adjusted a thin, vibra- 
 tile metallic tongue ; the frame is held 
 between the teeth, and the metallic 
 tongue, being plucked with the finger, 
 produces tones reinforced in loudness 
 and determined in pitch by the cavity 
 (air-space) of the mouth. Formerly also 
 jew's-trump, trump, ti\nnp. 
 
 Jig. (Fr. and Ger. Gigue; It. gi'ga.') A 
 species of country-dance, though with 
 all conceivable modifications of step 
 and gesture, usually in triple or com- 
 pound time, and in rapid tempo. In 
 the Suite, the Gigue is generally the 
 last movement. 
 
 Jingles. The disks of metal attached at 
 intervals to the hoop of the tambourine. 
 
 Jocula'tor (Lat.) See Jongleur. 
 
 Jo'deln (verb), Jo'dler (noun) (Ger.) A 
 favorite style of singing among the in- 
 habitants of the Alps, characterized by 
 a frequent and unprepared alternation 
 of falsetto tones with those of the chest- 
 register. A Jodler is a song or refrain 
 sung as above. 
 
 Jongleur (Fr.) A wandering minstrel in 
 medieval France, and also in England 
 under the Norman kings ; later, a jug- 
 gler or mountebank. 
 
 Jo'ta (Span.) A national dance of north- 
 ern Spain, danced by couples, in triple 
 time and rapid movement, somewhat 
 resembling a waltz, though with innu- 
 merable extempore and fantastic varia- 
 tions of step, and accompanied by the 
 castanets and mandolin, with vocal in- 
 terludes. 
 
 Jouer (Fr.) To play (any instrument) ; 
 used with de, du, de /'. 
 
 Jour (Fr., " day.") A corde a jour is an 
 open string. 
 
 Ju'ba. A dance of the negroes in the 
 Southern States, forming an essential 
 feature of the breakdown. 
 
 Ju'bal. (Ger.) An organ-stop of either 
 2 or 4-foot pitch. 
 
 Ju'belhorn (Ger.) See Klappenhorn.
 
 Io6 
 
 JUBILATE KERAULOPHON. 
 
 Jubila'te. In the Anglican liturgy, the 
 looth psalm, following the second les- 
 son in the morning service ; named 
 from the first word of the psalm in the 
 Vulgate. 
 
 Jubila'tio (Lat.) In the R. C. musical 
 service, the melodic cadence or coda on 
 the last syllable of "alleluia"; also 
 
 Jubilns. 
 
 Ju'bilus (Lat.) I. Same as Jubilatio. 
 2. An extended melodic phrase or orna- 
 ment sung to one vowel. 
 
 Ju'la (Ger.) An obsolete 5y-foot organ- 
 stop. 
 
 Jump. I. See Dump. 2. A leap. 
 
 Jung'fernregal or J ting 1 fernstimme 
 (Ger.) Vox angelica. (Lat. also vox 
 virginea.) 
 
 Jupiter Symphony. Mozart's 4Qth (and 
 last) symphony, in C-major. 
 
 Juste (Fr.) Just, true, accurate (said of 
 intonation). . .Justesse, purity (of tone) ; 
 correctness, accuracy (of ear or voice). 
 
 K. 
 
 Kadenz' (Ger.) Cadence ; close ; ca- 
 denza. . .Ab'gebrochene K., interrupted 
 cadence . . . A uf'gehaltene K. , the f er- 
 mata (usually on the * chord) before 
 a cadenza. . .Plagafkadenz, plagal ca- 
 dence . . . Trug'kadenz, deceptive ca- 
 dence. . . Un'vollkommene (voll'kom- 
 mene) K., imperfect (perfect) cadence. 
 Also frequently Schluss (close), 
 which see. 
 
 Kalama'ika. A Hungarian national 
 dance in 2-4 time and rapid tempo, of 
 an animated and passionate character. 
 
 Kalkant' (Ger.) A " bellows-treader" 
 of the older German organs. . .Kalkan'- 
 tenglocke, bell-signal for the blower. 
 
 Kam'mer (Ger., imitating It. camera.} 
 A private room or small hall . . . Kam'- 
 merkantate, chamber-cantata. . .Kam'- 
 merkomponist, court-composer (for a 
 prince's private band) . . .Kam'merkon- 
 zert, (a) chamber-concert, (b) chamber- 
 concerto. . . Kam'mermusik, chamber- 
 music. . . Kam'mermusiker, court-musi- 
 cian. . . Katn'mersanger, court-singer. 
 . . Kam'merstil, the style of chamber- 
 music. . . Kam'merton, normal or stan- 
 dard orchestral pitch (now a 1 =435); 
 see Chorton. . .Kam'mervirtuos, court- 
 virtuoso. 
 
 Ka'non (Ger.) Canon. 
 
 Kanta'te (Ger.) Cantata. 
 
 Kanun'. A sort of Turkish dulcimer 
 or zither with gut strings, played with 
 plectra adjusted like thimbles on the 
 finger-tips. 
 
 Kanzel'le (Ger.) Groove (in windchest.) 
 Kanzo'ne (Ger.) Canzone. 
 
 Kapel'le (Ger.) i. Especially in the i8th 
 century, a company of musicians, either 
 instrumentalists or vocalists, or both, 
 maintained as part of the establishment 
 of a court or nobleman, or of some 
 church dignitary. 2. In modern usage, 
 an orchestra. . .Kapell'knabe, choir- 
 boy . . . Kapell'meister, (a) conductor of 
 an orchestra ; (6) Choir-master. (Some- 
 times literally translated chapel-master.) 
 . . KapelFmeistermusik, "band-master 
 music", i. e. music filled with reminis- 
 cences from works familiar to the con- 
 ductor-composer, and hence the reverse 
 of original. 
 
 Kapodas'ter (Ger.) Capotasto. 
 
 Kassation' (Ger.) Cassazione. 
 
 Kastagnet'ten (Ger., pi.) Castanets. 
 
 Katalek'tisch (Ger.) Catalectic. 
 
 Ka'tzenmusik (Ger., "cat-music".) A 
 callithumpian concert, mock serenade. 
 
 Kavati'ne (Ger.) Cavatina. 
 
 Kazoo'. A musical (?) toy, consisting of 
 a pasteboard tube furnished with a gut 
 string, which vibrates when the per- 
 former sings into the tube. 
 
 Keck (Ger.) Bold, confident ; pert. 
 (Also adverb.). . .Keck' 'heit, boldness, 
 confidence. 
 
 Keh'le (Ger.) Throat. . . Kehl' fertig- 
 keit, vocal skill . . . KekFkapf, larynx . 
 . .Kehl'schlag(fr. coup de glotte), sud- 
 den, firm attack of a vocal tone, the vo- 
 cal cords closing and adjusting them- 
 selves simultaneously with the emission 
 of air. 
 
 Kehrab', Kehraus' (Ger.) Familiar 
 term for the concluding dance at a 
 party or ball. 
 
 Ken'ner (Ger.) A connoisseur, expert. 
 
 Kent bugle. (Ger. Kent horn.} Key- 
 bugle. 
 
 Kerau'lophon. In the organ, an 8-foot 
 partial flue-stop, having metal pipes 
 of small scale, each surmounted by an 
 adjustable ring, and with a hole bored 
 near the top ; the tone is soft and
 
 KEREN KEYBOARD. 
 
 107 
 
 reedy. Inv. by Gray and Davidson of 
 England. 
 
 Keren. A Hebrew trumpet. 
 
 Kes'sel (Ger.) Cup (in mouthpiece of 
 brass instr.s). . .Kes'selpauke, kettle- 
 drum (usually simply Pauke). 
 
 Ket'tentriller (Ger.) Chain of trills. 
 
 Kettledrum. (Ger. Pau'ke; Fr. tim- 
 bale; It. tim'fano.) The only orches- 
 tral drum tuned to accord with other 
 instruments. It consists of a hollow 
 brass or copper hemisphere (the kettle) 
 resting on a tripod, with a head of vel- 
 lum stretched by means of an iron ring 
 and tightened by a set of screws or a 
 system of cords and braces. It is gener- 
 ally played in pairs, the larger drum 
 yielding any tone from /' to c , and the 
 smaller . | . , . accord- 
 fro m fc [ ^-~{--g^^j_IIj, ing as 
 
 By to/: ^^ the head 
 
 is relaxed or tightened. The timpani 
 were formerly noted as transposing in- 
 str.s (i. e. in C, with the added direction 
 " Timpani in E-y, in Up," etc.), butnow 
 the notes desired are generally written. 
 As used at first, they took only the tonic 
 and dominant of the movement, chiefly 
 as a rhythmical reinforcement ; now 
 they take very various intervals, and 
 are employed to obtain musical and 
 dramatic effects. They are struck with 
 2 sticks having elastic handles and soft 
 knobs of felt, sponge, and the like. 
 
 Key (l). (Ger. Ton'art; Fr. mode, ton; 
 It. mo' do, to' no.) The series of tones 
 forming any given major or minor 
 scale, considered with special reference 
 to their harmonic relations, particularly 
 the relation of the other tones to the 
 tonic, or key-note; the term "scale" 
 indicates simply their melodic succes- 
 sion. (Comp. Tonality.) Each key is 
 named after its key-note, as C-major, 
 a-minor. See General View, page 108. 
 The following keys : 
 
 _, C t -sharpmaj.[=Z>-flat maj.l 
 \ .4-sharpmin.[=^-flatmin.J 
 
 -g I C-flat maj.[=.Z?-major] 
 
 | ,4 -flat min.[=(7-sharp min.] 
 %/ 
 
 are comparatively little used, being en- 
 harmonically equivalent to the simpler 
 keys added in brackets.. Attendant 
 keys, see Attendant .. .Chromatic key, 
 one having sharps or flats in the signa- 
 ture ; opp. to natural key. . .Extreme 
 
 key, a remote key. . . Major key, one 
 having a major third and major sixth . 
 . . Minor key, one having a minor third 
 and sixth. . .Natural key, one with 
 neither sharps nor flats in the signature . 
 ..Parallel key, (a) a minor key with 
 the same key-note as the given major 
 key, or vice versa ; (6) same as Rela- 
 tive key, see Relative. . .Remote key, an 
 indirectly related key (comp. Phone, 4). 
 
 Key (2). (Ger. Tas'te ; Fr. touche ; It. 
 fa's to.) I. A digital or finger-lever in 
 a pfte., organ, etc. 2. A pedal or foot- 
 key in the organ and pedal-piano. 
 
 Key (3). (Ger. Klap'pe ; Fr. <//, clef; 
 It. chia've.) In various wind-instr.s, a 
 mechanical contrivance for ooening or 
 closing a hole in the side of the tube, 
 thus shortening or lengthening the vi- 
 brating air-column and consequently 
 raising or lowering the pitch of the tone 
 produced. The key here replaces the 
 finger-tip ; it is attached to a lever 
 worked by the finger or thumb, and 
 differs in principle from the valve in 
 lying flat outside the tube. 
 
 Key (4). A tuning-key. 
 Key (5). A clef. (Obsolete.) 
 
 Key-action. In the pfte. or organ, th 
 entire mechanism connected with and 
 set in action by the keys, including the 
 latter themselves. 
 
 Keyboard. (Ger. Klaviatur 1 / Fr. da- 
 vier ; It. tastatu'ra, tastie'ra.) The 
 keys or digitals of the pfte., organ, etc., 
 taken collectively. The modern stand- 
 ard keyboard is the product of an evo- 
 lution extending over 1,000 years. Its 
 only successful rival at present is the 
 Janko keyboard, inv. by Paul von 
 Jankoof Totis, Hungary, in 1882, which 
 presents to the eye the appearance of 
 six different rows of keys arranged step- 
 wise, one above the other. But the 
 corresponding keys in the 1st, 3rd, and 
 5th rows are all fixed on one key-lever ; 
 thus, if C be struck in the 1st (lowest) 
 row, the corresponding keys in the 3rd 
 and 5th rows are depressed ; further, 
 the 2nd, 4th, and 6th rows are similarly 
 connected ; so that any given tone can 
 be struck in three different places, ad- 
 mitting of the choice of the key most 
 convenient to the position of the hand 
 at any given instant. The 6 rows are 
 therefore arranged in 3 pairs ; in the 
 lower row of any pair the succession of
 
 ;o8 
 
 KEY-BUGLE KEY-NOTE. 
 
 GENERAL 
 
 Ke t y u~re gna ~ En g' ish - German. 
 
 VIEW OF THE KEYS. 
 
 French. Italian. 
 
 Ut majeur Do maggiore f Natural 
 La mineur La minore j keys. 
 
 Sol majeur Sol maggiore 
 Mi mineur Mi minore 
 
 Re majeur Re maggiore \ 
 Si mineur Si minore 
 
 La majeur La maggiore 
 Fa diese mineur Fa diesis minore 
 Sharp 
 keys. 
 Mi majeur Mi maggiore 
 Ut die&e mineur Do diesis minore 
 
 Si majeur Si maggiore 
 Sol diese mineur Sul diesis minore 
 
 Fa diese majeur Fa diesis maggiore 
 Re diese mineur Re diesis minore 
 
 Sol bemol majeur Sol bemolle maggiore 
 Mi bemol mineur Mi bemolle minore 
 
 Re bemol majeur Re bemolle mnggiore 
 Si bemol mineur Si bemolle minore 
 
 La bemol majeur La bemolle maggiore 
 Fa mineur Fa minore 
 Flat 
 keys. 
 Mi bemol majeur Mi bemolle maggiore 
 Ut mineur Do minore 
 
 Si bemol majeur Si bemolle maggiore 
 Sol mineur Sol minore 
 
 Fa majeur Fa maggiore 
 Re mineur Re minore 
 
 H^U { A-iniiinr A moll 
 -r j G-major G dur 
 
 gfl 1 E-minor E moll 
 
 *$ : j D-major D dur 
 ~~ | B-minor H moll 
 
 ~jyg = j A-major A dur 
 ^H ) F-sharp minor Fis moll 
 
 |^y*fl j E-major E dur 
 l(nJ^ ~ I C-sharp miner Cis moll 
 
 TJr jt t, j B-major H dur 
 (ft) - | G-sharp minor Gis moll 
 
 [ J?*^ ftj .( F-sharp major Fis dur 
 |p\j~~ "( D-sharp minor Dis moll 
 
 | x U i-b &- j G-flat major Ges dur 
 [TO ff t> ( E-flat minor Es moll 
 
 l-/y;-g- - j D-flat major Des dur 
 [Cdr *? P ( B-flat minor B moll 
 
 Jf U i_i> ( A -flat major As dur 
 ClHr ft 1 F-minor F moll 
 
 lfi^~^ ~ "* c - m ' nor J C moll 
 
 ^y ~ 'j G-minor * G moll 
 
 f-j^-j; j F-major F dur 
 |()- J D-minor D moll 
 
 * 
 
 keys is C D E [white] F$ 6$ A$ I row : C Z [black] F G A B [white] 
 [black] c [white], etc.; in the upper I c$, [black], etc.: 
 
 upper row of keys (in pair) CJJ D# F GAB c2 
 ir>7*>r " " " " " r r> v. F-^t n> A- r- 
 
 lower 
 
 Consequently, a chromatic scale is 
 played by the simple alternation be- 
 tween the successive keys of any 2 ad- 
 joining rows ; the fingering of all the 
 major scales is uniform, and all minor 
 scales are also fingered alike. The 
 width of an octave on the ordinary key- 
 board is just that of a tenth on this ; so 
 that large hands can stretch a thirteenth, 
 or even a fourteenth 
 
 Key-bugle. See Bugle. 
 
 A- c. 
 
 Key-chord. The tonic triad. 
 Keyed violin. A piano-violin. 
 Key-fall. See Dip. 
 
 Key-harp. (Fr. clavi-harpe.) An instr. 
 resembling a pfte. in form, and with a 
 similar keyboard, but having a set of 
 tuning-forks in lieu of strings. Inv. in 
 1819 by Dietz and Second. (Comp, 
 Kla viatur-IIa rfe?) 
 
 Key-note. The tonic.
 
 KEYSHIP KLAVIER. 
 
 109 
 
 Keyship. Tonality. 
 Key-signature. See Signature. 
 
 Key-stop. A key (digital) attached to 
 the fingerboard of a violin so as to re- 
 place the fingers in stopping the strings; 
 
 the instr. is then called a key-slop (or 
 keyed-stop} violin. (Comp. Klavier- 
 Violonfello.) 
 
 Key-tone. Same as key-note. 
 
 Key-trumpet. A trumpet provided with 
 keys. 
 
 Kicks (Ger.) The "goose". 
 
 Kin. An ancient Chinese instr., consist- 
 ing of a soundboard with 2 bridges, 
 over which silk strings varying in num- 
 ber from 5 to 25 are stretched ; they are 
 plucked with the fingers. 
 
 Kin'derscenen (Ger.) Scenes of Child- 
 hood (Schumann). . .Kin'derstiicke, 
 pieces for children. 
 
 Kind'Jich (Ger.) Childlike ; with fresh, 
 naive effect. 
 
 King. An ancient Chinese instr., con- 
 sisting of a graduated series of 1 6 sonor- 
 ous stones (or plates of metal), sus- 
 pended by cords and struck with a 
 mallet. 
 
 Kir'chenmusik (Ger.) Church-music. 
 . .Kir'chenton (pi. -/<>'<?), a church- 
 mode. . .Kir'chenstil, (a} the style of 
 harmonic progression peculiar to the 
 medieval church-modes ; (/') the style 
 of sacred music. 
 
 Kis'sar. The 5-stringed Abyssinian lyre. 
 
 Kit. (Ger. To.' schengeige ; Fr. pochette; 
 It. sordi'no.) The small old-fashioned 
 violin used by dancing-masters, with 
 the accordatura ^'-^W, and about 16 
 inches in length over all. 
 
 Ki'thara (Gk.) A harp-like instr. of the 
 ancient Greeks ; ancestor (in name) of 
 the guitar, cithern, zither, etc. 
 
 Klang (Ger.) i. A sound. 2. A com- 
 posite musical tone (a fundamental tone 
 with its harmonics) ; rendered Dy Tyn- 
 dall "clang". 3. See Phone, i... 
 Klang'boden, soundboard (usually Ke- 
 sonanz' boden . . . Klang' far be, " clang- 
 tint ", "tone-color", quality of tone. 
 . . Klang'folgc, a progression of chords, 
 viewed from the standpoint of their 
 tonality. . . fClang'fifttren, Chladni's 
 figures, see .Yojal lines .. .Klang' ge- 
 schlecht, mode. . Klang' schlussel, see 
 Phone, 6 . . . Klang'stufe, degree; in- 
 terval. . .Klang' rt rtr t -fn >ig, see /'/;<>;/<, 
 
 3 Klang'ver-vandschaft, chord-re- 
 lationship. 
 
 Klap'pe (Ger.) Key 3 ... A'lap'fenhorn, 
 key-bugle. 
 
 Klarinet'te (Ger.) Clarinet. 
 Klau'sel (Ger.) Clausula, cadence... 
 
 Bass' klausel, the dominant-tonic skip 
 
 of the bass at the close. 
 
 Klavaoli'ne (Ger.) See JEolodicon. 
 Klavi- (Ger.) See Clavi-. 
 
 Klaviatur / (Ger.) Keyboard. . .Klavi- 
 atur-Harfe (or Klavier-Ifarfe), a 
 piano-harp, i. e. a harp with piano-key- 
 board, inv. 1893 by Ignaz Lutz of 
 Vienna ; the strings are plucked or 
 twanged by plectra (in lieu of hammers) 
 actuated by the digitals ; the effect 
 closely resembles that of the double- 
 action harp, the tone being even fuller. 
 . .Klaviatnr-Zither, piano-zither,!, e. 
 a small pfte. in grand shape, the single 
 strings of which are twanged by playing 
 on the keyboard ; inv. 1893 by Ignaz 
 Lutz of Vienna. 
 
 Klavier' (Ger.) I. A keyboard. 2. A 
 keyboard stringed instr.; specifically, in 
 the 1 8th century, a clavichord ; now, a 
 pfte. of any kind. . . Klavier' ait szug, 
 pfte. -arrangement. . .Klavier - Harmo- 
 nium, a combined pfte. and harmonium ; 
 that inv. 1893 by Franz Woroniecki of 
 Przemysl, Galicia, is shaped like a 
 small grand piano, the harmonium- 
 mechanism being attached below and 
 behind the body and controlled by from 
 5 to 10 draw-stops. . .Klavier' hoboe % 
 harmoniphon. .. Klavier' mii^sig, suitable 
 for the pfte., in pfte. -style. . . Klavier' - 
 sate, (music in) pfte.-style, pfte. -music, 
 pfte. -writing. . Klavier . spiel, pf te. -play- 
 ing. . .Klavier- Violoncello, the inven- 
 tion, in 1893, of Prof, de Vlaminck of 
 Brussels. To a 'cello, fixed on a hor- 
 izontal frame about the height of the 
 knee, a keyboard is attached in such a 
 manner, above the strings, that by ma- 
 nipulating it the player's left hand can 
 effect all stops and double-stops. With 
 the bow, all the effects on the 'cello as 
 ordinarily played are obtainable ; while 
 purity of intonation is attained with 
 mathematical accuracy by the aid of the 
 tangents actuated by the keys ; even the 
 vibrato effect can be brought out. 
 Klavier- Viola, a viola to which a key- 
 mechanism similar to the foregoing is 
 applied ; when played, It is set on alow 
 table or stand.
 
 no 
 
 KLEIN KURZ. 
 
 Klein (Ger.) Small; minor. . . Klein' - 
 gedatkt, flute (organ-stop). 
 
 Kling'ende Stim'men (Ger.) Speaking 
 or sounding stops (of an organ) ; opp. to 
 stum' me Regis' ter. 
 
 Knee-stop. A knee-lever under the 
 manual of the reed-organ ; there are 3 
 kinds, used (a) to control the supply of 
 wind ; (6) to open and shut the swell- 
 box ; (t) to draw all the stops. 
 
 Kneif'instrument (Ger.) An instr. hav- 
 ing strings plucked by the fingers or a 
 plectrum. 
 
 Knie'geige (Ger.) Viola da gamba. . . 
 KmSguitarre t guitare d'amour. . . . 
 Knie'zug, knee-stop. 
 
 Knopf'regal (Ger.) See Apfelregal. 
 Kno'te (Ger.) Node . . . Kno'tenpunkt, 
 
 nodal point. 
 Kollektiv'zug (Ger.) Composition- 
 
 pedal. 
 
 Kol'lern (Ger.) See Sgallinacciare. 
 
 Kolophon'. See Colophony. 
 
 Kombinations'pedal (Ger.) Combina- 
 tion-pedal. . .Kombinations'ton, combi- 
 nation-tone. 
 
 Komponie'ren (Ger.) To compose... 
 Kontponiert' , composed. . . Kompo nisi', 
 composer. 
 
 Kon'trabass (Ger.) Double-bass... Kon'- 
 trafagott, double-bassoon . . . Kon'tra- 
 oktave, contra-octave . . . Kon'trapunkl, 
 cour\tei-po\i\t...Kon'trasubjekt, counter- 
 subject. 
 
 K onzert' (Ger.) Concert ; concerto. 
 (Also Concert.} . . . Konzert'meister, 
 leader, first violin . . . Konzert 'oper, a 
 light opera for concert performance 
 without stage-accessories . . . Konzert'- 
 stiick, (a) a short concerto in one move- 
 ment and free form ; (/') any short solo 
 piece for public performance. 
 
 Kopf'stimme (Ger.) Head-voice. 
 
 Kop'pel (Ger.) Coupler ... Koppel ab, 
 coupler off. . .K. an, draw coupler. 
 
 Kornett' (Ger.) Cornet. 
 
 Kosa'kisch (Ger.) A national dance of 
 the Cossacks, the melody of which con- 
 sists of 2 8-measure repeats in 2-4 time. 
 
 Ko'to. The Japanese zither-harp, with 
 13 silk strings stretched over an arching 
 oblong soundboard, each having a sep- 
 arate movable bridge, by adjusting 
 which the string can be tuned. Com- 
 pass about t octaves. The player uses 
 
 both hands ; the chromatic tones are 
 produced by pressing the strings behind 
 the bridges. 
 
 Kraft (Ger.) Force, vigor, energy... 
 Kraf'tig, forceful, vigorous. (Also 
 adverb. .) 
 
 Kra'gen (Ger.) Peg-box (of a lute). 
 
 Krakowiak. See Cracovienne. 
 
 Krau'sel (Ger.) Mordent. 
 
 Krebs'gangig (Ger.) Cancrizans, retro- 
 grade. . .Krebs'ka non, canon cancri- 
 zans. 
 
 Krei'schend (Ger.) Harsh, strident } 
 
 screeching, screaming. 
 Kreuz (Ger., "across".) A sharp (j). 
 
 . . Kreuz' saitig, overstrung . . . Kreuz"- 
 
 tonart, a sharp key. 
 
 Krie'gerisch (Ger.) Martial, warlike. 
 Kriegs'lied (Ger.) War-song. 
 Kro'me (Ger.) Chroma. 
 
 Krumm'bogen (Ger.) Crook. . .Krumm'- 
 horn, (Kromp/wrn, Krumhorn, hence 
 Fr. cromorne and It. cornwrne ; It. 
 also cornamu'to tor'to, or, for short, 
 star* to.) I. An obsolete wood-wind instr. 
 of the Bombard class, blown by means of 
 a double reed within a cupped mouth- 
 piece, and differing from the bombards 
 by the semi-circular turn of the lower 
 part of the tube and by its remarkably 
 narrow compass (a ninth). In the 1 6th 
 century it was made in 3 or 4 different 
 sizes, treble, alto, (tenor), and bass, and 
 had 6 ventages on the straight part of 
 the tube. The tone had a melancholy 
 timbre, which was imitated 2. in the 
 organ-stop of the same name (also 
 formorne, cremona, phocinx), formerly 
 in vogue for small-sized organs and for 
 the echo-work of larger ones (of 8 and 
 4-foot pitch, on the pedal also of 16- 
 foot pitch as Krutnm' hornbass) ; a 
 reed-stop, the tubes of which were fre- 
 quently half-covered, or conical below 
 and cylindrical above. [RIEMANN.] 
 
 Krus'tische Instrumen'te (Ger.) See 
 
 Selling" ins triunen ti. 
 
 Kuh'horn (Ger.) The alp-horn. . .Kuh'- 
 reigen, Kuh'reihen, Ranz des vaches. 
 
 Kunst (Ger.) Art; science ... Kunsf- 
 f tig tie, fuga ricercata. . . Kunst' kr, artist. 
 . . Kunst' lied, an art-song, opp. to folk- 
 song ( Volkslied) . . . Kunst pfeifir, see 
 Stadtpfeifer. 
 
 Kurz (Ger.) Short ; crisp(ly). . .Kur'zer 
 Mor'Jcnt, short mordent. . .Kur'zeOk-
 
 KYRIE LAUTE. 
 
 ta've, short octave. . .A'it rz ttnd be- 
 stimmt', short and decided. . .Kur'zer 
 Vor'schlag, short appoggiatura. 
 
 Ky'rie (Gk.," Lord".) The first word, 
 and hence the opening division, in the 
 Mass. 
 
 L. 
 
 L. Abbr. for left (or Ger. links) in the 
 direction /. h. (left hand). 
 
 La. i. The 6th Aretinian syllable. 2. 
 (Fr., It., etc.) The note ^.3. The 
 (Fr., fem. sing.). ..La bcmol, etc., see 
 Key /, Table. 
 
 Labecedisa'tion. See Bebisation. 
 
 Labial'pfeife (Ger.) A labial (lipped) 
 pipe; a flue-pipe. . . Labial' stirn me, a 
 flue-stop. 
 
 Labisa'tion. Same as Bibisation. 
 
 LaTjium (Lat.) Lip (of an organ-pipe). 
 (Plural, in Ger. use, La'bien.) 
 
 Lacrimo'sa (Lat.) First word in the 
 8th strophe of the Requiem ; hence, 
 name of a movement or division of the 
 grand musical requiem, usually of a 
 tender and plaintive character. 
 
 La'ge (Ger.) Position (of a chord); 
 position, shift (in violin-playing). . .La'- 
 gen-vechsel, change of position, shifting. 
 . . Enge (weite) Lage, close (open) har- 
 mony. 
 
 Lagriman'do(It.) Complainingly, plain- 
 tively. . . Lagrimo' so , "tearful", plain- 
 tive, in the style of a lament. 
 
 Lah. For La, in the Tonic Sol-fa system. 
 
 Lamenta'bile (lamentan'do, lamen- 
 te'vole, lamento'so) (It.) In a sad, 
 melancholy, or plaintive style. 
 
 Land'ler (Ger.) A slow waltz of South 
 Germany and Austria (whence the Fr. 
 name Tvrolienne), in 3-4 or 3-8 time, 
 and the rhythm 
 
 J J J.J|J J J.J 
 
 Lang'sam (Ger.) Slow, slowly... Lang'- 
 samer, slower. 
 
 Language. In a flue-pipe of an organ, 
 an inner partition between foot and 
 body ; see Pipe I, a. 
 
 Languen'do, Languen'te (It.) Lan- 
 guishing, plaintive. 
 
 Languette (Fr.) i. The tongue of a harp- 
 sichord-jack, on which the quill was 
 fixed. 3. Tongue of a reed in the 
 harmonium or reed-organ. 3. Pallet 
 
 (in the organ). 4. Key (on wind- 
 instr.s). 
 
 Languid. Same as Language. 
 
 Languidamen'te (It.) Languishingly, 
 languidly. . .Lan'guido, languid, lan- 
 guishing. 
 
 Lantum. A large kind of hurdy-gurdy, 
 having a rotatory bellows which supplies 
 wind to metallic reeds, and played by 
 pressing buttons adjusted in front. 
 
 Lapid'eon. An instr. consisting of a 
 series of flint-stones graduated to the 
 tones of the scale, hung in a frame, and 
 played with hammers ; inv. by Baudry. 
 
 Largamen'te (It.) Largely, broadly ; in 
 a manner characterized by breadth of 
 style without change of time. [GROVE.] 
 
 Largan'do (It.) " Growing broader ", 
 i. e. slower and more marked ; generally 
 a crescendo is implied. 
 
 Large. See Notation, 3. 
 Large, Largement (Fr.) Largamente 
 (Ger. breit); sostenuto (Ger. getragen). 
 
 Larghet'to (It.) Dimin. of Largo; calls 
 for a somewhat quicker movement, 
 nearly equivalent to Andantino. 
 
 Lar'go (It.; superl. largkis'simo.*) Large, 
 broad ; the slowest tempo-mark, calling 
 for a slow and stately movement with 
 ample breadth of style . . . L. assa'i, with 
 due breadth and slowness. . .L. dimolto, 
 or molto largo, an intensification of 
 Largo. . .Poco largo, "with some 
 breadth"; can occur even during an 
 Allegro. 
 
 Larigot (Fr.) Originally, a kind of 
 shepherd's pipe, or flageolet ; hence, an 
 organ-stop of i*/j foot pitch, one of 
 the shrillest registers. 
 
 Lau'da (Lat.) A laud (hymn or song of 
 praise). . .Lau'des, lauds ; together with 
 matins, the first of the 7 canonical 
 hours, taking its name from the I48th, 
 I49th, and isoth Psalms then sung. 
 
 Lauf (Ger.) i. See Laufer. 2. Peg- 
 box (usually IVir'belkasten). 
 
 Lau'fer (Ger.) A run. 
 
 Lau'nig (Ger.) I. With light, gay humor. 
 2. With facile, characteristic expres- 
 sion. 
 
 Laut (Ger.) i. Loud. 2. A sound. 
 
 Lau'te (Ger.) A lute . . . Lau' tengeige , a 
 viol.. . I. an' laii n.tt rii Mi'iits, see Kneif- 
 instrumente. . . I.auttnist' , lute-player. 
 . . . Lau'tenmachcr, see Luthicr.
 
 (12 
 
 LAVOLT A LEITMOTIV. 
 
 Lavol'ta (It.) An old Italian dance in 
 triple time, resembling the waltz. 
 
 Lay. A melody or tune. 
 
 Le (Fr. and It.) The. 
 
 Lead. i. The giving-out or proposition 
 of a theme by one part. 2. A cue 
 (comp. Presa). 
 
 Leader, i. Conductor, director. 2. 
 In the orchestra, the first violin ; in a 
 band, the first cornet ; in a mixed 
 chorus, the first soprano. (In small 
 orchestras the leader [ist violin] is still, 
 as was the rule in earlier times, also 
 the conductor.) 
 
 Leading, i (noun). In a composition, 
 the melodic progression of any part or 
 parts. 2 (adjective). Principal, chief; 
 guiding, directing. . . Leading-chord, the 
 dominant chord, as leading into that of 
 the tonic . . . Leading melody, principal 
 melody or theme . . . Leading-motive, see 
 Leitmotiv. . .Leading-note, -lone (Ger. 
 Leit'lon; Fr. note sensible; It. no' la 
 sensi'bile}, the 7th degree of the major 
 and harmonic minor scales ; so called 
 because of its tendency, in certain 
 melodic and chordal progressions, to 
 the tonic. 
 
 Leaning-note. Appoggiatura. 
 
 Leap. I. In piano-playing, a spring 
 from one note or chord to another, in 
 which the hand is lifted clear of the 
 keyboard. 2. See Skip, 
 
 Leben'dig, Leb'haft (Ger.) Lively, 
 animated. (Also adverb.). . .Leb'haftig- 
 keit, animation ; Mil L. und durchaus' 
 tnit Empfindung nnd Ausdruck, with 
 animation, and with feeling and ex- 
 pression throughout. 
 
 Ledger-line. See Leger-line. 
 
 Legan'do. (It.) See Legato. 
 
 Lega'to (It. ; superl. legatis' simo) 
 "Bound"; a direction to perform the 
 passage so marked in a smooth and 
 connected manner, with no break be- 
 tween the tones ; also indicated by the 
 legato-mark, a curving line drawn over 
 or under notes to be so executed . . . 
 Lega'tobogen (Ger.), legato-mark, slur. 
 
 Legatu'ra (It.) A tie ; a syncopation.. . 
 L. di voce, see Ligature 2. 
 
 Le'gend. (Ger. Legen'de ; Fr. Vgende.) 
 A composition based on a poem of 
 lyrico-epic character, the poem serving 
 either as text or program. . . Legen' den- 
 ton, im (Ger.), in the style of a romance 
 or legend. 
 
 Lger, 16gere (Fr.) Light, nimble... 
 Le"gerement, lightly, nimbly. 
 
 Leg'er-line. (Ger. Hilfs'linie; Fr. ligne 
 ajoute'e; It. ri'go aggiun'lo or _finto.) 
 One of the short auxiliary lines used for 
 writing notes which lie above or below 
 the staff. Leger-lines are counted away 
 from the staff, either up or down... 
 Leger-space, a space bounded on either 
 side or both sides by a leger-line. 
 
 Leggerez'za (It.) Lightness, swiftness. 
 . .Leggermen'te, lightly, swiftly. . .Leg- 
 ge'ro, same as Leggiero. 
 
 Leggiadramen'te. (It.) Neatly, ele- 
 gantly, gracefully. . .Leggia'dro, neat, 
 graceful, elegant ; in a brisk and cheer- 
 ful style. 
 
 Leggieramen'te, Leggiermen'te (It.) 
 Lightly, swiftly. . .Leggie're, light, etc. 
 . . Leggierez'za, lightness, swiftness. . . 
 Leggie'ro, a direction indicating, in 
 piano-technic, that the passage is to be 
 performed with as great lightness as is 
 consistent with the degree of loudness 
 required ; generally in swift piano pas- 
 sages with little rhythmical emphasis. 
 It differs from Legato in calling for a 
 mere down-stroke of the fingers without 
 pressure, and with a quick, springy re- 
 coil . . . L, con moto, lightly and swiftly. 
 
 Le'gno, col (It.) " With the stick " ; in 
 violin-playing, a direction to let the 
 stick of the bow fallen the strings. 
 
 Leicht(Ger.) I. Light, brisk. 2. Easy, 
 facile. . .Leicht be-,vegt, (a) leggiero con 
 moto ; (b) with slight agitation. 
 
 Lei'denschaft (Ger.) Passion, fervency, 
 vehemence . . . Mit L. , or lei' dense ha ft- 
 lich, passionately, vehemently. 
 
 Lei'er (Ger.) Lyre; L.kasten, hand-organ. 
 
 Lei'se (Ger.) Low, soft, pia no. 
 
 Lei'ter(Ger., "ladder".) Scale (Ton'- 
 leiter). . .Lei'tereigen, proper or belong- 
 ing to the scale . . . Lei terfremd, foreign 
 to the scale. 
 
 Leit'motiv [-teef] (Ger.) Leading-mo- 
 tive ; a term brought into special prom- 
 inence by Wagner's musical dramas, 
 and applied to any striking mus. motive 
 (theme, phrase) characteristic of or 
 accompanying one of the persons of the 
 drama or some particular idea, emotion, 
 or situation in the latter ; the motive 
 recurring reminiscently at suitable stages 
 of the action ... Also used of similar 
 motives in recent operas, oratorios, and 
 program-music.
 
 LEITTON-LIP. 
 
 "3 
 
 Leit'ton (Ger.) Leading-tone. 
 
 Lenez'za, con (It.) In a gentle, quiet 
 manner. 
 
 Le'no (It.) Faint, feeble. 
 
 Lent,-e (Fr.) Slow. . .Lentement, slowly. 
 . .Lenteur, slowness. 
 
 Len'to (It.) Slow ; a tempo-mark inter- 
 mediate between Andante and Largo 
 (comp. art. Tempo-mark). Also used 
 as a qualifying term, as Adagio non 
 lento. . .Lentamen'te, slowly. . .Lentan'- 
 do, growing slower, retarding ; a direc- 
 tion to perform a passage with increas- 
 ing slowness (ritardando, rallentando). 
 . . Lenten' za, con, slowly, deliberately. 
 
 Lesser. Minor; as the lesser third... 
 
 . . Lesser -whole tone, see Intervals, 
 Table III, foot-note. 
 
 Lesson. (Fr. lefon.) In the I7th and 
 1 8th centuries, the name of the several 
 pieces for the harpsichord, etc., which, 
 when combined, formed a Suite. 
 
 Le'sto (It.) Lively, brisk. 
 
 Letter-name. A letter used to desig- 
 nate a tone, note, key, or staff-degree. 
 See Alphabetical notation. 
 
 Leve' (Fr.) Up-beat. 
 
 Ley'er (Ger.) Earlier spelling of Leier. 
 
 Liaison (Fr.) i. A tie. 2 (liaison 
 d'harmonie). A syncopation. 3. See 
 Ligature 2. 
 
 Libel'lion. An automatic music-box, 
 distinguished by the feature that the 
 notes are represented by perforations in 
 sheets of tough cardboard, which (as 
 they/ajj through the box) can be made 
 continuous, so that compositions of any 
 desired length may be performed. 
 
 Liberamen'te (It.), Librement (Fr.) 
 Freely. 
 
 Libret'tist. A writer of libretti. . .Li- 
 brefto (It., pi.-/. ; Fr. ditto, or livret ; 
 Ger. Text). A " booklet "; specifically, 
 one containing the words of an opera, 
 oratorio, etc. ; also such words or text, 
 whether in book-form or not ; a book. 
 
 License. (Ger. Frei'heit; Fr. licence ; 
 It. licen'za.) An intentional deviation 
 from established custom or rule. . . Con 
 alcu'no licenza (It.), with a certain 
 freedom. 
 
 Lice'o (It.) Academy (of music). 
 
 Lich'anos (Gk.) See Lyre I. 
 Lie" (Fr.) Tied ; legato. 
 
 Lieb'lich (Ger.) Lovely, sweet, charm- 
 ing ; often with names of organ-stops. 
 
 Lied (Ger.) Song. A preeminently Ger- 
 man song-form is that of the durch'- 
 komponiertes Lied, which differs from 
 the ballad (Stro'phenlied) in not repeat- 
 ing the same melody for each stanza, 
 but following closely the sense of the 
 words by changing melody, harmony, 
 and rhythm. . .Kunst'lied, Folks' lied, 
 Volks't(h)umliches Lied, see those 
 words. . . Lie'dercyclus, a cycle (set) of 
 songs. . .Lie'derkranz, (a) a choral so- 
 ciety ; (l>), also Lie'derkreis, a set or 
 series of songs.. . Lie' der spiel, see Vau- 
 deville. . . Lie'dertafel, a singing-society 
 of men, of a social character. . .Lied- 
 form, see Form. 
 
 Liga'to (It.) Legato. 
 
 Lig'ature. (Ger. Ligatur 1 ; Fr. ligature; 
 It. legatu'ra) i. In mensurable music, 
 a connected group of notes to be sung 
 to one syllable. Ligatures were de- 
 rived from the compound neumes ; their 
 simplest form is the Figura obliqua 
 (q. v.) (Comp. Proprietas, Improprietas , 
 Perfection , Imperfection . ) 2 . I n mod- 
 ern music, a group or series of notes to 
 be executed in one breath, to one syl- 
 lable, or as a legato phrase. 3. A tie ; 
 hence, a syncopation. 
 
 Ligne (Fr.) A line.. . Ligne ajoute'e (pos- 
 tiche, or suppUmentaire), a leger-line. 
 
 Li'mite (It.) Limit. 
 
 Lim'ma. See Apotome. 
 
 Li'nea (It.) A line. 
 
 Lin'gua. (It.) Reed (of organ-pipe). 
 
 Lingual'pfeife (Ger.) Reed-pipe (usu- 
 ally Zung' enpfeife). 
 
 Li'nie (Ger.) A line. . .Li'niensystem, 
 the staff. 
 
 Linings. (Ger. Futterung; Fr. contre- 
 Sc/isses.) In the violin, etc., the strips 
 of pine-wood glued inside the body to 
 the ribs, to stiffen the fixed structure. 
 
 Lin'ke Hand (Ger.) Left hand. 
 
 Lip. i. (Ger. Lip'pe or [Lat.] La'biitm, 
 pi. La'bien ; Fr. biseau [upper lip].) 
 The lips of a flue-pipe are the flat 
 surfaces above and below the mouth, 
 called the upper and lower lip. See 
 7Y/V 2, a. 2. (Ger. An'satz; Fr. em- 
 bouchure ; It. imboccatu'ra.) The art 
 or faculty of so adjusting the lips to the 
 mouthpiece of a wind-instr. as to pro- 
 duce artistic effects of tone ; also lipping
 
 114 
 
 LIPPENPFEIFE LUR. 
 
 Lip'penpfeife (Ger.) Flue-pipe (usually 
 Labialpfeife). 
 
 Li'ra (It.) Lyre (see Lyre}. While the 
 ancient lyre was a harp-like instr., the 
 lira of the i6th-i8th century was a 
 species of viol, a bow-instr. with a 
 varying number of strings, and made in 
 3 principal sizes... L. barberi'na, a 
 small lyre inv. by Doni of Florence in 
 the 1 7th century... L. da brae' do, 
 "arm-lyre", a bow-instr. first mentioned 
 in the gth century, and appearing in 
 the 1 5th as an instr. resembling the 
 viol in form of head and in stringing, 
 though in other points (and finally in 
 the adoption of 4 strings) like the vio- 
 lin (see art. Violin, f oot-note). . . L. da 
 gam'ba, knee-lyre.. .L. tede'sca, hurdy- 
 gurdy. 
 
 Li'rico,-a (It.) Lyric, lyrical. 
 
 Liro'ne (It.) The great bass lyre (also 
 Accor'do, Archivio'la di lira), with as 
 many as 24 strings. 
 
 Li'scio (It.) Smooth, flowing. 
 
 L'istes'so. See Istesso. 
 
 Litany. (Gk. litanei'a ; Lat. and It. /*'- 
 tani'a; Fr. (pi.) litanies; Ger.Litanet'.) 
 A song of supplication ; "a solemn 
 form of prayer, sung, by priests and 
 choir, in alternate invocations and re- 
 sponses, and found in most Office- 
 books, both of the Eastern and West- 
 ern Church " [GROVE]. Litanies were 
 originally employed in processional 
 supplications for averting pestilence 
 and other dangers, and later adopted 
 by the Church as portions of the reg- 
 ular service at certain seasons. 
 
 Lit'terae significati'vae (Lat.) Single 
 letters, or abbreviations, of doubt- 
 ful significance, employed in medie- 
 val neumatic notation. (Ger. Roma'- 
 nusbuchstaben.) 
 
 Liu'to (It.) A lute. 
 
 Livre (Fr.) Book...^ livre ouvert, at 
 sight. 
 
 Livret (Fr.) Libretto. 
 
 Lo (It.) The. 
 
 Lob'gesang (Ger.) Song or hymn of 
 praise. 
 
 Loch in der Stimme (Ger.) "Hole 
 in the voice " ; said of that part of a 
 register in which certain tones cannot 
 be made to "speak" on account of a 
 morbid state of the vocal organ. 
 
 Lo'co (It.) Place ; signifies, following 
 
 Sva, "perform the notes as written". 
 Also al loco. 
 
 Lo'crian. (Ger. lo'krisch.) See Mode. 
 
 Long. (Lat. longa.) See Notation, 3; 
 also for Long-rest. 
 
 Lonta'no (It.) Distant. . .Da I., or in 
 lontanan'za, from a distance, far away. 
 
 Loop. i. A vibrating portion of a 
 body, bounded by 2 nodes. See Node. 
 2. The cord fastening tailpiece to- 
 button (violin, etc.) 
 
 Lo'sung, fort'schreitende (Ger.) Reso- 
 lution (usually Auf'losung). 
 
 Loud pedal. Damper-pedal. 
 
 Loure (Fr.) i. An ancient Fr. bagpipe 
 inflated by the mouth ; hence 2. A 
 dance named from the instr., on which 
 it was formerly played, in 6-4 or 3-4 
 time and slow tempo, the down-beat 
 strongly marked. 
 
 Loure" (Fr.) Slurred, legato, non staccato* 
 Low. I. (Ger. lei'se ; Fr. douce; It. 
 
 pia'no.) Soft, not loud. 2. (Ger. tief ; 
 
 Fr. bas,-se ; It. &asso,-a.) Grave in 
 
 pitch, not acute. 
 
 Lugu'bre (Fr. and It.) Mournful. 
 Lullaby. Cradle-song, berceuse. 
 
 Lun'ga (It.) Long. Written over or 
 under a hold, it signifies that the latter 
 is to be considerably prolonged. . . J.ttn- 
 ga pa' 'ttsa, a long pause or rest. Lun- 
 ghe (pi. of lunga), drawn out, pro- 
 longed ; "note" (notes) being implied. 
 
 Luo'go (It.) Same as Loco. 
 
 Lur (Danish, from Old Norse ludr, a 
 hollowed piece of wood.) I. A unique 
 pre-historic wind-instr. of bronze (alloy 
 of copper 88. 90$, tin 10.61$, nickel 
 and iron 0.49^), numerous well-pre- 
 served specimens of which have been 
 found, but only in Denmark, southern 
 Sweden, and Mecklenburg. The long, 
 slender, exactly conical tube, varying 
 in length from 5 ft. to 7 ft. 9^ in., 
 forms a sweeping, graceful curve (for- 
 ward from the player's lips, upward 
 and backward over his left shoulder, 
 and forward again over his head), and 
 terminates with a broad circular flat 
 plate (about lo in. in diam.) in lieu of 
 a flaring bell. This plate is ornamented 
 with bosses in front, and on the rear 
 with several small bronze tassels, de- 
 pending loosely. The Lur has a cupped 
 mouthpiece, shallower and more nearly 
 V-shaped than that of the trombone.
 
 LUSINGANDO-MACHETE. 
 
 The tone is powerful and mellow. 2. 
 The modern Lur, of Norway and Swe- 
 den, is usually made of birch bark, and 
 is allied to the Swiss alp-horn. 
 
 Lusingan'do, Lusingan'te (It.) Coax- 
 ing, caressing; also hi singhe'vole . . . 
 Lusinghevolmen'te, coaxingly, etc... 
 Lusinghie're, or -o, coaxing, flattering, 
 seductive. 
 
 Lus'tig (Ger.) Merry, gay (also adverb). 
 
 Lute. (Ger./.aw'/V / Fr. /it/A ; It. liu'to.) 
 A stringed instr., now obsolete, of very 
 ancient origin ; it was brought to Eu- 
 rope by the Moors, who called it AT ud 
 or Al Oud...The body has no ribs, 
 the back being, like that of the mando- 
 lin, in the vaulted shape of half a pear. 
 The strings, attached to a bridge fixed 
 on the face of the instr., and passing 
 over or beside the fretted fingerboard, 
 were plucked by the fingers, and varied 
 in number from 6 up to 13, the highest 
 or melody-string (treble, canto) being 
 single, and the others in pairs of uni- 
 sons. Bass strings ^"the fingerboard, 
 each yielding but one tone, were gener- 
 ally attached to a second neck ; they 
 were in later times covered with silver 
 wire, the other strings being of gut. 
 These bass strings were introduced in 
 the i6th century, and led to divers modi- 
 fications in the build of the instr. ; the 
 various forms of large double-necked 
 lutes then evolved (theorbo, archilinto, 
 chitarrone) being general favorites, and 
 holding, from the isth to the i?th cen- 
 tury, the place in the orchestra now oc- 
 cupied by the bass violins. Music for 
 the lute was written in tablature, there 
 being 3 systems (French, Italian, and 
 German)... A lute-player is variously 
 called a lulenist, lutanist, lutinist, and 
 lutist. 
 
 Luth (Fr.) Lute. . .Lutherie, the trade 
 of, and also the instr.s made by, a 
 luthier. . .Luthier, formerly, a lute- 
 maker ; now, a maker of any instr. of 
 the lute or violin class. 
 
 Luttuo'so (It.) Mournful, plaintive. .. 
 Luttuosameri ' te, mournfully, etc. 
 
 Lyd'ian. (Ger. l/disch.) See Mode. 
 
 Lyre. I. (Gk. and Lat. l/ra; It. li'ra; Fr. 
 lyre; Ger. Lei'er.) A stringed instr. of 
 the ancient Greeks, of Egyptian or 
 Asiatic origin. The frame consisted of 
 a soundboard or resonance-box, irom 
 which rose 2 curving arms joined above 
 by a cross-bar ; the strings, from 3 to 
 
 jo in number, were stretched from this 
 cross-bar to or over a bridge set upon 
 the soundboard, and were plucked with 
 a plectrum. The names of the strings 
 (whence were derived the names of most 
 of the tones in the Greek modes) on the 
 8-stringed lyre were as follows : 
 
 Hyf'att, "uppermost" (as the lyre was 
 held) ; the longest and deepest-toned. 
 
 Parkyfate, " next to hypate ". 
 
 Lick anas, "forefinger-string". 
 
 Afe'se, "middle string". 
 
 farame'se, "next to Mese". 
 
 Tri'te, "third string" (from the lower 
 side). 
 
 Paratu'te, " next to the last ". 
 
 Ntftt) "last," or "lowermost" (the high- 
 est in pitch). 
 
 The Kithara may be considered as a 
 large form of the lyre, the Chelys as a 
 treble lyre. The lyre differed from the 
 harp in having fewer strings, and from 
 the guitar, lute, etc., in having no fin- 
 gerboard ; its compass and accordatura 
 varied greatly. It was chiefly used to 
 accompany songs and recitations. 2. 
 . An instr. used in military bands, con- 
 sisting of loosely suspended steel bars 
 tuned to the tones of the scale and 
 struck with a hammer. 3. See Rebec. 
 Lyric, lyrical. Pertaining to or proper 
 for the lyre, or for accompaniment on 
 (by) the lyre ; hence, adapted for singing 
 or for expression in song. The term is 
 applied to music and songs (or poems) 
 expressing subjective emotion or special 
 moods, in contradistinction to epic (nar- 
 rative), and dramatic (scenic, accom- 
 panied by action) ... Lyric drama, the 
 opera. . .Lyric opera, one in which the 
 expression of subjective feeling, and the 
 lyric form of poetry, predominate... 
 Lyric stage, the operatic stage. 
 
 M. 
 
 M. Abbr. of It. mano, and Fr. main, 
 (hand) ; in organ-music, of manual 
 (usually Man.), and Lat. niattua' 'liter ; 
 and of metronome (usually M. M.) and 
 mezzo . . . n represents the note me (mi) 
 in Tonic Sol-fa notation. 
 
 Ma (It.) But ; as in the phrase vivace, 
 ma non troppo, lively, but not too much 
 so. 
 
 Machete. A small Portuguese guitar (oc- 
 tave-guitar), having 4 strings tuned : 
 
 or sometimes d* instead of
 
 n6 
 
 MACHINE-HEAD-MANDOLIN. 
 
 Machine-head. (Ger. Afecha'nik.) A 
 rack-and-pinion adjustment substituted 
 for the ordinary tuning-pegs of the 
 double-bass, the guitar, and of the mel- 
 ody-strings of the zither. 
 
 Ma'dre, al'la (It.) " To the Mother " ; 
 a superscription of hymns to the Virgin. 
 
 Mad'rigal. (Ger. and Fr. Madrigal' ; 
 It. madriga'le, madria'le, mandria'le.) 
 Originally, a short lyrical poem of an 
 amorous, pastoral, or descriptive char- 
 acter. Hence, a poem of this kind set 
 to music, which is polyphonic, with in- 
 cessant contrapuntal variations, and 
 based (in the stricter style) on a cantus 
 jirmus ; it is without instrumental ac- 
 companiment, and differs from the 
 Motet in being of a secular cast. This 
 style of composition appears to have 
 had its rise in the Low Countries to- 
 wards the middle of the I5th century, 
 spreading thence to other European 
 States, and cultivated with peculiar suc- 
 cess in Italy and England well into the 
 i8th century ; in England the Madrigal 
 Society still flourishes. Madrigals are 
 written in from 3 to 8 or more parts, 
 and are best sung by a chorus, which 
 feature forms one of the chief distinc- 
 tions between the M. and the Glee (for 
 solo voices). 
 
 Maesto'so (It.) Majestic, dignified... 
 Maesta' (con),Maesta'de (con), Maeste'- 
 vole, Alatstevolmen'te, Maestosamen'te, 
 with majesty or dignity, majestically. 
 
 Maestra'le (It.) Occasional term for 
 the stretto of a fugue, when in canon- 
 form. 
 
 Maestri'a (It.) Mastership, skill, virtu- 
 osity. 
 
 Mae'stro (It.) A master. . .M. al cem'- 
 balo, term formerly applied to the con- 
 ductor of an orchestra, who sat at the 
 harpsichord instead of wielding the 
 baton. . .M. del put' ti, " master of the 
 boys", i. e., the choir-master of St. 
 Peter's at Rome. . . M. del co'ro, choir- 
 master...^)/, di canto, singing-master. 
 . .M. di cappel' la, (a) choir-master ; (6) 
 conductor; (<) Kapelftneister (conduc- 
 tor of chorus and orchestra). 
 
 Mag'adis (Gk.) An ancient Greek instr. 
 with 20 strings tuned in octaves two by- 
 two ; hence the term mag'adize, to sing 
 in parallel octaves, as boys and men. 
 
 Ma'gas (Gk.) Bridge (of a cithara or 
 lyre) ; fret (of a lute). 
 
 Magazin'balg (Ger.) Reservoir-bellows 
 (organ). 
 
 Maggiola'ta (It.) A May Song. 
 
 Maggio're (It.) Major. 
 
 Mag'got. A "fancie", or piece of an 
 impromptu and whimsical character. 
 
 Magni'ficat. Name of, and first word in, 
 the " Magnificat anima meadominum " 
 (my soul doth magnify the Lord), the 
 hymn or song of the Virgin Mary (Luke 
 I, 46-55), sung in the daily service of 
 the Church. 
 
 Main (Fr.) Hand. . .M. droite (gauche), 
 right (left) hand...3/. harmonique, 
 harmonic hand. 
 
 Maitre (Fr.) Master....!/, de chapell(, 
 Kapellmeister, conductor. . .M. de mu- 
 siqe, (a) conductor ; (l>) music-master, 
 teacher. 
 
 Maitrise (Fr.) In France, prior to 1789, 
 a music-school attached to a cathedral, 
 for the education of young musicians, 
 who were called enfants de ckceur. Some 
 few were reestablished, and still exist. 
 
 Majesta'tisch (Ger.) Majestical(ly). 
 
 Major. (Ger. dur ; fr.majeur; \\..mag- 
 gio're.) Lit. "greater", and thusopp. to 
 minor, " lesser." (Comp. Phone, Inter- 
 val?) . . . Major cadence, one closing on a 
 major triad... M. chord or triad, one 
 having a major third and perfect fifth. 
 . . J/. interval, key, mode, scale, tonal- 
 ity, see the nouns. . .M. iuhole tone, the 
 greater whole tone 8:9 (as cd)\ opp. 
 to the lesser (or minor) whole tone 9:10 
 (as de). 
 
 Malinconi'a (It.) Melancholy. .. Con 
 m., with melancholy expression, deject- 
 edly (also malinconicamen'te) . . .Malin- 
 co'nico (-nio'so, -no'so), melancholy, 
 dejected. Also Melanconi'a, etc. 
 
 Man can 'do (It.) Decreasing in loud- 
 ness, dying away, decrescendo ; usually, 
 a combination of decrescendo and ral- 
 lentando is intended (v. Tempo-mark). 
 
 Manche (Fr.) Neck. 
 
 Mando'la (It.) A large variety of Man- 
 dolin. 
 
 Man'dolin(e). (It. tnandoli' no.) An instr. 
 of the lute family, the body shaped like 
 that of a lute, though smaller, having 
 wire strings tuned pairwise, played with 
 a plectrum, and stopped on a fretted 
 fingerboard. There are 2 chief varie- 
 ties, (i) the Neapolitan (mandolino 
 napolita'no), which has 4 pairs of strings 
 tuned g-d l -a l -e* like those of the violin ;
 
 MANDOLINATA MASCHINEN. 
 
 "7 
 
 and (2) the Milanese (mattd. lombar'do), 
 which has 5 or 6 pairs, 
 tuned g-c^-i^-d^-c* (or_. 
 g-b-^-a^-d^-^). Com-F 
 pass about 3 octaves 
 
 Mandolina'ta (It.) A piece for mando- 
 lin, or played with mandolin-effect. 
 
 Mando'ra, Mando're. SameasJ/awoWi. 
 
 Ma'nico (It.) Neck (of a lute, violin, etc.^ 
 
 Man'ichord. (Lat. manichor'diiim.) A 
 term variously applied to different forms 
 of obsolete keyboard stringed instr.s. 
 
 Manier' (Ger.) An agre'ment (harpsi- 
 chord- or clavichord-grace). 
 
 Manie'ra (It.) Style, manner, method. 
 ..Con dolce m., in a suave, delicate 
 style. 
 
 Manifold fugue. See Fugue. 
 
 Man'nerchor (Ger.) A male chorus ; 
 also, a composition for such a chorus. 
 . .Man'nergesangverein, men's choral 
 society.. .Mannerstimmen, men's voices. 
 
 Ma'no (It.) Hand....)/. de'stra (sini'- 
 stra), right (left) hand. 
 
 Man'ual. i. A digital. 2. (Ger. Ma- 
 nuaf ; Fr. clavier ; It. manua'le.) An 
 organ-keyboard ; opp. to pedal. (Com- 
 pare Organ.). . .Manual-key, a digital. 
 . .Manual'koppel (Gzr.), a coupler con- 
 necting 2 manuals. 
 
 Manu'brium (Lat.) Knob of a draw- 
 stop ; Ger. pi. Manu'brien, whence 
 Manu'brienkoppel, draw-stop coupler. 
 
 Marcan'do (It., "marking".) i W ith dis- 
 
 Marca'to (It, "marked".) Jtinctness 
 and emphasis. . .Marcatis'sitno, with 
 very marked emphasis. 
 
 March. (Ger. Marsch ; Pr. marche ; 
 It. mar'cia.) A composition of strongly 
 marked rhythm, suitable for timing the 
 steps of a body of persons proceeding 
 at a walking pace, and thus bearing a 
 processional character akin to that of 
 the Polonaise, Entree, etc. The march- 
 form of the earlier operas and clavier- 
 pieces also resembles that of the old 
 dances, consisting of 2 reprises of 8, 
 (12), or 16 measures. The modern 
 march- form is further developed ; it is 
 in 4-4 time, with reprises of 4, 8, or 16 
 measures, and is followed by a Trio 
 (usually in the dominant or subdom- 
 inant key and of a more melodious 
 character), after which the march is 
 repeated, often with amplifications. 
 The ordinary Parade March (Ger. 
 
 Para'demarsch ; Fr. Pas ordinaire) has 
 about 75 steps to the minute ; the Quick- 
 step (Ger. Geschu'ind'marsch ; Fr. Pas 
 redouble"), about 108 ; while fora Charge 
 (Ger. Sturm' mar sch; Fr. Pas de charge} 
 some 1 20 steps per minute are reckoned. 
 ..Besides these military marches of a 
 bright and martial character, Funeral 
 or Dead Marches are composed, slower 
 in movement and more solemn in effect, 
 andsometimessymphonicallydeveloped. 
 
 Marche (Fr.) i. A march. 2. Pro- 
 gression. . .Marcher, to progress. 
 
 Mar'cia (It.) A march ; alia m., in 
 march-style. 
 
 Mark. (Often equiv. to sign.) Cadence- 
 mark, the vertical line separating the 
 words of a chant, dividing those sung 
 to the reciting-note from those in the 
 cadence . . . Harmonic mark, see Har- 
 monic 2, b ... Metronomic mark, see 
 Metronome. . .Mark of expression, see 
 Expression-mark. . . Tempo-mark, see 
 that word. 
 
 Markiert' (Ger.), Marqu6 (Fr.) Marked, 
 accented ; marcato. 
 
 Marseillaise. The French revolution- 
 ary hymn, the poem of which was 
 written and set to music during the 
 night of April 24, 1792, by Rouget de 
 Lisle, Captain of Engineers, at Strass- 
 burg ; first named by its author " Chant 
 de guerre de 1'armee du Rhin " ; but, 
 soon after its introduction in Paris by 
 the soldiers of Marseilles, it became 
 universally known as "La M.", or 
 " Hymne des Marseillais ". 
 
 Marteau (Fr.) i. Hammer (of pfte.- 
 action). 2. Tuning-hammer. 
 
 Martel6(Fr.), Martella'to (It.) " Ham- 
 mered"; a direction in music for bow- 
 instr.s, indicating that the notes so 
 marked are to be played with a sharp 
 and decided stroke (usual sign ,*) ; in 
 piano-music, that the keys are to be 
 struck with a heavy, inelastic plunge of 
 the finger, or (in octave-playing) with 
 the arm-staccato . . . Martellato notes 
 are generally mezzo staccato, and often 
 take the sign > or s/z. 
 
 Martellement (Fr.) i. In harp-playing, 
 calls for the crush-note (acciaccatu'ra) 
 or redoubled stroke. 2. Comp. Graces. 
 
 Marzia'le (It.) Martial, warlike. 
 
 Maschera'ta (It.) Masquerade. 
 
 Maschi'nen (Ger., pi.) See Piston s ... 
 Maschi'nenpauken, kettledrums pro-
 
 n8 
 
 MASK-MEDIUS. 
 
 vided with a mechanism for the rapid 
 adjustment of the pitch. 
 
 Mask, Masque. (Ger. Mas'kenspiel ; 
 Fr. masque.) The mus. dramas called 
 masques, so popular during the i6th 
 and 1 7th centuries, were spectacular 
 plays on an imposing scale and with 
 most elaborate appointments, the sub- 
 ject being generally of an allegorical 
 or mythological nature, and the music 
 both vocal and instrumental. The 
 masque was the precursor of the opera, 
 but was distinguished from it by the 
 lack of monody. 
 
 Mass. (Lat. mis'sa; It. mes'sa ; Fr. 
 and Ger. Mes'se.) " Mass" is derived 
 from missa, in the phrase " Ite, missa 
 est [ecclesia] " (Depart, the congrega- 
 tion is dismissed), addressed, in the 
 R. C. Church, to persons in the congre- 
 gation not permitted to take part in the 
 communion service, the Mass itself 
 taking place during the consecration of 
 the elements. The divisions of the 
 musical mass are (i) the Kyrie ; (2) 
 the Gloria (incl. the Gratias agimus, 
 Qui tollis, Quoniam, Cum Sancto Spiri- 
 tu) ; (3) the Credo (incl. the Et incar- 
 natus, Crucifixus, Et resurrexit) ; (4) 
 the Sanctus and Benedictus (with the 
 Hosanna) ; (5) the Agnus Dei (incl. the 
 Dona nobis). It has passed through 
 very various phases, from the simple 
 unison chant of Plain Song to the most 
 elaborate productions of late medieval 
 counterpoint, with a transition there- 
 after to the severity of the Palestrina 
 epoch, to the vocal masses in 8, 16, or 
 even 32 parts, and finally to the grand 
 mass with full chorus and orchestra 
 (missa solem'nis) . . . High mass, one 
 celebrated on church festivals, accom- 
 panied with music and incense. . .Low 
 mass, one without music. . .Missa brei/- 
 ts, short mass of Protestant churches, 
 incl. only the Kyrie and Gloria. 
 
 Ma'ssig (Ger.) Moderate(ly). 
 
 Mas'sima (It.) i. The maxim. 2. A 
 whole note. 3 (adj.) Augmented (of 
 intervals). 
 
 Master-chord. The dominant chord. . . 
 Master-fugue, fuga ricercata. . . Master- 
 note, leading-note. . . Master singer, see 
 Meis ter singer. 
 
 Masure, Masurek, Masurka. See 
 Mazurka. 
 
 Matelotte (Fr.) An old sailors' dance 
 resembling the hornpipe, in duple time. 
 
 Mat'ins. The music sung at morning 
 prayer, the first of the canonical hours. 
 
 Maul'trommel (Ger.) Jew's-harp... 
 Maul' ' trotnmelklavier, the melodicon. 
 
 Max'im. (Lat. max'ima.) See No tat ion, 
 3, Large. 
 
 Mazur'ka. A Polish national dance in 
 triple time and moderate tempo, with a 
 variable accent on the third beat. 
 
 Me. For mi (Tonic Sol-fa). 
 
 Mean. Former name for an inner part 
 (as the tenor or alto), or an inner string 
 (of a viol). . .Mean clef, the C-clef, as 
 used for noting the inner parts. 
 
 Mean-tone system. See Temperament. 
 
 Measurable music. Mensurable music. 
 
 Measure, i. (Ger. Takt; Fr. mesurej 
 It. misu'ra.) A metrical unit, simple or 
 compound, of fixed length (time-value) 
 and regular accentuation, forming the 
 smallest metrical subdivision of a piece 
 or movement ; visibly presented by the 
 group of notes or rests contained be- 
 tween two bars, and familiarly called 
 a "bar". (Comp. Time.) 2. Occa 
 sional for tempo. 3. A dance having a 
 stately and measured movement. 
 Measure-note, a note indicated by the 
 time-signature as an even divisor of 
 a measure ; \ thus indicates that each 
 measure has 3 quarter-notes, and a 
 measure-note is then a quarter-note. .. 
 Measure-rest, see Rest. 
 
 M6canisme (Fr.) Technic or technique ; 
 mechanical skill. (It. tiieccanismo.) 
 
 Mecha'nik (Ger.) i. A mechanism or 
 mechanical apparatus, such as (a) the 
 pfte. -action ; (b) the machine-head of a 
 guitar, zither, etc. 2. In pfte. -playing, 
 (a) technique ; (f>) specifically, the mere 
 mechanical action of the fingers and 
 hand, as the lift and down-stroke of 
 finger or wrist, the passing-under of 
 the thumb, etc. ; often carelessly trans- 
 lated by mechanism. 
 
 Mechanism. See Mechanik 2 b. 
 
 Mede'simo (It.) The same. 
 
 Me'dial. Proper to the Mediant. 
 
 Me'diant. i. (Ger. and It. Median' te ; 
 Fr. mediante.) The third degree of a 
 scale. 2. In medieval music, one of 
 the 3 pivotal tones of a mode, situated 
 as nearly as possible midway between 
 the Final and Dominant, and ranking 
 next in importance to the latter. 
 
 Me'dius. See Accentus ecclesiastici.
 
 MEHR-MELOPIANO. 
 
 119 
 
 (Ger.) More . . . Mehr'ck orig, for 
 several (4-part) choruses. . .Mehr fach, 
 manifold ; nit-hr'f aches Interval? , com- 
 pound interval ; mehr' /acker AV ' non, 
 a canon having more than 2 themes ; 
 mehr'facher Kon' trapunkt, counter- 
 point written in more than 2 invertible 
 parts ; mehr'fache Stim'me (organ), a 
 compound stop. . .Mehr'stim wig, in 
 several parts ; polyphonic.. .Mehr'stim- 
 migkeit durch BrSchung, apparent 
 polyphony obtained (especially on the 
 pfte.) by employing broken chords. 
 Mei'ster (Ger.) Master. . .Mei'sterfuge, 
 f uga ricerca'ta . . . Mei'ster singer (or 
 -sdnger}, in Germany, the successors of 
 the Min'nesanger (Troubadours), but, 
 unlike the latter, chiefly artisans, who 
 formed guilds in various cities for the 
 cultivation and propagation of their art, 
 the stringent rules for which were con- 
 tained in the Tabulatur' . Their poems 
 were founded for the greater part on 
 biblical subjects ; the musical treatment 
 was apt to be dry and prosaical. They 
 originated about the I4th century in 
 Mainz, reached their zenith in the 15th 
 and 1 6th centuries (notably under Hans 
 Sachs of Nuremberg), and thereafter 
 decayed gradually, the last society be- 
 coming extinct in 1839 (Ulm). 
 
 Melancoli'a (It.), Melancholic (Fr.) 
 See Malincolia. 
 
 Melange (Fr.) A medley, pot-pourri. 
 
 Melis'ma (Gk.) I. A melodic ornament, 
 fioritura, grace ; colorature. 2. A Ca- 
 ii,->!-(j I .. .Melisma t'ic, ornamented, 
 embellished ; said of vocal or instru- 
 mental music abounding in ornaments ; 
 also, specifically, melismatic song, that 
 in which more than one tone is sung to 
 a syllable ; opp. to syllabic song. 
 
 Melo'deon. The original American 
 organs were called melodeons or melo- 
 diums. (See Reed-organ.) 
 
 Melo'dia. (Organ.) A variety of stopped 
 diapason nearly resembling the Clara- 
 bella. 
 
 Melod'ic. Pertaining to the progression 
 of single tones ; hence, vocal, as a melod- 
 ic intcr-'al. 
 
 Melo'dica. A small variety of pipe- 
 organ inv. in 1770 by Joh. Andr. Stein 
 of Augsburg, having a tone like the 
 JlAte a bee, and a compass of but 3 Y* 
 octaves. It was used ordinarily to play 
 the melody to a harpsichord- or pfte.- 
 .accompaniment ; hence the name. An 
 
 excellent crescendo and decrescendo 
 were obtainable by varying the finger- 
 pressure on the keys. 
 
 Melo'dico (It.) Equiv. to Canlando. 
 
 Melo'dicon. A keyboard instr. inv. by 
 Peter Rieffelsen of Copenhagoo, in 
 1800, in which the tones were produced 
 by tuning-forks. 
 
 Melo'dik (Ger.) Science or theory of 
 melody. 
 
 Melo'diograph. See Melograph. 
 
 Melo'dion. A keyboard instr. inv. by 
 J. C. Dietz, of Emmerich, in which the 
 tones were produced by vertical steel 
 bars chromatically graduated ; these 
 bars being pressed by the digitals 
 against a rotating cylinder. Forts was 
 obtained by a quicker, piano by a slow- 
 er, rotation. Compass, 5^4-6 octaves. 
 
 Melo'dium. i. Melodeon. 2. (Ger.) 
 Alexandre organ. 
 
 Mel'odrama. i. Originally, a musical 
 drama. 2. In modern usage, (a) stage- 
 declamation with a mus. accomp. ; () a 
 form of the drama in which the music 
 plays a very subordinate part, and the 
 plot is more or less romantic and sen- 
 sational. 
 
 Mel'ody. (Ger. MelodiS; Fr. mtlodie ; 
 It. melodi'a.) I. The rational progres- 
 sion of single tones ; contrasted with 
 Harmony, the rational combination of 
 several tones. 2. The leading part in 
 a movement, usually the soprano. 3. 
 An air or tune. 
 
 Mere-graph. Name of various mechan- 
 ical devices for recording the music 
 played on a pfte. One of the latest and 
 most successful is the electric m. or 
 Phonautograph (inv. by Fenby, in Eng- 
 land), in which the pressure on the 
 digitals closes an electric circuit, effect- 
 ing a record on paper as in the Morse 
 system of telegraphy. A cardboard 
 stencil forming an exact copy of the 
 record can be made to reproduce the 
 music when placed in the Mtlotrope, a 
 mechanical attachment to a pfte. by 
 means of which the digitals are depress- 
 ed as if by the player's fingers. 
 
 Mel'ophone. A variety of Concertina. 
 
 Melopian'o. A pfte. inv. by Caldera 
 of Turin, in 1870, in which the tone is 
 sustained by rapidly repeated blows of 
 small hammers attached to a bar pass- 
 ing over and at right angles to the 
 strings, the bar being kept in vibration
 
 120 
 
 MELOPLASTE METER. 
 
 by means of a treadle worked by the 
 player. Crescendo and decrescendo effects 
 are producible at will, and the tone is of 
 delightful quality. 
 
 Mel'oplaste. A simplified method for 
 learning the rudiments of music, inv. 
 by Pierre Galin about 1818. Instead of 
 teaching the notes, clefs, etc., at first, 
 he took merely the 5 lines of the staff, 
 singing familiar airs to the syllables do, 
 re, mi, etc., at the same time showing 
 with a pointer the position on the staff 
 of the notes sung. For teaching rhyth- 
 mical relations he used a double metro- 
 nome marking both measures and beats. 
 
 Me'los (Gk.) "Song". The name be- 
 stowed by Wagner on the style of reci- 
 tative exemplified in his later mus. 
 dramas. (See Recitative.} 
 
 Mel'otrope. See art. Melograph. 
 
 Meme (Fr.) The same... ^4 la meme, 
 1'istesso tempo. 
 
 Men. Abbr. of Meno. 
 
 Me"nestrel (Fr.) Minstrel (q. v.) 
 
 Men6trier,-triere (Fr.) Originally, a 
 player on any instrument, especially for 
 dancing ; now, a vagabond fiddler at 
 fairs and in low places of entertain- 
 ment, or a village musician. 
 
 Me'no (It., abbr. men.) Less, not so. 
 When Meno occurs alone as a tempo- 
 mark, mosso is implied . . . Meno mosso, 
 " less moved," i. e., slower. 
 
 Mensur 7 (Ger.) t. Mensu'ra. i. e. the 
 time of a movement (mensurable music). 
 2. Scale (of organ-pipes). 3. In 
 other instr.s, the various measurements 
 requisite for their true intonation (as 
 length of tube, distance between finger- 
 holes, thickness of strings, etc.) 
 
 Mensural'gesang,-musik (Ger.) Men- 
 surable music. (See Notation, 3.) 
 
 Men'te (It.) Mind, memory; alia m., 
 improvised, extempore. 
 
 Menuet (Fr.), Menuett' (Ger.) Minuet. 
 
 Me'rula (Lat, "blackbird, ousel".) 
 
 Same as Vo'gelgesang. 
 Mescolan'za (It.) A medley. 
 Mes'otonic. Mean-tone. 
 Mes'sa (It.), Mes'se (Ger. and Fr.) 
 
 Mass. 
 Mes'sa di vo'ce (It.) The attack of a 
 
 sustained vocal tone pianissimo, with a 
 
 swell to fortissimo, and slow decrease 
 
 to pianissimo again ; thus : 
 
 The attack and increase was formerly 
 called forma'reil tuono ; the sustaining 
 of the ff tone, ferma're il tuono ; and 
 the decrease and close, fini' re il tuono. 
 
 Messan'za (It.) A quodlibet. 
 
 Me'sto (It.) Pensive, melancholy . . 
 Mestamen'te, plaintively, grievingly. 
 (Also con mesti'zia.) 
 
 Mesure (Fr.) Measure ; a measure . a 
 la m., in time (i. e. a tempo, a battu'td). 
 ..Afesur/, measured. (See Time.) 
 
 Metal'lo (It., "metal".) A ringing, 
 "metallic" quality of voice. 
 
 Metal'lophone. A pfte. in which 
 graduated steel bars take the place of 
 strings. 2. An instr. like the xylo- 
 phone, but with bars of metal instead 
 of wood. 
 
 Meter, Metre. i. Metre in music is 
 the symmetrical grouping of musical 
 rhythms ; a disposition of musical mem- 
 bers akin to the arrangement of the 
 poetic strophe. It differs from Form 
 in having to do merely with the rhyth- 
 mical groupings within compositions p 
 from Rhythm, in treating of the sym- 
 metrical arrangement of the smaller 
 tone-groups, "the articulation of which 
 produces the rhythm or time. These 
 definitions are, however, not universally 
 binding, metre and rhythm being used 
 sometimes as interchangeable terms, 
 and sometimes with significations ex- 
 actly the reverse of those just given. 
 In metre the smallest metrical element 
 (unit of measure) is the Measure ; the 
 combination of 2 measures (either simple 
 or compound) produces the Section ; of 
 2 sections, the Phrase ; of 2 phrases, 
 the Period (of 8 measures), which may 
 be extended to 12 or 16 measures ; be- 
 yond the period of 16 measures the 
 metrical divisions seldom go, i. e. they 
 are not followed by the ear as metrical, 
 but as thematic divisions (see Form). 
 2. The metre of English hymns is 
 classified, according to the feet used, as 
 iambic, trochaic, or dactylic ; in the 
 syllabic schemes below, the figures in- 
 dicate the number of syllables in each 
 line. Variants are not infrequent ia 
 modern hymnology. 
 
 A. Iambic metres: Common metre (C. M.),. 
 8686; Long metre (L. M.), 8 8 8 8; Short 
 metre (S. M.), 6686; these have regularly 4 
 lines to each stanza; when doubled to 8 lines 
 they are called Common metre double (C. M. 
 D.), Long metre double (L. M. D.), and Short 
 metre double (S. M. D.). They may also have 
 6 lines in each stanza, and are then named
 
 METHODE MILITARY MUSIC. 
 
 121 
 
 Common particular metre (C. P. M.), 88688 
 6 ; Long particular metre (L. P. M.), or Long 
 metre 6 lines, 888888; and Short particular 
 metre (S. P. M.;, 668668. Besides the 
 above, there are Sevens and Sixes 7 6 7 6 ; Tens 
 10 10 10 10 ; Hallelujah metre 6 6 6 6 8 8 (or 6 
 6664444); etc. 
 
 _B. Trrchaic metres : Sixes 6666; Sixes and 
 Fives, 6565; Sevens 7777; Eights and 
 Sevens 8787; etc. 
 
 C. Dactylic^ metres: Elevens n n n n; 
 Elevens and Tens n 10 n 10 ; etc. 
 
 These are most of the metres in general use 
 (comp. Common). 
 
 3. In ancient prosody, the science 
 of Mettics treated of the quantity 
 (length) of the syllables ; whereas in 
 modern English poetry all accented 
 syllables are treated as long, the un- 
 accented as short. The metrical unit is 
 a mora (time) or syllable ; syllables com- 
 bine to form feet; feet to cola, verses 
 (i. e. , lines), or periods ; periods to 
 strophes ; strophes to pericopes ; and 
 pericopes (or lines, or periods) to poems. 
 . . Syllables are either short (^-'), long 
 ( ), or common (~) ; the long being 
 equivalent to 2 short, and the common 
 either long or short according to posi- 
 tion. A Foot is a combination of 2 or 
 more syllables. 
 
 Mtthode (Fr.), Me'todo (It.) Method. 
 
 Metro'metro (It), M6tromfetre (Fr.) 
 A metronome. 
 
 Met'ronome. (Fr. metronome; Ger. 
 Me tronom' ; It. metro' nomo.) A double 
 pendulum, weighted below, actuated by 
 clockwork, and provided with a gradu- 
 ated scale on which a slider can be 
 moved up and down, the slider deter- 
 mining by its height how many beats 
 the pendulum shall make per minute ; 
 often with a bell-attachment (Bell- 
 metronome). With the slider set at 60 
 the pendulum makes one beat per sec- 
 ond. . .Metronome-mark (metronom'ic 
 mark), a mark set at the head of a com- 
 position for exactly indicating its tempo ; 
 e. g., M. M. J = 60 means, that the 
 time-value of one quarter-note is equal 
 to one pendulum-beat with the slider 
 set at 60 ; M. M. standing for " Mael- 
 zel's Metronome " after its reputed in- 
 ventor, Maelzel of Vienna (1816). The 
 M. is much used by beginners and 
 students, for learning to play strictly in 
 time, and for timing their practice. 
 
 Me'tro (It.), Me'trum (Lat.) Metre. 
 
 Met'te (Ger.) Matins (in the R. C. 
 Church). 
 
 Mettez (Fr.) Draw, add (organ-music). 
 
 Mez'zo,-a (It.) Half... .4 mezza a'ria, 
 see Aria parlante . . .Mezzo for' te (////), 
 half-loud. . .Mezzo lega'to, in pfte - 
 technics, a variety of touch resembling 
 leggie'ro in being a down-stroke with- 
 out pressure, but differing from it in 
 requiring that greater attention be paid 
 to a forcible stroke than to a rapid, 
 springy return of the finger. . .Mezza 
 niti'nica, half-shift. . . Mezza orche'stra, 
 with half the string-band... Mezzo pia'no 
 (nip), half-soft, less loud than mezzo 
 forte. .Mezzo sopra'no, the female 
 voice intermediate between soprano and 
 alto, partaking of the timbre of both, 
 and usually of small compass (a /*, or 
 a g*), but very full-toned in the 
 medium register. . .Mezzo teno're, same 
 as Barytone ; only the mezzo tenor e is 
 in quality rather a low tenor than a high 
 bass. . .Mezza vo'ce, with half the power 
 of the voice ; nearly equivalent to mez- 
 zo forte, in singing or playing. 
 
 Mi. I. The third of the Aretinian syl- 
 lables. 2. Name of the note E in 
 France, Italy, etc... Mi contra fa est 
 diabolus in musica, " mi against fa [i. e. 
 the tritone] is the devil in music ", a 
 theorem of medieval musicians express- 
 ive of their abhorrence of the melodic 
 step, and even of the harmonic relation, 
 of the tritone (the mi = $ of the 
 ' ' hard " hexachord and the fa = Fol 
 the " natural" hexachord). 
 
 Middle-C. The one-lined c" on the first 
 leger-line below ther 
 treble staff or abovef 
 the bass staff 
 . . .Middle part or voice, same as inner 
 part. 
 
 Militairement(Fr.),Militarmen'te(It.) 
 In military style. Also (It.) Alia mili- 
 tare. 
 
 Militar'musik (Ger.) i. Military music. 
 2. A military band. 
 
 Military music. The military band 
 differs from the orchestra in being a 
 wind-band (composed solely of wind- 
 instruments), and in admitting the 
 cornet, bugle, saxophones, and other 
 
 instr.s whose timbre is considered not 
 to blend well with those of the sym- 
 phony-orchestra. Another peculiar 
 feature is the large reinforcement of the 
 clarinets, which take the place and 
 parts of the violins and violas in the 
 orchestra. Military bands may contain 
 anywhere from 40 to 90 performers ;
 
 MIMODRAMA MINUET. 
 
 that of the 22nd Regt., New York, has 
 66, namely : 
 
 2 piccolos 
 
 i contraffagotto 
 
 2 flutes 
 
 i Ej> cornetto 
 
 2 oboes 
 
 2 ist BJ> cornets 
 
 i A|> piccolo clarinet 
 
 2 2nd " 
 
 3 EJ> clarinets 
 
 2 trumpets 
 
 8 ist B(> clarinets 
 
 2 fliigelhorns 
 
 4 2nd " 
 
 4 French horns 
 
 4 3rd " 
 
 2 E{> alto horns 
 
 i alto 
 
 2 Bj> tenor horns 
 
 i bass 
 
 2 euphoniums 
 
 i sopr. saxophone 
 
 3 trombones 
 
 i alto 
 
 S bombardons 
 
 i tenor 
 
 3 drums 
 
 i bass ' 
 
 i pair cymbals 
 
 2 bassoons 
 
 
 In France, in accordance with the 
 official order promulgated Nov. 17, 
 1892, the regular infantry bands com- 
 prise the following instruments : 
 
 2 flutes 
 
 3 trombones 
 
 2 small clarinets 
 
 2 alto saxhorns 
 
 8 large " 
 
 3 alto saxotrombas 
 
 2 oboes 
 
 5 bass saxhorns 
 
 i sopr. saxophone 
 
 contrabass saxh. 
 
 i alto 
 
 " tuba 
 
 i baryt. 
 
 shallow drum 
 
 i tenor " 
 
 bass drum 
 
 2 cornets 
 
 pair cymbals 
 
 2 trumpets 
 
 or 40 in all (14 wood-wind, 23 brass, 3 
 percussives). The principal innova- 
 tions on the former standard (estab- 
 lished by imperial decree of March 26, 
 1860) are (i) disuse of wooden flutes, 
 for which metal flutes are substituted ; 
 (2) suppression of 4 saxophones, and 
 substitution of 4 more clarinets ; (3) 
 suppression of 2 barytone saxhorns, for 
 which 2 bass saxhorns are substituted. 
 
 Mimodrama. (Fr. mimodrame.) A pan- 
 tomimic dramatic performance, often 
 accomp. by music. 
 
 Minacce'vole (It.) In a menacing or 
 threatening manner. (Also minaccevol- 
 men'te, minaccian'do, minaccio'so, min- 
 acciosamen'te.) 
 
 Mineur (Fr.) Minor. 
 
 Min'im. (Lat. mi'nima; It. mi'nima or 
 bian'ca ; Fr. minime or blanche ; Ger. 
 hal'be No'te.) I. A half-note. 2. See 
 Notation, 3.. .Minim-rest, a half-rest. 
 
 Min'nesinger,-sanger (Ger., sing, and 
 pi.) One of the German troubadours, 
 or lyric poets and singers of the I2th 
 and 1 3th centuries, who were exclusively 
 of noble lineage ; distinguished from 
 their Southern contemporaries by their 
 chaster conception of love (Min'ne, 
 Frau' endiensf). They accompanied 
 their songs (Min'negesang, written 
 chiefly in the Swabian dialeqt) on the 
 
 viol or arpanetta, and their rivalry cul- 
 minated in grand poetical contests, such 
 as the one immortalized by Wagner in 
 " Tannhauser." Their art originated 
 in Austria, spreading thence to the 
 Rhine, Thuringia, and Saxony ; in the 
 hands of their successors, the Mei'ster- 
 singer, it degenerated past recognition. 
 
 Mi'nor. (Ger. klein, moll ; Fr. mineur ; 
 It. mino're.) Lesser ; smaller (comp. 
 Interval, Major, Phone). . .Minor tone, 
 the lesser whole tone 10:9. 
 
 Minstrel. The minstrels of the middle 
 ages were professional musicians who 
 sang or declaimed poems, often of their 
 own composition, to a simple instru- 
 mental accomp. They were followers 
 of the nobility in court and camp. The 
 French me'nestrelsoi the 8th century and 
 later were the musical attendants of the 
 trouveres and troubadours, having to 
 execute practically the musical concep- 
 tions of their noble masters. Thus they 
 occupied from the outset a subordinate 
 position ; their art slowly degenerated 
 in England, whither they were trans- 
 planted at the Norman Conquest, until 
 they were classed by statute (1597) with 
 "rogues, vagabonds, and sturdy beg- 
 gars"; in France their guilds were 
 maintained down to the Revolution. In 
 England they coalesced with the Anglo- 
 Saxon "gleemen". Their favorite 
 instr. was the rebec. . . Negro Minstrels, 
 singers and actors portraying (originally) 
 scenes from Southern plantation-life. 
 The chief performers of the troupe are 
 the middle-man or interlocutor and the 
 two end-men (so called from their re- 
 spective positions in the semi-circle of 
 performers on the stage); the former 
 leads the talk and gives the cues, while 
 the latter preside over the tambourine 
 and "bones", and crack the jokes. 
 
 Minuet'. (It. minuet' to; Fr. menuet; Ger. 
 Menuett'.) One of the earlier French 
 dance-forms, supposed to have orig- 
 inated in Poitou ; it dates as an art- 
 product from about Lully's period (end 
 of 1 7th century), and, as such, prop- 
 erly consists of 2 minuets, or a double 
 minuet with contrasted sections of 16 
 measures each, the second forming the 
 Trio, after which the first is repeated. 
 It is in triple time, and has a slow, 
 stately movement, eschewing all orna- 
 mentation. It frequently occurs in the 
 Suite, Sonata, and Symphony ; Beetho- 
 ven was the first to introduce in its
 
 MIRACLE MODE. 
 
 123 
 
 stead, in the 2 latter, the livelier and 
 freer Scherzo ; in the Suite it figures, 
 by way of contrast, between the Sara- 
 bandeand Gigue. 
 
 Miracle, Miracle-play. See Mystery. 
 Miscel'la (Lat.) A mixture-stop. 
 Mise de voix (Fr.) Messa di voce. 
 
 Misere're (Lat.) The first word of the 
 Psalm LI (in the Vulgate, L), which 
 begins: "Miserere mei, Domine " 
 (Pity me, O Lord) ; hence, the name of 
 this Psalm, or of a musical setting of it, 
 sung in the Catholic Churches as part 
 of the burial service, at the Communion 
 of the Sick, and the like. During 
 Holy Week it is performed with pecu- 
 liar solemnity in the Sistine Chapel at 
 Rome. 
 
 Mis'sa (Lat.) The Mass I/, bret/is, 
 
 short mass...J/. canto' 'ta, chanted 
 mass . . M.fro defunct tis, see Jft-yuit-m. 
 . ..)/. soL-m'nis, or solen'nis, high mass. 
 
 .Mis'sal. (Lat. tiiissa'le.) The R. C. 
 Mass-book, containing the liturgical 
 forms necessary for the celebration of 
 mass the year round. 
 
 Miss'klang (Ger.) Discord, cacophony. 
 
 Misterio'so (It.) Mysterious. . .Miste- 
 
 riosamen'te, mysteriously. 
 Mistichan'za (It.) A quodlibet. 
 Misu'ra (It.) A measure. . .Misura'to, 
 
 measured, in exact time. 
 Mit(Ger.) With. 
 Mifklang (Ger.) Resonance Vif- 
 
 klingetide Tiint:, overtones. 
 Mit'telkadenz (Ger.) Semi-cadence. 
 
 . .Mit'telstimme, an inner part or voice. 
 Mixed cadence. See Cadence. . .Mixed 
 
 AUTHENTIC MODES. 
 Mode I (Do'rian). 
 
 canon, one in which the successive parts 
 enter at different intervals. . .J//JW 
 chorus, quartet, voices, vocal music 
 combining male and female voices. 
 
 Mixolyd'ian. See Mode. 
 
 Mixture. (Ger. Mixtur' ; Fr. fonrni- 
 ture; It. ripie'no, actor' do.) A com- 
 pound auxiliary flue-stop with from 3 to 
 6 ranks of pipes sounding as many har- 
 monics of any tone represented by a 
 given digital. These harmonics are 
 generally octaves and fifths of the fun- 
 damental tone ; sometimes a third, or 
 even a seventh, is added; they are higher 
 in comparative pitch for low tones than 
 for high ones, (see Break 3) ; e. g. for 
 the tone C the 3-rank mixture would 
 usually contain e*-g*-c* ; and for c\ c 3 - 
 ^-('(notc^-g^-c 4 ). In some old German 
 organs mixtures are found having from 
 8 up to 24(1) ranks, there being, of 
 course, several pipes to each harmonic. 
 Mixtures are used to reinforce and 
 "brighten" the upper partials of the 
 heavier foundition-stops. 
 
 Mo'bile(It) With a facile movement, 
 readily responsive to emotion or impulse. 
 
 Mode. i. For Greek modes, see Greek 
 music. 2. (Lat. mq'dus.) The medie- 
 val church-modes were octave-scales, 
 like the Greek modes, and also boirowed 
 their names (see below) from the latter ; 
 but they, and the fundamental diatonic 
 scale A-a, were conceived as ascending 
 scales, a distinct departure from ancient 
 theory. They were called c/iurcA-modes 
 because each chant in the Gregorian 
 antiphony was kept strictly within the 
 compass of some one of these octave- 
 scales, without chromatic change save 
 that from t$ to B t or vice-versa. 
 
 PLAGAL MODES. 
 
 Mode II (Hypodo'rian). 
 
 Mode III (Phryg'ian). 
 
 m . f 1 
 
 Mode IV (Hypophryg'ian). 
 
 r 
 
 Mode V (Lyd'ian). 
 
 . _ A -e 
 
 Mode VI (Hypolyd'ian). 
 
 Mode VII (Mixolyd'ian). 
 
 Mode VIII (Hypomixolyd'ian).
 
 124 
 
 MODE HELLENIQUE MODERATO. 
 
 AUTHENTIC MODES. 
 Mode IX (/Eo'lian). 
 
 PLAGAL MODES. 
 Mode X (Hypoaeo'lian). 
 
 , *, -r 
 
 Mode XI (Lo'crian). 
 
 Mode XII (Hypolo'crian). 
 
 Mode XIII [or XI] (lo'nian). 
 
 Mode XIV [or XII] (Hypoio'nian). 
 
 In the authentic modes the Final \ 
 (what we should call the key-note) is the 
 lowest tone ; in the plagal modes, a 
 fourth above the lowest ; it is marked 
 by a whole note in the Table. Each 
 plagal is derived from aparallel authen- 
 tic ; St. Ambrose is supposed to have 
 established the first 4 authentic modes, 
 to which St. Gregory added the corre- 
 sponding plag-als ; these 8 were exclu- 
 sively employed in serious composition 
 down to the i6th century, despite the 
 lack of any scale similar to the (C-) 
 
 Greek Names. 
 
 Hypophrygian 
 Hypolydian 
 Dorian 
 Phrygian 
 
 Lydian 
 Mixolydian 
 Hypodorian for jEolia 
 
 Octave-scales. 
 
 g a b c 1 d e f 1 ? 
 
 ) :&. *' 
 
 major and (A-) minor scales of modern 
 music ; then, however, the last 4 modes 
 were added. The Locrian (B-l>) arid 
 Hypolocrian (F-f) were rejected as 
 useless, neither fulfilling the law that 
 each authentic mode should be divisible 
 into a perfect fifth plus a perfect fourth, 
 and each plagal mode into a fourth plus 
 a fifth. Both the names, and the pre- 
 fix hypo-, are used in a sense different 
 from that of the original Greek modes, 
 the medieval theorists having misinter- 
 preted the Greek nomenclature. 
 
 Final Medieval Names. 
 
 Mixolydian (Mode VII, 4th authentic) 
 
 f g a b 
 
 e 1 
 
 Lydian (Mode V, 3rd authentic) 
 e .f g a b c 1 d 1 e 1 Phrygian (Mode III, znd authentic) 
 
 Dorian (Mode I, ist authentic) 
 [Hypomixolydian (Mode VIII, 4th plagal)] 
 
 Hypolydian (Mode VI, 3rd plagal) 
 Hypophrygian (Mode IV, 2nd plagal) 
 Hypodorian (Mode II, ist plagal) 
 
 The gradual development of monodic, 
 harmonic, and chromatic music, the 
 evolution of the leading-note, the ac- 
 ceptance of the third as a consonance, 
 and the recognition of the predominance 
 of the tonic triad, with the modern 
 system of transposing tempered scales 
 in the major and minor modes thence 
 resulting, led to the gradual disuse of 
 the church-modes. 
 
 Mode helle'nique (Fr.; also troisieme 
 
 mode). The inverted major scale, be- 
 ginning on the 3rd degree : 
 
 e 1 d 1 c'^b a g f^e. 
 so termed by Blainville (1711-69), this 
 being the ancient Dorian mode (see 
 Greek music). 
 
 Modera'to (It.; superl. moderatis'simo.} 
 I (noun). Moderate ; i.e. at a moderate 
 rate of speed, or tempo. 2 (adverb\ 
 (Also moderatamen'te). Moderately * 
 as allegro moderate, moderately fast.
 
 MODERNO MORDENT. 
 
 125 
 
 Moder'no,-a (It.) Modern ; alia moder- 
 na, in modern style. 
 
 Modification. Same as Temperament. 
 Mo'do(It.) Mode; style. 
 
 Mod'ulate. (Ger. modulie'ren; Fr. mo- 
 dulo-; It. modulo.' re.} To pass from one 
 key or mode into another ; to effect a 
 change of tonality. . .Modulation. (Ger. 
 and Fr. Modu lation' ; Fr. also transi- 
 tion; It. modulazio'ne} Passage from 
 one key to another ; change of tonality. 
 A modulation may be either final or 
 transient ; it is final when the new 
 tonic is permanently adhered to, or still 
 another follows ; transient (transitory, 
 passing), when the original tonic is 
 speedily reaffirmed by a cadence... 
 Chromatic modulation, one effected by 
 the use of chromatic intervals ; diatonic 
 m., one effected by the aid of diatonic 
 intervals ; enharmonic m., one effected 
 through employing enharmonic changes 
 to alter the significance of tones or 
 intervals. 
 
 Mod'ulator. See Tonic Sol-fa. 
 Mo'dus (Lat.) - Mode. 
 
 Moll (Ger.) Minor. . .Moll'akkord, mi- 
 nor chord. . .Mo Ifdreiklang, minor 
 triad . . . Moll'tonart, minor key . . . 
 Atoll" tonleiter, minor scale ; etc., etc. 
 
 Mol'le (Lat., "soft".) A term probably 
 first used in the loth century to desig- 
 nate the B rotun'dum (B molle,-=\)}, in 
 opposition to the B quadra' turn (B du'- 
 rum, Q, the modern BtJ). Later it was 
 applied tothehexachord/ d, in which 
 b\) was substituted for ^Q ; and, finally, 
 to the minor key and triad (with flat 
 third). 
 
 Mollemen'te (It.) Softly, gently. 
 
 Mol'lis (Lat.) See Alolle. 
 
 Moloss(e). (Lat. niolossus.) A metrical 
 foot of 3 long syllables ( ). 
 
 Mol'to,-a (It.) Much, very ; as molto 
 adagio, very slowly ; molto allegro, very 
 fast. . ,Di molto, exceedingly, extremely. 
 
 Momen'tulum (Lat.) A i6th-rest. 
 
 Momen'tum (Lat.) An 8th-rest. 
 
 Mon'ochord. (Fr. monocorde; It. mono- 
 car' do.} I. A very ancient instr. for 
 the precise mathematical determination 
 of the intervals, consisting of a single 
 string stretched over a soundboard and 
 provided with a bridge sliding on a 
 graduated scale, by means of which 
 any desired division of the string could 
 
 be isolated, and intervals of true pitch 
 obtained. An instr. of the same name, 
 but furnished with several strings for 
 the purpose of obtaining harmonic 
 effects, was the precursor of the clavi- 
 chord. 2. The tromba marina. 3. A 
 clavichord. 4. (Ger., recent.) A kind of 
 bow-zither, having one string stretched 
 over a fretted fingerboard attached 
 lengthwise to the top of an oblong re- 
 sonance-box. 
 
 Mon'ody. (Ger. and Fr. Afonodie'; It. 
 monodi'a.) A style of composition 
 (inonod'ic or monophon'ic) in which one 
 part, the melody, predominates over the 
 rest, they serving as a support or ac- 
 comp. to it. It took its rise in Italy 
 about 1600, in the form of a vocal solo 
 with instrumental accomp. , the latter 
 being at first a mere figured bass exe- 
 cuted on the harpsichord, theorbo, etc. 
 Its novelty lay, not in its newness, but 
 in its employment and recognition by 
 artists. It developed into the opera, 
 cantata, and oratorio on the one hand, 
 and, on the other, into all those forms 
 of instrumental music in which the ele- 
 ment of accompanied melody is found, 
 as the suite, cym phony, etc. (Also 
 Homophony, Afonophony.) 
 
 Monoph'onous. Capable of producing 
 but one tone at a time ; opp. to poly- 
 phonous. . .Alonopk'ony, see Monody. 
 
 Mon'otone. I. A single unaccompanied 
 and unvaried tone. 2. Recitation (in- 
 toning, chanting) in such a tone. 
 
 Monter (Fr.) i. To ascend; montant,as- 
 cending. 2. To raise the pitch of. 3. 
 To put strings on an instr.; also, to 
 put an instr. together, to set it up. 
 
 Montre (Fr.) In the organ, the dia- 
 pason ; so called because "shown" or 
 set up in the organ-front, away from 
 the soundboard. 
 
 Moralities. (Ger. Moralita'ten; Fr. 
 ntoralite's.) A later form of the miracle- 
 plays or mysteries. 
 
 Morceau (Fr.) A piece, composition ; 
 morceau de genre, characteristic piece. 
 
 Mordant (Fr.) Comp. Graces. 
 
 Mordent. (Ger. Mor'dent, Bei'sser- 
 Fr. pince; It. morden'te.) A grace con- 
 sisting of the single rapid 
 alternation of a principal i 
 note with an auxiliary a| 
 minor second below, thus:
 
 126 
 
 MORENDO MOVEMENT. 
 
 played : 
 
 *&/ has a double or triple alternation, e.g. 
 
 - 6 
 
 = Played: 
 
 In the Inverted Mordent, the prin- 
 cipal note alternates with the higher 
 auxiliary; its sign lacks the cross-stroke, 
 written : 
 
 Moren'do (It.) Dying away, growing 
 fainter and fainter (v. Tempo-marks). 
 
 Mormoran'do (It.) Murmuring, mur- 
 murous, in a very gentle, subdued tone. 
 Also morniore' 'vole ', mormoro' so. 
 
 Morris-dance. (Also morrice-dance, 
 Moresque, Morisco, etc.) A sort of 
 costume-dance, apparently of Moorish 
 origin, in 4-4 time and of a boisterous 
 character ; now obsolete. Also, a kind 
 of country-dance still performed in 
 Yorkshire, England. 
 
 Mos'so (It., "moved".) Equivalent to 
 "rapid" in the phrases meno mosso, less 
 rapid, piu mosso, more rapid, and poco 
 mosso, somewhat rapid (e. g. Allegretto 
 poco mosso, a rather lively allegretto, 
 nearly allegro}. 
 
 Mo'stra (It.) A direct. 
 
 Motet'. (Ger. Motefte; Fr. motet; It. 
 mottefto.} A sacred vocal composition 
 in contrapuntal style, without instru- 
 mental accomp. In former times the a 
 cappellii style was not always strictly 
 adhered to. The motet resembles the 
 Anthem in having a biblical prose text, 
 but differs from it in being polyphonic ; 
 compositions in anthem-style are, how- 
 ever, sometimes called motets. The 
 Latin mote'tus is a term of various and 
 sometimes obscure signification. 
 
 Motif (Fr.) A motive. 
 
 Motion, i. The progression or lead- 
 ing of a svBgle part or melody ; it is 
 conjunct when progressing by steps, 
 disjunct when progressing by skips. 
 2. The progression of one part con- 
 sidered in r-elaiion to that of another ; 
 
 contrary or opposite motion is that in 
 which one part ascends while the other 
 descends ; parallel* motion, that in 
 which both parts ascend or descend by 
 the same interval ; oblique motion, that 
 in which one part is held while the 
 other ascends or descends ; similar* 
 motion, that in which both parts ascend 
 or descend together by dissimilar inter- 
 vals ; mixed motion, that in which 2 or 
 more of the above varieties occur at 
 once between several parts. 
 
 * N.B. The above fine distinction between 
 paralleling similar motion is very often not 
 observed, the term parallel motion being used 
 indiscriminately for both. 
 
 Mo'tive [sometimes pron. me-titif]. 
 (Ger. Motii/ ' ; Fr. motif ; It. moti'vo.) 
 i. A short phrase or figure (rhythmic, 
 melodic, or harmonic) used in develop- 
 ment or imitation. 2. A theme or sub- 
 ject (see Leading-motive). 3. Some- 
 times used for Measure, as the rudi- 
 mentary element of the Period. Mea- 
 sure-motive, one whose accent coincides 
 with the measure-accent. 
 
 Mo'to (It.) I. Motion. ...I/, contra'rio, 
 contrary motion....!/, 'mi's to, mixed 
 motion . . . M. obbli'quo, oblique mo- 
 tion. . .M.perpe'tuo, perpetual motion. 
 . . M. ret' to, similar motion. 2. Move- 
 ment, tempo. . . Con mo to, with an ani- 
 mated and energetic movement. . .Moto 
 preceden'te, at the former tempo. 
 
 Motteggian'do (It.) Bantering, face- 
 tious. 
 
 Mottet'to (It.) Motet. 
 
 Mo'tus (Lat.) Motion. . .M. contra' rius, 
 contrary motion. . . M. obli'ijuus, oblique 
 motion. . .M. rec'tus, similar motion. 
 
 Mouth. The opening on the front side 
 of an organ-pipe. . .Mouth-harmonica, 
 a set of graduated metal reeds mounted 
 in a narrow frame, blown by the 
 mouth, and producing different tones 
 on expiration and inspiration . . . Mouth- 
 organ, see Pan's-pipes. . .Mouthpiece 
 (Ger. Mund'stuck; Fr. embouchure; 
 It. imboccatu'ra), that part of a wind- 
 instr. which a player places upon or be- 
 tween his lips. 
 
 Mouvement (Fr.) Mouvement, tempo. 
 . .Mouvemente. A piece is said to be 
 bien mouvemente when its rhythmical 
 structure is elegant and symmetrical. 
 
 Movement, i. (Ger. Bewe'gung; Fr. 
 inouvement; \\..movimen'to, mo' to, tem'- 
 po.) Tempo, rate of speed. 2. (Ger.
 
 MUANCES MUTHIG. 
 
 127 
 
 Satz; Fr. phrase; It. tempo.) A prin- 
 cipal and usually separate division or 
 section of a composition, containing 
 themes and a development peculiar to 
 itself. 
 
 Muances (Fr.) See Mutation 2. 
 
 Mund (Ger.) Mouth. ..Mund' harmo- 
 nika, mouth-harmonica. . .Mund' lech, 
 mouth (of an organ-pipe; usually Auf - 
 sfhnitt). . .Mund 1 stuck, mouthpiece. 
 
 Mune'ira (Span.) A Galician dance of 
 moderate tempo and in 2-4 time, with 
 an auftakt of a quarter-note, and the 
 strong beat marked by the Castanet- 
 rhythm. 
 
 Mun'ter (Ger.) Lively, animated, gay. 
 (Also adverb.) 
 
 Murky. A r>nirky-l>uss is one progress- 
 ing in broken octaves ; a harpsichord- 
 piece with such a bass was called a 
 murky. 
 
 Muse. The mouthpiece or wind-pipe of 
 the bagpipe. 
 
 Musette (Fr.) i. A small and primitive 
 kind of oboe. 2. A variety of bag- 
 pipe in which the wind is supplied by a 
 bellows. 3. A short piece of music 
 imitating in style that played on this 
 kind of bagpipe, i. e. of a soft and gen- 
 tle character and with a drone-bass ; 
 hence, the dance-tunes of the same 
 style and name. 4. A reed-stop in 
 the organ. 
 
 Mu'sica (Lat. and It.) Music. . ..17. da 
 cn'mera, chamber-music. . . M. da chie'- 
 sa, church-music . . . M. da tea'tro, the- 
 atre (theatrical) music. . . M. di gafti^ 
 charivari (see Katzenmusik). 
 
 Musical box, Music-box. The so- 
 called Swiss music-box consists of a 
 metallic cylinder or barrel studded with 
 small pins or pegs, and caused to re- 
 volve by clockwork. In revolving, the 
 pins catch and twang a comb-like row 
 of steel teeth arranged in a graduated 
 scale, each tooth producing a tone of 
 very accurate pitch. In the larger instr.s 
 the barrel may be shifted so as to play 
 several tunes, or is made exchangeable 
 for others. For the newer music-boxes, 
 compare Symphonion, Libellion, 
 
 Musician. (Ger. Mu'siker; Fr. musi- 
 iien; It. mu'sico, musici'sta.) One 
 who practises music in any of its 
 branches as a profession. 
 
 Music-pen, i. A soft-nibbed, broad- 
 pointed pen for writing notes, etc. 2. 
 
 A 5-pointed pen for drawing the 5 lines 
 of the staff on paper. 
 
 Music-recorder. See J/./^/v////. Pho- 
 nograph, Phonautograph, 
 
 Music-wire. Steel wire for the strings 
 of mus. instr.s. 
 
 Musik' [-zeek'] (Ger.) Music. . .Musik'- 
 bande, see Bande . . . Afusik' diktat, see 
 Dicte"e musical? . . . Musik' direk tor, a 
 conductor. . . Musi k'fest, mus. festival. 
 . . Afusik'meister, conductor of a mili- 
 tary band. 
 
 Musika'lien (Ger.) Music (i. e. musical 
 compositions). [A trade term.] 
 
 Musikant' (Ger.) A vagabond or bung- 
 ling musician. 
 
 Mu'siker, Mu'sikus(Ger.) A musician. 
 
 Musiquette (Fr.) Little piece of music ; 
 or (collectively) light music. 
 
 Mu'ta (It.) " Change ! " A direction in 
 orchestral scores indicating a change of 
 crook or instr., or in the tuning of an 
 instr. , necessitated by a change of key. 
 
 Mutation, i. (Ger. Afuth-'rung; Fr. 
 mue; It. mutazio'ne.) The change of 
 the male voice at puberty. 2. (Ger. 
 Mutation' ; Fr. pi. mutations, muances; 
 It. mutazio'ne.) In medieval solmisa- 
 tion, the change or passage from one 
 hexachord to another, with the conse- 
 quent change of syllable (comp. Sohni- 
 sation). 3. In violin-playing, "shift- 
 ing." 
 
 Mutation-stop. In the organ, any stop, 
 except a mixture, whose pipes produce 
 tones neither in unison nor in octaves with 
 the foundation- (8-foot) stops; i. e., all 
 tierce and quint-stops, and their octaves. 
 
 Mute. I. (Ger. Ddm'pfer; Fr. sour- 
 dine; It. sordi'no.) The mute for the 
 violin, etc., is a piece of brass or other 
 heavy material, having cleft projections 
 which permit of its firm adjustment on 
 the bridge without touching the strings ; 
 its weight deadens the resonance of the 
 sound-box. (Recently made in the 
 form of a spring clip.) The direction 
 for putting on the mutes is "con sor- 
 dini": for taking them off, "senza 
 sordini ". 2. A pear-shaped, leather- 
 covered pad introduced into the bell of 
 the horn or trumpet to modify the tone. 
 Other forms of this mute are (for the 
 horn) a pasteboard cone with a hole at 
 the apex, and (for the trumpet) a cylin- 
 drical tube of wood pierced with holes. 
 
 Mu't(h)ig (Ger.) Spirited, bold. (Also 
 adverb.)
 
 I2S 
 
 MUTIERUNG NATURAL. 
 
 Mutie'rung (Ger.) Mutation I. 
 
 Mysteries. (Ger. Myste'rien; Fr. mys- 
 teres.) Medieval scenic representations 
 of biblical events, arranged originally 
 by the monks, and generally accom- 
 panied by vocal, often by instrumental, 
 music. The Passion-plays (still sur- 
 viving at Oberammergau in Bavaria) 
 are as old as the yth or 8th century ; the 
 Moralities, a peculiar form of the 
 Mysteries, in which abstract concep- 
 tions were personified, originated about 
 the 1 3th century. The Mysteries were 
 the precursors of the Oratorio. 
 
 N. 
 
 Nacaire (Fr.) A former kind of kettle- 
 drum. 
 
 Nac'cara, Nac'chera (It.) i. See^Vo- 
 caire. 2. (Also Gnac'care; pi.) Cas- 
 tanets. 
 
 Nach (Ger.) After; according to... 
 Nach'ahmung, imitation. . .Nach Belie' - 
 ben, ad libitum . . . Nach'druck, empha- 
 sis ; nach'drucklich(atmit NachdrucK), 
 with emphasis, emphatically . . . Nachf- 
 lassend, slackening (in tempo) . . .Nach'- 
 lassig, careless, negligent (also adverb}. 
 ..Nach'ruf, a farewell, leave-taking. 
 . .Nath'satz, a second (or final) phrase 
 or theme, contrasting with Vor'dersatz. 
 Nach'schlag, (a) the unaccented appog- 
 giatura ; (b) " after-beat " of a trill (also 
 Nach'schleife) . . . Nach' spiel, a post- 
 lude . . . Nach'tanz, see Saltarello 2 ... 
 Nach ttnd nach' , step by step, gradu- 
 ally. 
 
 Nacht (Ger.) Night. . .Nachfhorn, 
 Nacht' schall, a flue-stop in the organ, 
 having covered pipes of 2, 4, or 8-foot 
 pitch, and resembling in tone the 
 QuintatOn or the Hohl'Jlote. . .Nacht'- 
 hornbass, the same stop on the pedal. 
 . . Nacht' stiick, a nocturne. 
 
 Naenia. See Nenia. 
 
 Na'gelgeige,-harmonika (Ger.) Nail- 
 fiddle. 
 
 Naif, Naive (Fr.), Naiv 7 (Ger.) Naive ; 
 unaffected, ingenuous, artless. . .Naive- 
 inent, naively . . . Naivete", artlessness, 
 simplicity, etc. 
 
 Nailfiddle. (Ger. Na'gelgeige.) An instr. 
 consisting of a soundboard in which are 
 inserted from 16 to 20 steel or brass 
 pins of graduated length, sounded by 
 means of a bow well smeared with 
 
 rosin ; the tone is like that of the har- 
 monica. Inv. by Johann Wilde of St. 
 Petersburg, toward the middle of the 
 1 8th century. 
 
 Naked fifth (fourth). A fifth (fourth) 
 without an added third. (Also bare.} 
 
 Narran'te (It.) In narrative-style ; calls 
 for a very distinct declamatory enun- 
 ciation of the words sung. 
 
 Narrator. The personage who, in the 
 earlier passion-plays and oratorios, 
 sings the narrative portions of the text. 
 
 Nasard (Fr. ; Span, nasar'do; Ger. 
 Nasal' .} In the organ, the mutation- 
 stop commonly known as the Twelfth 
 (2-foot pitch). The Gros-nasard 
 (Gross' nasat), is a quint-stop either on 
 pedal (iof-ft.) or manual (5g-ft.) ; the 
 Petit nasard (Larigot), is a double- 
 octave quint-stop (i^-ft.) (Also na- 
 sarde, nassart, nasillard, nazad.) 
 
 Nason flute. An organ-stop having 
 stopped pipes of mild, suave tone. 
 
 Natur'- (Ger.) Natural . . . Natur' horn, 
 a Wa/'/wr(withoutvalves). . . Natur' - 
 skala, natural scale. . .Natur' tone (or 
 natur'liche Tone), natural harmonic 
 tones, as of the horn, etc. . . Natur'- 
 trompete, a trumpet without valves. 
 
 Natural, i. (Ger. AuflSruxgntickt*; 
 
 Fr. be"carre; It. bequa'dro.) The sign 
 (see Chromatic Signs). 2. A white 
 digital on the keyboard . . . Natural har- 
 monics, those produced on an open 
 string ; opp. to artificial, which are 
 produced on a stopped string. . .Natu- 
 ral hexachord, that beginning on C. . . 
 Natural horn, the French horn without 
 valves. . .Natural interval, one found 
 between any 2 tones of a diatonic major 
 scale. . .Natural key, see Nat. scale . . . 
 Natural pitch, that of any wind-instr. 
 when not overblown . . . Natural scale, 
 C-major, having neither sharps nor flats. 
 . .Natural tone, a tone producible, on a 
 wind-instr. with cupped mouthpiece, by 
 simply modifying the adjustment of the 
 lips and the force of the air-current, 
 without using mechanical devices for 
 changing the length of the tube (such 
 as keys, valves, or the slide). Such 
 natural tones always belong to the series 
 of higher partials (comp. Acoustics). 
 These are the only tones which an instr. 
 having a tube of invariable length (like 
 the natural [French] horn) can yield ; 
 they are produced by the division of 
 the vibrating air-column defined by 
 their tube into aliquot (equal) parts of
 
 NATURALE NINTH. 
 
 constantly decreasing length. A tube 
 of wide bore in proportion to its length 
 will yield most readily the low and me- 
 dium tones of the series, including the 
 fundamental ; a tube comparatively nar- 
 row, the medium and higher tones, 
 omitting the fundamental. Any metal 
 instr. yielding the fundamental tone (e. 
 g. the Tuba) is called a complete instr. 
 (Ger. Ganz' instrument} ; one incapable 
 of yielding it (e. g. the Trumpet), an 
 incomplete instr. (Ger. Jfall>' instru- 
 ment). With a minimum air-pressure, 
 and the lips most relaxed, the funda- 
 mental tone of the tube is sounded. 
 
 Natura'le (It.) Natural, unaffected... 
 Naturalmen'te, naturally, etc. 
 
 Natura'lis (Lat.) Natural. . .Can' (us 
 naturalis, and hexachor'dum natura'le, 
 music, and the hexachord, embracing the 
 tones c d e / ' g a. 
 
 Naturalist' (Ger.) A natural or self- 
 taught singer ; one not trained accord- 
 ing to any vocal ' ' method " or " school ". 
 . .Naturalis'tisch, amateurish. 
 
 Naturel,-le (Fr.) Natural. 
 Neapolitan sixth. A chord of the sixth 
 
 NeT>en- (Ger.) By-, accessory. . . NSben- 
 dominante, dominant of the dominant, 
 e. g. D in the key of C. . . Ne'bendrei- 
 klang, secondary triad. . .Ne'benge- 
 Janke, accessory theme or idea. . ,Ne f - 
 benklang, accessory tone (either es- 
 sential, as harmonics, or unessential). 
 . . Ne bennote, auxiliary note. . .Ne'ben- 
 sfptimenakkorde, secondary chords of 
 the 7th (all except the dominant)... 
 Ne'benstimme, accompanying or ripieno 
 part. . . Ne'ben-werk (on 2-manual or- 
 gan), choir-organ. 
 
 Neck. (Ger. Hah; Fr. manche; It. 
 ma'nico.) The elongated projection 
 from the body of an instr. of the viol or 
 lute family, bearing the fingerboard on 
 its upper side, and ending with the head 
 or scroll. 
 
 Negligen'te (It.) Negligent, careless. 
 . ,JiftgKgttUem*i?tt t negligently. 
 
 Ne'gli, nei, nel, nell', nel'la, nel'le, 
 
 nel'lo(It.) In the. 
 Ne'nia. A funeral song or lament ; a 
 
 dirge. 
 Neo-German school. The disciples of 
 
 Schumann and Liszt ; the romantic 
 
 school of composition, and the "pro- 
 
 grammists ". 
 Ne'te. See Lyre. 
 Nettamen'te (It.) Neatly, cleanly; 
 
 clearly, distinctly. . .Net 1 'to , neat, clean, 
 
 clear. 
 Neu'deutsche Schule. See Neo-Ger- 
 
 Neu'ma, Neume. i. In Gregorian mu- 
 sic, a melisma. 2. In medieval mus. 
 notation, one of the characters used to 
 represent tones, inflections, and graces. 
 They were of different and fluctuating 
 form and signification, at first with a 
 curious outward resemblance to modern 
 short-hand, later changing to coarse 
 and heavy strokes and flourishes. The 
 earlier neumes (8th to I3th century) 
 can hardly be successfully deciphered, 
 even with the aid of the letters (littertt 
 significative) sometimes added, or of 
 the lines (inception of staff-notation) 
 employed, from the loth century on- 
 ward, to fix the pitch ; for they were 
 less an attempt at exact notation in the 
 modern sense, than an aid to memory, 
 a system of mnemonic signs. They are 
 important as being the first attempt to 
 exhibit the relative pitch of notes by 
 their relative height on the page ; they 
 gradually passed over into the nottx 
 quadrate and ligatures of Plain Song. 
 
 Neuvieme (Fr.) The interval of a ninth. 
 Nicht (Ger.) Not. 
 
 Ni'colo (It.) A large kind of bombardon 
 (i7th century) ; precursor of the bas- 
 soon. 
 
 Nie'der- (Ger.) Down . . . Nie'derschlag , 
 
 down-beat Nie'derstfich, down-bow. 
 
 . . Nie'der takl, down-beat. 
 
 Nineteenth, i. The interval of 2 octaves 
 and a fifth. 2. See Latigot (organ- 
 stop). 
 
 Ninth. (Ger. No'ne; Fr. neuvieme; It. 
 no'na.) An interval wider by a semi- 
 tone or a whole tone than a perfect 
 octave ; a compound second; but dis- 
 tinguished in theory from the second by 
 the fact that it enters into the formation 
 of a chord in the series of ascending 
 thirds. . .Chord of the ninth, a chord 
 practically recognized under 2 principal 
 forms : (i) the major, and (2) the minor 
 chord of the ninth, each a chord of the 
 dominant seventh with added ninth :
 
 NOBILE NOTATION. 
 
 F : V /: 
 practical music. 
 
 The former, 
 _ based on par- 
 G: tials 2-3-(4)-5- 
 ' - (6) 7-9, is acou- 
 stically the more 
 -j- euphonic, 
 r though the lat- 
 ter has been of- 
 V tener used in 
 Their inversions are 
 
 figured according to the ordinary rule. 
 (Comp. Chord.} 
 
 No'bile (It.) Noble ; refined, chaste. . . 
 Nobilmen'te, nobly. . . Con nobilita 1 , 
 with nobility, grandeur. 
 
 Noch (Ger.) Still, yet. 
 
 Nocturne (Fr. ; Ger. Noktur'ne, Nachf- 
 stiick; It. nottur'no.) A word intro- 
 duced by Field as a title for piano-pieces 
 of a dreamily romantic or sentimental 
 character, but lacking a distinctive 
 form. 
 
 Noc'turns. Services of the Church held 
 during the night, each portion of the 
 Psalm set aside for .this purpose being 
 termed a Nocturn. 
 
 Nodal figures. The figures correspond- 
 ing to the nodal lines of a vibrating 
 plate of wood, glass, etc.; rendered 
 visible by strewing fine dry sand on the 
 plate, this sand being tossed by the 
 vibrating portions of the plate to the 
 nodal lines, which are points of perfect 
 or comparative rest ; the symmetrical 
 figures thus formed are also called 
 Chladnis figures, having been discov- 
 ered by him . . . N. point, see Node. 
 
 Node. (Ger. Kno'tenpunkt; Fr. naeud; 
 It. no' do} A point or line in a vibrating 
 body (such as a string, soundboard, 
 trumpet, bell), which remains at rest 
 during the vibrations of the other parts 
 of the body. Opp. to Loop I. 
 
 No'dus (Lat., "knot".) An enigmatical 
 canon. 
 
 Noel (Fr.) A sort of carol sung in the 
 South of France, chiefly on the day be- 
 fore Christmas, or Christmas eve. 
 
 Nceud (Fr.) I. A turn (usually groupe), 
 2. A node. 
 
 Noire (Fr.) A quarter-note. 
 
 Nome, Nomos (Gk.) A canon (rule) 
 for mus. composition ; hence, a song 
 composed according to the rule. 
 
 Non (It.) Not. 
 
 No'na (It.), No'ne (Ger.) The interval 
 of a ninth. 
 
 Nones. The fifth of the canonical hours. 
 Nonet'. (Ger. Nonet? '; It. nonet' to.) A 
 
 composition for 9 voices or instr.s. 
 Non'nengeige (Ger.) Nun's-fiddle, 
 
 tromba marina. 
 
 Nono'le (Ger.) Nonuplet. 
 
 Non'uplet. A group of 9 notes of equal 
 time-value, executed in the time proper 
 to 6 or 8 of the same kind belonging to 
 the regular rhythm. 
 
 Normal'ton (Ger.) Standard pitch... 
 Normal' tonar ten (pi.), normal keys. . . 
 Normal' tonleitern, normal scales. 
 
 No'ta (Lat. and It.) A note.. .N. buo'na, 
 an accented note. . . N. cambia' ta (cam- 
 bita), (a) a changing-note ; (b) an irreg- 
 ular resolution of a dissonance by a 
 skip. . .N. caratteri'stica, leading-note. 
 . . JV. catti'va, an unaccented note . . . 
 Nota contra notam (Lat.), note against 
 note, equal counterpoint.. . N. d'abbelli- 
 men'to, a grace-note. . .A r . dapassa'gio, 
 a passing-note. . .N. falsa, a changing- 
 note. . .N. principa'le, a principal 
 (essential) note. . .N. quadra' ta (qttadri- 
 quar'ta), a Gregorian or plain-song 
 note . . . N. roma'na, a neume . . . N. sen- 
 si'bile, the leading-note. 
 
 Notation. Musical notation is the art of 
 representing musical tones by means of 
 written characters. Letters, numerals, 
 and signs of different kinds, have been 
 used. The signs now almost univer- 
 sally employed are called notes, and are 
 written on a staff of 5 lines ; hence, this 
 system of writing music is termed Staff- 
 notation. (Comp. also Alphabetical 
 notation, Netimes, A 7 umerals.) 
 
 i. The lines and spaces of the staff 
 indicate the pitch of the notes. The- 
 lines which Hucbald first used (about 
 A.D. 900), served the same end by 
 representing strings ; in the spaces be- 
 tween, the syllables of the words sung 
 were written , the relative pitch of the suc- 
 cessive tones being (sometimes) marked 
 by the letters t (Clonus, whole tone), 
 and s (= semi Ionium, semitone). This 
 system was also used later for noting the 
 primitive part-music called or'ganum or 
 discant; increasing the number of lines 
 as far up or down as necessary, and 
 setting the syllables for the several parts 
 vertically one above the other. An ex- 
 ample of one-part notation ace. ta 
 Hucbald now follows :
 
 NOTATION. 
 
 131 
 
 
 li/ 
 
 \ lus\ 
 
 Ec\ Isra \ 
 
 / 
 
 in quo \ o/ no\ 
 
 ce\ / he 
 
 do/ on\ 
 
 vere / 
 
 
 est 
 
 Solution in choral notes : 
 
 EC - ce ve - re Is - ra - he - 15 - ta, in quo do - lus non est. 
 
 Nearly contemporaneously with Hue- 
 bald's invention, an innovation appeared 
 in neumatic notation ; a red horizontal 
 line was drawn across the page, and all 
 neumes written on this line 
 were of the same pitch, this 
 pitch being fixed by a letter /: 
 set before the line. A second line, 
 but yellow, was soon added for <' 
 above the y-line (or below, for plagal 
 melodies) ; the two greatly facilitated 
 the reading of written music. An- 
 other improvement, m a different dir- 
 ection, is shown by an orderly system 
 of lines marked in regular succession 
 by Greek letters set before them, the 
 tones being represented by points or 
 dots on the lines. To Guido d'Arezzo 
 is generally ascribed the systematization 
 and introduction (about 1026) of the 
 4-line staff, in which both lines and 
 spaces were at length utilized ; he re- 
 tained the red and yellow lines, added a 
 third (black) line between them for a, 
 and a fourth (black) line either above or 
 below these three, according to the 
 range of the melody written, for e l or d; 
 he did not use notes, but either letters 
 or neumes. 
 
 tJ2. A staff being thus established, 
 and affording a firm basis for exactly 
 fixing the pitch of written music, the 
 neumes hitherto in ordinary use gradu- 
 ally lost their hieroglyphical appearance 
 and became transformed into the Choral 
 Notes of Plain Chant, the regular square 
 form of which (|) gave rise to the 
 name nota quadrata or quadriqttarta, 
 other shapes occurring only occasionally 
 in certain figures ^ ^^ or ^* ^ . 
 
 The 4-line staff is still retained in Plain 
 Chant ; other staves, having from 6 to 
 15 or more lines, were arbitrarily em- 
 
 ployed down to the isth century, when 
 the 5-line staff for all vocal music ex- 
 cept Plain Chant, and the 6-line staff for 
 organ-music, were universally adopted ; 
 the present 5-line staff superseded the 
 latter after the invention of music-print- 
 ing. All this time the form of the clefs 
 was likewise changing, the original / 
 and c becoming : 
 
 (/) . to 
 
 FE * ^ Ic I fe i 
 
 etc.; the g also assumed a great variety 
 of fantastic shapes before the modern 
 forms were finally settled. 
 
 3. Mensurable notation, differ- 
 ing from that of Plain Chant by express- 
 ing a determinate (relative) time-value 
 of the tones in its notes, which were 
 invented for the exact indication of 
 rhythmic relations, appeared near the 
 beginning of the I2th century. The 
 notes in use for some 200 years, and 
 imitated from Plain Chant, were the 
 Large (^|) or duplex longa or maxima; 
 the Long (* ( ) or longa; the Breve (>); 
 and the Semibreve (+ or p) ; to which 
 were then added the Minim (1) and 
 Semi minim (T). Early in the 1 5th 
 century the first five were supplanted 
 by the open notes (large r-l , long q > 
 
 breve fed , semibreve O or A, minim I \ 
 
 O'' 
 
 the smaller notes which had been gradu- 
 ally added being written in 2 forms : 
 Semiminima [J] X. or L. 
 
 [ ] 
 
 Croma or Fusa 
 
 ] Jt 
 
 Semicroma or Semifusa [^] or 
 Below are the corresponding rests : 
 
 Perfect Imperf. Perf. Imperf. Breve- Semibr.- Minim-rest Scmiminim- Croma- Semicr.- 
 Large- Large- Long- Long- rest rest (Suspirium) , rest . . rest rest 
 rfit rct rf<t >t- (Pausa) (Seiiiipnn.) (Semisuspirium). 
 
 ^y B - 
 
 m
 
 I 3 2 
 
 NOTATION. 
 
 The single notes were often joined in 
 groups (comp. art. Ligature). The 
 angular notes of measured music were 
 not finally supplanted by modern round 
 notes, in music-printing, till about 1700, 
 though in MS. music they had been 
 freely employed since the l6th century. 
 
 For determining the relative time- 
 value of the notes, various and often 
 conflicting rules were made for the 
 Modus (mode), Tempus (time-value of 
 the breve), Prola'tio (prolation), Color, 
 Position, etc.; a brief explanation of 
 the 16th-century rules follows, premis- 
 ing, that the terms perfect and imper- 
 fect refer to the measure or time, triple 
 time being regarded (out of reverence 
 for the " Blessed Trinity") as perfect, 
 while duple time was held to be imper- 
 fect. 
 
 MODUS (mode) governed the subdi- 
 vision of the Large into Longs, and of 
 the Long into Breves : in the 
 Modus major perfectus, i p 3 ^ 
 
 " imperfec., I JZ* = 2 B 
 
 " minor perfectus, id = 3 ^ 
 " imperfec., i 5 = 2 p3 
 TEMPUS (time) governed the subdi- 
 vision of the Breve into Semibreves ; in 
 Tempus perfectum (sign the circle 
 
 O),' W=30 
 Tempus imperfec. (sign the semic. 
 
 C),i =1 = 20 
 
 PROLATIO (prolation) governed the 
 subdivision of the Semibreve ; in 
 Prolatio major i <^ = 3 1 
 
 " minor i <> = 2 ^ 
 the former marked by a dot in the time- 
 signature (or (), the latter simply 
 by the absence of a dot.* 
 
 The usual mode-signatures were ver- 
 tical strokes (long-rests) at the head of 
 the staff ; e. g., with the signs for tem- 
 pus and prolatio : 
 
 Modus maj. perf. 
 Modus min. perf. 
 Tempus perfectum 
 Prolatio major 
 
 * The system previously in vogue referred to 
 the relative time-value of the notes in general ; 
 thus, according to de Vitry (i3th century) : 
 
 I. prolatio : = 3 +, and 1^ = 3^ 
 
 / Mot] us maj. imperf. 
 ) Modus min. perf. 
 "i Tempus imperfec. 
 ( Prolatio major 
 Modus maj. perf. 
 Modus min. imperf. 
 Tempus perfectum 
 Prolatio minor 
 Modus maj. imperf. 
 Modus min. imperf. 
 Tempus imperfectum * 
 Prolatio minor 
 N.B. The time-signatures were often written 
 smaller, between the second and third, or third 
 and fourth, lines, etc. The mode-signatures 
 were also drawn from the fourth line down to 
 the lowest ; as a rule, they were omitted alto- 
 gether, leaving the reader to ascertain the 
 mod from conventional peculiarities in the 
 notation called sig'na impli'cita or intrin'- 
 sera (implied signs), in contradistinction to the 
 signa. indicia' lia (indicatory signs) ; as, in the 
 greater mode perfect, a group of 3 black larges 
 (see Color, below), or, in the lesser mode per- 
 fect, a group of 2 black longs, or 2 breve-rests 
 at the beginning of a modal unit. 
 
 POSITION (i. e. the order in which 
 the notes stood) was very important. 
 A long followed by a long, or a breve 
 by a breve, was always perfect (tripar- 
 tite) by position; whereas a long pre- 
 ceded or followed by a breve, or a 
 breve preceded or followed by a semi- 
 breve, was always imperfect (bipartite) 
 by position. After the minim was in- 
 vented, the semibreve also became 
 similarly influenced by its position ; the 
 minim and lesser notes were always 
 perfect. 
 
 COLOR was the general designation 
 for notes differing in color from those 
 ordinarily used ; the red note (no' tula 
 ru'brd) of the i-jth century generally 
 marked a change from perfect to im- 
 perfect time, or vice versa ; the white 
 note (notula alba) was at first used like 
 the red, but soon obtained the fixed 
 and definite signification of imperfec- 
 tion in opposition to the ordinary black 
 note (of the I4th century); finally, the 
 black note (notula nigra) of the i6th 
 and lyth centuries, when the while 
 notes were universally adopted, in its 
 turn indicated imperfection ; thus, from 
 the 1 5th century onward, groups of 2 
 or more black notes had the proper tio 
 hemiolia to the surrounding white notes, 
 i. e. their time-value stood to that of 
 the latter in the ratio of 2 to 3, hence 
 their name Hemiola or Hemiolia(<\. v.) 
 
 AUGMENTATION AND DIMINUTION. 
 Terms used loosely to express any in- 
 crease or decrease in the time-value of 
 the notes ; but signifying, specifically, 
 (augmentatio) a retarding of the tempo, 
 generally doubling the integer valor;
 
 NOTE. 
 
 133 
 
 and (diminutio) an acceleration of the 
 tempo, generally reducing the integer 
 valor by one-half. The diminutio was 
 first expressed by a vertical line through 
 thetempus-signature ((T) (t (?) ($), or 
 by inverting the semicircle ( 3) ); also 
 by adding to the /t'w/wj-signature, in 
 the midst of a composition, numerals 
 or fractions (3, 2, f, f, f,); 2 or f then 
 signified that 2 tactus (semibreves ^) 
 were equal to I <^of the preceding tem- 
 po; etc., etc. Augmentatio was gen- 
 erally employed to reverse a preceding 
 diminutio; the sign for which was sim- 
 ply annulled by the usual sign for the 
 integer valor (Q, O or by the in- 
 version of the fraction (J, j, etc.) These 
 fractions, however, were properly 
 termed signs of Proportion. 
 
 PROPORTION. The theory of Pro- 
 ff>rtio, from the I5th century onward, 
 treats of the different time-signatures 
 and tempo-marks applied to several 
 parts progressing simultaneously ; for 
 instance, in a 4-part composition the 
 integer valor might be marked for the 
 discant in tempus perfectum Q, and for 
 the bass in tempus imperfectum , the 
 alto might be in tempus imperfectum 
 diminutum (t , while the tenor had di- 
 minutio intrtpla Q 3 ; further, changes 
 might be made in any or all parts in 
 the course of the piece, and were indi- 
 cated by fractions (the signs of propor- 
 tion; compare Augmentation, above). 
 
 ALTERATION (alteratio) was the doub- 
 ling of the time-value of the second of 2 
 
 equal notes, and occurred either when 
 the next largest kind of note was per- 
 fect, and the 2 (smaller) notes stood 
 between two such large ones, or when 
 the 2 notes were separated from a 
 following note of equal or smaller 
 value by a punctum divisionis; e. g. 
 Z^ <C> s> JSS^ i n tempus per fa turn ( Q ) 
 would be expressed thus in modern 
 notation {ss \ zs o | a ) 
 
 The Pane' turn or Punc'tiis (point, 
 dot) had various uses ; (a) Punctum 
 augmentatio'nis, equivalent to our dot 
 of prolongation ; (b) Punctum altera- 
 tio'nis, which, placed before the first 
 of 2 short notes lying between 2 long 
 ones, doubled the value of the second 
 short note and restored the perfection 
 of the 2 long ones ; (t: ) Punctum per- 
 fectio'nis, used in prolation, and also 
 to restore the perfection of a note made 
 imperfect by position; and (d) Pitiu- 
 tum divisio'nis or intper fectio'nis, 
 written between 2 short notes lying be- 
 tween 2 long ones, indicated the imper- 
 fection of both the latter. 
 
 None of these rules or signs were in- 
 variably followed or employed ; the 
 above remarks will serve, however, to 
 give a correct general idea of the in- 
 tricacies of Mensurable Notation. (Also 
 see Pigura obliqua^) 
 
 Note. (Ger. and Fr. No'te; It. no'ta.) 
 One of the signs used to express the re- 
 lative time-value of mus. tones. (Comp. 
 Notation.) The notes employed in 
 modern notation are the following : 
 
 English. 
 
 Breve, or 
 
 Double note 
 
 Semibreve, or 
 
 Whole note 
 ( Minim, or 
 '( Half-note 
 j Crotchet, or 
 uarter-note 
 uaver, or 
 ( Eighth-note 
 j Semiquaver, or 
 "( Sixteenth-note 
 } Demisemiquaver, or 
 ( Thirty-second-note 
 
 ( Hemidemisemiquaver, 
 "| or Sixty-fourth-note. 
 
 German. 
 Brevis 
 
 ( Ganznote, or 
 I ganze Talctnote 
 
 JHalbnote, or 
 halbe Note 
 iViertel, or 
 Viertelnote 
 Achtel, or 
 Achtelnote 
 j Sechzehntel, or 
 I Sechzehntelnote 
 ( Zweiunddreissig- 
 | stel(note) 
 
 J Vierundsechzig- 
 | stel(note) 
 
 French. 
 Breve, or Carree 
 
 ( Semi-breve, or 
 ( Ronde 
 Blanche 
 
 Noire 
 Croche 
 
 Double-croche 
 Triple-croche 
 
 Italian. 
 Breve 
 
 Semibreve 
 
 ( Minima, or 
 ( Bianca 
 
 Nera 
 
 Croma 
 
 Semicroma 
 
 Semibiscroma 
 
 Quadruple-croche Quattricroma 
 
 Black note, one having a' solid head(J); 
 opp. to white note (^). Also, a black 
 digital or key. . . Changing note, see 
 C hanging-note . ..Character-notes, notes 
 varying in shape from those in common 
 use, employed to present characteristic 
 qualities of the tones other than their 
 
 time-values. . . Choral-note, see Notation, 
 >$^i and 2. . . Crowned note, one with a 
 hold (2) over it ... Double note, a breve 
 (= 2s>). . .Driving-note, a syncopated 
 note. . .Essential note, a chord-note, or 
 melody-note . . . Grace-note, see Grate. 
 . . Harmonic note, a chord-note. . . Hold'
 
 134 
 
 NOTE OBBLIQUO. 
 
 ing-note, a tone sustained in one part 
 while the other parts move . . . Leading 
 note, Master-note, see Leading-note. . . 
 Open note, a white note . . . Passing note, 
 see Passing-note. . .Reciting-note, see 
 Reciting. . . White note, see Black note. 
 
 Note (Fr.) A note... A', accidente'e, an 
 accidental . . . N. d'agre'ment, or de goiit, 
 grace-note ... .<V. sensible, leading-note. 
 . .Notes surabondantes($\.). groups like 
 triplets, quintuplets, etc., etc. The 
 French names for the 7 notes of the 
 scale are (i) ut, re", mi, fa, sol, la, si; 
 and (2) tonique, sus-tonique, me'diante, 
 sous-dominante, dominante, sus-domi- 
 nante, sensible. 
 
 Noten (Ger. pi.) i. Notes. 2. Music 
 (i. e. compositions, pieces). 
 
 No'tenfresser (Ger.) Same as Croque- 
 note. 
 
 No'tograph. See Melograph. 
 
 Nottur'no (It.) Nocturne ; dimin. Xot- 
 turni'no. 
 
 Nourri (Fr., "nourished".) Un son 
 nourri, a full or well-sustained tone. 
 
 Novellette. A name probably first be- 
 stowed by Schumann (Op. 21) on a style 
 of instrumental composition free in form, 
 bold in harmonic structure, romantic in 
 character, and specially characterized by 
 a variety of contrasting themes and by 
 considerable length. (Sometimes Novel- 
 ette.) 
 
 Novemo'le (Ger.) A nonuplet. 
 
 Nowel. (Fr. Noel.) A Christmas carol, 
 especially one in polyphonic style. 
 
 Nuance (Fr.) A shading or inflection in 
 vocal delivery orinstrumental rendering, 
 affecting either timbre, tempo, or dyna- 
 mic effect, to a greater or less degree. 
 
 Null. A naught or cipher. (See 0.) 
 In thorough-bass, a cipher calls for 
 tasto solo. 
 
 Number. I . A principal division or move- 
 ment of an extended composition, like 
 an opera or oratorio ; or any smaller 
 
 y and more or less complete portion of a 
 large work, as a song, aria, interlude, 
 etc.; or, finally, any single piece on a 
 program. 2. Equivalent to Opus-num- 
 ber. 
 
 Numerals. For the employment of 
 Arabic numerals, comp. Abbreviations 
 2, Fingering, Harmonium-music, Or- 
 gan, Phone 6, Pitch 2, Tablature, 
 Thorough-bass. As abbreviations, 2- 
 time, j-time, are equivalent to duple 
 
 time, triple time ; jlte, jtte, to quartet, 
 quintet. .-.(It.) 3*, 4*, 5", 6, 7', con- 
 tractions of Terza, Quarta, Quinta, 
 Sesta, and Settima respectively; <Por &", 
 "all'ottava"; /j 01 *, "allaquindecima." 
 . .(Fr.) 2p,4p, 8p, i6p,equiv. to 2-foot, 
 4-foot, etc. . . Roman numerals are used, 
 in mus. theory, to mark fundamental 
 chords, thus showing at a glance from 
 what triad any given inversion is de- 
 rived (comp. Chord, and Phone, 5, 6). 
 
 Nu'merus (Lat.) i. Number. 2. 
 Rhythm. 
 
 Nunc dimit'tis. The first 2 words in 
 the Canticle of Simeon (Luke II, 29-32) 
 " Nunc dimittisservum tuum, Domine, 
 
 in pace" (Now, O Lord, lettest 
 
 thou thy servant depart in peace) ; a 
 text frequently used by composers, and 
 forming portions of special services in 
 the Catholic and Anglican Churches. 
 
 Nun's-fiddle. Tromba marina. 
 
 Nuo'vo,-a (It. [no'vo].) New. . .Diituo. 
 vo, anew, again. 
 
 Nut. I. (Ger. Sat'tel; Fr. sillet ; It. 
 -capota'sto.) The ridge over which the 
 strings pass at the end of the finger- 
 board next the head of a violin, lute, 
 etc. 2. (Ger. Frosch; Fr. talon.} The 
 movable projection at the lower end of 
 the violin-bow, to which the hair is at- 
 tached, and by which it is tightened or 
 slackened. 3. The lower nut on the 
 violin, etc., is the ridge between the 
 tailpiece and tailpin (or button). 
 
 o. 
 
 O. A circle (Q) was *^e rnedieval sign 
 for tempus perfectum (see Notation, 
 3); enclosing figure ( (7) ), see Harmoni- 
 um-music. . .A small circle signifies, in 
 modern notation, (a~) an open string ; 
 (/>) the harmonic mark ; (f) the dimin- 
 ished fifth ; (d) in thorough-bass, ta- 
 sto solo; (e) in old German clavier-mu- 
 sic, marks notes to be played with the 
 thumb. 
 
 O (It.) Or. (Also od.) 
 
 Obbliga'to (It.) Required, indispensa- 
 ble. An obbl. part is a concerted (and 
 therefore essential) instrumental part ; 
 the term is specially applied to an in- 
 strumental part accompanying and vy- 
 ing with a vocal solo, very numerous 
 examples of which may be found in the 
 music of the i8th century. 
 
 Obbli'quo (It.) Oblique.
 
 OBER OCTAVIN. 
 
 OTier (Ger.) Over, above, higher. . . 0'- 
 berdominan'te, the dominant (opp. to 
 Un'terdotninante, the subdominant). . . 
 O'berlabium, upper lip (organ-pipe). . . 
 CYbcr manual, upper manual ... O'ber- 
 stimmf, highest part. . . O'bertaste, black 
 key. . . O'bertdne, overtones, harmonics; 
 pho'nischcr Oberlon, the I5th partial. . 
 . O'berwerk (in Germany), c ^0/r-organ 
 (when organ has 2 manuals); siuell-or- 
 gan (when organ has 3) ; Wo-manual 
 (when organ has 4 manuals). (Abbr. 
 Obw., or O. \V.) 
 
 Obligat',-o (Ger.), Oblige" (Fr.) Ob- 
 bligato. 
 
 Oblique motion. See Motion. . . Oblique 
 pfte., an upright pfte. with strings run- 
 ning diagonally instead of vertically. 
 
 Obli'quus (Lat.) Oblique. . .Figura 
 obliqua, see Figura. . . Afotus obliquus, 
 oblique motion. 
 
 O'boe. (Ger. Obo'e; Fr. hautbois; It. 
 oboe'.) I. An orchestral instr. with 
 conical wooden tube, having from 9 to 
 14 keys, and a double reed held by the 
 player directly between his lips, he thus 
 completely controlling the expression. 
 Compass 8r/a though either ex- 
 
 2 octaves i-4 '"T~~ treme is difficult 
 plus a |(fl) T/rr^: and hazardous, 
 seventh : tjfey The scale above 
 
 . n is formed by octaves of the 
 j^ a*^^ fundamental tones, as in the 
 cf "~ flute, the fingering of which is 
 also similar to that of the oboe. The tone 
 is very reedy and penetrating, though 
 mild, and equally suited for scenes of 
 pastoral gaiety or of lonely melancholy. 
 The oboe family is incomplete, only 
 2 instr.s, the ordinary treble oboe (for- 
 merly oboe pic'cola) and the alt-oboe 
 (cor'no ingle'se) being now used, the 
 former as a non-transposing instr. 
 written in the C-clef, the latter as a 
 transposing instr. The bass for the 
 oboe is furnished by the bassoon. The 
 oboe d'amo're (Fr. hautbois d'amour)\s 
 at present played only in the historical 
 concerts of the Brussels Conservatory ; 
 its pitch is a minor third below the 
 treble oboe, and it differs from the ob- 
 solete oboe has' so, (Fr. grand hautbois) 
 in having a spherical bell with a narrow 
 aperture, whereby the tone is sensibly 
 subdued. The parent instr. of the 
 oboe was the shawm. (See APPENDIX.) 
 
 Oboi'sta (It.) Oboist. 
 
 Ocari'na. A small wind-instr., an im- 
 provement of the toy 2-tone cuckoo- 
 
 pipe. It has an elongated bird-shaped 
 terra-cotta body 5 or more inches long, 
 provided with a varying number of fin- 
 ger-holes, and with a mouthpiece like a 
 whistle projecting from the side. The 
 tone is mellow and fluty. The better 
 kinds are provided with a tuning-slide. 
 Occhia'li (It.) Same as Brillenbdsse. 
 Also, recent name for the white notes 
 (=> and < ^. 
 
 Ochet'to (It.), Oche'tus (Lat.) See 
 Hocket. 
 
 Octachord, i. An 8-stringed instr. 2. 
 A series of 8 consecutive diatonic tones. 
 
 Octave, i. (Ger. Okta've; Fr. octave; 
 It. otta'va.) i. A series of eight con- 
 secutive diatonic tones. 2. The inter- 
 val (1:2) between the ist and 8th tones 
 of such a series. (Comp. Interval.) 3. 
 The 8th tone of such a series, consid- 
 ered in its relation to the ist ; or vice 
 versa. The 8th is called the higher oc- 
 tave of the ist, the ist the lower octave 
 of the 8th. 4. One of a number of 
 arbitrary divisions of the entire range 
 of tones employed in practice, made for 
 the sake of convenience in referring to 
 and establishing the absolute pitch of 
 each tone. (Comp. Pitch.) 5. In the 
 organ, a stop whose pipes sound tones 
 an octave higher than those represented 
 by the digitals touched ; like the Prin- 
 cipal. . .At the octave, see Ottava, aJl'. 
 . . Broken octaves, see Broken . . . Con- 
 cealed, covered, or hidden octaves, paral- 
 lel octaves suggested by the progression 
 of 2 parts in similar motion to the in- 
 terval of an octave . . . Rule of the octave, 
 a system of harmonizing the diatonic 
 scale taken as a bass ; much employed 
 in tuition before the laws governing 
 harmonic progression had been formu- 
 lated . . . Short octave, in organ-building, 
 the lowest octave of the keyboard, 
 when abbreviated by the omission of 
 all digitals but those needed for the 
 bass of the simpler harmonies, the digi- 
 tals remaining being set side by side as 
 if forming the regular series ; this was 
 done to save expense and space ./ . Oc- 
 tave-coupler, see Coupler ... Octave- 
 fiute. (a) the piccolo ; (/) an organ- 
 stop of 4-foot pitch . . . Octave-scale, see 
 Mode. . . Octave-stop, same as Octave 5. 
 
 Octavia'na. See Ottavina/. (Also oc- 
 tavin, octavina, oclavino.) 
 
 Octavin' [-veen]. i. See Ottavino, 2. 
 A wind instr. inv. in 1803 by Oscar
 
 1 36 
 
 OCTAVO OPERA. 
 
 Adler of Markneukirchen, Saxony. It 
 has a single reed, and a wooden tube 
 of conical bore ; the keys are so arr. 
 that the fingering is similar to that of 
 the clarinet, oboe, etc. The tone is 
 quite powerful ; the timbre between 
 oboe and horn. Made in 2 sizes, By 
 and C ; compass 3 octaves, c l c*. 
 
 Octavo attachment. See Octave-pedal, 
 under Pedal. 
 
 Octet'. (Ger. Oktetf; Fr. octette; It. 
 ottet'to.) A composition for 8 voices 
 or instr.s. 
 
 Octo-basse (Fr.) The octo-bass, an 
 immense 3-stringed double-bass 4 me- 
 tres in height, provided with a mechan- 
 ism of digitals and pedals for stopping 
 the strings ; it is a third lower in pitch 
 than the ordinary double-bass (Ci-d-C), 
 and its tone is smooth and powerful. 
 Inv. by J. B. Vuillaume in 1851. 
 
 Octochord. See Octachord. 
 
 Octo'le (Ger.) Octuplet. 
 
 Oc'tuor. Same as Octet. 
 
 Oc'tuplet. A group of 8 equal notes 
 having the same time-value as 6 notes 
 of the same kind in the regular rhythm. 
 
 Ode. A lyric poem intended for singing, 
 and expressive of lofty and fervent 
 emotion ; it has no set characteristic me- 
 trical form. Also, the musical setting 
 of such a poem. 
 
 Ode'on. (Gk. odei'on ; Lat. ode'um.') A 
 public building in which musical con- 
 tests were held. 
 
 O'der (Ger.) Or, or else. 
 
 Ode-symphonie (Fr.) A choral sym- 
 phony, symphony with chorus. 
 
 (Euvre (Fr.) Work, composition. 
 
 Off. In organ-music, a direction to push in 
 a stop or coupler; as Sw. to Gt. off.. . Off 
 the pitch, false in pitch or intonation. 
 
 Of'fen (Ger.) I. Open (of organ -pipes). 
 2. Parallel (fifths, octaves). 
 
 Of fenbar (Ger.) Open, manifest. . . Of- 
 fenbare Okta'ven, Quin'ten, open or 
 parallel octaves, fifths. 
 
 Offertory. (Lat. and Ger. Offer to' ritim; 
 Fr. offertoire; It. offer to' rio.) In the 
 R. C. Mass, the verses or anthem fol- 
 lowing the Credo and sung by the choir 
 while the priest is placing the unconse- 
 crated elements on the altar, during 
 which the offerings of the congrega- 
 tion are collected. The daily offertory 
 of the Gregorian antiphonary is now 
 
 usually supplemented by a motet on the 
 same or different verses ; such offerto- 
 ries are also composed with instrumental 
 accomp. 
 
 Oficle'ide (It.) Ophicleide. 
 Oh'ne (Ger.) Without. 
 
 Oh'renquinten (Ger., "ear-fifths".) 
 Covered fifths, the ill effect of which 
 the ear detects (or is supposed to de- 
 tect) ; sometimes used to designate 
 mere theoretical finicalities. 
 
 Okta've (Ger.) Octave. . .Oktavu-'ren, 
 to produce, when overblown, the higher 
 octave of the lowest natural tone of the 
 tube (wind-instr.s). . .Oktdv'chen, Ok- 
 tai/flote, piccolo. . . Okta'vengattungen, 
 octave - scales . . . Okta'venverdop'pelnn- 
 gen, Oktav'folgen,-paralle'lcn, parallel 
 or consecutive octaves . . . Okta-v'- Wald- 
 horn, a new species of Waldhorn, inv. 
 by Eichborn and Heidrich of Breslau, 
 of particularly full tone in the high and 
 low parts of its range. 
 
 Oktavin'. See Octavin 2. 
 
 O'lio. A medley, or mus. miscellany. 
 
 Olivettes (Fr.) Dances after the olive- 
 harvest. 
 
 Om'bra (It.) A shade, shading, nuance. 
 
 Om'nes, Ora'nia (Lat.) All. See Tutti. 
 
 Om'nitonic. (Fr. omnitonigtie.) Having 
 or producing all tones ; chromatic ; as 
 cor omnitonique,c\tfoma.\.\c (valve-) horn. 
 
 Once-accented. See Pitch. 
 
 Ondeggiamen'to (It.) Undulation... 
 Ondeggian' te , undulating, wavy. 
 
 Ondulation (Fr.) Undulation. . . Ondule 1 , 
 undulated, wavy. 
 
 One-lined. See Pitch. 
 
 Ongare'se (It.) Hungarian. 
 
 Onzieme (Fr.) The interval of an elev- 
 enth. 
 
 Open diapason, harmony, note, order, 
 pedal, pipe, etc.; see the nouns. 
 
 Op'era. (It. O'pera [se'ria, buf'fa, etc.], 
 dram'ma per mu'sica; Fr. ope'ra ; Ger. 
 O'per, Musik' drama.) Modern opera, 
 a form of dramatic representation in 
 which vocal and instrumental music 
 forms an essential and predominant ele- 
 ment, took its rise towards the close of 
 the loth century in the striving of Ital- 
 ian (Florentine) composers and jesthe- 
 ticians to emancipate vocal music from 
 the fetters of contrapuntal form. Their 
 efforts led to the adoption of Monody
 
 OPERETTA OPHICLEIDE. 
 
 137 
 
 (g. v.) as an art-style, and its application 
 to dramatic purposes. The first opera 
 given was probably "Dafne" (music 
 by Peri and Caccini, book by Rinuccini) 
 in 1594, which was lauded to the skies 
 as a successful return to the musical 
 declamation of the ancient Greek trag- 
 edy. The dry stilo rappresentativo of 
 the earliest operas was improved upon 
 by Monteverde (1568-1643). who em- 
 ployed vocal and orchestral resources 
 with a freedom undreamed of up to his 
 time, justly earning him the title of 
 " father of the art of instrumentation ". 
 His orchestra for the opera "Orfeo" 
 (1608) is given below : 
 
 2 Gravicembani, a Contrabass! di Viola, 10 
 Viole da Braccio. i Arpa doppia, a Violin! pic- 
 coli alia francese, a Chitarroni, a Organi di 
 legno, 3 Bassi dagamba, 4 Tromboni, i Regale, 
 z Cornetti, i Flautina alia zzda, i Clarino. con 
 3 Trombe sorde. 
 
 With Alessandro Scarlatti (1659- 
 1725) begins the era of modern Italian 
 opera ; the sensuous charm of melody 
 asserts itself more and more strongly ; 
 the singer becomes master of the situ- 
 ation, and operas are written to his 
 order. This tendency, early transplant- 
 ed with Italian opera to France and 
 Germany, was combatted by leading 
 composers of those countries ; Lully 
 (1633-1687) and Gluck (1714-1787) 
 were reformers of the musical drama in 
 ridding vocal dramatic music of super- 
 fluous melismasand coloraturas, making 
 it follow throughout the course and 
 sense of the action. The grand or 
 heroic opera, with its full choruses and 
 finales, its arias and recitatives, and all 
 varieties of ensemble (duets, trios, 
 quartets, etc.) is a growth due to the 
 grafting of Italian opera upon the 
 French musical stock, and is the style 
 especially affected by modern French 
 composers ; the formal plan of Italian 
 opera was likewise adopted by the great 
 German composers, but with an infusion 
 of artistic potency and sincerity which 
 raise their productions far above the 
 earlier level (Mozart, Beethoven), and 
 a tinge of German romanticism which 
 lends them a truly national color (Weber, 
 Marschner). In comic opera the Ital- 
 ians were also pioneers (Pergolesi, 
 Cimarosa) ; then follow the French 
 (Gretry), and lastly the Germans (Mo- 
 zart), all in the i8th century. Recent 
 Italian operas show a distinct reaction 
 against the old type, and bear witness 
 to the strong influence of Germany (par- 
 
 ticularly of Wagner). France continues 
 in the footsteps of her national compos- 
 ers (Gretry, Mchul, Boieldieu. Adam, 
 Herald, Halevy, Auber. Meyerbeer, 
 Gounod). Tothe purification, or rather 
 annihilation, of the quasi-dramatic form 
 of the grand opera. Richard Wagner 
 (1813-1883) devoted all the powers of 
 his marvelous genius. The guiding 
 principle in his " Musikdramen" (musi- 
 cal dramas) is the harmonious coopera- 
 tion of the dramatic, poetic, scenic, and 
 musical elements ; thus, the action of the 
 drama must never be checked or veiled 
 by purely musical episodes, however 
 charming in themselves ; the music must 
 illustrate the (emotional) course and ef- 
 fects of the action, and nothing else. 
 Hence the discontinuance of cut-and- 
 dried movements and leveling of tradi- 
 tional forms, the rarity of full cadences 
 and harmonic sequences, the richly 
 modulated flow of inspired melos, the 
 absence of "vain repetitions" of words 
 and phrases, the uninterrupted dramatic 
 interpretation by the orchestra of scenes 
 and moods. Both the grand opera and 
 the Wagnerian drama find zealous ad- 
 vocates and imitators ; these, together 
 with operettes of most various com- 
 plexion, are the typical forms of musico- 
 dramatic composition at present. The 
 comic opera varies the form of grand 
 opera by the interpolation of spoken 
 dialogue . . . Optra bouffe [formerly bouf- 
 fo>i\ (Fr. ), light comic opera ... Opera 
 btiffa (It.), Italian opera of a light and 
 humorous cast, comic opera in which 
 the dialogue is carried on in recitativo 
 sffco, instead of being spoken . . . Optra 
 comique (Fr.), comedy-opera . . . Opera 
 sfria(Il.), serious (grand, heroic, tragic) 
 opera ; opp. to opera buff a. 
 
 Operet'ta (It.; Ger. and Fr. Opfrtt'te.) 
 A "little opera ", with reference either 
 to duration or style of composition. 
 The text is in a comic, mock-pathetic, 
 parodistic, or anything but serious vein; 
 the music light and lively, in many- 
 cases interrupted by dialogue. The 
 English Ballad-operas and the German 
 Singspiele are varieties of the operetta. 
 Modern masters of this style are Offen- 
 bach, Lecocq, Strauss, Sullivan, etc. 
 
 Oph'icleide. (It. Oficlf'id,:} The bass 
 instr. of the key-bugle family (bra-^ in- 
 struments with keys), now little ust-d; it 
 was made in various sizes and of differ- 
 ent pitch; (i) as bass tfkieltU* in (',
 
 133 
 
 OPPOSITE MOTION ORCHESTRATE. 
 
 [>, and A'$, compass 3 octaves and 
 semi- I^T. (2) as alt- 
 
 op hie leide 
 
 tone, chro- 
 matically 
 ascend- 
 ing from: 
 same, 
 but 
 only 
 from: 
 
 in F and 
 
 E$, com- 
 pass the 
 (3) as 
 
 contrabass ophi- 
 cleide in F and 
 compass only 
 
 upward , 
 
 _, octaves, pitched an octave lower 
 than the alt-ophicleide. Only the bass 
 ophicleide was for a time in compara- 
 tively general use. (RlEMANN.) NOW 
 superseded in the orchestra by the bass 
 tuba in p. 
 
 Opposite motion. Contrary motion. 
 
 Oppu're(It.) Or, or else; abbr.<?//. See 
 Ossia. 
 
 O'pus (Lat.) A work ; abbr. Op. or op. 
 
 Orato'rio. (Fr. and It. ditto ; Lat. and 
 Ger. Orato'rium.) An extended com- 
 position of dramatic type, for vocal soli 
 and chorus with orchestral accomp., 
 usually having a text based on Script- 
 ure. It is distinguished from Opera 
 mainly by the absence of scenic decora- 
 tion and of stage-play by the perform- 
 ers, the action being contained implicite 
 in the words. The oratorio takes its 
 name from the oratory in which the 
 monk Neri (d. 1595) held discourses, 
 illustrated by sacred songs, on biblical 
 history ; similar productions of a mys- 
 tical character, and a growing prepon- 
 derance of the musical element, led up 
 to the first known oratorio employing 
 the recitative (E. del Cavaliere's " Ani- 
 ma e Corpo", 1600), which is also a 
 distinctive feature of the opera. At 
 this period oratorios were given with 
 scenery and dramatic action (azio'ne 
 sacra); the adoption by Carissimi (d. 
 1674) of the epical part of the Narrator, 
 rendered both superfluous. The modern 
 oratorio, with full orchestra, recitatives, 
 lyrical soli, and the grand choruses (in 
 their solemn and majestic breadth the 
 fundamental characteristic of oratorio- 
 style), is a product of the early i8th 
 century (Haydn, Handel). (Comp. Mys- 
 teries, Passion, Opera.')- Rubinstein's 
 "geistliche Opern " (sacred operas, 
 Paradise Lost, Tower of Babel, Moses, 
 Christus) are also called oratorios, al- 
 though adapted for stage-performance, 
 for which reason they are playfully 
 termed " Operatorios." 
 
 Or'chestra. (Ger. Orches'ter; Fr. orches- 
 
 tre.) I. A place reserved (a) in the 
 ancient Greek theatre, for the chorus, 
 between audience and stage ; (6) in 
 ancient Rome, for seats for distin- 
 guished personages, in the same place ; 
 (c) in the modern theatre, for the band 
 of instrumentalists, placed in front of 
 the stage, and either just below the level 
 of the lowest seats in the auditorium, 
 or (as in the \Vagnertheatreat Bayreuth) 
 sunk still lower, and provided with a 
 half-roof concealing the musicians from 
 the audience. Hence 2. (a) A com- 
 pany of musicians performing on the 
 instr.s commonly used in the theatre or 
 concert-hall in opera, in oratorio, etc., 
 or in symphony-concerts ; (/>) the instr.s 
 so played on, taken collectively ; as 
 Wagner' s orchestra, a symphony-orches- 
 tra. The orchestral instr.s (compare 
 Instruments) are classified in 4 main 
 groups : (i) The strings or string- 
 band (violin, viola, violoncello, double- 
 bass); (2) the "wood-wind (flute, piccolo, 
 English horn, oboe, bassoon, double- 
 bassoon, clarinet, basset-horn); (3) the 
 brass-wind (French horn, trumpet, 
 trombone, saxhorns, bass tuba, cornet, 
 [ophicleide]); (4) the percussive s (kettle- 
 drums, bass drum, snare-drum, cymbals, 
 triangle, bells, gong, and likewise the 
 harp and pfte., though the latter is not 
 generally reckoned as an orchestral 
 instr.) The full orchestra, in which all 
 the above groups are represented, may 
 be either a grand orchestra (symphony- 
 orchestra) or small orchestra; the for- 
 mer should contain 2 flutes, 2 oboes, 2 
 clarinets, 2 bassoons, 2 trumpets, 4 
 horns, 3 trombones, and a pair of ket- 
 tledrums, to balance which there should 
 be, in the "string-quartet", about 14 
 1st violins, 14 2nd violins, 9 violas, 9 
 violoncelli, and 6 double-basses (orches- 
 tra of the Gewandhaus, Leipzig); this 
 basic grand orchestra may be enlarged 
 ad libitum (as for the modern opera) by 
 doubling the principal instr.s or by add- 
 ing others. On the other hand, by leav- 
 ing out the trombones, 2 of the horns, 
 and even the kettledrums and clarinets, 
 we get the small orchestra. Groups 2 
 and 3 constitute what is called the 
 " wind-band". 
 
 Orches'tral flute. An organ-stop closely 
 imitating the flute in timbre. 
 
 Or'chestrate. (Ger. orchestrie'ren; Fr. 
 orchestrer; It. orcheslrare.) To write 
 or arrange music for orchestra...^-
 
 ORCHESTRE ORGAN. 
 
 139 
 
 fhestra'tion, the art of writing music 
 for performance by an orchestra ; the 
 science of combining, in an effective 
 manner, the instr.s constituting the 
 orchestra. [The best treatises on the 
 instr.s and on orchestration are by Ge- 
 vaert, Berlioz, and Riemann.] 
 
 Orchestra. (Fr.) Orchestra. . .A grand 
 orchestre, for full orchestra. 
 
 Orchestri'na di ca'mera. One of va- 
 rious small keyboard free-reed instr.s, 
 each constructed with the compass and 
 timbre of some orchestral instrument 
 which it was intended to replace, such 
 as the clarinet, oboe, or bassoon ; inv. 
 by W. E. Evans, about 1860. 
 
 Orchestri'no. A kind of piano-violin 
 imitating in tone the violin, viola d'a- 
 more, and 'cello ; inv. by Pouleau of 
 Paris in iSoS. 
 
 Orches'trion. The modern o. is a large 
 stationary barrel-organ (q. v.\ generally 
 with a self-acting mechanism, and imi- 
 tating, by means of a variety of stops, 
 various orchestral instr.s. The orch. 
 of Abbe Vogler (inv. towards the end 
 of the 1 3th century) was a " simplified " 
 organ, in which the complicated key- 
 action and registers were abolished, the 
 pipes standing directly behind the keys 
 governing them, while the mixtures and 
 numerous other adjuncts were done 
 away with ; it also had a Venetian 
 swell, and for the i6-foot stops he sub- 
 stituted a combination of an 8-foot stop 
 and a fifth (S 1 A-^-) an idea still of 
 utility. 
 
 Ordina'rio. (It.) Common, ordinary. . . 
 Tempo o., common (4-4) time. 
 
 Or'gan. (Lat. or'ganum; Ger. Or'gel; 
 Fr. argue; It. ergano.) The largest 
 and most powerful among musical 
 instr.s, and of great antiquity, trust- 
 worthy accounts reaching back to the 2nd 
 century B. C. Up to the loth century 
 A. D. the organ appears to have been 
 a very primitive instr. , with a diatonic 
 compass of 2 octaves at most ; the pipes 
 were all flue-pipes, constructed in much 
 the same manner as at present; reed- 
 pipes were not introduced until the l$th 
 century. But as early as 980 we hear 
 of an organ at Winchester, England, 
 which had 400 pipes and 2 manuals, 
 each with a compass of 20 keys, and 
 with 10 pipes to each key. The keys 
 of the early organs were so broad, and 
 the whole action so clumsy, that in 
 
 playing the plain-song melodies the 
 clenched fists, or even the elbows, were 
 used to depress them. Improvement 
 has been steady, and chiefly due to Ger- 
 man, English, and French organ-build- 
 ers. The fife-organ (see also Reed- 
 organ) is a keyboard wind-instr. con- 
 sisting of few or many sets of pipes 
 controlled by one or more keyboards. 
 It has 3 distinct mechanisms : (i) The 
 wind-supply, incl. bellows, windtrunk, 
 windchest. etc.; (2) the pipes, called 
 collectively the pipe-ivork; (3) the key- 
 boards, pedals, and stops, called collect- 
 ively the action, and under the player's 
 direct control. (i) The wind (com- 
 pressed air) is obtained from a weighted 
 storage-belloii>s filled by feeders; from 
 the storage-bellows the wind is driven, 
 by pressure of the weights on the stor- 
 age-bellows, through a hollow wooden 
 canal, the windtrunk, into the -wind- 
 chest, a wooden wind-reservoir beneath 
 the soundboard on which the pipes are 
 set; the wind passes up through the 
 soundboard by way of grooves separated 
 by bars, and leading d..ectly to the 
 pipes; the grooves are closed below by 
 pallets (air-tight valves) opened by de- 
 pressing the keys, and above by sliders 
 opened by pulling out the draw-stops. 
 (2) The pipes are divided into 2 
 principal groups, Jlue-pipes and reed- 
 pipes (which see; also comp. Stop). 
 They are held in position over the 
 soundboard by the upper-board, into 
 which the nosfsofthe pipes are inserted, 
 and the pipe-rack, a board pierced with 
 holes to admit the feet of the pipes and 
 to support the latter. Each set of pipes 
 (a stop or register) is ranged in one or 
 more rows above a slider, which is a 
 long, narrow strip of wood with holes 
 corresponding in size and relative posi- 
 tion to those in the feet of the pipes, 
 and pushed back and forth by a draw- 
 stop; when the latter is on (out, or 
 drawn) the slider-holes come exactly 
 under the pipe-feet, so that wind can 
 pass from the grooves into the pipes; 
 when the draw-stop is off (i. e. in) the 
 slider-holes are out of position, and the 
 pipes cannot speak. (3) The action : 
 (a) The drait<-stop action is that acting 
 upon the sliders by means of a system 
 of levers; combination-pedals (see /' - 
 dal) are compound draw-stops. . .(/>) 
 The keyboard-action acts upon the pal- 
 lets closing the grooves; when a key is 
 depressed, its rear end rises, forcing up
 
 140 
 
 ORGANETTO ORGANUM. 
 
 an upright wooden wand called a sticker, 
 which raises the front end of a horizon- 
 tal lever called a backfall, whose rear 
 end in turn goes down, and pulls with 
 it a tracker, a thin, vertical strip of 
 wood bearing on its upper end the/w//- 
 down or pallet-wire, a wire attached to 
 Si pallet (valve) closing the lower side of 
 a groove; this pull-down tliuspullsdown 
 the pallet and admits the compressed 
 air to the groove from the windchest; if 
 a draw-stop is on, so that the wind can 
 enter a pipe, the pipe will speak which 
 corresponds to the key depressed. This 
 is a common variety of key-action; 
 squares and roller-boards are also often 
 interposed between the stickers and 
 trackers ; more recent inventions are 
 \htpneumatic and the electric actions, in 
 which the depression of a key simply 
 forms a connection setting the com- 
 pressed air or electric current at work. 
 . .(<") Couplers are mechanical stops 
 acting to connect 2 manuals, or pedal 
 with manual, so that when one is 
 played on, the other is combined with it. 
 A 4-manual organ often has as many as 
 8, namely, 4 manual-couplers (Ch. to Gt., 
 
 Sw. to Gt., Solo to Gt., Sw. to Ch.), 
 and 4 pedal-couplers (Gt. to Fed., Ch. 
 to Fed., Sw. to Fed., Solo to Fed.) The 
 organ -key boards are usually called man- 
 uals; there may be from i to 5 (see list 
 below) with or without pedal-keyboard. 
 Usual compass of manuals, 4 octaves 
 and a fifth, with 56 keys (sometimes 5 
 full octaves), from 7 to g z : 
 
 Compass of 
 
 pedal, up to 
 r 2 octaves! 
 
 and a fourth, 
 with 30 keys: 
 This notation, however, expresses only 
 a part of the full compass, 
 the lowest pedal-pipes 
 yielding Ct (2 octaves below 
 and the highest manual-pipes (piccolo i- 
 foot) producing^ 6 (3 octaves higher than 
 jfc the total compass of the 
 ,_0. t~ -. . organ thus being 9 octaves 
 |gpEEE' F and a fifth (C-t to '). The 
 " stops belonging to each 
 manual are set on a separate sound- 
 board or set of soundboards, and con- 
 stitute a partial organ. The 
 of the manuals follow : 
 
 ENGLISH. 
 
 GERMAN. 
 
 FRENCH. 
 
 ITALIAN. 
 
 Gt. prg. manual Haupt'werk (Man. I.) Grand-orgue (i r clavier) Principals. 
 
 Choir manual Un'terwerk (Man. II.) Positif (2* clavier) Organo di coro. 
 
 Swell manual Schwell'werk (Man. III.) Clav. de recit (3* clavier) Organo d'espressionCi 
 
 Solo manual So'loklavier (Man. IV.) Clav. des bombardes (4* clav.) Organo d'assolo. 
 
 Echo manual E'choklavier (Man. V.) Clav. d'echo (5* clavier) Organo d'eco. 
 
 Organet'to (It.) A bird-organ ; a bar- 
 rel-organ. 
 Organier (Fr.) Organ-builder. 
 
 Organi'sta (It.) Organist. 
 
 Organis'trum (Lat.) Hurdy-gurdy. 
 
 Or'gano (It.) Organ (q. v.) . . . 0. pie' no, 
 full organ ...0. porta'bile, a portable 
 organ. 
 
 Organochor'dium. A combined pfte. 
 and pipe-organ (Fr. piano organis/); the 
 idea originated with Abbe Vogler. 
 
 Organ-point. (Ger. Or'gelpunkl; Fr. 
 point d'orgue ; It. pun' to cTor'gano.} A 
 tone sustained in one part to harmonies 
 executed by the others. It is ordinarily 
 a bass note (usually the tonic or dom- 
 inant, or even both combined), and is 
 also called a pedal-point, or pedal; but 
 a tone so sustained in a higher part is 
 more properly termed a holding-note, or 
 simply a sustained tone, and the organ- 
 point is then sometimes termed inverted. 
 Pastoral organ-point, tonic and dom- 
 inant sustained together in the bass. 
 
 Or'ganum (Lat.) I. An instrument ; 
 later, an organ. 2. The earliest at- 
 tempts at harmonic or polyphonic 
 music, in which the parts progressed in. 
 parallel fifths and fourths. The excru- 
 ciating effect of this diaphony on the 
 modern ear has led investigators to* 
 make the most of any historical evi- 
 dence going to show that these pro- 
 gressions were not simultaneous, but of 
 an antiphonal character ; it appears to 
 be established, however, that they were 
 really the connecting link between the 
 earlier chantingin octaves, and the later 
 contrapuntal forms slowly developed 
 out of the oblique and contrary motion 
 in certain forms of \h&organum, due to- 
 the occasional introduction of harmonic 
 seconds and thirds. Though the orga- 
 num was, properly, the part added belo-u 
 the cant us firmus, the term is generally 
 applied to all the first rude attempts at 
 harmonic composition, whether in 2 
 parts (diaphonid), 3pa.rts(tripkonia, the 
 added third part being called triplum.
 
 ORGEL OVERSPUN. 
 
 whence our treble}, or 4 parts (tetrapho- 
 nia). The examples are quoted from 
 
 AMBROS, and are of the time of Hue- 
 bald (A.D. 840-930): 
 
 
 Tu 
 
 pa - tris 
 
 em - pi - ter nus 
 
 fi - li - us. 
 
 (2) 
 
 Tu pa tris sem - pi ter - 
 
 fi - li 
 
 Or'gel (Ger.) Organ . . . Or'gelgehiiuse, \ 
 organ-case. . . Or'gelmetall, organ-metal. ' 
 . . Or'gelpunkt, organ-point. . . Or" gel- 
 register, organ -stop . . . Or'gelwolf, ci- 
 phering (also Heu'li'ii). 
 Orgue (Fr.) Organ... 0. de Barbarie, 
 or a cylindre, barrel-organ . . .0. expres- 
 sif, (a), an harmonium ; (/>) swell-or- 
 gan . . . 0. a percussion, a form of reed- 
 organ constructed by de Provins and 
 Alexandre, Paris. 
 
 Orguinette. A mechanical wind-instr. 
 having I or more sets of reeds, and an 
 exhaust-bellows ; by turning a crank 
 the bellows is operated, and a perforated 
 strip of paper attached to 2 rollers is 
 made to pass over the reeds, the perfo- 
 rations admitting wind to the reeds and 
 thus producing music. 
 Ornament. (It. ornamen'to; Fr. orne- 
 ment; Ger. Verzie'rung.) A grace, em- 
 bellishment. . . Ornamental note, an ac- 
 cessory note. 
 Ornatamen'te, Orna'to (It.) Embel- 
 lished, ornamented. 
 Orpha'rion. See Orphecfreon. 
 Orph6on. i. In France, a singing-society 
 composed of men . . . Orphe'oniste, a mem- 
 ber of such a society. 2. A piano- 
 violin. 
 
 Orpheo'reon,or -ron. A variety of cith- 
 er, having a flat back, and ribs with more 
 than one incurvation on either side. 
 Or'pheusharmonika (Ger.) Same as 
 
 Panhannonikon. 
 Oscillation. (Ger. Oszillation'.) Vi- 
 bration, or beating. 
 Osservan'za, con (It.) With care, and 
 attention (to the signs). . .Osserva'to 
 carefully observed ; sti'U osservato, 
 strict style. 
 Ossi'a (It.) Or; or else; indicates an 
 alternative or facilitated reading (or 
 fingering) of a passage. (Also oppure 
 owero.) 
 Ostina'to (It.) Obstinate. . .Basso o., a 
 
 ground bass ; hence the use of ostinato 
 substantively, as a technical term for 
 the incessant repetition of a theme with 
 a varying contrapuntal accomp. 
 
 Otez (dtez) (Fr.) Off (in organ-mus.) 
 
 Otta'va (It.) Octave ...All 'ottava (usu- 
 ally abbr. to Sva or 8 or &-~~'), "at 
 the octave", an octave higher. Also 
 signifies, in scores, that one instr. is to 
 accompany another in the higheroctave. 
 . .Coll 'ottava, "with the octave," i. e. 
 in octaves... 0. alia, the higher oc- 
 tave... 0. bassa(Sva bass a), the lower 
 octave, an octave below. . . O. rima, an 
 Italian strophe of 8 lines, each in the 
 heroic metre of 1 1 syllables, the first 6 
 rhyming alternately and the last 2 form- 
 ing a couplet. 
 
 Ottavi'na (It.) i. An octave-spinet. 
 2. A harpsichord-stop controlling a set 
 of strings tuned an octave higher than 
 the rest. 
 
 Ottavi'no (It.) The piccolo (Jla'uto 
 piccolo). 
 
 Ottemo'le. An octuplet. 
 
 Ottet'to (It.) An octet. 
 
 Otto'ne (It.) Brass. 
 
 Ou (Fr.) Or. (See Ossia.) 
 
 Ouie (Fr.) Sound-hole. 
 
 Ouvert,-e (Fr.) Open. . .Accord a fou- 
 vert, a chord produced, on open strings 
 of stringed instr.s . . . A livre ouvcrt, at 
 sight. 
 
 Ouverture (Fr.), Ouvertii're (Ger.) 
 Overture. 
 
 Overblow'. With wind-instr.s. to force 
 the wind through the tube in such a 
 way as to cause any of the harmonics to 
 sound. Metal instr.s (horn, trumpet) 
 are in most cases overblown ; wooden 
 instr.s (rlute. clarinet) are overblown in 
 the higher octaves. 
 
 O'ver-chord. See rhont, 1. 
 Overspun'. (Ger. uberspon'ntn.) Used
 
 142 
 
 OVERSTRING PANTALEON. 
 
 for covered (strings), the correct tech- 
 nical term. 
 
 Overstring'. To arrange the strings of 
 a pfte. in 2 sets, so that one set lies 
 over and diagonally crossing the other ; 
 a pfte. sostrung is called an overstrung 
 pfte. (Ger. kreuz'saitig), in contradis- 
 tinction to vertical. 
 
 O'vertone. See Harmonic 2, 
 
 O'verture. (Ger. Ouvertii're; Fr. ourer- 
 ture; ]t.overtu f ra,sinfoni'a.) Amus. 
 preludeor introduction. The first Ital- 
 ian opera-overtures were simple vocal 
 (sung) prologues, or instrumental pre- 
 ludes in vocal (madrigal-) style ; with 
 Scarlatti the overture or sinfonia as- 
 sumed a purely instrumental character, 
 and was written in three divisions (I 
 allegro, II slow, III vivace, presto); 
 hence \heovertureinsonata-fvrm, with 
 2 or 3 contrasting themes following a 
 short and slow introductory passage, 
 and repeated after a more or less ex- 
 tended development -section, but differ- 
 ing from the true sonata-form in lack- 
 ing the characteristic reprise before the 
 development. This overture in sonata- 
 form is the parent both of the modern 
 Symphony and of the Concert-overture 
 (a term derived from the custom of per- 
 formingreal opera-overtures as separate 
 concert-pieces), in which latter the 
 above form is usually adhered to. Op- 
 era-overtures not in this form are either 
 potpourris of leading mus. numbers 
 taken from the body of the work, or 
 preludes (symphonic poems} treating and 
 blending themes occurring in the mu- 
 sical drama in the form of an independ- 
 ent composition, with the intention of 
 preparing the hearers for the coming 
 action ; such preludes have neither a 
 regular key-plan, nor any conventional 
 formal method of construction. 
 
 Ov'vero (It.) Or. (See Ossia.) 
 
 P. 
 
 P. Abbr. of Pedal (P. or Fed.) ; piano 
 (/) PP\ or///, pianissimo; P. F.,/z- 
 anoforte; pf, (a) piu forte (louder), (J>) 
 poco forte (rather loud) ; fp, fortepiano 
 (i. e. loud, instantly diminishing to 
 soft) ; nip, mezzo-piano (half-soft) ; of 
 Pointe (Fr., = toe); and, in Fr. organ- 
 music, P stands for Positif (choir- 
 organ). 
 
 Padiglio'ne (It.) Bell (of horn, etc.) 
 
 Padova'na (It.) Same as Pavane. (Also 
 Padovane, Paduana, PaJuane, etc.) 
 
 Pae'an (Gk.) A hymn to Apollo ; a 
 hymn of invocation or thanksgiving to 
 Apollo or other help-giving god. 
 
 Pae'on (Gk.) A metrical foot of 4 syl- 
 lables, I long and 3 short. It has 4 
 forms according to the place occupied 
 by the long syllable ; namely, Jirst 
 
 piFon ( ^ -^ ^), second (- - ^), 
 
 third (^ ^ ^), and fourth p<eon 
 ( - ). 
 
 Paired notes. A proposed equivalent, in 
 pfte.-technic, for the term double-stops 
 on the violin, and for the Ger. Dop'pel~ 
 griffc; i.e. 2 parallel series of notes 
 played with one hand, as thirds, sixths, 
 and octaves. 
 
 Palala'ika. See Balalaika. 
 
 Pal'co (It.) A stage ; a box (theatre). 
 
 Palestri'nastil (Ger. , "Palestrina- 
 style ".) Equiv. to a cappella style (It. 
 alia Paleslrina). 
 
 Palettes (Fr., pi.) The white keys of 
 the keyboard ; opp. to feintes, the black 
 keys. 
 
 Palimbac'chius. See Antibacchius and 
 Bacchius. 
 
 Pan'dean Pipes. (Also Pans-pipes, 
 Syrinx.) A simple wind-instr., known 
 in slightly varying forms from earliest 
 antiquity ; it consists of a set of gradu- 
 ated reeds or tubes arranged in a row 
 and blown by the mouth. The Grecian 
 instr. usually had 7 tubes. 
 
 Pando'ra, Pandu'ra, etc. See Bandola. 
 
 Pan'flote (Ger.) Pandean pipes. (Also 
 Pansfiote.') 
 
 Panharmon'icon. A variety of self- 
 acting orchestrion, inv. by J. N. Malzel 
 of Vienna in 1800. 
 
 Panmelo'dion. A keyboard instr., the 
 tone of which was produced by the 
 friction of wheels on metal bars ; inv 
 by Fr. Leppich, in 1810. 
 
 Panorgue (Fr.) A miniature reed-organ 
 attached beneath and played by the 
 keyboard of a pfte.; the combined instr. 
 is named a panorgue-piano. Inv. by 
 J. Jaulin of Paris. 
 
 Pantal'eon, Pan'talon. An improved 
 dulcimer, inv. in 1690 by, and named 
 after, Pantaleon Hebenstreit; a precursor 
 of the pfte. It was 4 times as large as 
 the ordinary dulcimer, and oblong in 
 shape; had 2 soundboards, as of 2
 
 PANTALON PART-SONG. 
 
 143 
 
 instr.s standing close together ; was 
 strung on one side with steel and brass 
 wires, and on the other with gut ; the 
 2 wooden mallets in the player's hands 
 were sometimes used with the softer 
 face, sometimes with the harder. 
 
 Pantalon (Fr.) The first figure or move- 
 ment in the old quadrille. 
 
 Pan'talonzug (Ger.) " Pantalon-stop"; 
 a harpsichord-stop which neutralized 
 the action of the damping mechanism, 
 and thus produced the confused effect 
 peculiar to the Pantalon. 
 
 Par'allel. See Interval, Key, Motion. 
 . .ParalleFlieivegung (Ger.), parallel 
 (and also similar) motion. . .Paralle'len 
 (Ger., pi.), (a) sliders (in the organ); 
 (6) consecut\ves...Para/tc-ft0Htirt (Ger.), 
 a relative (major or minor) key. 
 
 Par'aphrase. A transcription or re- 
 arrangement, of a vocal or instrumental 
 composition, for some other instr. or 
 instr.s. with more or less extended and 
 brilliant variations. 
 
 Parfait (Fr.) Perfect (of intervals) ; com- 
 plete (of cadences); true, pure (of inton- 
 ation); strong, accented (of beats). 
 
 Parhyp'ate. See Lyre I. 
 
 Parlan'do, Parlan'te (It.) " Speaking"; 
 a style of singing resembling recitative 
 in clear enunciation, the vowel-sounds 
 being markedly " thrown forward." 
 
 Part. (Ger. Part, Stim'nie; Fr. partif, 
 i-oix ; It. par'te, vo'ce.} In concerted 
 music, the series of tones written 
 for and executed by a voice or instr., 
 either as a solo or together with other 
 voices or instr.s of the same kind ; a 
 melody so performed. 
 
 Part-book. I. (Ger. Stimm'buch.) A 
 written or printed part for a single 
 performer, like those in vogue during 
 the 1 5th and i6th centuries. 2. (Ger. 
 Chor'buch.) A book of that period, 
 containing 4 vocal parts (sometimes 
 with added instrumental accomp.), not, 
 as at present, in score, but each on a 
 separate staff side by side with the 
 others (can'ttis Intern' Us), and on oppo- 
 site pages ; the fragments of the several 
 parts so corresponding, of course, that 
 the leaf could be turned for all at the 
 same time. Some were so printed, that 
 singers on opposite sides of the table 
 could read from the same open book. 
 The diagrams give a notion of this 
 peculiar arrangement : 
 
 Soprano 
 Alto 
 
 Tenor 
 Bass 
 
 Par'te (It.) I. Part . . . Colla parte, a 
 direction to accompanists to follow 
 yieldingly and discreetly the solo part 
 or voice. 2. A movement. 
 
 Partial stop. See Stop. . . Partial tone, 
 see Acoustics. . .Partial turn, see 
 Turn I. 
 
 Participating-tone. See Accessory. 
 
 Particular metre. See Ifetre. 
 
 Partimen'to (It.) A figured bass... 
 Partimenti (pi.), exercises, generally 
 written on a figured bass, for training 
 students to read and accompany from 
 such a bass. 
 
 Parti'ta (It.). Partie' (Ger.) I. See 
 Suite. 2. A set of variations. 
 
 Partiti'no (It.) A supplementary score, 
 appended to the body of the score when 
 there are too many parts for all to be 
 written on one page. 
 
 Partition (Fr.), Partitur' (Ger.), Par- 
 
 JOU3J, 
 
 Alto 
 
 ouB-idog 
 Bass 
 
 titu'ra (Lat. and It.) A partition, 
 score. . .Partitura cancella'la, a system 
 of staves scored (hence Engl. Score) by 
 the vertical lines of the bars drawn from 
 top to bottom. 
 
 Part-music. Concerted or harmonized 
 music; a term properly applied to vocal 
 music of this description. (See Part- 
 song^ 
 
 Part-singing. The singing of part- 
 music; as generally understood, with- 
 out instrumental accomp. 
 
 Part-song. A composition for at least 
 3 voices in harmony, without accomp. 
 [and for equal or mixed voices]. The 
 first requisite of the music is well-defined 
 rhythm, and the second unyielding 
 homophony. . . Tunefulness in the upper 
 part or melody is desirable, and the 
 attention should not be withdrawn by 
 elaborate devices of an imitative or con- 
 trapuntal nature in the harmonic sub-
 
 144 
 
 PART-WRITINGPASTORAL. 
 
 structure. . .The part-song being essen- 
 tially a melody with choral harmony, 
 the upper part is in one sense the most 
 important . . . The words may be either 
 amatory, heroic, patriotic, didactic, or 
 even quasi-sacred in character ... The 
 part-song ... is one of three forms of 
 secular unaccompanied choral music, 
 the others being the madrigal, and the 
 glee... Like the madrigal and unlike 
 the glee, the number of voices to each 
 part may be multiplied within reason- 
 able limits. [GROVE.] 
 
 Part -writing. The art and practice of 
 counterpoint. 
 
 Pas (Fr., noun.) A step; also, a solo 
 dance in a ballet ... Pas de deux, a 
 dance performed by 2 dancers. . .Pas 
 redoublt, quickstep . . . Pas seul, a solo 
 dance. . .(Adverb.) Not; as pas trap 
 lent, not too slow. 
 
 Paspy. See Passepied. 
 
 Passaca'glia, or -glio (It.; Fr. passe- 
 caille; Ger. Gas'senhauer.) An old 
 Italian dance in triple time and stately 
 movement, written on a ground bass of 
 4 measures, whose theme sometimes 
 appears in a higher part. It was always 
 in minor, and is hardly distinguishable, 
 as an instrumental piece, from the 
 Ciaccona. 
 
 Passage, i. A portion or section of 
 a piece, usually short. 2. A rapid 
 repeated figure, either ascending or 
 descending. A .sra/i?-passage is usually 
 called a run. . .Notes de passage (Fr.), 
 grace-notes. 
 
 Passag'gio (It.) Passage I. 2. A mod- 
 ulation. 3. A flourish or bravura em- 
 bellishment, either vocal or instru- 
 mental. 
 
 Passamez'zo (It.) An old Italian dance 
 in duple time, and similar to the Pavane 
 except in having a more rapid move- 
 ment. 
 
 Passant (Fr.) Slide (of bow). 
 
 Passecaille (Fr.) Passacaglia. 
 
 Passepied (Fr.) A paspy, an old French 
 dance in 3-8 or 6-8 time, generally 
 beginning with an eighth-note on the 
 weak beat, and having 3 or 4 reprises 
 in an even number of measures, the 
 third reprise being short, and sportive 
 or toying; like the minuet in movement, 
 but quicker. 
 
 Passing-notes,-tones. Notes or tones 
 foreign to the chords which they accom- 
 
 pany, and passing by steps from one 
 chord to another. They differ from 
 suspensions in not being prepared, and 
 in entering (usually) on an unaccented 
 beat. 
 
 Passion, Passion-music. A musical 
 setting of a text descriptive of Christ's 
 sufferings and death (passion). Its be- 
 ginnings are traceable back to the 4th 
 century ; the oldest music extant is a 
 solemn plain-song melody of uncertain 
 date (can' tits passio'nis). In a quasi- 
 dramatic form the passion is of later 
 origin ; and possibly directly derived 
 from the ancient custom of chanting 
 the scriptural text of the passion, dur- 
 ing passion-week, to Gregorian melo- 
 dies. It is certain, that from early 
 in the I3th century (i) the words spoken 
 by Christ, (2) the connecting narrative, 
 and (3) the exclamations of the apostles, 
 the populace, the high priest, etc., were 
 recited by 3 different singers (imperson- 
 ating Christ, the Evangelist, the Dis- 
 ciples, etc.) The evolution of the Pas- 
 sion as an art-form is, after the l6th 
 century, nearly parallel with that of the 
 Oratorio (which see) ; from its resem- 
 blance to the latter it is sometimes styled 
 " passion-oratorio ". It differs from it, 
 however, by a distinct infusion of an 
 element of pious contemplation, and 
 subjective emotion, expressed In hymns 
 of praise and choral songs, devotional 
 arias and choruses. The crowning work 
 of this kind is Bach's " Mattha'uspas- 
 sion " (Passion according to St. Mat- 
 thew). The full dramatic form of the 
 Passion, with stage-setting and dramatic 
 action, still survives in the German 
 Passion-plays at Oberammergau. 
 
 Passionatamen'te (It.) Passionately 
 in an impassioned style. . .Passiona'to,- 
 a, passionate, impassioned. ..Passio'ne, 
 passion, fervent emotion; con p., same 
 as appassionato. 
 
 Passionn6 (Fr.) Passionate. 
 
 Pastic'cio (It), Pastiche (Fr.) Amus. 
 medley or olio consisting of extracts 
 (songs, arias, recitatives) from different 
 works, pieced together and provided 
 with new words so as to form a " new " 
 composition, as an opera (Ger. Flick- 
 ope r), etc. 
 
 Pastoral. (It. and Fr. pastora'le.') I. 
 A scenic cantata representing pastoral 
 or idyllic life ; a pastoral opera. 2. An 
 instrumental composition imitating in 
 style and instrumentation rural and
 
 PASTORITA PEDAL. 
 
 idyllic scenes. Pastoral organ-point, 
 see Organ-point. 
 
 Pastori'ta. See Nachthorn. 
 
 Pastourelle(Fr.) i. A bucolic song, as 
 sung by the troubadours. 2. A figure 
 in the quadrille. 
 
 Pateticamen'te (It.), Pathe"tiquement 
 (Fr.) Pathetically... PatStico (It.), 
 pathc'tique (Fr.), pathetic. 
 
 Patimen'to (It.) Suffering, grief; con 
 espressio'ne di p., with mournful or 
 plaintive expression. 
 
 Patouille (Fr.) Same as Claqnebois. 
 
 Patte (Fr., "paw".) i. A music-pen 
 2. 2. A special key on the clarinet. 
 
 Pau'ke(Ger.) Kettledrum. . .Maschinen- 
 patike, see Maschinen. 
 
 Pa'usa (It.) A rest ; a pause. 
 
 Pause, i. A rest. 2. A hold (/*). 3. 
 (Fr.) A whole rest, semibreve-rest. 
 
 Pav'an,-e. A stately dance of Italian 
 or Spanish origin, in slow tempo and 
 alla-breve time. [Probably of Italian 
 origin, the It. pava'na (abbr. of pado- 
 Ta'na) referring to a peasant-dance of 
 the province of Padua.] 
 
 Paventa'to (It.) Afraid, fearful. 
 
 Pavilion (Fr.) Bell (of a wind-instr). 
 . .P. c hinds, a crescent. . .Flute d p., 
 an organ-stop, the pipes of which have 
 a flaring top. . . Pavilion en fair, " turn 
 the bell upwards " ; a direction to horn- 
 players. 
 
 Peal. i. See Change?,. 2. A chime of 
 bells ; a carillon. 
 
 Pearly. (Ger. per' lend; Fr. perU.) In 
 piano-technic, a style of touch produc- 
 ing a clear, round, and smooth effect of 
 tone, especially in scale-passages (" like 
 a string of pearls "). 
 
 Pedal. (Ger. Pedal' '; Fr. pjdale; It. 
 peda'le) i. A foot -key ; opp. to digi- 
 tal (see Organ and Peaal-piaru/). 2. A 
 foot-lever ; as the swell-pedal of the 
 organ, the loud and soft pedals of the 
 pfte., or the pedals of the harp. 3. A 
 treadle, as those used for blowing the 
 reed-organ, etc. 4. A stop-knob or 
 lever controlled by the foot, as a com- 
 bination-pedal in the organ. 5. Con- 
 traction of Pedal-point. Pedal-action, 
 the entire mechanism directly connected 
 with a pedal or set of pedals . . . Pfdal- 
 eheck, a bar under the organ-pedals 
 which can be so adjusted (often by a 
 stop-knob) as to prevent them from 
 
 being depressed. ..Pedal-to upler, sec 
 Coupler .. .Pedal- key board, the organ* 
 pedals (see Organ). . .Pedal-note, see 
 Pedal-tone .. .Pedal-organ, the set of 
 stops (partial organ) controlled by the 
 pedal-keyboard in playing. . .Pedal-pi- 
 ano, a pfte. provided with a pedalier. . . 
 Pedal-pipe, -soundboard, -stop, one be- 
 longing to the pedal-organ . . . Pedal- 
 point, see Organ-point. . .Pedal-tone, a 
 sustained or continuously repeated tone. 
 . . Combination-pedal, a metal foot-lever 
 placed above the pedal-keyboard of an 
 organ, and giving the player control 
 over a certain combination of stops. 
 It is single-acting when it only draws 
 out new stops in addition to those al- 
 ready drawn, or pushes in some of the 
 latter ; and double-acting, when it al- 
 ways produces the same combination,* 
 whatever stops were or were not pre- 
 viously drawn. Comb. -pedals are of 3 
 kinds: (i) The forte pedal, drawing 
 all the stops of its keyboard ; (2) the 
 mezzo pedal, drawing the chief 8-foot 
 and 4-foot stops of its keyboard ; and 
 (3) the piano pedal, pushing in all but a 
 few of the softest stops . . . Composition- 
 pedal, a combination-pedal . . Coupler- 
 pedal, see Pedal-coupler. .. Crescendo- 
 pedal, a pedal mechanism drawing all 
 the stops successively up to "full or- 
 gan ''. (Also, occasional for swell- 
 pedal.). . .Damper-pedal, the right pfte.- 
 pedal, on depressing which the dampers 
 are raised from the strings. ..Dimin- 
 uendo-pedal, the reverse of crescendo- 
 pedal, retiring successively the stops 
 drawn by the latter. . .Extension-pedal, 
 see Loud pedal . . . Harp-pedal, same as 
 soft pedal. Loud or open pedal, the 
 damper-pedal on the pf te . . . Oc tav e- 
 pedal (A. B. Chase Co.'s, for pfte.). 
 acts, when depressed, in such a way 
 that when a key is struck, the higher oc- 
 tave of the tone is also sounded. (Usu- 
 ally Octavo attachment.}. . .Prolonga- 
 tion-pedal, see Sustaining-pedal. ..Re- 
 versible pedal, a pedal-coupler. . . Sfor- 
 zando-pedal, a pedal in the organ which 
 brings out the full power of the instr. 
 for the production of a sudden and for- 
 cible accent. . . Soft pedal, the left pedal 
 of the pfte . . . Sustaining-pedal, a piano- 
 pedal acting to hold up any dampers al- 
 ready raised by the damper-pedal, by 
 this means prolonging the tone of all 
 strings affected ... Swell-pedal, a foot- 
 lever in the organ, by depressing which 
 the shutters of the swell-box can be
 
 146 
 
 PEDALE PEU A PEU. 
 
 opened ; they close when the pedal 
 is released. Balance swell-fedal, the 
 modern form of organ swell-pedal : a 
 lever in the shape of an iron plate made 
 to fit the shoe-sole, and placed above 
 the centre of the pedal board. Depres- 
 sion of the toe-end of the plate opens 
 the swell-shutters ; depression of the 
 heel-end closes them. Called balance 
 s.-p. because it remains at rest (bal- 
 anced) wherever the foot leaves it. 
 
 Pe"dale(Fr.) i. A pedal-key, the pedal- 
 keyboard being clavier des pe'dales. 2. 
 Pedal (of the pfte.) ; petite pedale, soft 
 pedal, " una corda". 3. A pedal- 
 point. 
 
 Peda'le dop'pio (It.) Same as Doppio 
 pedale. 
 
 Pedal'fliigel (Ger.) A grand piano pro- 
 vided with a pedalier. 
 
 Ped'alier. (Fr. pedalier.} A set of 
 pedals, either (i) so adjusted as to play 
 the low octaves of the pfte. after the 
 manner of organ-pedals, or (2) provided 
 with separate strings and action, to be 
 placed underneath the pfte. and played 
 with, but not affecting the action of, the 
 latter. (Sometimes Pedalion.) 
 
 Pedalie'ra (It.) A pedal-keyboard. 
 
 Pedal'klaviatur (Ger.) A pedal-key- 
 board ; either a pedalier, or for the 
 organ. 
 
 Peg. I. (Ger. Wir'bel; Fr. cheville; It. 
 bi'sckero.) In the violin, etc.. one of 
 the movable wooden pins set in the 
 head, and used to tighten or slacken the 
 tension of the strings . . . Peg-box, the 
 hollow part of a violin-head in which 
 the pegs are inserted. 2. A tuning-pin. 
 
 Pennant. Same as Hook. 
 
 Pensieroso (It.) Pensive, contempla- 
 tive, thoughtful. 
 
 Pentachord, i. A 5-stringed instr. 2. 
 A diatonic series of 5 tones. 
 
 Pentam'eter. A form of dactylic verse, 
 differing from the hexameter by the 
 ellipsis of the second half of the 3rd 
 and 6th feet : 
 
 Pentatone. An interval embracing 5 
 whole tones ; an augmented sixth . . . 
 Pentaton'ic, having, or consisting of, 5 
 tones ; pentatonic scale, see Scale. 
 
 Per (It.) For, by, from, in, through. . . 
 Per Por'gano, for the organ . . . Per il 
 Jlauto solo, for solo flute. 
 
 Percussion, i. The striking or sound- 
 ing of a dissonance, contradistinguished 
 from its preparation and resolution. 2. 
 The act of percussing, or striking one 
 body against another. The instruments 
 of percussion are the various drums, 
 the tambourine, cymbals, bells, triangle, 
 etc., and the dulcimer and pianoforte. 
 ..Percussion-stop, a reed-organ stop, 
 used to strike the reed a smart blow 
 simultaneously with sounding it, thus 
 rendering its vibration prompter and 
 stronger. 
 
 Percussive. An instr. of percussion. 
 
 Perden'do, Perden'dosi (It.) I>ying 
 away ; morendo or diminuendo, to- 
 gether (in modern music) with a slight 
 rallentando. 
 
 Perdu'na. Bourdon (organ-stop). 
 Perfect. (Ger. rein; Fr. parfait, It. 
 perfet'to.) See Interval. 
 
 Perfection, i. See Notation, 3. 2. 
 In ligatures, the presence of a lon~a as 
 final note (til'tima), which occurred 
 when a higher penultimate note was 
 not joined with the final as a Jigura 
 obliqua ( )fe ), or when, after a lower 
 penultimate note, the final took a de- 
 scending tail to the right (since the I5th 
 century; from the I2th to the J4th 
 this tail signified a plica, and to secure 
 the perfection of the final note it was 
 written vertically over the penultimate). 
 (See Figura obliqua, ex. in black notes ; 
 also Notation, {5 3.) 
 
 P6rigourdine (Fr.) An old Flemish 
 
 dance in 6-8 time. 
 Period. See Form. 
 Perle" (Fr.), Per'lend (Ger.) Pearly. 
 Perpe'tuo (It.) Perpetual ; infinite. 
 
 Pes (Lat., "foot".) An harmonic ac- 
 comp. or ground bass to a round, the 
 round itself being called rota. 
 
 Pesan'te (It.) Heavy, ponderous ; calls, 
 fora firm and vigorous execution of the 
 passages so marked. 
 
 Petite (Fr.) Small ... Petite Jliite. the 
 piccolo. . .Petite mesure a deux t<-tps, 
 2-4 time. . .Petites notes, grace-notes. . . 
 Petite pedale, soft pedal. 
 
 Pet'to (It.) The chest. . .Di petto, from 
 the chest, i. e. in a natural voice, not 
 falsetto. . . Voce di petto, chest-voice. 
 
 Peu a peu (Fr.) Little by little, grad- 
 ually. . . Un peu, a little*
 
 PEZZO PHONE. 
 
 147 
 
 Pez'zo (It.) I. A piece. . .Ptzzi c oncer- 
 Ian' ti, concerted pieces. 2. A number 
 (of an opera, etc.) 
 
 Pfei'fe (Ger.) A pipe ; specifically, an 
 organ-pipe. The technical name of the 
 I -foot stops is -pffife, as Bau'ernpfcife. 
 
 Phantasie' (Ger.) Fancy, imagination. 
 . .PhantasiSstiick, a fantasia ; in mod- 
 ern music, a short piece of a romantic 
 and intensely subjective cast, without 
 distinctive formal structure. . .Fhan- 
 tasie'ren, to improvise. .. Phantasier'- 
 maschine, any kind of meJograph. 
 
 Philomela. See Bow-zither, under 
 
 Zither. 
 
 Phonau'tograph. An electric music- 
 recorder for keyboard instr.s, inv. by 
 Fenby, in which a stud attached under 
 each key makes an electric connection 
 when the key is depressed, and thus 
 marks, on paper, lines corresponding in 
 length to the duration of the notes. . . 
 Another, inv. by the Abbe Moigno, re- 
 cords the tones (sounded or sung) by 
 the aid of a pencil fitted to a sort of 
 drum, the membrane of which vibrates 
 to the tones. 
 
 Phone. i. It forms no part of a com- 
 piler's work to introduce new words on 
 his personal responsibility ; but the 
 terms "tone", "clang", and "sound" 
 being already appropriated, a distinctive 
 and exact equivalent had to be em- 
 ployed in rendering the German 
 " Klang" as used in modern musical 
 theory. The Greek word favfi, in the 
 English form phone, appeared to be 
 a fairly acceptable neologism. &.ph<m<:, 
 then, will be understood as signifying 
 not only a tone with its overtones and 
 undertones (Tyndall's "clang"), but 
 specifically the major triad (generator 
 and higher partials [2] 3 [4] and 5) or 
 over-phone, and the minor triad (gener- 
 ator and lower partials [2] 3 [4] and 5) 
 or under-phone. [N.li. Over-phone 
 and under-phone are also called over- 
 chord and under-chord respectively. 
 In the subjoined statement of the 
 modern theory of chords, RIEMANN is 
 followed.] 
 
 2. There can be no doubt, that the 
 consonance of the major triad (major 
 consonance) is referable to the series of 
 higher partials (see Acoustics), i. e. that 
 a major triad, however the tones maybe 
 set or inverted, is to be conceived as a 
 consonance in which certain higher 
 
 partials of the root are reinforced by 
 actual tones. E. g., 
 
 Moreover, the generator accompanying 
 each phone represented above, is always 
 present as a resultant tone. But the 
 series of partials not only completes 
 itself do-inwards to the generator by 
 means of the resultant tones, but con- 
 tinues itself upwards by the aid of the 
 upper partials of the primary overtones. 
 Those overtones, above the 8th, which 
 are represented by composite numbers 
 (9=3 x 3, 15=3 x 5, etc.), are conceived 
 as overtones of overtones (secondary 
 overtones); i. e. as integral constituents 
 of the primaries (the gth overtone as 
 the 3rd of the 3rd primary, the I5th as 
 the 5th of the 3rd primary, etc.), and, 
 sounded as notes of an actual chord, 
 appear as dissonances ; that primary 
 overtone, whose overtones they are, has 
 the character of a generator, 2 over- 
 phones thus being simultaneously rep- 
 resented. Only the ratio of the octave 
 (2:i)is never dissonant. Striking out 
 from the series of overtones the doub- 
 lings in the octave, there remain, to 
 represent the major consonance of the 
 over-phone, only (i) the generator, (2) 
 the twelfth, and (3) the fifteenth; hence, 
 the primitive form of the major triad is 
 
 not, properly but in < 
 
 speaking, the Y7- -^ open p>: -st. 
 triad in close Ivy ^^ h a r - 
 harmony: *^ mony: ^ 
 
 The consonance of the minor triad is 
 not derivable from the series of higher 
 partials. but is referable to a series of 
 lower partials (undertones) diametrically 
 opposed to the former (comp. Acous- 
 tics). The lower partials I, 2, 3, 4, 5, 
 6, 8, 10, 12, 16, etc., in fact all tones 
 of the lower series corresponding to 
 lower octaves of the 1st, 3rd, and $th 
 lower partials, are constitu- 
 ents of the minor triad below \l 
 c, of the C under-phone: ' I 
 in just the same sense as the same num- 
 bers in the higher series are constituents 
 
 of the , J its dissonances also 
 
 Cover- 1 aT. p ; have a parallel ex- 
 phone : '*T ' : planation.
 
 I 4 S 
 
 PHONE. 
 
 3. PHONIC REPRESENTATION 
 
 (Klwtg'vertrehtHg) is the peculiar sig- 
 nificance attaching to any tone or inter- 
 val, according as it is conceived as be- 
 longing to a particular phone. For 
 instance, the tone C has a very different 
 meaning, in the logic of progression, 
 when conceived as tierce in the Aj- 
 major chord, from that as tierce in the 
 ^4-minor chord ; in the former case, it 
 is most closely related to D~> and the Z>>- 
 major chord ; in the latter, to B, and 
 the chords of /"-major and /"-minor. 
 Every tone may form an integral part 
 of 6 different phones ; for instance, the 
 tone C in the C over-phone (C-major 
 chord) as major root, in the F over- 
 phone as major quint (over-quint), in 
 the Aj over-phone as major tierce 
 (over-tierce), in the C under-phone (F- 
 minor chord) as minor root, in the G 
 under-phone (C'-minor chord) as minor 
 quint (under-quint), and finally in the 
 E under-phone (A -minor chord) as mi- 
 nor tierce (under-tierce) : 
 
 Major chords 
 (read up). 
 
 Minor chords 
 (read down). 
 
 
 Whenever the tone C enters into any 
 other chord as a dissonant tone, or is 
 substituted for some chord-tone as a 
 suspended or altered tone, it is never- 
 theless always to be conceived as be- 
 longing to one of the above 6 phones, 
 i. e. to the one most nearly related in 
 any given case. 
 
 4. THE RELATION OF TONES IS a 
 
 modern conception, based on the affini- 
 ty of tones belonging to the same 
 phone. Tones belonging to the same 
 phone are directly related ; to c , for in- 
 stance, are directly related g,f, e, <??, a, 
 and ey ; for c : g belongs to the chord of 
 C-major or C'-minor, c : e to the chord 
 of C-major or A -minor, c : ay to the 
 chord of .'f'vmajor or /"-minor, c : a to 
 the chord of /'-major or ^-minor, and 
 c : e\> to the chord of ^'p-major or C'- 
 minor. Directly related tones are con- 
 sonant all other, or indirectly related, 
 tones are dissonant. The mutual rela- 
 lation of the former is more easily un- 
 derstood than that of the latter. Di- 
 rectly related phones are (i) those simi- 
 lar ones (both either major or minor) in 
 which the phonic root of the one is di- 
 rectly related to the phonic root of the 
 
 other [phonic root = generator, i. e. the 
 fundamental tone in a major triad, or 
 the quint in a minor triad] ; (2) those 
 dissimilar ones (one major and the 
 other minor) of which the one is the 
 under-phone of some chord-tone of the 
 other; namely, for the major chord, 
 the under-phones (minor phones) of its 
 phonic root, quint, and tierce ; for the 
 minor chord, the over-phones (major 
 phones) of its phonic root, quint, and 
 tierce ; to which must be added the 
 under-phones of the respective lea Jing- 
 tones. Thus, the following chords are 
 directly related to the C-major chord: 
 C-major, /-'-major, /"-major, .^p-major, 
 /7-major, /--minor, C'-minor, j^-minor, 
 and /'-minor ; whereas, to the A -minor 
 chord, are directly related the chords 
 of : Z>-minor, /'-minor, /"-minor, C- 
 minor, C'-minor, /"J-minor, /'-major, 
 ^4-major, C'-major, and /"-major. The 
 relation of the tones depending on that 
 of the the tonics (tonic phones), it fol- 
 lows, that any key is directly related to 
 C-major (or ^4-minor), whose tonic is 
 one of the phones (chords) given above 
 as directly related to the chord of C-major 
 (or .4-minor). 
 
 5. PHONIC PROGRESSION (Klang'- 
 foige) is the progression between two 
 chords with reference to their signifi- 
 cance as phones. The ordinary method 
 of marking the phones (major and mi- 
 nor triads) b\ the Roman numerals I, 
 II, III, IV, etc. (comp. Chord) is 
 inadequate from the standpoint of free 
 tonality; e.g. this passage: 
 
 G: V 
 
 is hardly intelligible with such a figur- 
 ing ; although it in no way signifies a 
 modulation into another key, one must 
 perforce consider the ,4?-chord as in 
 /-minor, and the Z?-chord as in C~ma- 
 jor. For such progressions, a figuring 
 with reference to a scale is simply im- 
 possible ; they are referable to free to- 
 nality, an idea but recently recognized, 
 whose scope extends far beyond the 
 bounds of diatonic harmony. Tonality
 
 PHONIKON PHYSHARMONICA. 
 
 knows neither diatonic nor foreign 
 chords, but only a tonic phone and ref- 
 erable (related) phones. In the above 
 example, the C-major triad is through- 
 out the tonic phone, to which the others 
 are referable ; the .-/7-major chord is 
 its under-tierce phone, the Z>-minor 
 chord is its second over-quint phone, 
 and the C'-major chord its over-quint 
 phone. The first progression (C'-major 
 to y4?-major) reaches over to the under- 
 tone side ; the second (.-/^-major to 
 C-major) springs across to the overtone 
 side ; the other two lead back to the 
 tonic phone. If we term a progression 
 between 2 similar phones a stride 
 (Schriit), and one between 2 dissimilar 
 phones a change ( Wtchsel), we can dis- 
 tinguish 4 species of phonic progression 
 in which the mutual relation of the 
 roots is a quint-relation. It is of wide- 
 ly different significance for the tonality, 
 whether a stride from the tonic goes to 
 overtone side or to the undertone side ; 
 starting from a major chord the latter, 
 and from a minor chord the former, 
 signifies a contradiction of, or opposi- 
 tion to, the phonic principle ; strides or 
 changes to contraphoms (i.e. phones 
 belonging to the opposite side) will be 
 indicated by the prefix contra. Thus(i) 
 the progression from C-major to C-major, 
 or A -mi nor to 2?-minor ( = E under- 
 phone to A under-phone) is a simple 
 quint-stride ; (2) C-major to F-major, or 
 A -mi nor to .-minor (E under-phone to 
 B under-phone) is a contraquint-stride ; 
 c-"g, or "e-a (see 6), is a simple quint- 
 change ; c-"f, or "e-b, is a contraquint- 
 change. In all species of phonic pro- 
 gression the simple changes are, like 
 that above, easily intelligible ; whereas 
 the contra-changes are much more diffi- 
 cult to understand. The tierce-pro- 
 gressions are, for example, the simple 
 tierce-stride c-e, or V-V ; contratierce- 
 stride, <r-<r>, or t-g~$', simple tierce- 
 change, f-"e, or "e-c ; contratierce- 
 change, c-"<rj. Any direct progression 
 to a remoter phone makes the want of 
 an (omitted) connecting link sensibly 
 felt ; it will be easy to modulate to such 
 an intermediate phone, i. e. to transfer 
 to it the significance of a tonic phone. 
 
 6. PHONIC FIGI'RING (Klan/- 
 schliissel) [according to RIKMANN]. (i) 
 No scale-degrees are marked or taken 
 note of ; small letters are used to mark 
 the root-tones of the phones, with an 
 prefixed for an under-phone ; thus c =- j 
 
 C-major triad, c = /"-minor triad. (2) 
 To these letters are affixed numerals, 
 marking intervals added to the phones ; 
 not, however, counting from the bass 
 note, but from the phonic root ; Arabic 
 numerals [read up !] for over-phones 
 (major triads), Roman numerals [read 
 down !] for under-phones (minor triads). 
 Thus i (I) = phonic root ; 2 (II) = ma- 
 jor second; 3 (III) = major tierce; 
 4 (IV) = perfect quart; 5 (V) = per- 
 fect quint; 6 (VI) = major sext ; 7 
 (VII) = major sept. (3) The sign < 
 after a numeral denotes the raising of 
 the interval by a semitone ; > denotes 
 its lowering by a semitone. Examples : 
 
 Pho'nikon. A metal wind-instr. with a 
 globe-shaped bell ; inv. by B. F. Czer- 
 veny of Koniggratz in 1848. 
 
 Phonom'eter. (Fr. p/wnometre.) An 
 instr. for recording the number of vi- 
 brations made by a sonorous body in a 
 given length of time. 
 
 Phor'minx (Gk.) An ancient stringed 
 instr. resembling the cithara or the lyra. 
 
 Phrase. I. See Form. 2. Any short 
 figure or passage complete in itself and 
 unbroken in continuity. . . Phrase-mark, 
 in mus. notation, a curved line con- 
 necting the notes of a phrase 2. 
 
 Phrasing. (Ger. Phrasie'rung, from 
 phrasie'ren, to phrase. ) I. The bring- 
 ing-out into proper relief of the phrases 
 (whether motives, figures, subjects, or 
 passages), both as regards their individ- 
 ual melodic and rhythmic characteri- 
 zation and their relative importance. 2. 
 The signs of notation devised to further 
 the above end. 
 
 Phrygian. See Mode. 
 
 Phy^harmon'ica. i. A small reed- 
 organ inv. in 1818 by Anton Hackel of 
 Vienna, and designed for attachment 
 beneath a piano-keyboard to sustain 
 the tones of melodies. It was the pre- 
 cursor of the harmonium. 2. (Ger.) A 
 free-reed stop on the organ.
 
 PIACERE PIANOFORTE. 
 
 Piace're, a (It.) "At pleasure"; a 
 direction equivalent to ad libitum, sig- 
 nifying that the expression of the pas- 
 sage so marked is left to the performer's 
 discretion. Also marks the introduc- 
 tion of a cadenza. (Sometimes afiaci- 
 men'to.) 
 
 Piace'vole (It.) Pleasant, agreeable ; 
 calls for a smooth, suave rendering, 
 free from forcible or passionate accents. 
 . . Piacevolmen'le, smoothly, suavely. 
 
 Piacimen'to (It.) Equiv. to Piacere. 
 Pianette. A low form of upright piano. 
 Piangen'do (It., "weeping, tearful.") 
 Wailing, plaintive. (Also piange'vole, 
 piangevolmen'te.) 
 
 Piani'no (It., dimin. of piano.) An up- 
 right pianoforte. 
 
 Piani'sta (It.) I. A pianist. 2. A 
 mechanical pianoforte. 
 
 Pia'no (It.) Soft, softly (sign /) . . . Pi- 
 ano pedal, the soft or left pedal of the 
 pfte. . . Pianis' simo (superl. of piano), 
 very soft (sign // or ///>). 
 
 Piano. (Abbr. of Pianoforte) . . . Bou- 
 doir p., a short style of grand pfte. . . 
 Cabinet p., an old form of upright pfte. 
 . .Cottage p., see Cottage. . .Dumb p., a 
 pfte.-keyboard without action or strings, 
 used for silent mechanical practice. 
 (See Virgil Practice-Clavier.). . .Elec- 
 tric p., one whose strings are set in vi- 
 bration by electro-magnets instead of 
 hammers. .. Grand p., see Pianoforte. 
 . . .Pedal-piano, see Pedal. . .Piccolo p., 
 a small upright piano introduced by 
 Wornum of London in 1829... Semi- 
 grand p., same as Boudoir .. .Square, 
 Upright p. , see Pianoforte. 
 
 Piano (Fr.) A pianoforte .../>. a arc he t, 
 piano-violin.../', a claviers renversSs, 
 a grand pfte. having 2 keyboards, one 
 above the other, the ascending scale of 
 the upper one running from right to 
 left. . ,P. a queue, grand pfte.; & queue 
 Scourge, boudoir grand pfte . . .P. a 
 secretaire, cabinet pfte. . .P. carrJ, 
 square pfte.../*. droit (oblique, a pi- 
 lastres, vertical), upright pfte . . . P. 
 Mien, see Anemochord. . .P. harmoni- 
 corde, a combined pfte. and harmonium, 
 inv. by Debain. . .P. m/canique, a me- 
 chanical piano. . .P. muet, dumb pfte. . . 
 P. organise", a pfte. with physharmonica- 
 attachment. 
 
 Pian'oforte. (Ger. Klavier' [in Ger. 
 Pianofor'te usually means ' ' square 
 
 piano"] ; Fr. piano [more rarely piano- 
 forte or for te'-piano, very seldom forte] ; 
 It. pia' no, pianofor'te.) A keyboard 
 stringed instr. of percussion, the tones 
 being produced by hammers striking 
 the strings. The principal parts are (i) 
 the Frame, (2) the Soundboard, (3) the 
 Strings, (4) the Action, and (5) the 
 Pedals. According to the shape of the 
 case, pftes. are classed as GRAND (harp- 
 shaped ; Ger. Flii'gel; Fr. piano a 
 queue; It. pia' no a co'dd), with horizon- 
 tal strings and built in several sizes, as 
 Concert Grand, Parlor Grand, Boiidoir; 
 SQUARE (oblong ; Ger. Pianofo'rte, 
 or ta'felfdrmiges Klavier' ; Fr. piano 
 carre"; It. pianofor'te a iavoli'no) with 
 horizontal strings ; and UPRIGHT (buf- 
 fet-shaped ; Ger. and It. Piani'no; Fr. 
 piano droit) with vertical or slanting 
 strings. 
 
 (i) The Frame is now generally of 
 iron cast in one piece (Broadwood's 
 pftes. form the most notable exception 
 to this rule), and braced with cross-bars 
 and trusses to resist the string-tension 
 which varies from about 1 2 up to nearly 
 20 tons. (2) Below the frame is the 
 Soundboard, near the front end of which 
 is a bridge of hard wood over which the 
 strings are stretched. (3) The Strings 
 are attached at one end by kittkpins to 
 the stringplate, and at the other to 
 wrestpins (tuning-pins) set in the wrest- 
 plank; they are of steel wire, the bass 
 strings of a steel core covered (coiled) 
 with copper wire ; 8 or 10 of the lowest 
 bass tones have one string, about \ l / 2 
 octaves above have 2 strings, and the 
 remaining 5 octaves 3 strings, to each 
 tone ; such pairs or triplets of strings 
 to one tone are called unisons. (4) 
 The Action consists essentially of the 
 key (digital, finger-lever) ; the hopper 
 on the rear end of the key, raising the 
 hammer when the key is depressed, and 
 allowing the instant escape of the lat- 
 ter after propelling the hammer, which 
 can therefore immediately rebound into 
 position after striking the string ; the 
 hammer, hinged at the butt, with a slim 
 round shank, upon which is fixed the 
 head (the hammer proper) made of felt 
 and sometimes covered with leather. 
 (5) The Pedals are 2 (sometimes 3) in 
 number : (a) Damper-pedal, (b) Piano 
 pedal, (c) Sustaining-pedal (comp. art. 
 Pedal). 
 
 The idea of the key-mechanism was 
 derived indirectly, through the mono-
 
 PIANOGRAPH PIPE. 
 
 chord, spinet, harpsichord, and clavi- 
 chord, from that of the organ ; the idea 
 of a kammer-actiim (which constitutes 
 the essential difference between the 
 Pianoforte and its precursors) was. per- 
 haps, derived from the dulcimer in its 
 perfected form the Pantalon. The 
 hammer-action was first practically de- 
 veloped by Bartolommeo Cristofori of 
 Padua in 1711, whose action is the 
 same, in essentials, as that now manu- 
 factured by Broadwood (English action). 
 
 Pian'ograph. A form of music-recorder. 
 
 Piano-harp. See Klaviaturharfe. 
 
 Piano-organ. Same as Handle-piano. 
 
 Piano-violin. (Ger. Bo'genfliigel, Gci'- 
 genwerk; Fr. piano a archet, piano- 
 ijuatuor.) The English name covers 
 the results of a long series of experi- 
 ments, and of improvements of the 
 hurdy-gurdy, the prototype of the class. 
 In the C<:igc'Hit>crJl! inv. by Heiden of 
 Nuremberg (about l6oo)the keys, when 
 touched, pressed their corresponding 
 wire strings against small rosined 
 wheels made to revolve by a treadle ; 
 the tone was similar to that of a bow- 
 instr. The Gamt'cmverk was made by 
 Risch of llmenau (about 1750), and 
 improved by the substitution of gut 
 strings for wires. Hohlfeld's Bogen- 
 Jiiigel (1754) had gut strings, beneath 
 which was a bow furnished with horse- 
 hair ; on pressing the keys, the strings 
 were drawn by little hooks against the 
 bow, whose slow or rapid movement 
 was controlled by a pedal-stop. C. A. 
 von Meyer, of Knownow, provided a 
 separate horsehair bow for each string 
 (1794). The clavecin harmonique of 
 Hiibner (Moscow, about 1 800) accu- 
 rately reproduced the sound of a string- 
 quartet. Pouleau's orchestrine was a 
 further improvement of the clavecin 
 harmonique. H. C. Baudin of Paris 
 invented an instr. called the piano- 
 quatuor, patented in England in 1865 
 under the name of piano-violin. It has 
 for each tone one wire string, at or 
 near a nodal point of which is attached 
 a piece of stiff catgut projecting about 
 an inch. Above these gut ties, a rosin- 
 ed roller is caused to revolve rapidly by 
 a treadle ; on touching the keys, these 
 ties are carried up against the roller, 
 the tones thus produced having the 
 timbre of tones from gut strings. The 
 instr. is capable of rapid execution and 
 articulation. ^. 
 
 Piat'ti (It., pi.) Cymbals. 
 
 Pi'broch. A set of variations for the 
 bagpipe on a theme called the urlar, 
 generally 3 or 4 in number, and increas- 
 ing in difficulty and speed up to the 
 closing quick movement (the crean- 
 luidh). This is the highest and most 
 difficult form of bagpipe-music. 
 
 Piccanteri'a, con (It.) With piquant 
 sprightly expression. 
 
 Picchetta'to, Picchietta'to (It.) De- 
 tached. See Pique. 
 
 Picco pipe. A small pipe with a flageo- 
 let-mouthpiece, and 3 ventages, 2 above 
 and I below ; named after the Italian 
 peasant Picco, whose extraordinary 
 virtuosity on his instr. introduced it to 
 the general public (London. 1856), and 
 who obtained from it a compass of 3 
 octaves. 
 
 Pic'colo. (It.fla'utopic'colo; Fr. petite 
 Jitite; Ger. Oktav'flote, Pick'eljlole.) 
 The octave-flute. See Flute. 
 
 Pic'colo (It.) Small . . . Used as a noun, 
 equiv. to (i) Flaulo piccolo, and (2) 
 Piano piccolo, a small style of upright 
 pfte. 
 
 Pick (verb). To pluck or twang (as the 
 strings of a guitar, mandolin, etc.) ; 
 (noun), a plectrum. 
 
 Piece. I. A composition. 2. An in- 
 strument, taken as a member of an 
 orchestra or band (usually in pi.) 
 
 Piece (Fr.) A piece (ordinarily of in- 
 strumental music) ... Suite de pieces, 
 a set of pieces. 
 
 Pie'no (It.) I. Full. 2. Mixture-stop. 
 
 Pieto'so (It., " pitiful, moving ".) Calls 
 for a sympathetic and expressive deliv- 
 ery ; nearly same as espressivo. 
 
 Piffera'ro (It.) A player on the piffero. 
 
 Pif'fero (It., dimin. fi/,-ri'no) I. A 
 fife ; also, the name of a primitive kind 
 of oboe or shawm. 2. An organ-stop 
 (see Bifara). 
 
 Pikie'ren (Ger.) Same as piquer. See 
 
 Pince"(Fr., "pinched".) i. Plucked 01 
 twanged, as the strings of the harp, 
 zither, etc. 2. Pizzicato (in violin. 
 playing). 3 (noun). A mordent : sign 
 'or ^ . . . Pince'etou/e', acciaccatura ; 
 pince'renverse', inverted mordent. 
 
 Pipe. i. A primitive wind-instr. , a rude 
 flageolet or oboe. 2. An organ-pipe. 
 (Cer. Ot'gelpfeife ; Fr. ttiyau d'orgue,
 
 152 
 
 PIPE-METALPITCH. 
 
 It. can'na d'or'gano.) (a) FLUE-PIPES 
 are those in which the tone is produced 
 by the vibration of a column of air 
 within a tube or " body ", the vibration 
 being set up by an air-current forced 
 through a narrow aperture and imping- 
 ing on a sharp edge. A flue-pipe may 
 be of metal or wood ; the part resting 
 on the pipe-rack is the/W/, which is di- 
 vided from the body by an aperture in 
 front called themoutA, having an upper 
 and a lower lip, and ears on either 
 side ; within the mouth a projecting 
 shelf or ledge called the block (when 
 thick) or language (when thin) deflects 
 the wind rushing through the foot, 
 forming below a channel called the 
 throat, and above (between language 
 and lower lip)anarrowpassagecalled the 
 ivindway; the wind passing out of the 
 latter impinges on the sharp edge of the 
 leaf (bevelled portion of the upper lip), 
 settingtheair-column within the body in 
 vibration and thus producing a tone. 
 The body of an open metal pipe is pro- 
 vided at the top with flaps called tuners, 
 that of a wooden pipe with small mov- 
 able wooden boards, by adjusting which 
 the pipes can be tuned ("voiced"). 
 Flue-pipes are open or covered (stop- 
 ped, plugged); an open pipe produces a 
 tone proportioned in pitch to the length 
 of the body, hence the terms 8-foot tone, 
 l6-foot tone, etc. (Compare Harmonic 
 stop.) A. stopped pipe yields a tone an 
 octave lower than an open pipe of like 
 length. (b) REED-PIPES are those in 
 which the tone is produced by a reed ; 
 the tone may be modified in quality, 
 but not in pitch, by the shape and size 
 of the body or tube. A reed-pipe has 
 a boot (corresponding to the foot of a 
 flue-pipe), within which is the block, a 
 circular plate of metal with 2 apertures, 
 one holding the tuning-wire and the 
 other the reed. A reed consists of 2 
 parts, a metal tube (called the shallot) 
 of conical form, widest below, with a 
 
 lengthwise opening along one side cov- 
 ered by the tongue (the vibrating reed 
 proper), an elastic strip of metal made 
 fast at the top, but free below to vi- 
 brate ; across its upper portion passes 
 the bent end of the tuning-wire, which 
 can be raised or lowered so as to allow 
 a longer or shorter part of the tongue 
 to vibrate, and thus alter the pitch. 
 The tube is fixed above the block, and 
 may be of metal or wood, and in vcrj 
 various forms. 
 
 Pipe-metal. The metal of which the 
 metallic flue-pipes in the organ are 
 made ; generally an alloy of tin and 
 lead, the tone improving as the propor- 
 tion of tin increases. Pure tin, lead, 
 or zinc, or all 3 in varying proportions, 
 have also been used. 
 
 Pipe-organ. See Organ. 
 
 Pique (Fr.) Peg or standard of a 'cello. 
 
 Pique" (Fr.) In violin-playing, the mezzo- 
 staccato called for by a slur with stac- 
 cato dots, notes so marked to be played 
 in one bow(/>icf/iiet(a'(o). . .Piquer, to- 
 execute picchiettato. 
 
 Pirolino (It.) Button (on violin, etc.) 
 Piston. See Valve. 
 
 Piston-Solo (Ger.) Solo for the cornet 
 a pistons. 
 
 Pitch. (Ger. Ton' hoJie; Fr. hauteur du 
 ton; It. diapason?) The position of a 
 tone in the musical scale. Pitch is rel- 
 ative, or absolute. The relative pitch 
 of a tone is its position (higher or lower) 
 as compared with some other tone. (See 
 Interval.) Its absolute pitch is its fixed 
 position in the entire range of musical 
 tones. 
 
 I. For ordinary purposes the mus. 
 scale is divided, to/ indicate absolute 
 pitch, into a fixed series of octaves, 
 which are named and lettered, in Eng- 
 lish usage, as follows : 
 
 NAMES OF THE OCTAVES IN ABSOLUTE PITCH. 
 
 Double contra-octave (32- 
 foot octave, organ) 
 
 C, D, E, F, 
 
 A, P, 2 
 
 Contra-octave (i6-foot 
 oct.) 
 
 C, D, E, F, G, A, B, 
 
 First octave 
 
 (Great octave) 
 
 (8-foot oct.) 
 
 C D E F G 
 
 8 .a-
 
 PITCH. 
 
 153 
 
 Second octave 
 (Small octave) 
 (4-foot oct.) 
 
 i 
 
 Third octave 
 (One-lined oct.) 
 (2-foot oct.) 
 
 Fourth octave 
 (2-lined oct.) 
 (.i-foot oct.) 
 
 NOTK. The double contra-octave is often written CCC, DDD, etc., and the contra-octave 
 CC, DJJ, etc.; also, instead of small figures, accents or lines are employed to mark the letters, as 
 
 C,, D,, or C D for Cj D a etc.; c' d', or c d, for c 1 d 1 etc.; c" d", or c d, for c* d* etc.; hence 
 the terms one-lined octave, two-lined octave, and once-accented octave, twice-accented octave, etc. 
 
 2. For scientific purposes, and to 
 ascertain the relative pitch of the tones 
 of the scale, the above system is modi- 
 fied, C being retained as the starting- 
 point or standard tone, while the dis- 
 tinction between lower and higher 
 octaves is disregarded, and lines (in 
 this case not marking different octaves) 
 are drawn above or below the letters to 
 distinguish between Quint-times (i. e. 
 tones whose relative pitch is determined 
 by reaching them through ascending or 
 descending, from the standard tone C, 
 by skips of successive perfect fifths), 
 and Tierce-tones^., e. tones determined 
 by reaching them through skips of major 
 thirds). For instance, the tone e may 
 be reached either as the fourth quint 
 above C (C-G-D-A-E), or by ascending 
 
 one tierce to e; in the former case E, 
 as the third of C, is a quint-tone, whereas 
 in the latter case it is a tierce-tone, the 
 difference in pitch being noted by a line 
 under the tierce-tone E, signifying that 
 it is lower than the quint-tone E by a 
 syntonic comma (80 : 81). This syn- 
 tonic comma represents the ratio be- 
 tween the Pythagorean tierceof C (=E, 
 the fourth quint), and the major tierce 
 of C (=E) of just intonation (E : E : ; 
 80 : 81); for every tierce-skip taken up- 
 ward, a line is added below the letter, 
 and for every tierce-skip downward, a 
 line is added above the letter ; showing 
 by how many commas the tierce-tone 
 obtained is lower or higher than the 
 corresponding quint-tone. 
 
 Table (after RIEMANN). 
 
 . U .S 4J 
 
 ~ ~ C 
 
 s" 5 Y 
 
 e B . 
 
 & '2 f 
 
 5-3 O" O 
 
 - _e- 
 
 "2, 
 
 tit tierce above. 
 
 4 th 
 
 tierce : 
 ibove. 
 
 tierce 
 ibove. 
 
 ibove 
 
 gx 
 
 dx 
 
 a x 
 
 ex 
 
 bx 
 
 = 
 
 
 =4 
 
 4 
 
 ^ 
 
 fx 
 
 ex 
 
 gx 
 
 dx 
 
 b 
 
 f* 
 
 J: 
 
 B 
 
 d 
 
 4 
 
 4 
 
 bf 
 
 c 
 
 g 
 
 d 
 
 a 
 
 e 
 
 b 
 
 ? 
 
 4 
 
 It 
 
 a? 
 
 e|> 
 
 b(> 
 
 f 
 
 C 
 
 g 
 
 d 
 
 a 
 
 e 
 
 
 
 5 
 
 * 
 
 db 
 
 ab 
 
 
 
 bb 
 
 f 
 
 ist tierce 
 
 *> 
 
 ^ 
 
 ^ 
 
 bt>!> 
 
 ^ 
 
 ^ 
 
 T 
 
 ad tierce below. 
 
 ^ 
 
 ^ 
 
 ct 
 
 H* 
 
 ^ 
 
 ^ 
 
 3d tierce below. 
 
 ??
 
 154 
 
 PITCH-PIPE PLAISANTERIE. 
 
 In this Table each skip horizontally is 
 a quint-skip, and each skip vertically is 
 a tierce-skip ; the major triads are 
 
 c 
 grouped thus, -r -r and the minor 
 
 c g 
 
 triads thus -r- 
 e ? 
 
 In just intonation the major scale would 
 be represented thus : 
 
 CD E F G ABc 
 
 and its parallel minor scale thus : 
 C D E"i> F G Ar> B c 
 
 3. The absolute pitch of a tone is 
 determined by the number of vibrations 
 it makes per second, and is stated 
 as a vibration-number. The standard 
 French pitch, universally adopted in 
 France in 1859, gives the tone a 1 435 
 (double) vibrations per second, c* hav- 
 ing 522. Formerly there was no recog- 
 nized standard, the pitch varying in 
 different instr.s (organs) and localities 
 by as much as a fourth. The incon- 
 veniences resulting led to the establish- 
 ment, early in the 17th century, of a 
 mean pitch (a 1 averaging about 420 vi- 
 brations), which held its own for some 
 200 years ; this has been called the 
 classical pilch, it having obtained 
 throughout the era of classical compo- 
 sition. After this, the growing tendency 
 to force the pitch upwards led to nu- 
 merous deliberations by scientists and 
 musicians ; the German congress at 
 Stuttgart adopted the pitch a 1 = 440 ; 
 but the French pitch mentioned above 
 is, in point of fact, the only real stand- 
 ard, and, since its formal adoption by 
 the Vienna Congress in Nov., 1887, is 
 frequently termed the international 
 fitch. It is called lowpitch, as opposed 
 to the high pitch (concert-pitch) in vogue 
 till lately in concerts and operatic per- 
 formances. The sr>-cs\\e.&philosophical 
 standard of pitch is obtained by taking, 
 for Middle- C, the nearest power of 2, 
 giving 256 vibrations for c\ and nearly 
 427 for a 1 ; it has frequently served as 
 a basis in theoretical calculations. 
 Pitch-pipe. A small metal or wooden 
 reed-pipe producing, when blown, one 
 or more tones of fixed pitch, according 
 to which an instr. may be tuned, or the 
 correct pitch ascertained for the per- 
 formance of a piece of music. 
 
 Pift (It.) More. When Piu stands alone 
 as a tempo-mark, mosso is implied. 
 
 Pi'va (It.) i. A bagpipe. 2. A piece 
 imitative of bagpipe-music. 
 
 Pizzica'to (It., "pinched".) Plucked 
 with the finger ; a direction, in music 
 for bow-instr.s, to play the notes so 
 marked by plucking the strings. The 
 succeeding direction coll 'area (with the 
 bow) indicates the resumption of the 
 bow for playing. (Abbr. pizz.) 
 
 Placidamen'te (It.) Tranquilly, smooth- 
 ly; from pla'cido, placid, tranquil. 
 
 Pla'cito (It.) Pleasure 4 be'ne placito, 
 
 at (the performer's) pleasure ; means 
 that the tempo may be altered, graces 
 or cadenzas added, or that certain 
 specified instr.s may be used or not, as 
 fancy may dictate. 
 
 Plagal cadence, mode, see Cadence, 
 Mode. ..Plagal melody, one whose range 
 extends about a fourth below and a 
 fifth above its tonic or final. Plagal is 
 opp. to Authentic in all senses. 
 
 Plain chant, Plain song. (Lat. can'- 
 tus pla'nus, cantus chora 'Us.) The 
 unisonous vocal music of the Christian 
 Church, probably dating from the first 
 centuries of the Christian era, the style 
 being still obligatory in the R. C. ritual. 
 Handed down at the beginning by oral 
 tradition, it was first regulated by St. 
 Ambrose (see Ambrosian chant), and 
 later revised by St. Gregory (Gregorian 
 chant). The comparatively modern 
 name cantus planus distinguished this 
 style from that of the strictly rhythmical 
 cantus mensura'bilis, %vhich originated 
 early in the 1 2th century, after which 
 period plain chant began to be sung in 
 notes of equal length ; in its earlier 
 form, however, the tone-values of plain 
 chant were determined by rules very 
 similar to those for poetical metre. 
 Just as a poem consists of lines, the 
 lines of feet, and the feet of 2 or more 
 syllables, a melody was divided into so- 
 called distinctions consisting of a more 
 or less extended group of iiciiwes 
 (notes), a distinction being in turn 
 divided into single neumes (single notes), 
 each neume, finally, representing one 
 or more tones. Thus a metrical line 
 corresponded to a musical distinction. 
 a metrical foot to a musical neume, and 
 a svllable to a t.me. (C'omp. Notation. 
 3-) 
 
 Plainte (Fr.) A lament. 
 
 Plaisanterie (Fr.) A diver tissemfitttor 
 
 harpsichord or clavichord.
 
 PLANCHETTE POLYPHONY. 
 
 155 
 
 Planchette. r. A board studded with 
 pins or pegs, an essential part of the 
 mechanism of the piano mecanique. 2. 
 See Pianista 2. 
 
 Plantation. In the organ, the dispo- 
 sition or arrangement on the soundboard 
 of the pipes composing a stop. 
 
 Plaque" (Fr.) Struck at once ; as tin 
 accord plaque', a " solid " chord ; opp. 
 to arpe'ge', arpeggio'd, broken. 
 
 Plec'trum (Lat.; Gk. pkctron.) A small 
 piece of ivory, tortoise-shell, or metal, 
 held between the forefinger and thumb, 
 or fitting to the latter by a ring, and 
 used in playing certain instr.s to pluck 
 or twang the strings (mandolin, zither ; 
 the zither-plectrum is called the "ring"). 
 
 Plein-jeu(Fr.) i. A stop or combination 
 of stops bringing out the full power of 
 the organ, harmonium, etc. 2. Same 
 as Fourniture. 
 
 Pli'ca (Lat.) One of the neumes. 
 
 Plus (Fr.) More. 
 
 Pneu'raa (Gk. "breath".) The long 
 coloratura or vocalise on the last syllable 
 of the Alleluia (early Christian Church), 
 so called because taxing the singers' 
 lungs ; a jubilation. 
 
 Pneumatic action. See Organ . . . Pneu- 
 matic organ, the ordinary pipe-organ, 
 as contradistinguished from the early 
 hydraulic organ. 
 
 Pochette (Fr.) A kit. 
 
 Po'co (It.; superl. pochis'simo; dimin. 
 pochetti'no, packer to; abbr. po* .) A 
 little . . . Poco a poco, little by little, 
 gradually. . .Poco allegro, rather fast ; 
 poco largo, rather slow. 
 
 Poggia'to (It.) Leaned or dwelt upon. 
 
 Po'i (It.) Then, thereafter. 
 
 Point, i. See dotation, 3. 2. A dot. 
 3. A staccato-mark. 4. The attack 
 by, or entrance of, an instrumental or 
 vocal part bringing in a prominent 
 motive or theme. 5. Head (of a bow). 
 
 Point (Fr.) A dot (point a" augmentation). 
 . .Point (far ret, de repos, a hold (o). 
 ..Point final, final pause. ..Point 
 tforgue, (a) a hold ; (6) an organ-point ; 
 (c) a solo cadenza or flourish . . . Points 
 d/taehe's, staccato-dots. . .Point stir tete, 
 dot above (or below) the head of a note. 
 
 Pointe(Fr.) i. Point or head (of a bow). 
 2. Toe (in organ playing ; abbr. p: 
 t p = talon pointe; Engl. A I = heel 
 toe, but compare Signs [o vj). 
 
 Points (Fr.) Dotted. 
 
 Pointer (Fr.) i. To dot. 2. To ex- 
 ecute staccato. 
 
 Poitrine (Fr.) Chest; voix de p., chest- 
 voice. 
 
 Polac'ca (It.) Polonaise.. .A lla /, in 
 the style of a polonaise. 
 
 Polichinelle (Fr.) A grotesque clog- 
 dance ; also, the tune to which it is 
 performed. 
 
 Polka. (Bohemian pulka.} A lively 
 round dance in 2-4 time, originating 
 about 1830 as a peasant-dance in Bo- 
 hemia. . .Polka-mazurka, a form of 
 mazurka accommodated to the steps of 
 the polka. 
 
 Polonaise (Fr.; Ger. Poland' se; It. po- 
 lac'ca.) A dance of Polish origin, in 3- 
 4 time and moderate tempo, formerly in 
 animated processional form, but in the 
 modern ball-room merely a slow open- 
 ing promenade, supplanting the old 
 Entree. The rhythm is characterized 
 by the commencement on the strong beat 
 
 srr r r r 
 
 close on the last beat 
 
 with a sharp accent 
 and by the 
 
 bar - 
 
 Polska. A Swedish dance in triple time, 
 somewhat like the Scotch reel, and 
 generally in minor. 
 
 Polychord. (" Having many chords 
 [strings]".) An instr. in the shape of 
 a bass viol, with movable fingerboard 
 and 10 gut strings ; played either with 
 a bow or by plucking with the fingers. 
 Inv. by Fr. Hillmer of Berlin, first half 
 of igth century. It never became pop- 
 ular. 
 
 Polymorphous. Having, or capable of 
 assuming, many forms.../ 1 , counter- 
 point, a style of contrapuntal compo- 
 sition admitting of a manifold variation 
 of the theme (as in the fugue by inver- 
 sion, augmentation, diminution, etc.) 
 
 Polyphon'ic. I. Consisting of 2 or 
 more independently treated parts ; 
 contrapuntal ; concerted ; opp. to ho- 
 mophonic and harmonic. 2. Capable 
 of producing 2 or more tones simulta- 
 neously, as the pianoforte, harp, or or- 
 gan ; opp. to monophonous, and equiv- 
 
 - f S 
 
 Pol'yphony. In mus. composition, the 
 combination in harmonious progression 
 of 2 or more independent parts (as opp.
 
 1 5 6 
 
 POMMc-R PRECENTOR. 
 
 to Homophony) ; the independent treat- 
 ment of the parts (as opp. to Harmony) ; 
 counterpoint in the widest sense ; -- 
 concerted music. (Also pron. polyph'- 
 
 Pom'mer (Ger.) See Bombard. 
 
 Pompe (Fr.) A tuning-slide (in the trom- 
 bone, horn, and various other instr.s). 
 
 Pompo'so (It.) Pompous, majestic, dig- 
 nified. ..Pompo $a tnen'te, in a broad 
 and dignified style. 
 
 Ponctuation(Fr.) Phrasing. . . Ponctuer, 
 to phrase. 
 
 Pondero'so (It.) Ponderous, heavy, 
 very strongly marked. 
 
 Ponticel'lo (It.) I. The bridge of bow- 
 instr.s. . . Sul p., near the bridge ; a di- 
 rection to play near the bridge, the 
 tones resulting having a more or less 
 strident and metallic sound ; abbr. s. 
 pont. ; opp. to sul tasto. 2. The break 
 in the voice. 
 
 Pont-neuf (Fr.) Generic title for popular 
 street-songs in Paris. 
 
 Portamen'to (It.; equiv. to portal la 
 voce, to carry the voice ; see Port de 
 voix.) A. smooth gliding from one 
 tone to another ; an effect attained in 
 great perfection on bow-instr.s, the 
 melody-strings of the zither, and with 
 the human voice. It differs from the le- 
 gato not only in its more deliberate execu- 
 tion, but also in the actual (though very 
 rapid and slurring) sounding or passing- 
 through the intermediate tones, with- 
 out a noticeable break, 
 or a pause on any tone. 
 It may be written thus : 
 
 Portan'do (It., "carrying".) Usually 
 in the phrase /. la voce, carrying the 
 voice, i. e. portamento. 
 
 Portata (It.) Staff. 
 
 Portatif(Fr.), Portativ' (Ger.) Porta- 
 tive organ, i. e. a small organ conven- 
 ient of transportation ; opp. to positif. 
 
 Port de voiac (Fr.) I. Portamento. 2. 
 See Accent, Chute. 
 
 Portee (Fr.) The staff. 
 
 Porter la voix (Fr.) See Portamento. 
 
 Portunal flute. An open wooden flue- 
 stop in the organ, with pipes wider at 
 top than at the mouth. 
 
 Portu'nen (Ger.) Bourdon (org.) 
 
 Posa'to (It.) Sedate, dignified. 
 
 Posau'ne (Ger.) i. Trombone. 2. A 
 
 reed-stop in the organ, having metal 
 pipes of broad scale and 8-foot pitch 
 (manuals) or i6-foot pitch (pedal) ; the 
 32-foot stop is called the contra-postiitut-. 
 
 Poschet'te. Ger. form of Pochette. 
 Pos&nent (Fr.) Posato. 
 
 Poser la voix (Fr.) To attack a vocal 
 tone with clearness and precision. 
 
 Positif (Fr.), Positiv' (Ger.) A "posi- 
 tive" or stationary organ ; opp. to poi-- 
 tatif. Also, the French term for choir- 
 organ ; and (in German) a small partial 
 organ in front of the main instr. was 
 often called Riickpositiv, because usual- 
 ly behind the organist. 
 
 Position, i. (Ger. La'ge; Fr. position; 
 It. posizio'ne.) The place of the left 
 hand on the fingerboard of the violin, 
 etc. In the ist pos., the forefinger stops 
 the tone or semitone above the open 
 string ; by shifting up (see Shift) so 
 that the ist finger takes the place pre- 
 viously occupied by the 2nd, the 2nd 
 pos. is reached ; and so on for each 
 succeeding position. There are n 
 positions in all, but only 7 are commonly 
 employed. The half-position is the 
 same as the ist pos., except that in it 
 the 2nd, 3rd, and 4th fingers occupy 
 the places taken, in the ist pos., by the 
 ist, 2nd, and 3rd fingers. 2. The 
 arrangement of notes in a chord with 
 reference to the lowest part ; in the ist, 
 or fundamental, position the lowest 
 part takes the root ; in the 2nd position 
 it takes the third, etc. 3. Close and 
 open position, see Harmony. 
 
 Possi1)ile (It.) Possible ; pianissimo 
 possibile, as soft as possible ; il piu 
 presto possibile, as rapid as possible. 
 
 Post-horn. The straight horn used by 
 postmen. See APPENDIX. 
 
 Post'lude. (Lat. postlu' diitm ; Ger. 
 Nachspiel; Fr. cltfture.) A concluding 
 voluntary on the organ, closing a 
 church-service. 
 
 Pot-pourri (Fr.) A musical medley, alt 
 kinds of tunes or parts of tunes being 
 juxtaposed in an arbitrary manner, often 
 with very flimsy connecting-links. 
 
 Poule (Fr.) The 3rd movement or fig- 
 ure in the quadrille. 
 
 Pouss6 (Fr., " pushed".) Up-bow. 
 
 Prach'tig (Ger., "splendid".) Grand, 
 majestic, dignified. (Also adverb.) 
 
 Praecen'tor (Lat.) Precentor.
 
 PRALLTRILLER PRIMZITHER. 
 
 157 
 
 Prall'triller (Ger.) An inverted mor- 
 dent. (Also Pral'Ier,) 
 
 Praludie'ren (Ger.) To prelude. 
 
 Prazis' (Ger.) Precise, exact. 
 
 Pream'bulum (Lat.) A prelude, intro- 
 duction. 
 
 Preren'tor. In the Anglican Church, 
 a director and manager of the choir and 
 of the musical services in general, rank- 
 ing after the Dean, and sitting on the 
 side of the choir opposite to the latter, 
 whence the terms cantoris (i. e. the pre- 
 centor's) and decani (the Dean's) side. 
 
 Precipitan'do, Precipitatamen'te(It.) 
 Precipitately ; calls for a rapid and bold 
 execution of the figure or passage so 
 marked ; precipita'to (also prccipito'so), 
 (Fr. pre'cipite), precipitate. 
 
 Precisio'ne, con (It.) With precision. 
 . .Preci'so, precise, exact. 
 
 Preghie'ra (It.) A prayer ; a modern 
 title for certain melodious salon-pieces 
 of a more or less devotional character. 
 
 Prel'ude. (Lat. prmlttdntm; It. prelu'- 
 dio; Fr. prelude; Ger. Vor' 'spiel.) A 
 piece of music introductory or prepara- 
 tory to another and more extended 
 movement or composition, or to a dra- 
 matic performance, church-service, etc. 
 The prelude has no distinctive form or 
 independent character, being adapted 
 to what is to follow it. (Comp Over- 
 ture.) The short piano-pieces by Cho- 
 pin, entitled "Preludes", are anoma- 
 lous, not having been intended for in- 
 troductory pieces. An organ-prelude 
 to the church-service is commonly called 
 a voluntary. 
 
 Premier (Fr., fern, premiere.') First... 
 Premier desstts, first soprano ... Pre- 
 miere fois, first time. . .A premiere vue, 
 at first sight ... Premiere (noun), the 
 first production of a dramatic work. 
 
 Preparation. (Ger. Vor' beret tung; Fr. 
 preparation; It. preparazio'ne.) The 
 /. of a dissonance consists in the pres- 
 ence, in the preceding chord and same 
 part, of the tone forming the dissonance. 
 (Comp. Percussion, Counterpoint, and 
 Substitution.) 
 
 Prepare. I. See Preparation. 2. To 
 introduce by a grace-note or figure ; e. 
 g. a prepared trill is one prefaced by a 
 turn or other grace. 
 
 Pre'sa (It.) A sign marking the succes- 
 sive entrance of the parts of a canon, 
 having various forms ('S' &' -j- 555 etc.) 
 
 Pressan'te (li.) Accelerando, strin- 
 gendo. 
 
 Pressez (Fr.) Accelerando, stringendo ; 
 pressez un pen, poco stringendo. 
 
 Pressure-note. A note marked thus 
 p, indicating a sudden pressure or cre- 
 scendo following the attack. 
 
 Prestant (Fr.) An open flue-stop in Fr. 
 and Ger. organs, generally of 4-foot 
 pitch ; equiv. to Fngl. Principal, 
 
 Prestez'za, con (It.) \Vith rapidity (of 
 movement or execution). 
 
 Prestissirnamen'te, Prestis'simo (It.) 
 Very rapidly, as fast as possible. 
 
 Pres'to (It.) i. Fast, rapid; indicates 
 a degree of speed above allegro and be- 
 low prestissimo . . .P. assa'i, very rapid. 
 2. A rapid movement, most frequently 
 concluding a composition. 
 
 Prick. In earlier terminology, the dot 
 or mark forming the head of a note ; 
 to prick meaning, to write music. 
 Hence, prick-song, (a) written music, 
 opp. to extemporized ; (/>) the counter- 
 point to a cantus Jtrmus, the point 
 against point, 
 
 Primary accent. The down-beat or 
 thesis ; the accent beginning the mea- 
 sure, directly following the bar. . .Pri- 
 mary triad, one of the 3 fundamental 
 triads of a key (those on the 1st, 5th, 
 and 4th degrees). 
 
 Prime. I. The first note of a scale. 2. 
 See Interval. . .Prime, tone, same as 
 generator. 3. The 2nd of the canon- 
 ical hours. 
 
 Prim'geiger (Ger.) Leader (ist violin). 
 
 Pri'mo,-a (It.) First ... Prima f'uffa, 
 the leading female singer in comic 
 opera ..Prima don'na (" first lady "), 
 the leading soprano singer in the opera. 
 . . Prima vi'sta, at first sight . . . Prima 
 vol'ta, the first time ^abbr. Ima volta, 
 or simply I, or I.); indicates that the 
 measure or measures under its bracket 
 are to be played the first time, before 
 the repeat : whereas, on repeating, those 
 marked secttn'da volta (abbr. I Ida volta. 
 or simply II, or 2.) are to be performed 
 instead. Tempo primo, at the first or 
 former rate of speed . . . Primo no' mo, 
 the first male soprano (castra'to), or 
 first tenor. (Obsolete in both senses.) 
 
 Pri'mo (It., ni'iin.) A first or leading 
 part, as in a duet. 
 
 PnnVzither (Ger.) Treble zither.
 
 158 
 
 PRINCIPAL PSAUME. 
 
 Principal, i. In the organ, a flue-stop of 
 open metal pipes, of 4-foot pitch on the 
 manual, and 8-foot pitch on the pedal. 
 (In Ger., Prinsipal' is the open dia- 
 pason.) 2. Theme of a fugue (obso- 
 lete). 
 
 Principal chords. The basic chords of 
 a key, i. e. the triads on the tonic, 
 dominant, and subdominant, with the 
 dom. chord of the 7th. (Also called 
 fundamental, primary, etc.) 
 
 Principa'le (It.) i. Diapason (organ- 
 stop). 2. Principal, chief ; also, prin- 
 cipal or leading part. 3. Sometimes 
 found, in old scores, for tromba (trum- 
 pet). 
 
 Princ'pal-work. See Stop (noun) 2. 
 
 Princi'pio (It.) Beginning, first time. 
 [In Beethoven, Op. 27, No. 2, ist 
 movem.: "piu marcato del principle," 
 more marked than the first time.] 
 
 Prise du sujet (Fr.) Entrance of the 
 subject. 
 
 Pro'be (Ger.) Rehearsal. . . General' probe , 
 full rehearsal. 
 
 Proceed. (Fr. prouder.) To progress. 
 
 Pro'gram. (Ger. Programm' '; Fr. pro- 
 gramme; It. program' ma.} A list of 
 compositions to be performed at a con- 
 cert... P rogram-miisic((j&r. Program m'- 
 musik). a term of modern invention, 
 applied to a class of instrumental com- 
 positions intended to represent distinct 
 phases of emotion, or actual scenes or 
 events ; sometimes made synonymous 
 with ' ' descriptive music ". The ' ' pro- 
 gram " of such a composition may be 
 merely its title ; or occasional interpo- 
 lated remarks ; or a concise summary 
 of its poetic subject-matter, appended 
 as a description for the better compre- 
 hension of the music. 
 
 Progress'. (Ger. forfschreiten; Fr. 
 proce"der, marcher.} To advance or 
 move on ; in melody, from one tone to 
 another; in harmony, from one chord 
 to another ... Progression (Ger. Fort'- 
 schreitung ; Fr. progres, marche; It. 
 progressio' ne), the advance from one 
 tone to another, or from one chord to 
 another ; the former is melodic, the 
 latter harmonic, progression. 
 
 Progressive stop. A compound organ- 
 stop in which the number of ranks in- 
 creases as the pitch rises. 
 
 Prolation. (Lat. prola'tio.) See dota- 
 tion, 3. 
 
 Prolongement (Fr.) i. A mechanical 
 attachment in the reed-organ for hold- 
 ing down single keys after the fingers 
 are raised. 2. Sustaining-pedal. 
 
 Promptement (Fr.), Prontamen'te 
 (It.) Promptly, swiftly. 
 
 Pron'to,-a (It.) Prompt, speedy. 
 
 Pronunzia'to(It.) Pronounced, marked; 
 bcnpr., well, clearly enunciated. 
 
 Proportion. (Lat. propor'tio.) See 
 A'otation 3, and A'achlanz. 
 
 Propo'sta (It.) Theme of a fugue. 
 
 Propri'etas (Lat.) A term applied to a 
 ligature when the first note was a breve. 
 It was indicated, when the 2nd note 
 was the lower, by a descending tail on 
 the left (seldom on the right) of the 
 first note ; when the 2nd was the higher, 
 by the absence of the tail. Oppo'tita 
 proprietas occurred when the first 2 
 notes of the ligature were semibreves, 
 indicated by an ascending tail to the 
 left of the first note. . . Si' ne proprietas, 
 same as Jmpropri'etas. 
 
 Prose. (Lat. pro'sa.) See Sequence. 
 
 Proslambanom'enos (Gk.) See Greek 
 music, p. 89. 
 
 Prosody. (Lat. and It. prosodi'a; Fr. 
 and Ger. Prosodie'.) Metrics, or the 
 science of metre ; specifically, the 
 science of the quantity of syllables, and 
 of accentuation, as affecting versifica- 
 tion. 
 
 Prospekt' (Ger.) The front of an organ. 
 . .Prospekt'pfeifen, front or display- 
 pipes ; also Frontpfeiftn. 
 
 Pro'va (It.) Rehearsal. 
 
 Psalm-melodicon. A wood-wind instr. 
 with 8 finger-holes and 25 keys, having 
 a compass of 4 octaves, and so con- 
 structed that from 4 to 6 tones could be 
 produced at once. Inv. by Weinrich of 
 Heiligenstadt in 1828 ; improved by- 
 Leo Schmidt in 1832, by whom it was 
 called the Apollo-Lyra. 
 
 Psal'tery. (Lat. psalte'rium; It. salte'- 
 rio; Yr.psalte'rion; Ger.Psafter.) An 
 instr. of very ancient origin, and in 
 use down to the 1 7th century, known to 
 the Hebrews as the kinnor, to the 
 Germans as the Rotta; a kind of harp- 
 zither, with a van-ing number of strings 
 plucked by the fingers or with a plec- 
 trum. The strings were stretched over 
 a soundboard, as in the dulcimer. 
 
 Psaume (Fr.) A psalm.
 
 PSAUTIER QUATUOR. 
 
 159 
 
 Psautier (Fr.) Psalter. 
 
 Pul'satile instruments. Instr.s of per- 
 
 cussion (Lat. fulsatilia). 
 Pulse. A beat or accent. 
 Punc'tus, or Punc'tum (Lat.) i. A dot. 
 
 2. A note. ..Punctits contra functtim, 
 
 counterpoint. 
 Punkt (Ger.) A dot . . . Punktierf, dot- 
 
 ted 
 
 Pun'ta (It.) Point (of the bow). 
 Pun'to (It.) Dot. ../W/a'/o, dotted; 
 
 staccato'd. 
 
 Pupitre (Fr.) Music-desk. 
 Purf'ling. The ornamental border on 
 
 the bellies and backs of violins, etc. 
 Put'ti (It., pi.) Boys, choir-boys. 
 Pyramidon. An organ-stop having 
 
 short covered pyramidal pipes more 
 
 than 4 times as wide at top as at mouth, 
 
 and of 1 6' or 32' tone. 
 Pyr'rhic, Pyrrhich'ius. A metrical 
 
 foot consisting of 2 short syllables 
 
 (~). 
 
 Pyth*ian metre, verse. The dactylic 
 (or spondaic) hexameter ( -- 1 -- 
 
 Q. 
 
 Quadrat' (Ger.) A natural ( ft). (Engl.) 
 In medieval music, a breve (Lat. 
 quadra' tu in). 
 
 Quadrici'nium (Lat.) A composition in 
 4 parts. 
 
 Quadrille. (It. quadri'glia) A square 
 dance consisting of 5 (or 6) figures 
 named le Pantalon, fEte", la Poule, la 
 Pastourelle, {la Trenise), and la Finale. 
 The time alternates between 3-8 (6-8) 
 and 2-4. 
 
 Quadruple counterpoint. See Counter- 
 point. . . Q. croche (Fr.), a &4th-note. . . 
 Q. rhythm or time, that characterized 
 by 4 beats to the measure. 
 
 Quad'ruplet. A group of 4 equal notes 
 to be executed in the time of 3 or 6 of 
 the same kind in the re- i 
 gular rhythm; written* ^4* *' 
 
 Quality of tone. (Ger. Ton'farbe; Fr. 
 timbre ; It. timbro.) That characteris- 
 tic peculiarity of any vocal or instru- 
 mental tone which distinguishes it from 
 the tone of any other class of voices or 
 instr.s. 
 
 Quantity. In metrics, prosodic length, 
 
 i. e. the time-value of a syllable. In 
 English versification this is apt to be 
 disregarded, accented and unaccented 
 syllables taking the place of long and 
 short ones. 
 
 Quart. The interval of a fourth. 
 Quart (Fr.) Quarter. ..(>. de soufir,* 
 
 i6th-rest. 
 Quar'ta (Lat. and It.) The interval of 
 
 a fourth. . . Q. modi (toni), the subdom- 
 
 inant. 
 
 Quar'te (Ger. and Fr.) The interval of 
 a fourth... (?. du ton (Fn.) the sub- 
 dominant. 
 
 Quar'tenfolgen (-parallelen) (Ger.) 
 Consecutive or parallel fourths. 
 
 Quarter-note. (Ger. Vier'telnote, Vier*- 
 t?l; Fr. noire; It. ne'ra.) A crotchet 
 (J). (Sometimes abbrev. to Quarter.) 
 Quarter-rest, a rest equivalent in 
 time-value to a quarter-note ( Jfc, \ or 
 V). (Also called quarter-note rest, and 
 crotchet-rest.) 
 
 Quartet'. (Ger. Quartet? ; Fr. quatuor; 
 It. quartet'to.) I. A concerted instru- 
 mental composition for 4 performers, in 
 symphonic form. 2. A comp. or move- 
 ment, either vocal or instrumental, in 4 
 parts. 3. The 4 performers themselves. 
 
 Quart'fagott (Ger.) See Bassoon... 
 Quart" flote, see Flote . . . Quart' geige, see 
 Violin. . . Quartsextakkord, chord of 
 the fourth and sixth (" chord). 
 
 Quarto d'aspetto (It.) A i6th-rest. 
 
 Quarto'le (Ger.) A quadruplet. 
 
 Qua'si (Lat. and It.) As if, as it were ; 
 like ; nearly, approaching. E. g., An- 
 dante quasi allegretto, andante approach- 
 ing allegretto. 
 
 Qua'ter. See Bis 3. 
 
 Quatorzieme (Fr.) The interval of a 
 fourteenth. 
 
 Quatre (Fr.) Four....-/ quatre mains, 
 for 4 hands. 
 
 Quat'rible. In medieval music, a coun- 
 terpoint progressing in parallel fourths 
 to the cantits Jirmus; a quinible pro- 
 gressed in parallel fifths. 
 
 Quatrici'nium (Lat.) A composition in 
 4 parts. 
 
 Quattricro'ma (It.) A 64th-note. 
 
 Quat'tro (It.) Four. . .A quattro want, 
 for 4 hands. 
 
 Quatuor (Fr.) A quartet, vocal or instru- 
 mental.
 
 i6o 
 
 QUAVER QUODLIBET. 
 
 Quaver. An eighth-note. 
 
 Quer'flote (Ger.) Orchestral flute... 
 Quer'pfeife, a fife. . . Quet' stand, false 
 or inharmonic relation. .Quer'strich, 
 the thick stroke substituted for the 
 hooks of hooked notes when grouped. 
 
 Queue (Fr., " tail ".) I. Stem of a note. 
 2. Tailpiece . . . Piano & queue, see 
 Piano (Fr.) 
 
 Quickstep. See March. 
 
 Quie'to (It.) Calm, quiet ; opp. to agi- 
 ta'to. 
 
 Quinde'cima (It.) A fifteenth (either 
 the interval or the organ-stop). .. A I la 
 q. (abbr. fj ma ), two octaves higher (or 
 lower). 
 
 Quinde'zime (Ger.) The interval of a 
 fifteenth. 
 
 Quin'ible. See Quatrible. 
 Quin'quegrade. Same as Pentatonic. 
 
 Quint, i. The interval of a fifth. 2. 
 A 5j-foot organ-stop, sounding a fifth 
 higher than the normal 8-foot pitch. 
 3. The .^-string of the violin. 4. See 
 Violin. . . Quint-stride, the (a) harmonic 
 or (b) melodic progression of a fifth : 
 (a) (b~) 
 
 J C:' I I .V "^ 
 
 Quin'ta (Lat. and It.) The interval of a 
 fifth. . . Q. de'cima, the int. of a fifteenth. 
 ..Quinta fatsa ("false fifth"), the 
 prohibited melodic interval between mi 
 in the hexachordum durum and fa in 
 the hex. naturale : the modern dimin- 
 ished fifth. . . Q. mo'di (to'ni), the dom- 
 inant (comp. Quintus). . .Alia quinta^ 
 at or in the fifth. 
 
 Quint'absatz (Ger.) A half-close, in 
 the midst of a piece, on the dominant ; 
 same as Halbkadenz. 
 
 Quintaton' (Ger.) In the organ, a cov- 
 ered flue-stop of 8, 16, or 32-foot pitch. 
 
 Quinte (Fr.) See I and 2 below... 
 Quintes caches, covered fifths. 
 
 Quin'te (Ger.) I. The interval of a fifth. 
 2. See Quint 2. 3. The ^-string of 
 the violin (Fr. chanterelle). . . Quin'ten- 
 folgen, -parallen, consecutive fifths. . . 
 Quin'tenrein, an epithet applied to 
 strings of bow-instr.s, signifying that 
 they produce "true fifths " to the neigh- 
 boring strings throughout their length. 
 . . Quin'tenzirkel, circle of fifths. 
 
 Quin'terne. See Lute. A species of 
 lute or guitar extremely popular in Italy 
 some 200 years ago, with a body resem- 
 bling a violin and from 3 to 5 pairs of 
 gut strings, to which were sometimes 
 added 2 wire -covered single strings. 
 
 Quintet'. (Ger. Quintett' ; Fr. quintuor; 
 It. quintet' to.) i. A concerted instr'l 
 comp. for 5 performers, in symphonic 
 form. 2. A comp., movement, or num- 
 ber, vocal or instr'l, in 5 parts. 
 
 Quintie'ren (Ger.) To overblow by a 
 twelfth, like the clarinet and other instr.s 
 with single reed. 
 
 Quintoier (Fr.) i. To quinible (also 
 quin lover). 2. See Quintieren. 
 
 Quinto'le (Ger.) Quintuplet. 
 
 Quinton (Fr.) I. The 5-stringed treble 
 viol, or (ace. to ROUSSEAU) the tenor 
 viol. 2. See Saxhorn. 
 
 Quint'stimme (Ger.) A quint (organ- 
 stop) . . . Quint 1 'tone , quint-tones (see 
 Pitch, 2). 
 
 Quintuor (Fr.) A quintet. 
 
 Quintuple rhythm, time. That char- 
 acterized by 5 beats to the measure. 
 
 Quin'tuplet. A group of 5 equal notes 
 to be executed in the time of 4 of the 
 same kind in the regu- J~^^^JJ~3 
 lar rhythm ; written : 
 
 Quintus (Lat.) "The fifth" part, in 
 compositions of the i6th century writ- 
 ten in 5 or more parts ; it might be set 
 for any one of the usual 4 classes of 
 voices, and even wander from one to 
 the other, whence the name quintus 
 vagans, "wandering fifth "...Also 
 Quinta (vox). 
 
 Quintvio'le (Ger.) i. See Quinton I. 
 2. In the organ, a mutation-stop (see 
 Gambenstimme). 
 
 Quinzieme (Fr.) The interval of a fifth. 
 
 Quire. Obsolete for Choir . . . Quirister, 
 ditto for Chorister. 
 
 Quod'libet (Lat., "what you please"; 
 also Ottot'libet, ' ' as many as you 
 please"; It. messan'za, mistichan'za, 
 a mixture.) A humorous combination 
 of various airs, performed either si- 
 multaneously or one after the other; the 
 latter modo differing from the pot-pourri 
 in lacking the connecting interludes ; 
 a favorite device in the r6th and lyth 
 centuries, and occasionally employed 
 even now.
 
 R RECHANGE. 
 
 161 
 
 R. 
 
 R. Abbr. for right (Ger. rechte); r. h.= 
 right hand (rechte Hand); for ripieno; 
 )(. stands in Catholic church-music for 
 Responsoriuni ; RG, for Resp. Graduate; 
 R, in Fr. organ-music, stands for 
 clavier de rSa't (swell-manual). 
 
 Rab'bia, con (It.) With passion, frenzy; 
 
 furiously. 
 
 Rackett' (Ger.; also Jtanket.) I. An 
 obs. wood-wind instr. of the bombard 
 class, with the tube bent many times 
 and, in consequence, a very weak tone; 
 improved byChr. Denner, who reduced 
 the number of bends and made it more 
 like the bassoon, whence the later 
 name Rackett (Fagot l" ', Stock 1 'fagott). 
 2. An organ-stop with a tone re- 
 sembling the above. 
 
 Racier (Fr.) To scrape, saw; racltur, 
 a bungling fiddler. 
 
 Raddolcen'do, Raddolcen'te (It.) 
 Growing calmer and gentle/. . .RaMol- 
 cia'to, gentler, calmer. 
 
 Raddoppiamen'to (It.) I. Doubling 
 chord-notes. 2. Manifolding copies of 
 parts. Raddsppia'lo, doubled. 
 
 Ra'del (Ger.) See Rundgesang. 
 
 Radiating pedals. A pedal-keyboard 
 in which the pedals are set in fan-shaped 
 arrangement, spreading out to the rear 
 from in front, and concave (i. e. some- 
 what higher at the sides). 
 
 Radical bass. A fundamental bass... 
 Radical cadence, see Cadence. 
 
 Rad'leier (Ger.) Hurdy-gurdy. 
 
 Ra'dlmaschine (Ger.) Piston-mechan- 
 ism. 
 
 Rallentamen'to (It.) A slackening in 
 tempo. . . Ralle titan 'do, gradually slack- 
 ening the tempo, growing slower and 
 slower ; equiv. to ritardando. (Abbr. 
 rail.) Also rallenta'lo. . .Rallenta're, 
 to grow slower ; senza rallentare, with- 
 out slackening the pace. 
 
 Rang(Fr.) Rank. 
 
 Rank. A row of organ-pipes. A mix- 
 ture-stop is said to have 2, 3, or more 
 ranks according to the number of pipes 
 sounded by each digital. 
 
 Rant. An old dance ; a name given to 
 the tunes of various country-dances, 
 and also to reels (e. g. the Cameronian 
 Rant). 
 
 Ranz des vaches (Fr.; Ger. Kuh'- 
 
 reigen, Kuh'rrihen.') One of the airs, 
 or variations on an original air, sung, 
 or played on the Alpine horn, in the 
 Swiss Alps as a call io the cattle. It 
 is characterized by oft-repeated figures, 
 rising and falling broken chords, and 
 (when sung) by the frequent employ- 
 ment of the Jodlcr. 
 
 Rapidamen'te (It.) Rapidly. . .Rapi- 
 dittV, con, with ripid'.ty . . . Ra'pido, 
 rapid. 
 
 Rapsodie (Fr.) I. Rhapsody (see 
 Rhapsodic). 2. A composition of 
 bizarre and desultory form, lacking 
 unity and consistency. 
 
 Rasch (Ger.) Fast, rapid, swift... 
 Noch raschtr, still faster... So rase A 
 u<ie m'o'glich, as fast as possible. 
 
 Rasga'do (Span., "a rasping"). Io 
 guitar-playing, the sweeping the string* 
 with the thumb ; hence, the arpeggio 
 effect so obtained. 
 
 Ras'tral, Ras'trum. (Ger. Rastral'.) 
 
 1. Music-pen 2. 2. A 5-pointed claw 
 or graver used by music-engravers for 
 scoring the lines of the staff in the 
 zinc plates. 
 
 Rat' selkanon (Ger.) Enigmatical canon. 
 Rattenen'do, rattenu'to (It.) See 
 
 Ritenuto. 
 Rauh (Ger.) I. Harsh(ly), rough(ly). 
 
 2. Hoarse(ly). 
 
 Rau'scher (Ger.) A rapidly repeated 
 note, as on the pianoforte. 
 
 Rausch'quinte (Ger.) In the organ, a 
 mixture-stop of 2 ranks, combining 
 pipes of 5 j and 4-foot pitch, or of 2\ 
 and 2-foot pitch, without a break 
 (Also Rausch'flotc^ -fftiff, -quarte 
 -werk.) 
 
 Rawivan'do il tempo (It.) Acceleral 
 ing the tempo. 
 
 Ray. For Re, in the Tonic Sol-fa sys- 
 tem. 
 
 Re. Second of the Aretinian syllables, 
 and name of the note D in Italy, etc. 
 In French, Re". 
 
 Re'bec(k). The primitive violin of me- 
 dieval Europe, known in Italy as the 
 ribe'ba or ribe'ca, and in Spain as the 
 rabe, rabel. The body was shaped like 
 a half-pear ; it had 3 gut strings, which 
 yielded a powerful, strident tone. 
 
 Rechange (Fr. , "exchange"). The corpf 
 or tons de rechange are the crooks of 
 the horn, etc.
 
 162 
 
 RECHT REED-ORGAN. 
 
 Recht (Ger.) 
 hand. 
 
 Right ; rechte Hand, right 
 
 R6cit (Fr.) I. A vocal or instrumental 
 solo part. 2. The leading part in a 
 piece of concerted music. Clavier de 
 r&it, swell-manual. 
 
 Recital. In the usual acceptation of the 
 term, a concert at which either (a) all 
 the pieces are executed by one perform- 
 er [as a pfte.-recital\, or (/>) all pieces 
 performed are by one composer. 
 
 Recitan'do (It.) In declamatory style. 
 
 Recitant,-e (Fr.) One who sings or 
 plays a solo. 
 
 Recitati've(teev'). \\-Recitati' vo; Fr. rf- 
 citatif; Ger. Recitativ' ' . A style of de- 
 clamatory singing, dating from 1600 
 (the earliest operas), and springing 
 from the efforts to emancipate dramatic 
 song from the contrapuntal forms then 
 in vogue. The first recitatives had a 
 very simple accompaniment, a mere fig- 
 ured bass (recitativo s.ec'co) ; this broad- 
 ened into the recitativo accompagna'to 
 (or obbliga'to, stromen ta'to ; Fr. equiv. 
 oblig/, accompagn.4), in which the instru- 
 mental parts were invested with more 
 life, variety, and musical importance. 
 Unless marked recitativo a tempo, the 
 recitative may be performed ad libitum. 
 The connecting-link between the rec. 
 of the opera and oratorio and the A'ria 
 is found in the Ario'so. Wagner's rec. 
 differs from the earlier forms in the per- 
 fectly natural musical inflection of the 
 vocal part (the ancient cadences, etc., 
 being abolished), and the richly instru- 
 mented and marvelously pregnant ac- 
 companiment (comp. Melos). 
 
 Reciter (Fr.) To sing or play a re"cit. 
 
 Reciting-note. That tone, in any Gre- 
 gorian mode, on which the greater por- 
 tion of every verse in a psalm or can- 
 ticle is continuously recited ; i. e. the 
 dominant of the mode. 
 
 Recorder. An obsolete species of flageo- 
 let, having 7 finger-holes on the upper 
 side and one below, with an extra hole 
 near the mouthpiece covered with a thin 
 membrane (goldbeaters'-skin), and pro- 
 bably influencing the qual-. 
 ity of the tone. Compass] 
 about 2 octaves, from /' : 
 
 Recte et retro (Lat., "forwards and 
 backwards"). Direction for performing 
 a canon cancrizans. 
 
 Rectus (Lat.) See Motus. 
 
 Reddi'ta, Redi'ta (It.) A repeat. 
 Redoubled interval. A compound in- 
 terval. 
 
 Red'owa. A dance derived from 
 Bohemia, and, like the Mazurka, though 
 less strongly accented, in 3-4 time and 
 lively tempo. In Bohemia there are 2 
 varieties, the Rejdovak in 3-4 or 3-8 
 time, and the Rejdovacka in 2-4 time. 
 
 Require (Fr.), Reduzie'ren (Ger.) To 
 reduce the volume of a composition by 
 rearranging it for a smaller number of 
 instr.s, while preserving its form as far 
 as possible. 
 
 Redundant. Same as Augmented (of 
 chords and intervals). 
 
 Reed. (Ger. Roht'blatt, Zung"e ; Fr. 
 anche ; It. an'cia, lin'gua.) A thin 
 strip of cane, wood, or metal, so ad- 
 justed before an aperture as nearly to 
 close it, fixed at one end, and set by an 
 air-current in vibration, which it com- 
 municates either to an enclosed column 
 of air (organ-pipe, oboe, etc.), or direct- 
 ly to the free atmosphere, thus produc- 
 ing a musical tone. There are 2 classes 
 of reeds, (i) Free Reeds, which vibrate 
 within the aperture without striking the 
 edges ; and (2) Beating (or striking, 
 or percussion) Reeds, which strike on 
 the edges ; in either class, the elasticity 
 of the reed causes its return-stroke after 
 it is borne down by the air-current. 
 Double Reed, two beating reeds which 
 strike against each other (oboe, bas- 
 soon). (Also comp. Pipe 2, b, Reed- 
 organ, Regal.) 
 
 Reed-instrument. One whose tone is 
 produced by the vibration of a reed in 
 the mouthpiece ; the orchestral instr.s 
 of the oboe and clarinet groups. 
 
 Reed-organ. The precursor of the reed- 
 organs now in use was the Regal, which 
 contained beating reeds similar to those 
 in the reed-pipes of church-organs. The 
 present reed-organs have free reeds ; 
 there are 2 principal classes : (i) The 
 Harmonium, the bellows of which forces 
 compressed wind outwards through the 
 reeds ; and (2) the American organ, in 
 which an exhaust or suction-bellows 
 draws the air in through them. Until the 
 invention of the Vocalion, a variety of 
 reed-organ having compression-bellows 
 like those of the harmonium, the tone of 
 the second class was generally superior 
 to that of the first. The wind-supply is 
 ordinarily obtained by the aid of a pair of
 
 REED-PIPE RELISH. 
 
 163 
 
 treadles operated by the performer. 
 There may be one or many sets of reeds 
 or vibrators, each controlled by a stop 
 and slider-mechanism. The timbre of 
 the various orchestral instr.s is now 
 very successfully imitated. Common 
 mechanical devices are the percussion- 
 stop, expression-stop (harmonium), knee- 
 swell (Amer. org.), tremulant, duuble- 
 touche, and prolongement. The first 
 reed-organ was invented by Grenie in 
 1810, and named by him orgue expressif 
 on account of the crescendo and decre- 
 scendo obtainable on it ; other inventors 
 constructed the teoline, aolodikon, phys- 
 harmonica, etc. ; the Harmonium, the 
 first instr. of the class having several 
 stops, was patented in Paris by A. De- 
 bain in 1843. 
 
 Reed-pipe, Reed-stop. See Pipe z, b. 
 
 Reed-work. See Stop (noun) 2. 
 
 Reel. A lively dance, probably of Celtic 
 origin, still in vogue in Scotland and 
 Ireland, and usually in 4-4 (sometimes 
 in 6-4) time, with reprises of 8 measures; 
 danced by 2 couples. 
 
 Refrain'. A burden. 
 
 Re'gal. (Ger. Regal'.) i. An obsolete 
 kind of portable organ with one or two 
 sets of reed-pipes (beating reeds), a 
 keyboard for the right hand, and a bel- 
 lows worked by the left. According to 
 the number of pipes sounded by each 
 digital, it was called a single or double 
 regal. The old English name was 
 regall, or a pair of regalls. (See Har- 
 monium.) A Bibelregal (Ger.) was one 
 folding up like a large bible ; a bible- 
 organ. 2. (Ger.) An obsolete suffix 
 distinguishing reed-stops; e.g. Hat'- 
 fenregal, Gei'genregal. 3. An old 
 species of xylophone. 
 
 Re'gel (Ger.) A rule. 
 
 Re'gens cho'ri (Lat.) Choir-master. 
 
 Regier'werk (Ger.) In the organ, the 
 mechanism of the keys and draw-stops, 
 taken collectively. 
 
 Reg'ister. i. (Ger. Regis' 'ter.) A set of 
 pipes or reeds controlled by one draw- 
 stop ; in this sense synonymous with 
 stop (organ-stop). 2. A board with 
 perforations for guiding and steadying 
 the trackers of an organ-action. 3. A 
 portion of the range and compass of 
 the voice, and of certain instr.s ; (a) 
 see Voice ; (b) comp. Chalumeau. 
 
 Regis'ter (Ger.) Register i and 3. 
 Regis' terknopf, stop-knob . . . Regis' ter- 
 
 stange, stop-lever. . . Regis' terzug, draw- 
 stop mechanism. . .Stum' me Register 
 (pi.), mechanical stops ; tonende Regis- 
 ter (pi.), speaking stops. 
 
 Registre (Fr.) i. A stop-knob. 2. 
 Register 3. 
 
 Registration, i. The art of effectively 
 employing and combining the various 
 stops of the organ. 2. The combina- 
 tion or combinations of stops employed 
 for any given composition. 
 
 Registrie'ren (Ger.) To registrate or 
 register (see Registration). Registrie'- 
 rung, registration. 
 
 Regie (Fr.) Rule. 
 
 Rein (Ger.) Perfect (of intervals) ; just, 
 true, correct (of pitch or intonation). 
 
 Rein'greifen (Ger.) Accurate stopping 
 (violin) ; accurate playing (in general). 
 
 Rei'tertrompete (Ger.) Clarion, clarina, 
 clarino. (Medieval trumpet, with 
 straight tube about 30 inches long.) 
 
 Rela'tio non harmo'nica (Lat.) In- 
 harmonic relation. 
 
 Relation. (Ger. Verwand'schaft; Fr. 
 relation; It. relazio'ne.) The degree 
 of affinity between keys, chords, and 
 tones. The simplest explanation of re- 
 lationship is that promulgated by the 
 neo-harmonists (comp. Phone, 4). 
 Also Relationship, Tone-relationship 
 (Ger. Ton'verwandschaft). 
 
 Relative key. (Ger. Parallel 'tonart; 
 Fr. mode relatif; It. tonorelati'vo.) A 
 minor key is relative to that major key, 
 the tonic of which lies a minor third 
 above its own ; a major key is relative 
 to that minor key, the tonic of which 
 lies a minor third below its own. (N. 
 B. Relative is sometimes used for re- 
 lated, in qualifying keys and chords.) 
 
 Religiosamen'te, Religio'so (It.) In 
 a style expressive of religious or devo- 
 tional feeling. 
 
 Relish. One of the " shaked graces " of 
 the old harpsichord-music ; in 2 forms, 
 namely, the Single Relish : 
 
 played: 
 
 and the 
 Double 
 Relish : 
 plaved:
 
 164 
 
 REMOTE KEY RESPONSORY. 
 
 Remote key. An unrelated key. (See 
 Relation.) 
 
 Remo'tus (Lat.) Remote, far apart ; as 
 harmonia remota, open harmony. 
 
 Remplissage (Fr., "filling"). The 
 parties de r. are the inner parts. The 
 word r. is also used as a term of re- 
 proach for superfluous or cumbrous 
 parts in the works of novices "pad- 
 ding " ; also, for non-concerted parts. 
 
 Rendering. Artistic interpretation or 
 reproduction. (Preferable to the term 
 " rendition ".) 
 
 Rentrde (Fr.) Reentrance of a part or 
 theme after a rest or pause. 
 
 Renverser (Fr.) To invert ; renverse'; 
 inverted ; renversemenl, inversion. 
 
 Renvoi(Fr.) The sign (e. g. Jf.) direct- 
 ing the performer to return to and re- 
 peat from a similar sign. 
 
 Repeat. (Ger. Wiederho'hingszeichen- t 
 Fr. baton de reprise; It. re' plica.) The 
 
 the first signifying that the division be- 
 tween the dotted double-bars is to be 
 repeated ; the second and third, that 
 the preceding and also the following 
 division is to be repeated ; the dots 
 always being on the same side of the 
 bar as the division to be repeated. 
 Comp. Da Capo, and Dal Segno. 
 
 Repeating action. See Repetition 2. 
 
 Repercussion. (Lat. repercus'sio.) I. 
 The repetition of a tone or chord. 2. 
 The regular reentrance, in a fugue, of 
 the subject and answer after the epi- 
 sodes immediately following the expo- 
 sition. 3. In Gregorian music, the 
 dominant of the mode, as being the 
 tone most reiterated. 
 
 Repetie'ren (Ger.) i. To break (see 
 Break 3) ... Eine repetie'rende Stim'ine, 
 a mixture-stop with a break. 2. To re- 
 peat. 
 
 Repetition, i. The very rapid reiter- 
 ation of a tone or chord, producing 
 almost the effect of a sustained sound. 
 2. Repeating action, one in which 
 the rebound of the hammer admits of 
 the instant restriking of the key and 
 repetition of the tone (pfte.) 
 
 Re"p6tition (Fr.) Repetition ; rehearsal. 
 
 Repetition' (Ger.) Repetition i and 2 ; 
 also, a Break 3 ... Repetitions' mechanik, 
 repeating action (pfte.) 
 
 Repeti'tor (Ger.) The trainer or con- 
 ductor of an opera-chorus. (Fr. cluf du 
 chant. ) 
 
 Repetizio'ne (It.) Repetition. 
 
 Re'plica (It.) A repeat. . .Replica' to, 
 (a) repeated ; (b) doubled. 
 
 Rep'licate. A tone one or more octaves 
 above or below a given tone. 
 
 Replik' (Ger.) A complementary inter- 
 val. 
 
 R6plique (Fr.) i. A replicate (unused). 
 2. Answer (usually re'ponse). 3. A 
 complementary interval. 4. A cue. 
 
 Reply. Answer. 
 
 R6pons (Fr.) A response. 
 
 R6ponse (Fr.) An answer. 
 
 Report. Same as Answer. 
 
 Repos (Fr.) The end of a phrase, 
 marked by a full cadence. 
 
 Reprise (Fr.) i. A repeat. 2. The re- 
 vival of a work. 3. Break 3. 4. The 
 repetition of the first theme, in a short 
 movement, after an episode. 5. Same 
 as Ren tree. 
 
 Re'quiem. The first word in the Mass 
 for the Dead, which begins with the 
 antiphon Requiem (Eternam dona eis, 
 domine; hence, the title of the musical 
 setting of that Mass. Its divisions are 
 as follows : (i) Requiem, Kyrie ; (2) 
 Dies ine, Requiem ; (3) Domine Jesu 
 Christe ; (4) Sanctus, Benedictus ; (5) 
 Agnus Dei, Lux seterna. 
 
 Resin. See Rosin. 
 
 Resolution. (Ger. Auflosung; Fr. 
 resolution; It. risolitzio'ne.) The pro- 
 gression of a dissonance, whether a 
 simple interval or a chord, to a conso- 
 nance. 
 
 Resoluzio'ne, con (It.) See Risolnto. 
 
 Res'onance-box. A hollow resonant 
 body, like that of a violin or zither. 
 
 Resonanz'boden (Ger.) Soundboard or 
 belly... Resonanz hasten, resonance-box. 
 . . Resonanz' saite, sympathetic string. 
 
 Respi'ro (It.) A i6th-rest. 
 
 Respond. See Responsory 3. 
 
 Response. (Lat. respon'sum.) I. The 
 musical reply, by the choir or congre- 
 gation, to what is said or sung by the 
 priest or officiant, either in the Anglican 
 or R. C. Church. 2. See Responsory. 
 3. Same as Aiis-ver. 
 
 Respon'sory. (Lat. response' riitm.) I. 
 That psalm, or part of one, sung be-
 
 RES3ORT RHYTHM. 
 
 tween the missal lessons. 2. The Grad- 
 ual. 3. A Respond ; i. e. a part of a 
 psalm (formerly an entire psalm) sung 
 between the lessons at the canonical 
 hours. 
 Ressort (Fr.) Bass-bar. 
 
 I. 
 
 Rests:! - 
 T ime-value :l ^ 
 
 Rest. (Ger. Pati'se; Fr. silence; It. 
 fa'nsa.) (i) A pause or interval of 
 silence between two tones ; hence (2) 
 a sign indicating such a pause. The 
 rests equivalent in time-value to the 
 several notes are as follow^ -. 
 
 6. 
 
 \ 
 
 ENGLISH. 
 
 GERMAN. 
 
 FRENCH. 
 
 1. Whole rest. Taktpause. [Pause. Pause. 
 
 2. Half-rest. Halbe {or Zweitel-) Demi-pause. 
 
 3. Quarter-rest. Viertelpause. Soupir. 
 
 4. Eighth-rest. Achtelpause. Demi-soupir. 
 
 5. jfitn-rest. Sechzehntelpause. Quart de soupir. 
 
 6. 32nd-rest. Zweiunddreissigstelp. Demi-quart de s. 
 
 7. fi^th-rest. Vierundsechzigstelp. Seizieme de s. 
 
 ITALIAN. 
 
 Pausa dclla semibreve. 
 
 minima. 
 ' semiminima (or Quarto). 
 
 croma (or Mezzo-quarto). 
 ' semicroma (or Respiro). 
 ' biscroma. 
 " semibiscroma. 
 
 equal in time-value 
 to i breve ( ^ ), or 
 
 . . . Breve- z 
 rest, a rest - 
 
 2 semibreves or whole notes 
 . .Large-rest, Long-rest, see 
 li P- J3 1 -Measure-rest, a pause 
 throughout a measure. The whole rest 
 is often used as a measure-rest, regard- 
 less of the measure-value expressed in 
 the time-signature ; the 2-measure rest 
 is then writ- the 3-measure 
 ten thus : ' rest thus: 
 m i the 4-measure etc. 
 .' rest thus: * ' But, 
 for rests longer than one measure, any 
 one of 'the following conventional signs 
 is usually employed, with a numeral above 
 to show'the number of measures rested: 
 38 46 
 , -* =, etc. 
 
 Restric'tio (Lat.) Stretto (of a fugue). 
 Resultant tones. See Acoustics, 3. 
 
 Retard. To suspend. . .Retarded pro- 
 gression, same as Retardation 2. 
 
 Retardation. A holding-back, decreas- 
 ing in speed. 2. A suspension resolving 
 upward ; opp. to Anticipation. 
 
 Retraite (Fr.) The tattoo. 
 
 Retrograde. (Lat. retrogra' dus ; It. 
 retrogra'do). See Imitation. 
 
 Ret'to (It.) Direct, straight. See Molo. 
 
 (i) El 
 
 Vito: 
 
 Reveille (Engl. and Ger.; from Fr. r/- 
 veil.) A military signal for rising. 
 
 Reverie. An instrumental comp. of a 
 dreamy cast, without characteristic form. 
 
 Reversion. See Imitation, retrograde. 
 . .Reverse motion, same as Contrary 
 motion. 
 
 Rhapsodic (Fr.) In ancient Greece, 
 rhapsodies were fragments from the 
 great epics, sung by the rhapsodes to 
 the cithara. In modern music, the 
 rhapsodic is generally an instrumental 
 fantasia on folk-songs or motives taken 
 from primitive national music ; an ex- 
 ception is Brahms' Op. 53. (Also Rhap- 
 sody.) 
 
 Rhythm. (Ger. Rhyth'mus; Fr. rythme; 
 It. rit" mo.) I. The measured move- 
 ment of similar tone-groups ; i. e., the 
 effect produced by the systematic group- 
 ing of tones with reference to regularity 
 both in their accentuation and in their 
 succession as equal or unequal in time- 
 value. A Rhythm is, therefore, a tone- 
 group serving as a pattern for succeed- 
 ing groups identical with it as regards 
 the accentuation and duration of the 
 tones. The rhythm, being thus a thing 
 apart from tonal melody or harmony, 
 is reducible to a formula of notes with- 
 out pitch, merely representing an orderly 
 series of pulsations ; take, for instance, 
 the castanet-rhythm of 3 Spanish na- 
 tional dances :
 
 166 
 
 RIBS RIPRESA. 
 
 (2) Fandango: a- *-p 
 
 (3) Bolero: 
 
 The vertical bars divide the measures; 
 the slurs connect notes forming one 
 rhythmic group or rhythm. The differ- 
 ence between a measure and a rhythm 
 is apparent ; the former is the sum of 
 the time-values of notes (or rests) be- 
 tween 2 bars, whatever be their arrange- 
 ment ; the latter may be contained (i) 
 within a measure, but at (2) embraces 
 2 measures, and at (3) begins before the 
 bar. Time, on the other hand, is the 
 division of each measure into equal 
 fractional parts of a whole note, corre- 
 sponding (at least in the simple times) 
 to the same number of regular beats to 
 a measure ; with which regular beats 
 the pulsations of the rhythm are by no 
 means required to coincide. It must 
 be added, however, that the above defi- 
 nitions are not universally accepted, 
 and that great confusion prevails in this 
 department of English mus. termi- 
 nology, as in others ; they are given 
 simply as valid for this Dictionary. 2. 
 Rhythm, in a wide sense, is the accent- 
 uation marking and defining broader 
 mus. divisions in the flow and sweep of 
 a composition by special emphasis at the 
 entrance or culminating points of mo- 
 tives, themes, phrases, passages, sections, 
 etc. (Comp. Accent 2.) 
 
 Ribs. (Ger. Zar'gen ; Fr. Misses ; It. 
 fa'scie.} The curved sides of the violin 
 and similar instr.s, connecting belly 
 and back. 
 
 Ribattu'ta (It.) A device for begin- 
 ning a trill. (Comp. Trill.') 
 
 Ribe'ba, Ribe'ca (It.) Rebec. 
 
 Ricerca're, Ricerca'ta(It.) i. Original- 
 ly vocal, and later also instrumental, 
 compositions of the 1 6th and i"th cen- 
 turies, in fugal form more or less high- 
 ly developed, usually built up as a sort 
 of fantasia on original motives. 2. See 
 Fugue. 
 
 Riddle-canon. See Canon, enigmatical. 
 
 Ridot'to (It.) i. Reduced (see Re'duire'). 
 2. A reduction. 
 
 Rigadoon'. (Fr. rigaudon.} An ani- 
 mated, often grotesque dance of French 
 
 etc. 
 
 origin, generally in 4-4 time (sometimes 
 2-2, rarely 6-4) with an auftakt of a 
 quarter-note ; it consists of 3 or 4 reprises, 
 the third falling in as if by chance at a 
 lower pitch and frequently without a 
 regular close, to enhance the contrast 
 with the succeeding division. 
 
 Ri'go (It.) The staff. (Also banda, 
 portata, sistema, tirata, or verto.) 
 
 Rigo're (It.) Rigor, strictness ... CV* 
 r,, al r. di tempo, in strict time. (Also 
 rigoro'so.) 
 
 Rilascian'do, Rilascian'te (It.) Ral- 
 lentando. 
 
 Rimetten'do (It., abbr. rimett.) Hold- 
 ing back, retarding (the tempo). 
 
 Rinforza're (It.) To reinforce (by ad- 
 ditional stress); to emphasize. . .Rin- 
 forzamento, reinforcement ; rinfor- 
 zan'do or rinforza'to, with special 
 emphasis ; indicates a sudden increase 
 in loudness, either for a tone or chord, 
 or throughout a phrase or short passage 
 (abbr. rinf., rfz., rf.); rinfor'zo, re- 
 inforcement ; per rinforzo, by way of 
 reinforcement. 
 
 Ripercussio'ne (It.) Repercussion. 
 
 Ripetizio'ne (It.) Repetition. 
 
 Ripie'nist. (It. ripieni'sta.} A musician 
 playing a ripieno part. 
 
 Ripieno (It. ; lit. " full, filling up ; sup- 
 plementary.") i. A ripieno part in in- 
 strumental music is one reinforcing the 
 leading orchestral parts by doubling 
 them or by filling in the harmony, and 
 is thus opposed to solo, concertante, and 
 obbligato ; such parts are termed 
 ripie'ni (noun). 2. In scores, ripieno'\& 
 a direction calling for the entrance of the 
 full string-band (or, in military music, 
 the clarinets, oboes, etc.), being equiva- 
 lent to Tutti. (Also v. APPENDIX.) 
 
 Ripien'stimmen (Ger.) Ripieni. 
 
 Ripiglia're (It.) To resume ; ripi- 
 glian'do, resuming. 
 
 Ripren'dere (It.) To resume ; ripren- 
 
 den'do, resuming. 
 Ripre'sa (It.) A reprise or repeat ; also, 
 
 the sign .^-.
 
 RISE ROMANCE. 
 
 167 
 
 Rise. Same as Plain-beat. 
 
 Risenti'to (It.) Energetic, vigorous ; 
 expressive. 
 
 Risoluzio'ne (It.) i. Energy, decision. 
 2. A resolution. . . Risolu' to, energetic, 
 decided, strongly marked ... Risoluta- 
 nien'te, with energy, decision. 
 
 Risonan'za, Risuonan'za (It.) Reso- 
 nance. 
 
 Rispo'sta (It.) Answer (in a fugue) ; con- 
 sequent (in a canon). 
 
 Riss in der Stimme (Ger., "crack in 
 the voice".) A break (when the pas- 
 sage from one register to another cannot 
 be smoothly effected). 
 
 Ristret'to (It.) A stretto. . 
 Risveglia'to (It.) Lively, animated. ' 
 Ritardan'do (It.) Growing slower and 
 slower (abbr. ritard., rit.) Also ritar- 
 da'to. . .Ritai'do, retardation. 
 
 Ritenen'do, Ritenen'te (It.) Same as 
 Rallentando. 
 
 Ritenu'to (It.) Properly, held back, in 
 slower tempo ; but often used incor- 
 rectly for rallentando. Abbr. riten., 
 rit. (See Tempo-marks.) 
 
 Rit'mo (It.) Rhythm. . .R. di due (tre) 
 battu'te [= 2-measure (3-measure) 
 rhythm], a phrase indicating that not 
 one measure, but 2 (3) measures, are to 
 be considered as forming a great mea- 
 sure or metrical unit. [An identifica- 
 tion of rhythm with metre; comp. 
 Rhythm 2.J 
 
 Ritornel'lo (It.) I. In accompanied 
 vocal works, such as songs, arias, ora- 
 torios, or operas, an instrumental pre- 
 lude, interlude, or postlude (refrain) ; 
 or, a tutti in a concert-piece. Also 
 ritornelle (Fr. ritournelle). 2. A re- 
 peat. 3. The burden of a song. 
 
 River'so (It.) I. Reversed. 2. Retro- 
 grade. (Comp. Rovescio.) 
 
 Rivolgimen'to (It.) Transposition of 
 the parts in invertible counterpoint. 
 
 Rivol'to (It.) Inversion. . .Rivolta'to, 
 inverted. 
 
 Robu'sto (It.) Firm and bold... Robu- 
 stamen'te, firmly and boldly. 
 
 Rock-harmonicon. An instr. consist- 
 ing of a series of rock-crystals, gradu- 
 ated to the tones of the scale, and play- 
 ed with hammers. 
 
 Roger de Coverly. See Sir Roger. 
 
 Rohr, Rohr'blatt (Ger.) i. Reed ; the 
 
 latter is applied specifically to the reeds 
 of the oboe and bassoon {dop'peltes 
 Rohrblatf), and of the clarinet (ein r - 
 faches Rohrblatt). Zung'e is the usual 
 term for Reed. . . Rohr'Jlote (Fr. fute a 
 cheminee ; Engl. reed-fiute), a half- 
 covered flue-stop in the organ, with a 
 hole or chimney in the cover, and of 8, 
 1 6, or 4-foot pitch ; the tone is brighter 
 than when the pipes are wholly cover- 
 ed ; the lower half of the rank, how- 
 ever, is wholly covered. Of 2 or i-foot 
 pitch, it is usually called Rohr'schelle. 
 The Dop'pelrohrflote is one with double 
 mouth, the Rohr'quinte a reed-flute of 
 2%-foot pitch. The English clarionet- 
 Jlute resembles the Rohrquinte . . . Rohr- 
 werk, reed-work. 2. Tube (of awind- 
 instr.) [only Rohr\. 
 
 Roll. I. (Ger. Wir'bel ; Fr. roulement ; 
 It. rollo.) A tremolo or trill on the 
 drum, produced (a) on the kettledrum 
 by rapid alternate single strokes ; (b) on 
 the side-drum, by striking alternately 2 
 strokes with the left hand and 2 with 
 the right. rr r ~~~ or ^ or ^ 
 
 The si g 
 
 ^ 
 
 tion is : 
 
 . . Long roll, the prolonged and reiterated 
 drum-signal to troops, either for the 
 attack, or the rally. 2. In organ-play- 
 ing, a rapid arpeggio. 3. On the tarn* 
 bourine, the rapid and reiterated hither- 
 and thither-stroke with the knuckles. 
 
 Rol'le (Ger.) A succession of rapid un- 
 dulatory (ascending and descending) 
 runs or passages consisting of repetU 
 tions of the same figure. 
 
 Rol'lo (It.) Roll i. 
 
 Roller, i. The cylinder or barrel of a 
 music-box, or of a carillon. 2. A 
 roller-board ; a wooden bar resting on 
 gudgeons and provided with 2 arms, 
 one pulled by a tracker from a key, 
 which makes the other draw a tracker 
 opening a valve (organ) . . . Roller-board 
 action, the mechanism belonging to the 
 roller-boards of an organ. 
 
 Romance. (It. roman'za; Ger. Ro- 
 man'ze.) Originally, a ballad, or popu- 
 lar tale in verse, in the Romance dia- 
 lect ; the name, being later transferred 
 to stories of love and knightly adven- 
 ture, which were often set to music, 
 has been employed in modern times as 
 the title of epico-lyrical songs, and, by 
 further transference, of short instru-
 
 168 
 
 ROMANESCA ROUNDEL. 
 
 mental pieces of a sentimental or ro- 
 mantic cast, and without definite form 
 (see Ballade). The French romance is 
 a simple love-ditty expressive of tender 
 melancholy ; Romances sans Paroles 
 are " Songs without Words." 
 
 Romane'sca (It.) The Italian form of 
 the Galliard, so called because coming 
 from Rome. 
 
 Romantic. The opposite of classic 
 (which denotes an accepted and com- 
 prehended type, in which form and 
 spirit blend to form an harmonious 
 whole). Romantic was an epithet orig- 
 inally derived from Romance poems of 
 the early middle ages, and applied to 
 very various products of a lively, 
 gloomy, or heated imagination down to 
 the German revival of Romantic litera- 
 ture during the iSth century. All late 
 romantic poems having something of 
 exalted mysticism, visionary enthusi- 
 asm, or strong subjective and senti- 
 mental emotion of an uncommon type, 
 the term romantic was naturally trans- 
 ferred to composers and their works 
 that depart from the beaten track, and 
 aim at expressing emotion in a style 
 and with means differing from those 
 employed by their predecessors. Thus, 
 old forms are broadened, new forms 
 and types created, and also many ec- 
 centric and ill-conceived productions 
 brought to light. Hence it comes, too, 
 that the Romanticists of to-day are the 
 Classicists of to-morrow ; that Haydn 
 and Mozart, Beethoven, Weber, 
 Chopin, and Schumann, Berlioz, 
 Liszt, and Wagner, are all in turn 
 decried, listened to, tolerated, admired, 
 worshipped, and imitated. And the 
 imitators of original genius are simply 
 post-classicists, who, in full accord with 
 the form and mode of expression em- 
 ployed by their models, seek to elabo- 
 rate and finish both in a manner suited 
 to their own needs. It might be said, 
 that any great original composer re- 
 mains a romanticist until he is thorough- 
 ly understood. Berlioz, Liszt, Wagner 
 and their following are generally class- 
 ed as the neo-romantic school. 
 
 Roma'nusbuchstaben (Ger.) The lit- 
 terce significative. 
 
 Ronde (Fr.) A whole note. 
 
 Ron'do. (It. rondb' [dimin. rondineflo, 
 rondinet'to, rondi'no, rondolet'td] ; Fr. 
 rondeau.) A form of instrumental com- 
 position, the characteristic feature of 
 
 which, a return of the leading theme, is 
 derivable from the construction of the 
 old French poetical form of the ron- 
 deau. While in the earlier rondos the 
 digressions from the 1st theme were of 
 an irregular and desultory character, the 
 episodes of the modern form assume 
 the shape of well-defined contrasting 
 themes, somewhat in the following order: 
 I-II (dominant)-I-III-I-II (tonic)-Co- 
 da. (See Form.) 
 Root. The lowest note of a chord in the 
 
 Rosa'lia (It.) A melodic form consist- 
 ing of the repetition of a phrase or 
 figure several times, each time trans- 
 posed one degree higher, or simply (as 
 more loosely interpreted) on various de- 
 grees. (Ger. Rosa' lie ; also Schu'ster- 
 fleck, and Vet'ter Mi'chel.) 
 
 Rose. (Ger. Ro'se; Fr. rosette; It. ro'sa.) 
 The ornamental pattern bordering the 
 sound-hole in the belly of the guitar, 
 mandolin, etc. ; often used not merely 
 as an ornament, but as a trade-mark. 
 
 Rosin. (Ger. Kolophon' ; Fr. colophane ; 
 It. colofo'nia.) The residue of turpen- 
 tine, after distillation to obtain the oil 
 of turpentine. That used for violin- 
 bows is the refined article. 
 
 Ro'ta. I. A round, rondeau, or piece-of 
 similar construction. 2. (Also Rote, 
 Rotta, Rotted) See Crowd. 
 
 Roton'do (It.) Round, full (of a tone). 
 
 Roulade (Fr.) A grace consisting of a 
 run or arpeggio from one principal tone 
 to another ; a vocal or instrumental 
 flourish. 
 
 Roulement (Fr.) Roll. 
 
 Round. I. A species of vocal rhythmical 
 canon at the unison, differing from the 
 regular canon in having no coda, thus 
 being infinite ; a favorite style of com- 
 position in England, from early times 
 (the celebrated round " Sumer is i-cum- 
 en in" is supposed to date from the 
 middle of the I3th century) down to the 
 present day. It differs from the catch 
 (with which it was formerly identical) 
 in eschewing the comical effects of the 
 latter. The round proper sometimes 
 has an harmonic support or accom- 
 paniment called the pes. 2. A circle- 
 dance, or round dance. 
 
 Roundel. A dance in which the partici- 
 pants form a circle or ring.
 
 ROUNDELAY SAITE. 
 
 169 
 
 Roundelay. A lay or song containing 
 some continued reiteration or refrain. 
 Also, a roundel. 
 
 Rovesciamen'to (It.) i. Reversion, 
 contrary motion ; retrograde motion. 
 2. Inversion. 
 
 Rove'scio (It., "reverse, wrong side".) 
 . // r. signifies : (u) Imitation by con- 
 trary motion ; (3) a movement so con- 
 structed that it may be performed back- 
 wards (cancrizans). 
 
 Ruba'to (It., "robbed".) Used in the 
 phrase tempo rubato as a direction, in 
 passages calling for the display of in- 
 tense or passionate feeling, that the 
 performer should modify the strict 
 rhythmical flow of the movement by 
 dwelling on, and thus (often almost in- 
 sensibly) prolonging, prominent mel- 
 ody-notes or chords, this in turn re- 
 quiring an equivalent acceleration of 
 less prominent tones, which are thus 
 robbed of a slight portion of their time- 
 value. 
 
 Rubebe (Fr.) Rebec. 
 
 Ruck'fall (Gcr.) A backfall. 
 
 Riick'gang (Ger.) Return (i. e. a tran- 
 sition from one theme to the repetition 
 of a preceding theme). 
 
 Riick'positiv (Ger.) See Positiv. 
 
 Riick'ung (Ger., "a shifting".) I. Syn- 
 copation. 2. Enharmonic change (en- 
 harmonische Riickung). 
 
 Riick'weiser (Ger.) The sign -S^-. 
 Ruh'ezeichen (Ger.) See Pause (Ger.) 
 
 Ruh'ig (Ger.) Quiet, calm, tranquil. 
 (Also adverb.') 
 
 Ruh'rung (Ger.) Emotion. 
 Rule of the octave. See Octave. 
 
 Rullan'te (It.) Rolling ; tambu'ro rul- 
 lante, a side-drum. 
 
 Run. i (noun). A rapid scale-passage ; 
 in vocal music, usually applied to such 
 a passage sung to one syllable. 2 
 (verb). The wind in the windchest (or- 
 gan) is said to run when it leaks into a 
 groove ; this running causes a more or 
 less distinct sounding of the pipes on 
 that groove, and is a serious defect. 
 
 Rund'gesang(Ger.) A solo song, with 
 refrain for chorus. 
 
 Russ'pfeife (Ger. ; Dutch Kuispipe.) 
 See Rauschquinte. 
 
 Ru'stico (It.) Rustic, pastoral. 
 
 Rutsch'er (Ger.) Old Ger. name for 
 the Galop. 
 
 Ru'vido (It.) Rough. . .Ruvidamen'te, 
 
 roughly, coarsely. 
 Ry thine (Fr.) Rhythm. 
 
 Rythm6 (Fr.) In rhythm, measured; 
 (>icn r. (It. bfn ritmato), with due 
 rhythmic emphasis; or (of a com position) 
 well-balanced and effective in rhythmical 
 construction. 
 
 s. 
 
 S. Abbr. of Segno, in the phrases al 
 Segno, dal Segno ; Senza, in the phrases 
 senza Pedale, senza Sordini ; of Sini- 
 stra; Solo; Sordini ; and of Subito, in 
 the phrase volti subito. 
 
 Sabot (Fr.) I. In the double-action 
 harp, one of the movable disks, each 
 provided with 2 projecting studs, which 
 make a partial revolution on depressing 
 a pedal, the studs engaging and thus 
 shortening the string. 2. An inferior 
 fiddle. 
 
 Saccade (Fr.) In violin-playing, a firm 
 stroke of the bow by which 2 or more 
 strings are so pressed down as to sound 
 together. 
 
 Sackbut. I. Earlier form of the trom- 
 bone. 2. In the Bible (author, vers.), 
 the translation of sabbeka, which is 
 supposed to have been a harp-like instr. 
 (Also Sacbut.) 
 
 Sack'pfeife (Ger.) Bagpipe. 
 
 Sacque-boute (Fr.) See Saquebute. 
 
 Sacred music. (Ger. JCir'chenmusik,- 
 Fr. musique tfSglise; It. mu'sica reli- 
 gio'sa.) Church-music, or music for 
 devotional purposes ; opp. to secular 
 music. 
 
 Sa'crist. A person retained in a cathe- 
 dral, whose office it is to copy out the 
 music for the use of the choir, and take 
 care of the books. [BUSBY.] 
 
 Sagbut. Same as Sackbut. 
 
 Sai'te (Ger.) A string. . . Sai' tenchor , a 
 unison of strings (group of 2 or 3 tuned 
 in unison). . . Sai'tenfessel, usually Stii'- 
 tenhalter, tailpiece. . . Sai' tenharmonika, 
 a keyboard stringed instr. inv. by J. H. 
 Stein in 1788, with diminuendo attach- 
 ment . . . Sai'teninstrumente, stringed 
 instr.s. . . Sai'tenorgel(" string-organ "), 
 a keyboard stringed instr. inv. by Carl 
 Giimbel of Kroffdorf, near Giessen, 
 Prussia, in 1890. The sustained tone 
 (organ-tone) is obtained by adding to,
 
 170 
 
 SALICET SARRUSOPHONE. 
 
 each unison a fourth string, which is 
 set in continuous vibration by the rapid 
 blows of an harmonium-reed furnished 
 with a leathern head ; the action of 
 these reeds (whose vibration-numbers 
 coincide with those of the correspond- 
 ing unisons struck by the ordinary ham- 
 mers) is controlled by wind, supplied 
 by bellows filled by a pair of treadles 
 worked by the player. By means of 
 various stops and combinations, the S. 
 can be played (i) as a pfte.; (2) as an 
 organ ; (3) with pfte.-tone and organ- 
 tone combined ; (4) the bass side as 
 an organ, and the treble side as a 
 pfte., or vice versa ; (5) with crescendo 
 and decrescendo effects, and all imagin- 
 able gradations of tone-power. The 
 combined timbre partakes of the quali- 
 ties of the string-band, organ, and pfte. 
 Built in 2 styles, upright and grand. 
 
 Sal'icet, Sali'cional. An organ-stop 
 having open flue-pipes of metal, gener- 
 ally of 8-foot pitch, sometimes of 4, 2, 
 and (on the pedal) l6-foot pitch, with a 
 mellow, reedy tone like the Dulciana. 
 (Also Salcional.) 
 
 Salmi (Fr.) Quodlibet. 
 Sal'mo (It.) Psalm. 
 
 Salon'fliigel (Ger.) Parlor grand (pfte.) 
 . . Salon sliick, a piece of salon-(par- 
 lor-) music. 
 
 Saltarel'la, Saltarel'lo (It.) i. A jack. 
 2. In many dance-tunes of the l6th 
 century, the second part (Ger. Hop'pel- 
 tanz, Nack'lanz; Lat. proper 1 'tio; Fr. 
 tourdion), which was in triple time, the 
 first being in duple time ; the skipping 
 step was marked in the rhythm: 
 
 J"Tj 
 
 etc 3. A Roman (or Venetian [?]) 
 dance in 3-4 or 6-8 time. 4. In sal- 
 tarello, a term formerly applied to a 
 canto fermo accompanied by a counter- 
 point in sextuplets. 
 
 Salta'to (It.) In violin-technic, a variety 
 of the "springing bow ''. 
 
 Salteret / to(It.) The rhythmical figure 
 
 Citf. 
 
 Salte'rio, Salte'ro (It.) i. Psaltery. 
 2. Dulcimer (salterio tede'sco). 
 
 Sal'to (It.) A skip, leap...Z>* salto, 
 (progressing) by skips or leaps. 
 
 Salva're (It.) To resolve (salvar' unit 
 dissonan' za}. 
 
 Salvation (Fr.) Resolution (of a dis- 
 sonance). 
 
 Sal've Regi'na (Lat., " Hail ! Queen [of 
 heaven]".) One of the antiphons to 
 the "Blessed Virgin Mary", sung, in 
 the R.C. service, after lauds or complin 
 from Trinity Sunday to Advent. 
 
 Sambu'ca. One of the most ambiguous 
 instrument-names of the middle ages, 
 usually employed in the sense of the 
 Greek ooppfef (Lat. sambuca} for a 
 kind of small psaltery (Spitz' harfe), 
 but also occurring (as if derived from 
 the Lat. sambu'cus, alder) for a species 
 of pipe ; and finally, as a corruption of 
 symphonia (samponia, zampogna) for 
 the bagpipe and hurdy-gurdy (sambuca 
 rota'ta], and, instead of sacqueboute, 
 for instr.s of the trombone class. Sam- 
 bitt, Sambiut, are German forms of 
 sambuca in the sense of a psaltery. 
 [RlEMANN.j Also Sambuke. 
 
 Sampo'nia. See Sambuca, and Zam- 
 pogna, (Also cf. APPENDIX.) 
 
 Sampo'gna (It.) A rustic reed, or 
 flageolet. 
 
 Sanctus (Lat.) A division of the Mass. 
 
 Sanft (Ger.) Soft, low. . . Sanft'gedackt, 
 a flue-stop in the organ, having stopped 
 pipes of soft intonation. 
 
 Sanglot (Fr., "sob".) An obsolete 
 agre'ment, consisting of an accent or 
 chute sung to an interjection : 
 
 ij [RlEMANN.] 
 
 Sans (Fr.) Without. 
 
 Saquebute (Fr.) Sackbut. 
 
 Sar'aband. (Ger. and Fr. Saraban'de; 
 It. saraban'da.) A stately dance of 
 Spanish or Oriental origin, for a single 
 dancer, though later changed (in Eng- 
 land) to a sort of country-dance. The 
 instrumental saraband has, as a rule, 2 
 8-measure reprises, in slow tempo and 
 triple time, generally beginning on the 
 down-beat, with a stress on or prolonga- 
 tion of the second beat (f |* ' 5 |T f), 
 and often highly embellished. Its 
 place in the Suite, as the slowest move- 
 ment, is before the Gigue. 
 
 Sarrusophone. A brass wind-instr., 
 inv. (1863) by and named after the 
 band-master Sarrus of Paris, with a 
 double reed like the oboe and bassoon ; 
 herein differing from the single-reed
 
 SATTEL SBALZO. 
 
 Saxophone, from which its key-mechan- 
 ism is in great part borrowed. Like 
 the saxophone, it is made in 6 principal 
 sizes, with the addition of a rare 
 sopranino in E\) and a contrabass in 
 $. Its tone partakes in quality of 
 that of the nearly-related obol dacaccia, 
 double-bassoon, and bombar i. Little 
 used outside of France. 
 
 Sat'tel (Ger.) Nut . . . Sattel ma'chen, 
 in 'cello-playing, firm pressure of the 
 thumb on a string, in the higher posi- 
 tions, for obtaining harmonics, the 
 thumb acting as a temporary nut. . . 
 So? Ullage i half-position (in violin play- 
 ing)- 
 
 Satz (Ger.) I. A themeor subject. 2. A 
 phrase, i. e. half a period of 8 measures, 
 the ist half being the VoSdersatz, the 
 2nd the .Vach'satz (sometimes trans- 
 lated "fore-phrase" and "after- 
 phrase "). 3. A chief division of a 
 movement. 4. A Movement 2. 5. 
 The science of harmony and counter- 
 point ; art or style of composition ; 
 e.g.rei'ner Satz, strict style (of writ- 
 ing). 6. A passage or separate portion 
 of a composition. 
 
 Saut (Fr.) Skip. . . Sauter, to overblow. 
 . . Sautereau, a jack. 
 
 Sauver (Fr.) To resolve (a dissonance), 
 x. in EQ. 2. in By. 3. in Ey. 4. i 
 
 Saxhorn. A brass wind-instr. inv. in 
 1842 by Adolphe Sax, a Belgian. It is 
 essentially an improved key-bugle or 
 ophicleide, having from 3 to 5 valves 
 instead of keys. Saxhorns are con- 
 structed in 7 different sizes, forming a 
 complete series alike in timbre and 
 method of playing, and named accord- 
 ing to their fundamental tone or their 
 relative pitch and compass. They are 
 not fitted for the use of crooks. Though 
 extensively employed in military music, 
 only two, the Euphonium and Contra- 
 bass-tuba, have achieved a place in the 
 orchestra. The nomenclature of the 
 saxhorn family being sadly confused, a 
 list with the various appellations is an- 
 nexed : 
 
 i. Sopranino saxh. (petit saxh., petit bugle i 
 pistons, Piccolo in Es. 
 
 a. Soprano saxh. (contralto saxh., bugle- 
 tenor, Flugelhorn in B). 
 
 3. Alto saxh (Althorn in Es). 
 
 4. Tenor saxh. (baryton en ti J>, Tenorhorn 
 
 in B, Bassfliigelhorn). 
 
 5. Bass saxh. (tuba-basse en sfh, Basstuba, 
 
 Euphonium, Baryton, Tenorbass in B). 
 
 6. Low bass saxh. (bombardon en mil)). 
 
 7. Contrabass saxh. (bombardon en sty 
 
 grave, Kontrabasstuba). 
 
 Saxhorns I to 4 are classed as bugles a 
 pistons; while 5 to 7 are classed as 
 tubas or bombardons. Their extreme 
 compass is : 
 
 By. 5. in By. 6. in Ey. 7. in By. 
 
 &r 
 
 For the orchestra there are also made a 
 bass in C, a contrabass in C\ , and a 
 low bass in F t ; and all members of the 
 family are also constructed a semitone 
 lower in pitch than shown above. 
 
 Saxophone. An instr. of a type inv. 
 about 1840 by Adolphe Sax of Dinant- 
 sur-Meuse, Belgium. It is a wind-in- 
 str. of metal, having a conical tube 
 with recurved bell, and clarinet-mouth- 
 piece with single reed, the key-mechan- 
 ism and fingering also being similar to 
 those of the clarinet. It is an " omni- 
 tonic" (chromatic) instr., with a mel- 
 low and penetrating tone of veiled 
 quality partaking of that of the clari- 
 net, cor anglais, and violoncello, but 
 very sonorous, and of remarkable 
 homogeneity in all registers and si/es ; 
 6 principal sizes are made, at intervals 
 of a fourth and fifth apart, each size 
 
 0= 
 
 in turn comprising 2 individuals a 
 whole tone apart : 
 
 i. Sopranino saxophone in F 
 2. Soprano C 
 3. Contralto " F 
 4. Tenor C 
 5. Baryton " F 
 6. Bass " C 
 
 The notation for this trans 
 is alike L \ 
 for all / d 
 
 and M. 
 
 " I?'' 
 " By). 
 
 " 9). 
 By). 
 
 posing instr. 
 rith interme- 
 iate chromat- 
 c tones, 
 'hiefly used 
 n mi litary 
 
 sizes: -jj~ 
 
 
 7> 
 
 - 1 
 
 the com- 13)- 
 pass is: *^ 
 bands. 
 
 =&' 
 
 -w 
 
 
 _(. 
 
 i 
 
 Saxotrom'ba. A valve instr. of the 
 trumpet family, inv. by Ad. Sax, inter- 
 mediate in quality of tone and scale of 
 tube between the Horn and Saxhorn ; 
 constructed, like the latter, in 7 sizes. 
 
 Sbal'zo (It.) A skip or leap 
 
 to, dashingly, impetuously-
 
 SBARRA SCHERZO. 
 
 Sbar'ra (It.) Bar ; sb. dop'pia, double- 
 bar. 
 
 Scagnel'lo (It.) Bridge. 
 
 Scale, i. (Ger. Ton' 'letter ; Fr. Scfielle, 
 gamme; It. sca'la.) For the ancient 
 scales compare Mode, Greek music, 
 Octave-scale. A modern scale is sim- 
 ply the series of tones, taken in direct 
 succession, which form (a) any major 
 or minor key (diatonic scale), or (b) the 
 chromatic scale of successive semitonic 
 steps. (Comp. fCey.). . Pentaton'ic scale, 
 a " 5-tone" scale found in primitive 
 melodies of certain peoples (Scotch, 
 Chinese), in which the step of a semi- 
 tone is avoided by omitting the 4th and 
 7th degrees in major and the and and 
 6th in minor. It can be played on the 
 piano by touching 5 successive black 
 keys, beginning on F$ for major, and 
 on Ey for minor. The ancient Greek 
 chromatic scale also had five tones. 
 
 2. The series of tones producible on 
 various wind-instr.s is also called a 
 scale, whether the series is diatonic or 
 not ; the term is also used for the com- 
 pass or range of a voice or instr. Har- 
 monic scale, the series of higher partial 
 tones (see Acoustics). 3. (Ger. Men- 
 sur' ; Fr. e'lalon.) In the tubes of 
 wind-instr s, especially organ-pipes, the 
 ratio between the width of bore and 
 the length ; this varies in organ-pipes 
 from about I : 10 to I : 24, a broad 
 scale yielding a mellow, sonorous tone, 
 and a narrow scale yielding a sharp 
 and thrilling, or a thin, stringy tone. 
 
 Scannet'to, Scannel'lo (It.) Same as 
 
 Scagnello. 
 Sceman'do (It.) See Diminuendo. 
 
 Sce'na (It.) i. In the opera, a scene 
 (Fr. scene, Ger. A uftritf), i. e. a divi- 
 sion marked by the entrance or exit of 
 one or more performers. 2. An ac- 
 companied solo of a dramatic charac- 
 ter, consisting of arioso and recitative 
 passages, and frequently terminating 
 with an aria, then being termed scena 
 ed a'ria. 3. A stage. 
 
 Scena'rio (It.) I. The plot of a dramat- 
 ic work. 2. A skeleton libretto of 
 such a work, sketching the course of 
 the plot, and giving entrances and exits 
 of leading personages, serving as a 
 guide to stage-managers, actors, etc. 
 
 3. A play-bill. 4 (pi.) Scena'rii, scenes, 
 side-scenes, decorations. 
 
 Scena'rium. An opera-libretto contain- 
 
 ing the full dialogue, and directions for 
 the actors, etc. 
 
 Scene. I. A division of a dramatic per- 
 formance marked by a change of sce- 
 nery. 2 (the preferable usage). Same 
 as Scena I. 
 
 Schablo'ne (Ger.) A stencil, pattern ; 
 hence, Schablo'nenmusik, schablo'nev- 
 hafte Musik' , uninspired composition 
 written to fit a cut-and-dried form, or 
 in mere imitation of any style; "stereo- 
 typed" music. 
 
 Scha'ferlied (Ger.) Shepherd's song, 
 pastoral ditty . . . Schaferpfeife, shep- 
 herd's pipe, shawm. .. Sch a'fertanz, 
 shepherd's dance. 
 
 Schalk'haft (Ger.) Roguish, sportive, 
 wanton. (Also adverb.) 
 
 Schall(Ger.) Sound, resonance, resound- 
 ing, ringing. . . Schall' becher. Bell 2. . . 
 Sc kail' bee ken, cymbals. . . Schall' loch, 
 (a) _/"-hole; (6) sound-hole. .. Schall' - 
 stab, triangle. . . Schall' stuck, -trichter, 
 Bell 2. 
 
 Schalmei', Schalmey' (Ger.) Shawm; 
 chalumeau. 
 
 Schanzu'ne (Ger.) Corruption of Chan- 
 son. 
 
 Scharf (Ger.) Sharp. See Acuta. 
 
 Schau'rig (Ger.) In a style expressive 
 of (or calculated to inspire) mortal 
 dread ; wierdly. 
 
 Schel'lenbaum (Ger.) Crescent. 
 
 Scherzan'do (It.) In a playful, sport- 
 ive, toying manner. Also schtrsan'te, 
 scherze'vole, scherzo'so. 
 
 Scherz'haft (Ger.) Sportive ; jocose, 
 burlesque. (Also adverb.) 
 
 Scher'zo (It., dimin. scherzi'no.) A joke, 
 jest. r. An instrumental solo piece of 
 a light, piquant, humorous character, 
 hence applied to very various composi- 
 tions in which an animated movement 
 and sharp and sudden contrasts are 
 leading features. 2. A movement in a 
 sonata, concerted composition, or sym- 
 phony, usually in triple, sometimes in 
 duple, time, introduced chiefly by way 
 of contrast with slower movements, 
 consequently of a bright, vivacious, 
 often humorous character, with strong- 
 ly marked rhythm, and sharp and un- 
 expected contrasts in rhythm and har- 
 mony, requiring delicate phrasing and 
 shading. Its forerunner in the sym- 
 phony was the .Minuet of Haydn ; 
 Beethoven named this movement, which
 
 SCHIETTO SCHWER. 
 
 had entirely lost its original slow and 
 stately character, Scherzo, nothing of 
 the Minuet being left but the (much 
 extended) form. The Beethoven Scher- 
 zo is usually the 3rd movement; but 
 under different conditions the scherzo 
 may with equal propriety take the second 
 place. 
 
 Schiet'to, Schiettamen'te (It.) Plain, 
 simple, unembellished (also adverb), 
 
 Schis'ma (Gk.) The difference between 
 the third tierce of the 8th quint (see 
 Temperament} and the octave of the 
 given tone (//*J : c = 32805:32768); one- 
 eleventh of a syntonic comma. 
 
 Schlag (( ler.) A beat, pulse ; blow, 
 stroke . . . Schlag' feder, a plectrum . . . 
 Schlag' instrument, instr. of percussion. 
 . . Schlag' manit-ren (pi.), the various 
 strokes in drum-playing. .. ScAlag'- 
 zither, the ordinary zither played with 
 plectrum and fingers; opp. to Streich'- 
 zither (bow-zither). 
 
 Schla'gel (Ger.) Drumstick ; mallet, 
 small hammer. 
 
 Schlecht (Ger., " bad "). Weak ; as 
 schlech'ter Takt'teil, weak beat. 
 
 Schleif'bogen(Ger.) Slur. . . Schlei'fen, 
 to slur. . . Schlei'fer, (a) a slide ; (b) a 
 slow German waltz, Landler. . . Schleif- 
 zeichen, slur. 
 
 Schlep'pen (Ger.) To drag, retard... 
 Schltp pend, dragging. 
 
 Schluss (Ger.) Conclusion, end; close, 
 cadence . . . Schluss' fall, a cadence . . . 
 Schluss' kadenz, final or closing ca- 
 dence. . . Schluss' note, final note. . . 
 Schluss' 'satz. concluding movement, 
 Finale . . . Schluss' striche, double-bar. . . 
 Schluss' zeichen, (a) the double-bar ; (b) 
 the hold /r\. 
 
 Schliis'sel (Ger., "key"). A clef... 
 
 Schliis'selfiedel, nail-fiddle. J? 
 
 . . Schliis'sel-G, the note g l 
 
 on the treble-clef line: 
 Schmei'chelnd (Ger.) Flattering ; in a 
 
 coaxing, caressful style. 
 Schmerz (Ger.) Pain ; grief, sorrow. 
 
 . . Schmerz' haft, schmerz'lich, painful, 
 
 sorrowful, plaintive. (Also adverb.) 
 Schna'bel (Ger., "beak" ; Fr. dec). A 
 
 mouthpiece like that of the clarinet or 
 
 flageolet. . . Schnabelflote, flute a bee. 
 Schnarr'werk (Ger.) The reed-work of 
 
 an organ, or a single reed-stop. Also, 
 
 a Regal. 
 
 Schneck'e (Ger., "snail"). Scroll. 
 
 Schnell (Ger.) Fast, quick, rapid. 
 (Also adverb.). . . Schnel'ler, (a) faster; 
 as nach und nach schnelltr, gradually 
 faster ; (b) an inverted mordent. 
 
 Schot'tische. (Ger. Schoftiseh," Scotch, 
 Scottish"). A round dance in 2-4 
 time, a variety of the Polka ; the fos- 
 saise is a country-dance. 
 
 Schrag (Ger.) Oblique. 
 Schreib'art (Ger.) Style. 
 
 Schrei'end (Ger.) Strident ; screaming, 
 screeching, squeaking. 
 
 Schrei'erpfeife (Ger.) See Schiyari 2. 
 
 Schryari. i. An obs. wind-instr. de- 
 scribed by Pnetorius in the "Syntag- 
 ma". 2. The sharpest mixture-stop, 
 usually in 3 ranks and tuned in octaves, 
 beginning 3 octaves above the key 
 struck. 
 
 Schub (Ger.) Slide (of bow). 
 
 Schuh (Ger.) Bridge (of a tromba ma- 
 rina). . . Schuh'platllianz, a kind of clog- 
 dance in the Austrian and Bavarian 
 Alps. 
 
 Schul'tergeige (Ger.) Viola da spalla; 
 opp. to Kniegeige. 
 
 Schu'sterfleck (Ger.) Rosalia. 
 
 Schwach (Ger.) I. Weak, as sch-wach'er 
 Taktteil, weak beat. 2. Soft, faint, low; 
 schwach'er, fainter, softer. 
 
 Schwar'mer (Ger.) A Rauscher. 
 
 Schwe'bung (Ger.) i. In mus. acous- 
 tics, a Beat 4. 2. Same as Tremulant. 
 
 Schwe'gel (Ger.) I. Any wind-instr. 
 2. A pipe, especially a flue-pipe in the 
 organ, the Schwe'gelpfeife being an 
 open stop of 8 or 4-foot pitch, the 
 pipes slightly tapering at the top. 
 
 Schwei'gezeichen (Ger.) A rest. 
 
 Schweins'kopf (Ger., " pig's-head "). 
 Obsolete term for Fliigel. 
 
 Schwei'zerflote (Ger.) i. Fife. 2. In 
 the organ, an 8-foot metal flue-stop of 
 penetrating tone ; the same of 4-foot 
 pitch is called Schwei'zerpfeift; of 16- 
 foot pitch, on the pedal, Sch-wei'zer- 
 Jlotcnbass . . . Sch-ui-i'zerpfeiJjF, earliest 
 name of the German flute. 
 
 Schwel'len (Ger.) See Anschwellcn. 
 
 Schwel'ler (Ger.) Swell (of the organ). 
 
 Schwell'ton (Ger.) Messa di voce. 
 
 Schwell'werk (Ger.) Swell-organ. 
 
 Schwer (Ger.) I. Heavy, ponderous
 
 174 
 
 SCHWIEGEL SECULAR MUSIC. 
 
 (see Pesante). 2. Difficult. . . Schiver'- 
 mutig, melancholy, sad. 
 
 Schwie'gel (Ger.) See Schwegel. 
 
 Schwin'dend (Ger.) Dying away, 
 morendo. 
 
 Schwing'ung (Ger.) Vibration. 
 
 Schwung'voll (Ger.) With sweep and 
 passion. 
 
 Scialumo' (It.) Chalumeau. 
 
 Scintillan'te (It. and Fr.) Brilliant, 
 sparkling. 
 
 Scioltamen'te (It.) Freely, fluently, 
 nimbly. .. Scioltez'za, freedom, fluency- 
 . . Sciol'to,-a, free, fluent, agile ; fuga 
 sciolta, free fugue, opp. to fuga obbli- 
 ga'ta. 
 
 Seorda'to (It.) i. Discordant, out of 
 tune. 2. Tuned in a manner deviat- 
 ing from the ordinary one. . . Scordatu'- 
 ra, an alteration of the ordinary accor- 
 datura of a stringed instr. for the at- 
 tainment of special effects ; e. g. Paga- 
 nini's tun- aj- j in which the 
 ing of ^h ^~ ur ~|=z (7-string was 
 the violin: *J -- ir9 raised a min- 
 or and a major third respectively ; such 
 an alteration is sometimes called solo 
 pitch. 
 
 Score. (Ger. Partitur' '; Fr. partition; 
 It. partitu'ra, partizio'ne.) A system- 
 atic arrangement of the vocal or instru- 
 mental parts of a composition one above 
 the other, tones sounded together being 
 in the same vertical line, to facilitate 
 reading. .. Close or compressed score, 
 see Short score... Full or orchestral 
 score, one in which each vocal and in- 
 strumental part has a separate staff as- 
 signed to it (see Orchestra). . .Piano- 
 forte-score, one having the vocal parts 
 written out in full, generally on separ- 
 ate staves, the pfte.-accomp. being ar- 
 ranged or compressed (from the full in- 
 strumental score) on 2 staves below the 
 rest. . . Organ-score, arr. like pfte.-score, 
 except that a third staff for pedal-bass 
 is often added below the others . . . 
 Short score, (a) any abridged arrange- 
 ment or skeleton transcript ; (b) 4-part 
 vocal score on 2 staves . . . Supplement- 
 ary score, see Partitino. . . Vocal score, 
 
 (a) score of an a cappella composition ; 
 
 (b) same as pfte.-score. 
 
 Scoring. Same as Instrumentation, or 
 Orchestration. 
 
 Scorren'do (It.) Flowing, gliding. (Also 
 scorre'vole.) 
 
 Scotch snap or catch. The rhythmic 
 mo- 5 frequently recurring in many 
 tive ttm' ' Scotch airs (the reverse of 
 the com- r5\ 
 mon motive J . r " 
 
 Scozze'se (It.) Scotch ; alia s., in the 
 Scotch style. 
 
 Scroll. (Ger. Schnecke; Fr. volute; It. 
 valuta.} The terminal curve of the 
 head in the violin, etc. 
 
 Sde'gno (It.) Scorn, disdain ; wrath, 
 indignation. . . Sdegnosamen'te, scorn- 
 fully, etc. . .Sdegiio'so, scornful, etc. 
 
 Sdrucciolan'do (It.) Sliding. . .Sdruc- 
 ciola're, to slide, by pressing down the 
 pfte.-keys in a rapid sweep with the 
 finger-nails. 
 
 Se (It.) If. . .Se biso'gna, if necessary; 
 se pia'ce, if you please. (Comp. Si.) 
 
 Sea-trumpet. Tromba marina. 
 
 Sec (Fr.), Sec'co (It.) Dry; simple, 
 unembellished (see Recitative). 
 
 Sechs (Ger.) Six. . . Stchsach'teltakt, 6-3 
 time . . . Seeks' er, sec/is' ' taktiger Satz, a 
 passage, period, or theme comprising 6 
 measures . . . Sechsvier'teltakt, 6-4 time. 
 
 Sech'(s)zehn (Ger.) Sixteen ... Sech'- 
 zehntel (note), l6th-note. . . Sech'zehn- 
 telpause, l6th-rest. 
 
 Second. I (noun). (Ger. Sekun'de; 
 Fr. seconde; It. secon'da.) The inter- 
 val between 2 conjunct degrees (see 
 Interval). 2. The alto part or voice. 
 3. (adj.) (Ger. zweit-er ,-e ,-es ; Fr. 
 second,-e; It. secondo,-a.) (a) Perform- 
 ing a part lower in pitch than first ; as 
 second bass, second violins; (b) lower in 
 pitch, as second string; (c) higher, as 
 second line of staff. 
 
 Secondaire (Fr.) A temps secondaire is 
 a weak beat. 
 
 Secondary chords. Subordinate chords. 
 
 Seconde dessus (Fr.) Second soprano. 
 
 Secon'do,-a (It.) Second (adj.); as 
 seconda don'na, the female singer tak- 
 ing the leading parts after the prima 
 donna; violi'ni secondi, second violins. 
 ..(Noun.) Secondo, a second part or 
 performer in a duet. 
 
 Section. In the wider sense, a short 
 division (l or more periods) of a com- 
 position, having distinct rhythmic and 
 harmonic boundaries ; specifically, half 
 a phrase (see form). 
 
 Secular music. Music other than that
 
 SECUNDE SEPTET. 
 
 175 
 
 intended for worship and devotional 
 purposes. 
 
 Secun'de (Ger.) See Sekunde. 
 
 Sede'cima (Lat. and It.) I. The inter- 
 val of a sixteenth. 2. Obs. name oi 
 the fifteenth (organ-stop). 
 
 See'le (Ger., "soul"). Soundpost. 
 
 Se'gno (It.) A sign. . ..-// segno, to the 
 sign ; Dal segno, from the sign, di- 
 rections to the performer to turn back 
 and repeat from the place marked by 
 the sign (^., :$:, $-, , etc.) to the 
 word Fine, or /*\ In place of the 
 to ' a double- zrjfcr. words, the sign 
 bar with hold: alone is some- 
 
 times set. 
 
 Se'gue (It.) Follows ; as segue Faria, 
 the aria follows. . . Segtutfdo t segue n' It, 
 following. Also, same as Simile. 
 
 Seguen'za (It.) Sequence. 
 
 Seguidil'la (Span.) A Spanish dance in 
 triple time, some varieties having a slow 
 and stately movement, while others are 
 lively ; usually in minor, accompanied 
 by guitar and voice, and at times by the 
 castanets. 
 
 Sehn'sucht (Ger.) Longing, yearning. 
 . . Sehn' suchtig, in a style expressive of 
 intense yearning. 
 
 Sehr (Ger.) Very. 
 
 Se'i (It.) Six. 
 
 Sei'tenbewegung (Ger.) Oblique mo- 
 tion. . . Sei'tensatz, a second or second- 
 ary theme, as in the sonata and rondo. 
 
 Sekun'de (Ger.) A second. 
 
 Semibiscro'ma (It.) A 32nd-note. 
 
 Sem'ibreve. (Lat. semibrei/is?) A whole 
 note. 
 
 Semicro'ma (It.) A i6th-note. 
 
 Sem'icrome. A semicroma ; but former- 
 ly sometimes used for quaver. 
 
 Semicrotch'et. A quaver. 
 
 Sem'idemisemiqua'ver. A 64th-note. 
 
 Semidiapa'son. Diminished octave. . . 
 Semidiapen'le, diminished fifth... Se- 
 midiates' saron, diminished fourth. 
 
 Semidi'tas (Lat.) The diminution caused 
 by a vertical stroke through the time- 
 signature. 
 
 Semi-di'tone. (Lat. semidi'tonus.) The 
 minor third. .. Semiditonus cum dia- 
 fente, minor 7th. 
 
 Semifu'sa (Lat.) Semiquaver. 
 
 Semi-grand. A small grand piano. 
 
 Semiminim. (Lat. and It. semimi'nima.) 
 
 A crotchet, or quaver. 
 Semipau'sa (Lat.) A semibrevc-rest. 
 Semiqua'ver. A i6th-note. 
 Semisuspi'rium (Lat.) A crotchet-rest. 
 Semitone. (Ger. Halb'ton; Fr. demi- 
 
 ton; It. semituo'no.) The narrowest 
 
 interval employed in modern music. 
 
 (See Interval?) 
 
 Semi-tonique (Fr.) Same as chromatique. 
 Semito'nium (Lat.) A semitone. ...SI 
 
 Jictum, a chromatic semitone... S. 
 
 modi, the leading-note. .. .S'. natura'le, 
 
 a diatonic semitone. 
 Sem'plice (It.) Simple, plain, unaffected. 
 
 . . Semplicenien' te, simply, etc. . . Sem- 
 
 plicita' , con, in a simple, unaffected 
 
 style. 
 Sem'pre (It.) Always, continually ; 
 
 throughout. 
 Sensi'bile (It., " sensitive"). Nota sen- 
 
 sibile, leading-note. 
 
 Sensibilita", con (It.) See Espressivo. 
 Sensible (Fr.) The leading-note ; also 
 
 note sensible. (In English the leading- 
 note is sometimes called " sensible 
 
 note".) 
 
 Sentence. See Period, Form. 
 Sentimen'to, con (It.) With feeling, 
 
 expressively. 
 
 Senti'to (It., "felt"). With feeling, 
 expression, special stress. 
 
 Sen'za (It.) Without. (Abbr. S.)... S. 
 passio'ne, with avoidance of all marked 
 accents and passionate expression . . . S. 
 piat'ti, " drum alone " (where one per- 
 former plays the cymbals and bass 
 drum). . . S. sordi'ni, see Sordino. . . S. 
 tem'po, not in strict tempo, ad libitum. 
 . . S. di slentare, without retarding. 
 [Senza is often followed by a bare in- 
 finitive, which is then to be translated 
 as a participial substantive ; e. g. senza 
 rallentare, without retarding.] 
 
 Separation, i. An obs. term for a 
 passing-note between 2 tones forming a 
 tierce. 2. In the organ, a mechanical 
 device for preventing the great-organ 
 action from sounding its stops ; used 
 when the action is pneumatic and 
 coupled to other manuals of heavier 
 touch. 
 
 Sept-chord. Chord of the 7th. 
 
 Septde'zime (Ger.) A seventeenth. 
 
 Septet'. (Ger. Septett'; Fr. septuor; It.
 
 SEPTIEME SESQUIALTERA. 
 
 settimi' no?) A concerted composition 
 for 7 voices or instr.s. 
 
 Septieme (Fr.), Sep'time (Ger.) The 
 interval of a 7th . . . Sep'timenakkord 
 (Ger.), chord of the 7th. 
 
 Septimo'le, Septo'le (Ger.) Septuple!. 
 
 Septuor (Fr.) Septet. 
 
 Sep'tuplet. A group of 7 equal notes 
 to be performed in the time of 4 or 6 
 of the same kind in the regular 
 rhythm; o ~m m m m 
 written: I ' I ! I I I ' 
 
 Se'quence. (\,at.scquen'tia; It.segtien'- 
 za; Ger. Sequent'.} i. The repetition, 
 oftener than twice in succession, of a 
 melodic motive , the repetitions ascending 
 or descending byuniform intervals. The 
 harmonic sequence is merely the group- 
 ing of chords necessitated by the reiter- 
 ation of the melodic figure. Kdiatonic 
 or tonal sequence employs only tones 
 proper to the key ; a chromatic or modit- 
 latory sequence is one in which acciden- 
 tals are used more or less freely ; a se- 
 quence progressing by a whole tone or 
 semitone is called a Rosalia. (Also 
 Progression?) 2. In the R. C. Church, 
 a kind of hymn ; such were founded on 
 the melodies of the sequential (the 
 jubilations of the AUeluia following the 
 epistle, words being in time set to the 
 melodies instead of the original syllables 
 a-e-u-i-a), whence the name. They 
 originated in the gth century, and mul- 
 tiplied to such an extent that Pius V. in 
 1568 expunged all but 5 (Victimce 
 paschali ; Veni Sancte Spiritus ; Lauda 
 Sion ; Stabat Mater ; Dies irae). (Also 
 Prose \JLaO. frosa\.) 
 
 Seraphi'na, Ser'aphine. A precursor 
 of the harmonium, inv. by John Green 
 in 1833 ; owing to its harsh tone, it 
 was speedily superseded by the latter. 
 
 Serenade'. (Ger. Stand' chen; Fr. se"re"- 
 nade; It. serena'ta.) I. An "evening 
 song ;" specifically, such a song sung 
 by a lover before his lady's window. 
 2. An instrumental composition imi- 
 tating the above in style. From these 
 was evolved the 
 
 Serena'ta (Fr. and It. ditto ; Ger. Sere- 
 na' de.) I. A species of dramatic can- 
 tata greatly in vogue during the i8th 
 century. 2. An instrumental compo- 
 sition, midway between the Suite and 
 Symphony, but freer in form than either, 
 consisting of 5, 6, or more movements 
 for very various combinations of instr.s, 
 
 and in chamber-music style. The earlier 
 serenatas were invariably concerted 
 pieces ; they were also called Cassations 
 and Divertimenti. 
 
 Sere'no (It.) Serene, calm, tranquil. 
 
 Serinette (Fr.) A bird-organ (small 
 barrel-organ used in training song- 
 birds). 
 
 Se'rio,-a (It) Serious. . .O'pcra seria. 
 grand or tragic opera ; opp. to Opera 
 buffa. . Tenore serio, dramatic tenor. 
 
 Serio'so (It.) In a serious, grave, im- 
 pressive style. 
 
 Serpent. (It. scrpen'te?) A nearly obs. 
 wood-wind instr., still used in some 
 French churches, but seldom met with 
 in the orchestra ; inv. by Canon Guil- 
 laume of Auxerre in 1590. It belongs 
 to the Zinke (Cornetto) family ; the 
 modern forms have a recurvate bell, 
 and a cupped mouthpiece set in a brass 
 crook forming a right angle with the 
 first bend of the serpentine tube. The 
 tube is of wood, covered with leather, 
 about 8 feet long, and 8va. 
 
 provided with 6 finger- ., _M 
 
 holes and a varying vB' | f-^ ; 
 
 number of addition- ~~ ~4/ 
 al keys. Compass : ~^ 
 
 the serpent being a transposing instr., 
 in By, the notes are written a degree 
 higher. The tone is variously described 
 by French authorities as "harsh and 
 savage", and as a "cold, horrid howl- 
 ing". It is replaced, in the modern 
 orchestra, by the bass tuba (or ophi- 
 cleide). The Serpentcleide resembles 
 the ophicleide, but retains the wooden 
 tube. The Centra-serpent produces 16- 
 foot Ej. Some old organs have reed- 
 stops named serpent. 
 
 Service. In the Anglican Liturgy, a 
 complete series of mus. settings of the 
 canticles, etc., the free composition of 
 which is sanctioned by usage. Ver- 
 sicles, responses, chants, and anthems, 
 are excluded. The full list for morning 
 and evening prayer, and communion, 
 includes the Venite exultemus, Te 
 Deum, Benedicite, Benedictus (domi- 
 nus), Jubilate, Kyrie, Credo (Xicene 
 Creed), Sanctus, Agnus Dei, Benedic- 
 tus (qui venit), Gloria, Magnificat, 
 Cantate domino, Nunc dimittis, and 
 Deus misereatur ; all composed for 
 chorus and soli, with or without accomp 
 by organ or orchestra. 
 
 Sesquial'tera (Lat., "one-half more".)
 
 SESQUINONA SHARP. 
 
 177 
 
 I. A perfect fifth, its ratio to the prime 
 being 1:15 = 2: 3. 2. In mensurable 
 music, the proportion marked by the 
 signature 5, indicating that the time- 
 value of 3 minims is then equivalent to 
 that of 2 before. 3. A mixture-stop in 
 the organ ; the name is properly appli- 
 cable to a mutation-stop a fifth above the 
 fundamental tone or some given octave 
 of the latter, but is ordinarily used to 
 designate a compound stop producing 
 the 3rd, 4th, and 5th partial tones, or 
 their octaves ; it has from 2 to 5 ranks. 
 
 Sesquino'na. The lesser whole tone, 
 its ratio being 9 : 10. 
 
 Sesquiocta'va. The greater whole tone, 
 its ratio being 8 : 9. 
 
 Sesquiquar'ta. The major third, its 
 ratio being 4 : 5. 
 
 Sesquiquin'ta. The minor third, its 
 ratio being 5 : 6. 
 
 Sesquiter'tia. The perfect fourth, its 
 ratio being 3 : 4. 
 
 Ses'quitone. A minor third, i. e. ij 
 tone. 
 
 Sestet'. (It. sestefto.) A sextet. 
 
 Sesti'na(It.) A sextuplet. 
 
 Se'sto,-a (It.) Sixth ... Sesta {noun). 
 interval of a sixth. 
 
 Ses'tole, Ses'tolet. A sextuplet. 
 
 Settimi'no (It.) A septet. 
 
 Set'timo,-a (It.) Seventh. ..Set'tim n 
 (noun), interval of a 7th. 
 
 Setz'art (Ger.) Style of composition . . . 
 Sets' kunst, art of composition . . . Setz'- 
 stutA, crook. 
 
 Seul,-e (Fr.) Alone, solo. 
 
 Seventeenth, i. Interval of 2 octaves 
 plus a tierce. 2. Same as Tierce (organ- 
 stop). 
 
 Seventh. (Ger. Sep'time; Fr. septieme; 
 It. set'tima.) See Interval. . . Seventh- 
 chord, a chord of the 7th, composed of 
 a root with its third, fifth, and seventh. 
 
 Severamen'te (It.) Strictly, with rigid 
 observance of tempo and expression- 
 marks. >/ 
 
 Sext. i. The interval of a sixth. 2. 
 The office of the fourth canonical hour. 
 3. A compound organ-stop of 2 ranks 
 (a twelfth and a seventeenth) a sixth 
 apart. 
 
 .Sex'ta (Lat.) Sixth . . . (Noun.) The in- 
 terval of a sixth ; also, a sixth part (see 
 Quintus). 
 
 Sex'te (Ger.) A sixth. 
 
 Sextet'. (It. sestefto: Fr. sextuor; Ger. 
 Sextet? .} A concerted composition for 
 6 voices or instr.s ; or for 6 obbligato 
 voices with instrumental accomp. 
 
 Sex'tole, Sex'tolet. A sextuplet. 
 
 Sex'tuplet. A group of 6 equal notes 
 to be performed in the time of 4 of the 
 same kind in the regular rhythm. In 
 the true sextuple t the 1st, 3rd, and $th 
 notes are accented ; the false sextuplet 
 is simply a double triplet. 
 
 Sex'tus (Lat.) A sixth part (see Sexto). 
 
 Sfoga'to (It., "exhaled"). In vocal 
 music, a direction to render the passage 
 so marked in a light and airy manner. 
 . . Soprano sfogato, a high soprano ; 
 compass from f l to f 3 (f 3 ) . 
 
 Sforzan'do (It., "forcing, pressing"). 
 A direction commonly applied to a 
 single tone or chord, indicating that it 
 is to be performed with special stress, 
 or marked and sudden em- 
 phasis. Abbr. s/z., sf. ; sign > , A , f 
 (Also Sforza'to.) 
 
 Sfuggi'ta (It.) Avoided, eluded ; as 
 cadenza sfuggita. 
 
 Sgallinaccia're (It.) To sing with a 
 harsh, uneven, quavering voice. (From 
 gallinac'cio, a turkey-cock.) 
 
 Shade. "Shading of pipes", the plac- 
 ing of anything so near the top of an 
 organ-pipe as to affect the vibrating 
 column of air which it contains. 
 
 [SlAINER AND BAKRLTT.] 
 
 Shake. Same as Trill. . . Shaked graces 
 (obs.), the shaked Beat, Backfall, Ca- 
 dent, and Elevation, and the Double 
 Relish. 
 
 Shalm. A shawm. 
 
 Sharp \noun). v .or. Kreuz; Fr. <u 
 It. die'sis.) The sign Jj, which, ^t 
 before a note or on a degree of the staff, 
 raises its pitch by a chromatic semitone. 
 . .Double-sharp, the sign y ft ^-' '' 
 also <jfc, $, etc.), raising the pitch ol 
 its note by 2 chromatic semitones (=1 
 tone on tempered instr.s). 
 
 Sharp (ad/.) I. (Of tones or instr's.) 
 Too high or acute in pitch. 2. (Of in- 
 tervals.) Major or augmented. 3. (Of 
 keys.) Having a sharp or sharps in the 
 signature 4. (Of organ- stops.) Shrill. 
 5. (Of digitals; pi.) The black keys; 
 also any white key a semitone above 
 another.
 
 SHAWM SIGNS. 
 
 Shawm. (Ger. Sthalmei'.) An obs. 
 double-reed wind-instr. , the precursor 
 of the oboe, the prime difference be- 
 tween them being that the reed of the 
 shawm was set in a cupped or globular 
 mouthpiece, whereas the oboe-reed is 
 held directly betwixt the lips. The 
 chanter of the bagpipe is probably the 
 sole surviving form of the ancient 
 shawm. (Also S/ialm.) [X. B. The 
 Fr. chalumeaii had a single reed.] 
 
 Shift. A change in the position of the 
 left hand, in playing the violin, etc., 
 from the first position, in which the 
 forefinger stops its string a semitone or 
 tone higher than the pitch of the open 
 string, according to the scale ; the 2nd 
 position is called the half-shift, the 
 3rd the whole shift, and the 4th the 
 double shift. When out of the 1st po- 
 sition the player is said to be " on the 
 shift", and shifting up or down, as the 
 case may be. (See Position.) 
 
 Shutter. In the organ, one of the blinds 
 forming the front of the swell-box. 
 
 Si. I. (It.) One, it; often written in 
 directions, as si leva il sordino, take off 
 the mute ; si le'vano i sordini, take off 
 the mutes ; si pia'ce, si libet (Lat.), at 
 pleasure ; si repli'ca, repeat (= Da 
 Capo); si segue, proceed ; si tace, be 
 silent ; si volta, turn over. [Beethoven 
 writes (Ej Quartet, op. 74): "Si ha 
 s'immaginar'la battuta di |", meaning: 
 " Imagine the time to be ."] 2. The 
 7th of the solmisation-syllables ; hence, 
 name of the note B in France and 
 Italy... Si contra fa, see Mi. (Com- 
 pare Key, and Solmisation.) 
 
 Sicilia'na (It), Sicilienne (Fr.) Dance 
 of the Sicilian peasants ; a kind of pas- 
 torale in moderately slow tempo and 
 6-8 or 12-8 time, frequently in minor, 
 and common (especially in the i8th 
 century) as an andante movement in 
 sonatas or vocal music. (Not Sicilia- 
 no). . .Alia sici liana, in the style of the 
 above. 
 
 Side-drum. See Drum. 
 
 Sieb (Ger.) Soundboard of the organ 
 (Lat. cribrum). 
 
 Sifflet (Fr.) Whistle ...S. tie Pan, Pan- 
 dean pipes. .. Sifflet-diapason, pitch- 
 pipe. 
 
 Sif'flot (Ger.) In the organ, an open 
 metal flue-stop of broad scale and I or 
 2-foot pitch. Also Suffldt, Sub'flot, 
 Weifpfeife. 
 
 Sight-reader. A musician capable of 
 correctly performing a piece of music 
 at sight. 
 
 Signs. (Compare Abbreviation, Nota- 
 tion, Segno.) [Italicized terms indicate 
 that the signs are no longer in use.] 
 
 Dot. Staccato. Sforzato. 
 T Forte tenuto. 
 
 .TTT. Bebung. Mezzo staccato. 
 
 < 
 
 . Qm F. 
 
 o" *TK 
 
 % # $ 
 
 (under notes to be sung to 
 one syllable ; in Tonic 
 Sol-fa, a line under the 
 letters). 
 
 Hold. 
 
 (Notation, 3.) 
 
 (Abbreviation.) 
 
 Presa. 
 
 Segno. 
 
 Double relish. 
 
 Double-sharp. 
 
 Repeat. 
 
 Repeats (2 and 4 times). 
 ://; Repetition of words. 
 
 or -f- Thumb (pfte.-music). 
 X0I Double-sharp. 
 
 Breathing-mark. Back- 
 
 fall, CouU, Pince' % 
 Tremblement. 
 Double Backfall. 
 
 Tenuto. Pesante. 
 
 Mezzo legato. 
 Bind. Slur. Tie. 
 C Accent. Coule". Port de 
 
 voix. 
 
 3 Pine/. 
 
 ^ Tasto solo. 
 
 O Double Appoggiatura. 
 
 ^2^ Suspension. 
 
 ^**+> Cadent. 
 
 Plain beat. 
 
 \ or/ Accent. Nachschlag. Por- 
 
 tamento. Schleifer. 
 * Chute. 
 
 ^ Port de voix. 
 
 \ ( \\) Backfall (Double Back- 
 
 fall). 
 -^** Springer. 
 
 & Acciaccatura. Arpeggio.
 
 SIGNS. 
 
 '79 
 
 / (// ) Single (Double} Relish. 
 
 nected are to be played 
 with the same hand ; 
 
 Crescendo. 
 
 (b) that a part is trans- 
 ferred from one staff to 
 
 ~ ~ Decrescendo. 
 
 another. 
 
 f l Staccatissimo. Martellato. 
 
 w, xw or V Direct. 
 
 Forte piano (fp). 
 
 ,vv Inverted Mordent. Co- 
 
 >l r < Rinforzando. 
 
 4* Mordent. 
 
 A V > Sforzato. 
 
 
 V V Up-bow. Breathing-mark. 
 
 tr***) ~vetc. Trill. 
 
 Martellement. Port de 
 I'oix. Aspiration. 
 
 ** (^ 2 2) Turn (Back-turn"). 
 # Take damper-pedal (ob- 
 
 A Down-bow (violoncello- 
 
 solete). 
 
 music). 
 
 # < + Release damper-pedal. 
 
 Heel and toe (organ-mu- 
 
 o Sign of the dimin. triad 
 
 sic; better as given be- 
 
 (e. g. vn). 
 
 low). 
 
 O or O Harmonic mark. Open 
 
 \U \IJ\I Martellement double and 
 
 string. 
 
 W WV triple. 
 
 O Tasto solo (Thorough-b.). 
 
 /\ Nachschlag. 
 
 O Triple time (see Nota- 
 
 1 1 I 1 Down-bow. 
 O Pesante. 
 
 tion, 3). 
 <J) Thumb-positions (violon- 
 cello-playing). 
 
 t Arpeggio. Acciaccatura. 
 In modern pfte.-mu- 
 sic, signifies that 2 
 
 O A Heel and toe (organ-mu- 
 ( or ^ V ) sic). Over notes for 
 right foot, under notes 
 
 notes so connected are 
 
 for left foot. 
 
 J? j ~ the same hand, (b) with 
 
 A V Change toes on organ- 
 pedal. 
 
 jflj ,c*W one finger. In vocal 
 
 A A Slide same toe to next 
 
 / music, signifies voci 
 
 note. 
 
 divise: 
 
 Examples: 
 O A O A O A 
 
 J 
 
 j= rr?t=: :2 =?p: 3==fc 
 
 A A O 
 A A_ 
 
 *-& p 1 f g H 
 
 1 1 Bind. 
 
 eyt. P" ^t : P r .. gj^f^ 
 
 I 
 
 yvWrW 
 
 i 
 
 Organ-music, pedal; notes 
 so connected are to be 
 played with alternate 
 toe and heel of same 
 foot. 
 
 Bind. 
 
 Brace. 
 
 Trill. AH'ottava. (A 
 mark of continuation.) 
 
 Balancement. Tremble- 
 men t. 
 
 Tremblement. 
 
 Arpeggio. 
 
 Ifrom one staff to another, 
 shows (a) in pfte. -mu- 
 sic that notes so con- 
 
 A-V 
 
 i\ i^ 
 
 I, 2, 3, 4, etc. (See Numerals.) 
 0,0, etc. (See Harmonium-music.) 
 }, 4, 0, etc. (See Chord, Thorough- 
 bass.) 
 
 I n 7 III' (See Chord.) 
 2' 4' 8' 16' (See Foot.) 
 a' b"c'"l 
 a 1 b 5 c s 
 
 _ - = Vetc. (See Pitch, i.) 
 a b c 
 A, B, C,J 
 
 F Gamma. 
 
 & m p * i (See Tambourine.) 
 
 M. M. J = 60 (See Metronome.)
 
 i So 
 
 SIGNALHORN SISTRUM. 
 
 6w. 
 
 In organ-music, signifies "change 
 hands on chord ". 
 
 In pfte.-music, signifies "hold chord 
 with pedal". 
 
 Signalliorn (Ger.) A bugle. 
 
 Signature. The signs set at the head of 
 the staff at the beginning of a piece or 
 movement, indicating the key and 
 measure in which it is written. The 
 chromatic sign or signs are termed the 
 key-signature; the figures or signs in- 
 dicating the measure, the time-signa- 
 ture^ or rhythmical signature. 
 
 Signatu'ren (Ger., pi.) The figures and 
 signs employed in thorough-bass nota- 
 tion. 
 
 Signe (Fr.) Sign. 
 
 Sig'num (Lat.) Sign. . .Signa impli'cita, 
 indicia' lia, intrin'seca, see Notation^ 
 3, Modus. 
 
 Siguidil'la (Span.) See Seguidilla. 
 
 Sil'bendehnung (Ger.) Slurring a sylla- 
 ble, i. e. singing it to more than one 
 tone. 
 
 Silence (Fr.), Silen'zio (It.) A rest. 
 (Comp. Pause, Soupir.) 
 
 Sillet (Fr.) Nut ; specifically, petit sil- 
 let, nut at upper end of neck ; grand 
 sillet, nut at tailpiece. 
 
 Similar motion. See Motion. 
 
 Si'mile (It, " similarly, in like ma.lner.") 
 
 A direction to perform the following 
 
 passage or passages in the same style as 
 
 a preceding similar passage ; used to save 
 
 the trouble of repeating phrase-marks 
 
 and other signs. . . The simile-mark is 
 
 (see Abbreviation}. \Simile,\)Q- 
 
 / * - ing an adverb, is indeclinable, 
 
 and has no plural form simili ; the Lat. 
 term is siwililer.] 
 
 Simple. (Of tones and intervals.) Not 
 compound. (Of counterpoint, imita- 
 tion, rhythm etc.) Not compound or 
 complex, undeveloped, not varied. 
 
 Sin' (It.) Abbr. of Sino. 
 
 Sinfoni'a (It.) I. A symphony. 2. An 
 overture (to the earlier Italian operas). 
 
 Sinfonie' (Ger.) Symphony (usually 
 Symphonie'). 
 
 Sing'akademie (Ger.) A choral sing- 
 ing-society. 
 
 SingTiar (Ger.) Singable ; cantabile . . . 
 Sehr singbar vor'zutragen, perform in 
 a very singing style. 
 
 Sing'end (Ger.) Singing, melodious, 
 cantabile. 
 
 Sing'etanz (Ger.) Dance accomp. with 
 song. 
 
 Sing'fuge (Ger.) Vocal fugue. 
 
 Singhiozzan / do(It.) Sobbingly, catch, 
 ing the breath. 
 
 Sing'manieren (Ger., pi.) Vocal graces. 
 Sing'schule (Ger.) Singing-school. 
 
 Sing'spiel (Ger.) The German national 
 form of the opera, established during 
 the 2nd half of the i8th century by J. 
 A. Hiller, whose guiding rule was to 
 give simple, folk-songlike melodies to 
 singers representing plain characters, 
 whereas to " gentlefolk" he gave arias; 
 the instrumental accomp. is also kept 
 subordinate to the vocal parts. The 
 term is also used for any light opera or 
 operetta with spoken interludes ; like- 
 wise, by extension, for more preten- 
 tious operas and mus. dramas. 
 
 Sing'stimme (Ger.) The singing-voice, 
 the voice. 
 
 Sini'stra (It.) Left : mano s., left hand; 
 colla j., with the left hand. 
 
 Sink-a-pace. See Cinque-pace. 
 
 Si'no (It.) To, up to, as far as, till ; sine 
 (or sin') al fine, to the end. 
 
 Si'ren. (Ger. Sire'ne; Fr. sirene.) An 
 acoustical apparatus for determining the 
 vibration-number of a given tone. 
 
 Sir Roger de Coverley. An ancient 
 English dance-tune in 9-4 time, still in 
 vogue as a country-dance. 
 
 Siste'ma (It.) Staff. 
 
 Sis'trum (Lat.) An ancient mus. instr. 
 of Egypt and the East ; a sort of rattle,
 
 SITOLE SNARE-DRUM. 
 
 181 
 
 consisting of loose metal rods set in an 
 oval frame, and shaken by a handle. 
 
 Sitole. See Citric. 
 
 Sitz (Ger.) Seat ; situation, place. 
 
 Sixieme, Sixte (Fr.) Sixth ; sixte 
 ajoute'e, added sixth. 
 
 Sixteenth-note. (Ger. Sech'zehntel 
 \-nole\; Fr. double-troche; It. semicro'- 
 ma.) A semiquaver (ft Y Sometimes 
 ibbr. to Sixtcfnth. . . ibth-nst, a semi- 
 quaver-rest (^). Comp. Note, Rest. 
 
 Sixth. (Ger. Sex'le; Fr. sixte; It. 
 se'sta.) See Interval. . . Chord of the 
 sixth, first inversion of a triad. . . Chord 
 of the added sixth (Fr. accord de la 
 sixte ajoute'e), the sub- ft ' 
 dominant triad with j^5 
 sixth added, e. g. : cT 
 . . . Chord of the extreme sixth, see Ex- 
 treme. 
 
 Sixtine (Fr.) Sextuplet 
 
 Sixty-fourth-note. (Ger. Vierund- 
 sech'zigstel \-note\; Fr. quadruple 
 croche; It. quattricro'ma.} A hemi- 
 
 demisemiquaver ()', sometimes abbr. 
 to Sixty-fourth. . .6-?tA-rest, (JJ). 
 Skip. (Ger. Sprung; Fr. saut; It. sal'- 
 
 played: 
 
 or (6) a portamento. 
 
 Slide-horn. See Slide-trumpet. 
 
 Slider. See Organ, (i). 
 
 Slide-trombone, -trumpet. One played 
 by the use of a slide instead of keys or 
 valves. 
 
 Sliding relish. An old harpsichord- 
 grace written : played : 
 
 Slissa'to (It.) Slurred. 
 
 Slur. I. (Ger. Lega' tobogen ; Fr. liaison; 
 It. legatu'ra.) A sweeping curve drawn 
 over or under 2 or more notes, signify- 
 ing that they are to be executed legato. 
 2. In vocal music, the slur unites 2 
 or more notes to be sung to the same 
 syllable and in one breath ; the notes 
 
 to.) Melodic progression by an inter- 
 val wider than a second ; disjunct (or 
 discrete) progression. 
 
 Skiz'ze (Ger.) Sketch ; a short charac- 
 teristic piece, or bit of salon-music, 
 without fixed form. 
 
 Slan'cio, con (It.) With vehemence, 
 impetuously. (Sometimes written islan- 
 cio, for the sake of euphony.) 
 
 Slargan'do, Slargan'dosi (It.) Grow- 
 ing slower ; comp. Largando. 
 
 Slentan'do (It.) See Slargando. 
 
 Slide. I. A movable U-shaped tube in 
 the trombone (sometimes in the trumpet 
 and French horn), which is pushed in 
 and out to alter the pitch of the tones 
 while playing. It is a more perfect 
 device than the valve, because it changes 
 only the length of the vibrating air- 
 column, not the direction and form of 
 the wind-current ; and also because per- 
 fect purity of pitch is obtainable [comp., 
 however, art. Trumpet, last sentence]; 
 but it is technically more difficult of 
 manipulation. 2. In the organ, a 
 slider. 3. A grace (Ger. Schlei'fer; 
 Fr. coule), either (a) a diatonic series 
 of 2 or more tones rapidly ascending or 
 descending, the notation of which varies 
 greatly : 
 
 so sung are also called a slur. . . Slurred 
 melody, one in which 2 or more tones 
 are sung to one syllable ; opp. to sylla- 
 bic melody. 
 
 Small octave. See Pitch . . . Small or. 
 chestra, see Orchestra. 
 
 Smanian'te, Smanio'so (It.) In an 
 impetuous, passionate style. 
 
 Sminuen'do, Sminui'to (It.) Dimin- 
 ishing and decreasing (in speed and 
 force). 
 
 Smoren'do (It.) Dying away. 
 
 Smorfio'so (It.) With affected expression. 
 
 Smorzan'do (It.) "Fading away"; 
 equiv. to Morendo. 
 
 Suap. See Scotch snap. 
 
 Snare-drum. See Side-drum, under 
 Drum.
 
 182 
 
 SOAVE SOLMISATION. 
 
 Soa've (It.) Suave, sweet, soft. . . Soavc- 
 men'te, suavely, etc. 
 
 Socket. In a clarinet, the short, rounded 
 joint connecting the mouthpiece with 
 the "top-joint". 
 
 Sogget'to (It.) Subject, theme. This 
 term is properly applied to a homogene- 
 ous theme of moderate length, a longer 
 one being called an andamento, and a 
 short, motive-like theme an attncco 
 (though this last term is practically ob- 
 solete). 
 
 Sognan'do (It.) Dreaming, in a dreamy 
 manner. 
 
 Soh. For sol, in the Tonic Sol-fa sys- 
 tem. 
 
 Sol. I. The fifth of the Aretinian sylla- 
 bles. 2. Name of the note <?in France, 
 Italy, etc. 
 
 Solem'nis CLat.) Solemn. 
 
 Solen'ne (It.) Solemn ; splendid, pom- 
 pous . . . Solennemen'te, solemnly, etc . . . 
 Solennita', solemnity, pomp. 
 
 Solfa' (It.) I. Scale, gamut. 2. Music 
 in general ; bat'tere la self a, to beat 
 time. 3. A conductor's baton. 
 
 Sol-fa (Engl.) I (verb). To sing sol- 
 feggi; specifically, to sing to the sol- 
 misation-syllables. 2 (noun). Solmisa- 
 tion, and the syllables employed in it ; 
 a solfeggio on those syllables. Tonic 
 Sol-fa, see Tonic. 
 
 Solfeggia're (It.) To sol-fa. 
 
 Solfeg'gio (It., pi. solfeggi; Fr. solfege.) 
 A vocal exercise, either on one vowel, 
 or the syllables of solmisation, or to 
 words. 
 
 Solid chord. One the tones of which 
 
 are performed simultaneously ; opp. to 
 broken. (" Flat chord" is preferable.) 
 
 So'lito (It.) Accustomed, habitual... 
 Al solito, as usual, in the customary 
 manner. 
 
 Solmisation. A method of teaching the 
 scales and intervals by syllables, the in- 
 vention of which is ascribed to Guido 
 d'Arezzo (b. 990 ?). It is based, in 
 opposition to the Greek theory of tetra- 
 chords, on the hexachord or 6-tone 
 scale : the first six tones of the natural 
 major scale, c d e f g a, were named 
 tit, re, mi, fa, sol, la, (the initial syl- 
 lables of the successive phrases of a 
 hymn to St. John beginning Ut queant 
 laxis, these syllables happening to fall 
 on these 6 tones), forming the natural 
 hexachord (hexachor'dum natura'le) 
 with the semitonic step at mi-fa; the 
 syllables were further applied to 2 
 other hexachords, the hard hexachord 
 (hex. du'rum) g a b c d e (so called be- 
 cause constructed with the hard B = 
 .5Q or B durum), and the soft hexa- 
 chord (hex. moPle) f g a b\) c d (with 
 the soft B = B|7 or B molle); in each, 
 the step mi-fa was in the same relative 
 position. The entire mus. scale, ex- 
 tended beyond that of Greek theory by 
 adding I tone below (Gamma F = G), 
 and 4 above, embraced 7 hexachords, 
 the higher ones being mere reduplica- 
 tions of the original 3. In the follow- 
 ing View, the solmisation-names of the 
 notes will be found by reading up from 
 (and including) the letter-name ; thus 
 low G was called Gamma-tit, its octave 
 G sol re ut, and its double-octave like- 
 wise G sol re ut; B, however, was 
 called only B fa or B mi, according as 
 it occurred in the soft or hard hexa- 
 chord. 
 
 VIEW OF THE GUIDONIAN HEXACHORDS. 
 
 
 VII. Hex. durum (with B mi) ut 
 
 re 
 
 mi 
 
 fa 
 
 sol 
 
 la 
 
 
 VI. Hex. molle (with B fa) ut 
 
 re 
 
 mi 
 
 fa 
 
 sol 
 
 la 
 
 
 
 V. Hex. naturale ut 
 
 re 
 
 mi 
 
 fa 
 
 sol 
 
 Ta~ 
 
 
 
 
 
 IV. Hex. durum (with B mi) ut 
 
 re 
 
 mi 
 
 fa 
 
 ^ol 
 
 IT 
 
 
 
 
 
 
 
 
 III. Hex. molle (with B fa) ut 
 
 re 
 
 mi 
 
 7a~ 
 
 sol 
 
 la 
 
 
 
 
 
 
 
 
 
 II. Hex. naturale ut re 
 
 mi fa 
 
 sTT 
 
 la" 
 
 
 
 
 
 
 
 
 
 
 
 
 I. Hex. durum ut 
 
 re 
 
 mi 
 
 fa sol 
 
 la" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Modern letter-name G 
 
 X 
 
 ~B~ 
 
 c 
 
 d 
 
 e 
 
 f 
 
 K 
 
 a 
 
 b 
 
 c' 
 
 d 
 
 e> 
 
 f 
 
 g 1 
 
 a 
 
 w 
 
 c 
 
 d' 
 
 e* 
 
 Medieval " 
 
 A 
 
 d 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 a 
 
 u 
 
 b 
 
 c 
 
 d 
 
 e 
 
 f 
 
 g 
 
 aa 
 
 ta 
 
 bt> 
 
 cc 
 
 dd 
 
 ee 
 
 When a melody overstepped the com- 
 pass of one hexachord, a transition, 
 termed a mutation, was made from one 
 
 set of syllables to another ; the change 
 of syllables was preferably effected be- 
 tween the natural and soft, or natural
 
 SOLO SONG. 
 
 183 
 
 and hard, hexachords (a direct transi- 
 tion from hard to soft, or vice versa, 
 being less smooth because of the clash- 
 ing significance of By and BQ, and 
 usually after fa (sol = re) in ascending 
 and after ////' (re /</) in descending. 
 These mutations exhibit a dawning of 
 the modern idea of modulation, the 
 final victory of which, in establishing 
 the major and minor modes and freely 
 transposable scales, disposed of the 
 system of hexachords. During the 
 supremacy of the medieval modes, this 
 system sufficed for the composer's 
 needs ; but after the recognition of the 
 leading-note, and the general adoption 
 of a corresponding yth syllable ji early 
 in the zyth century, the modern 7-tone 
 scale, or heptachord, gradually super- 
 seded the hexachord in theory and 
 practice. Many proposed changes in 
 the syllable-names met with merely 
 local and transient favor; among them, 
 those of \Vaelrant of Antwerp in 1550 
 (bo. ce, di, ga, lo. ma, ni), called Bo- 
 cedisation or Bobisatioii), Pedro d' U- 
 renna in 1620 (ni for si), Hitzler of 
 Stuttgart in 1628 (la, be, ce, de, me, 
 fe, ge, called Bebisatiori), Graun in 
 1750 (da, me, ni, po, tu, la, be, 
 called Damenisation). In Italy, and 
 afterwards in all Europe excepting 
 France, the syllable do (presumably 
 first used in 1673, by Bononcini) has 
 ousted the original *// (comp. Do). In 
 both France and Italy the syllables 
 have, in everyday usage, quite sup- 
 planted the letter-names of the notes, 
 which are employed in Germany, Hol- 
 land, England, and the United States. 
 "SoTo (It., "alone".) Properly, a piece 
 or passage for a single' voice or instr. ; 
 by extension, any non-concerted piece 
 or passage in which a single voice or 
 instr. predominates. As an orchestral 
 direction, Solo (or simply I) marks a 
 passage where one instr. (rst violin, 1st 
 flute, etc.) takes a leading part. In a 
 2-hand arr. of a pfte. -concerto, Solo 
 marks the entrances of the solo pfte. 
 I'iolino solo signifies, according to 
 circumstances, either "violin alone", 
 or " 1st violin" (accompanied). Solo 
 organ, see Organ. . . Solo pitch, a scor- 
 datura temporarily employed by a solo 
 player for obtaining unusual effects. . . 
 Solo quartet, (a) a quartet consisting of 
 4 singers (4 "solo voices "); (/') a com- 
 position or passage in 4 parts for 4 
 singers ; (<) a non-concerted composi- 
 
 tion for 4 instr.s, one of which has a 
 
 leading part. . . Solo stop, see Stop. 
 So'losanger (Ger.) A solo singer.. 
 
 Sff'lospieler, a solo player. . . So'lostim. 
 
 tiu-, a solo part or voice. 
 Sombrer (Fr.) In vocal music, to give 
 
 to the tones, for dramatic effect, a 
 
 sombre, veiled, yet intense expression. 
 Som'ma (It.) Utmost, highest, extreme; 
 
 greatest. 
 
 Som'merophone. An instr. of the 
 bombardon or saxhorn class, inv. by 
 Sommer of Weimar in 1843; also called 
 Euphonion, Euphonic Horn. 
 
 Sommier (Fr.) Windchest. 
 
 Son (Fr.) Sound ; tone. . . Son harmoni- 
 que, an harmonic ; son flein, a round, 
 full tone. 
 
 Sona'bile (It.) Resonant, sounding. 
 
 Sonan'te (It.) Sounding, resounding ; 
 sonorous, resonant. 
 
 Sona're (It.) To sound ; to play (on an 
 instr.). . . Sonare alia men'te, to impro- 
 vise. 
 
 Sona'ta (It. ; Fr. and Ger. Sona'te.) The 
 original Italian word, suona'ta, meant 
 any instrumental "sound-piece" in 
 contradistinction to a canta'ta (vocal 
 composition). The old sonata da 
 camera and sonata da chiesa were such 
 instrumental pieces, for secular and 
 sacred use respectively. The modern 
 Sonata (comp. Form} is an instrument- 
 al composition in 3 or 4 extended move- 
 ments contrasted in theme, tempo, and 
 mood. . . Sonata-form , see Form. . . 
 Double sonata, a duo for 2 solo instr.s, 
 in sonata-form. 
 
 Sonatil'la (It.) A short, easy sonata. 
 
 Sonati'na (It.), Sonati'ne (Fr. and 
 Ger.) A short sonata in 2 or 3 (seldom 
 4) movements, the first having the 
 characteristic first-movement form, 
 though the development-section is 
 either very short, or quite omitted. 
 
 Sonato're (It.) A player on any instr. 
 
 Sone'vole (It.) Same as Sonabile. 
 
 Song. I. (Ger. Gesang; Fr. chant; It. 
 can' to.) Vocal musical expression or 
 utterance. 2. (Ger. Lied; Fr. chanson; 
 It. canzo'ne.) A short lyrical or narra- 
 tive poem with a musical setting char- 
 acterized by a structure in simple 
 periods. Songs may be divided, ac- 
 cording as they are classed as spon- 
 taneous popular productions or the re-
 
 1 84 
 
 SONNANTE SOSPIRANDO. 
 
 suit of artistic inspiration, in 2 broad 
 groups, folk-songs and art-songs , though 
 the former were doubtless originally 
 conceived by specially gifted singers of 
 earlier times, and the latter are fre- 
 quently written with studied simplicity 
 (yolks' thumlicli). Further, art-songs 
 are either strop/tie (i. e. each strophe 
 sung to the same tune, with a deviation 
 at most in the final one), or composed- 
 through (see Ditrch'komponieren). 
 The so-called song-form (Ger. Lied'- 
 form), either vocal or instrumental, has 
 3 sections and 2 themes, the second 
 contrasting theme occupying the 2nd 
 section. (See form.) 
 
 Sonnante (Fr.) Same as Stahlspiel, or 
 Lyre 2. The steel bars are sometimes 
 replaced by fixed bells. 
 
 Sonner le tambour (Fr., " to beat the 
 drum " ; also rouler.) Said of the G- 
 string on a 'cello when a jarring sound 
 is given out on playing certain notes. 
 
 Sonnerie (Fr.) I. Same as Carillon 
 (peal or chime of bells). 2. A military 
 call or signal. 
 
 So'no (It.) Sound ; tone. 
 
 Sonom'eter. An apparatus for acoustic 
 experiments with strings, consisting of 
 a sounding-board provided with bridges 
 over which 2 strings may be stretched. 
 
 Sonoramen'te (It ) Sonorously, reso- 
 nantly, resoundingly. 
 
 Sono'ro (It.) With a sonorous, ringing 
 tone. . . Sonoramen'te, sonorously, res- 
 onantly, resoundingly. . . So nor it a' , con, 
 sonorously, ringing!}'. . .Sono'rt, sono- 
 rous, resonant (pi. ; le note implied). 
 
 Sonor'ophone. A variety of bombardon. 
 
 So'nus (Lat.) Sound ; tone. 
 
 So'pra (It.) On, upon ; above, over, 
 higher. . . Sopradominan' '/e, dominant. 
 . . Soprato'nica, supertonic. . . Sopra una 
 corda, on one string. . .Co' me sopra, as 
 above . . . Nella parte di sopra, in the 
 higher (or highest) part. 
 
 Sopran' (Ger.) Soprano ... Sopran'- 
 schlussel, treble-clef. . . Sopran' slimme, 
 soprano voice or part. 
 
 Sopra'na corda (It.) The chanterelle. 
 
 (ST. AND B.) 
 Soprani'sta (It.) A soprano singer ; 
 
 specifically, a male soprano (castra'to). 
 Sopra'no (It.; Ger. Sopra n' ; Fr. dessus^) 
 
 The highest class or division of the 
 
 human voice. The female soprano, or 
 
 treble, has a normal compass from ^' to a* 
 
 n J 'P~- all tones of which, ex- 
 
 /u i /-I cept t. s extremes, are 
 
 ^f ~ ~~ ~ common to both the 
 chest-register and head-register ; solo 
 voices often reach above c s , and pheno- 
 menal ones up to g 3 or even c 4 . There 
 are also boy-soprani, and male soprani 
 (of these latter 2 classes, the falsetti 
 [tilti natura'li, tenori'ni], and castra'- 
 ti). Soprano dramma'tico, a female 
 soprano of dramatic power. . .Soprano 
 leggie'ro, a light soprano ... Mezzo- 
 soprano, see Afezzo. . . Soprano natura' - 
 le, natural soprano, a male singer 
 having an unusually developed falsetto- 
 of soprano quality. . .Soprano sfoga'to, 
 see Sfogato. . . Soprano-clef, the C-clef 
 on the first line . . . Soprano string, the 
 chanterelle. 
 
 Sordamen'te (It.) With a veiled, muf- 
 fled tone. 
 
 Sordelli'na (It.) An Italian variety of 
 the musette (bagpipe), provided with 4 
 pipes which could be opened and closed 
 at will. 
 
 Sordi'no (It., ^[.sordini; Ger. pi. Sordi'- 
 nen.) I. A mute ; con sordini, with 
 the mutes ; senzii sordini, without th; 
 mutes; si U'vano i sordini, take off the- 
 rmites. 2. Damper(of thepfte.); senza 
 sordini, with damper-pedal ; so used by- 
 Beethoven, who employed con sordini 
 to express the release (raising) of the 
 damper-pedal, instead of "J. 3. A kit. 
 
 SorMOj-a (It.) Muted ; as clarinetto 
 sordo, troniba sorda. 
 
 Sordo'no (It.; Ger. Sordun'; Fr. sor- 
 done.) i. An obs. wood-wind instr. re- 
 sembling the bombard, with a double 
 reed and 12 ventages, constructed like a 
 bassoon, and in 5 different sizes. 2. 
 An obs. reed-stop in the organ, with a 
 perforated foot and a chimney, of 4, 8, 
 or i6-foot pitch and muffled tone. 
 
 Sordun' (Ger.) See Sordono. Also, a 
 mute for the trumpet, in the shape of a 
 perforated disk of wood. 
 
 Sorg'faltig (Ger.) Careful, cautious. 
 (Also adverb?) 
 
 Sorti'ta (It.) i. A closing voluntary. 
 2. The first number sung by any of 
 the leading characters in an opera. 
 
 Sospiran'do (It., "sighing, sobbing".) 
 A vocal effect produced by interposing 
 a rest between two tones in such a way 
 as to interrupt a word of 2 or more
 
 SOSPIREVOLE SPIEL. 
 
 185 
 
 syllables, the singer catching his breath 
 as if deeply moved. 
 
 Sospire'vole, Sospiro'so (It.) Sighing 
 deeply ; plaintive, mournful. 
 
 Sostenen'do, Sostenen'te (It.) See 
 Sostenu' to. 
 
 Sostenu'to (It., abbr. sost.; superl. so- 
 steniilis'sinio.) "Sustained, prolonged"; 
 sometimes implying a tenuto, at others 
 a uniform rate of decreased speed ; e. g. 
 aiit/iinte sostenuto . . .Pitt sostcmito, 
 equiv. to meno ntosso. Standing alone, 
 as a tempo-mark, it is nearly equiv. to 
 andante. 
 
 Sostinente pianoforte. A pfte. in which 
 some device is employed for "sustain- 
 ing" or prolonging the tones, such as 
 the numerous piano-violins, the lyri- 
 chord, celestina, claviol, etc. 
 
 Sot'to (It.) Below, under. . . Sottovoce, 
 in an undertone, aside . . . Sottodonii- 
 nan'tc, subdominant. 
 
 Soubasse (Fr.) Subbass. 
 
 Soubrette (Fr.) In comedy and comic 
 opera, a maid-servant or lady's-maid, 
 of an intriguing and coquettish charac- 
 ter ; applied, by extension, to various 
 light roles of this or a similar type. 
 
 Soufflet (Fr.) The bellows (of an organ, 
 harmonium, etc.). . .Soujfler, to blow. 
 . . Soufflcrie, the bellows with all ad- 
 juncts. . . Soujfleur, (a) organ-blower ; 
 (6) prompter (fern, sottjfleuse). 
 
 Sound. See Acoustics. 
 
 Soundboard. I. (Ger. Resonant boden; 
 Fr. table d' harmonic ; It. ta'vola armo'- 
 nita.) The thin plate of wood placed 
 below or behind the strings of various 
 instr.s, to reinforce and prolong their 
 tones by reflecting them from its broader 
 surface by means of molecular vibration. 
 The s. of the pfte. is sometimes, that 
 of the violin generally, called the belly. 
 2. (Ger. Pfeifenstock; Fr. pied du 
 tamis d 1 argue ; It. casso'iif.) In the 
 organ, the cover of the windchest, in 
 which the feet of the pipes are inserted. 
 
 Sound-body, Sound-box. Same as 
 Resonance-box ... Sound-bow, the thick 
 rim of a bell, against which the clapper 
 strikes. . . Sound-hole, a hole cut in the 
 belly of a stringed instr. to enhance the 
 resonance. . .Soitndpost. (Ger. Settle, 
 Stimm' stock; Fr. amc; It. n'ninia.) In 
 the violin, etc.. the small cylindrical 
 wooden prop set inside the body, be- 
 tween belly and back, just behind (near- 
 
 ly beneath) the treble foot of the bridge. 
 Its function is not only to brace the 
 belly against the strong string-tension, 
 but also to transmit the vibration of the 
 strings from belly to back, thus render- 
 ing the whole body of the instr. reso- 
 nant. 
 
 Soupape (Fr.) Valve. 
 
 Soupir (Fr.) A quarter-rest. ..Demi- 
 sfiipir, an eighth-rest. . .Iluitieme de 
 soupir (or dfini-quart de Si'iipir), 
 32nd-rest. . . Quart de soupir, a l6th- 
 rest . . . Scizitme de soupir, a &4th-rest. 
 
 Sourdeline (Fr.) Same as Sorddlina. 
 
 Sourdine (Fr.) i. A mute. 2. A stop 
 in the harmonium, which partially in- 
 tercepts the wind-supply, so that full 
 chords can be played softly. 3. Same 
 as p^dale c tteste (of the pfte.) 4. For- 
 merly, a spinet (or lute) of veiled, muf- 
 fled tone. 
 
 Sous (Fr.) Under, below. . .Sous-chan- 
 tre, subcantor. . . Sous-dominante, sub- 
 dominant. . . Sous-me"diante, submedi- 
 ant. . . Sous-tonique, subtonic, leading- 
 note. 
 
 Space. (Ger. Zwisch'enraum; Fr. es- 
 pace; It. spa'zio.) In the staff, the in- 
 terval between 2 lines or leger-lines. 
 (See Leger-space.) 
 
 Spal'la (It.) Shoulder. . . Vio'la da spal- 
 
 /a, see Viola. 
 Spa'nischer Rei'ter (Ger.) See Durch- 
 
 stecher . . . Spanisches Kreuz, sign ( x ) 
 
 of the double-sharp. 
 
 Spar'ta, Sparti'ta, Sparti'to (It.), 
 Spar'te (Ger.) A partitura. 
 
 Sparti're (It.) To write out in score. 
 The Ger. form spartie'ren signifies, to 
 copy out old scores into modern nota- 
 tion. 
 
 Spassapensie'ro (It.) A jew's-harp. 
 
 Spass'haft (Ger.) Scherzando. 
 
 Spa'tium (Lat.), Spa'zio (It.) A space. 
 
 Sperr'ventil (Ger.) See Ventil 2. 
 
 Spezza'to (It.) Divided. 
 
 Spiana'to,-a (It., " leveled ".) Smooth, 
 even, tranquil ; nearly equiv. to senza 
 passione. 
 
 Spicca'to(It., " separated".) See Spring- 
 ing bow. 
 
 Spiel (Ger.) Playing ; style (of playing. 
 . . Spit-l'art, (a) style or method of play- 
 ing ; (/') touch (of a ki-vhcanl in>tr.). 
 handy to play (on vio-
 
 136 
 
 SPINA STANZA. 
 
 lin); playable (as a passage or piece). 
 . . Spie'len, to play ; Spifler, player. . . 
 Spiel'leule, (a) wandering fiddlers, etc., 
 of the middle ages ; (b) the drummers 
 and fifers of a military band ; opp. to 
 Hautbois'ten. . . Spiel' manier en, instru- 
 mental graces. . . Spiel' 'oper, light opera, 
 comic opera . . . Spiel' tenor, light tenor, 
 as for comic opera or oper tta. 
 Spi'na (Lat.) Quill (of a spinet). 
 
 Spin'et. (It. spinet'ta; Fr. fyinette; 
 Ger. Spinett'.) An obs. keyboard instr. 
 like a harpischord, but smaller. Also 
 called Virginal (pair of Virginals), 
 and Couched Harp. 
 
 Spi'rito, con (It.) With spirit. Also 
 spiritosamen'te, spirito'so, with anima- 
 tion and energy. 
 
 Spit'ze (Ger.) I. Point (of the bow). 
 Often abbr. Sp. 2. Toe (in organ- 
 playing). 
 
 Spitz'flote (Ger.) In the organ, an open 
 flue-stop of organ-metal, tin, or wood, 
 of 8, 4, 2, and i-foot pitch ; tone some- 
 what thin, but pure and reedy. The 
 pipes are conical, whence the name. 
 (Also Spitffldte, Spin'delflote; Lat. 
 ti'bia cus'pida.) 
 
 Spitz'harfe (Ger.; It. arpanefta.') A 
 small triangular harp (psaltery) to be 
 set on a table ; it had an upright sound- 
 board with strings on both sides of it, 
 the bass strings on one side and the 
 treble strings on the other. Also called 
 Harfenelt', Flii'gelharfe, Zwit'scher- 
 harfe. [RIEMANN.] 
 
 Spitz'quint (Ger.) The quint of the 
 Spitzflole. 
 
 Spon'dee. A metrical foot consisting of 
 2 long syllables ( ). 
 
 Spread harmony. See Harmony. 
 
 Springing bow. In violin-playing, a 
 style of bowing in which the bow is al- 
 lowed to drop on the string, its elasti- 
 city then causing it to rebound and quit 
 the string between each two tones. 
 There are 2 varieties : (i) the Spicca'to, 
 indicated by dots over the notes, and 
 played near the middle of the bow with 
 a loose wrist, for rapid passages in 
 equal notes : (2) the Salta'to, with a 
 longer fall and higher rebound, gener- 
 ally employed when several equal notes 
 are to be taken in one bow. 
 
 Sprung (Ger.) A skip, a leap ; sprung- 
 U'eise, by skips or leaps. 
 
 Square pianoforte. See Pianoforte. 
 
 Squillan'te (It., from squifla, A little 
 bell.) Ringing, tinkling. 
 
 Sta'bat Ma'ter. See Sequence. 
 
 Sta'bile (It.) Steady, firm. 
 
 Stacca're (It.) To make staccato. 
 
 Stacca'to (It.; superl. staccatos' simo; 
 abbr. state.) "Detached, separated"; 
 noting a style in which the tones played 
 or sung are more or less abruptly dis- 
 connected. The ordinary staccato is 
 marked by round dots over or under 
 the notes ; a sharper staccato, by wedge- 
 shaped dashes (the marteM of violin- 
 playing); the mezzo-staccato, in which 
 the tones are nearly run together, has a 
 slur over the staccato-dots. Staccato- 
 mark, a dot or wedge-shaped stroke. 
 
 Stadt'musikanten, -pfeifer, -zinke- 
 nisten (Ger. , pi.) Salaried town-musi- 
 cians, belonging to a privileged guild 
 which originated in the I5th (?) century, 
 and under obligations to furnish music 
 for civic ceremonies ; their leader had 
 the title of Sladt'musikus. (A\soAmts'- 
 ffeifer^ K tins t' pfeifer.') 
 
 Staff, Stave. (Ger. Li'niensystem, Sys- 
 tem'; Yr.porte'e; It. ri'go.) The 5 (in 
 Gregorian music 4) parallel horizontal 
 lines used in musical notation . . . Grand 
 or Great staff, one of II lines, middle- 
 C occupying the sixth . . . Staff-notation, 
 the staff and the system of musical 
 signs connected with it ; o^>p.to Alpha- 
 betical notation (q. v.). Compare Nota- 
 tion. 
 
 Stagio'ne (It.) Season. 
 
 Stahl'harmonika (Ger.) An instr. con- 
 sisting of small steel bars caused to 
 sound by diminutive bows ; inv. by 
 Nobe in 1 796 . . . Slaht 'spiel, see Lyre 2. 
 
 Stamentienpfeife (Ger.) See Schivegel. 
 
 Stamm'akkord (Ger.) Any chord of a 
 key, in its fundamental position ; also 
 sometimes denotes any fundamental or 
 inverted chord belonging to the given 
 key, i. e. any chord not altered or sus- 
 pended. . . Stamm'ton, natural tone. . . 
 Statum' tonieiter^ the typical diatonic 
 scale of C-major. 
 
 Stampi'ta (It.) A song with instrumen- 
 tal accomp. 
 
 Stand'chen (Ger.) A serenade. 
 
 Stanghet'ta (It.) Bar. 
 
 Stan'za (It. ; Fr. stance; Ger. Stan'ze.) 
 A group of more than 2 lines, arranged 
 according to a regular plan as regards
 
 STAPLE STOP. 
 
 187 
 
 either metrical length, or rhyme, or 
 both, and forming, in connection with 
 similar groups, a poem, or a part of one. 
 
 Staple. In the oboe, etc., the metallic 
 tube which carries the double-reed, and 
 conveys the vibr. of the latter to the 
 body of the instr. 
 
 Stark (Ger.) Loud, forcible, vigorous ; 
 forte. (Also adverb.}. .Starker, louder, 
 stronger; pi it forte. 
 
 Stave. See Staff. 
 Steam-organ. The Calliope. 
 
 Stec'ca (It.) A vicious vocal effect, 
 the choked or interrupted tone caused 
 by pressing the root of the tongue too 
 far back into the pharynx. 
 
 Stech'er (Ger.) A sticker. 
 Steg (Ger.) Bridge. 
 
 Stem. (Ger. Hah; Fr. queue; It. gam 1 - 
 t>o.) The vertical line attached to a 
 note-head (J f, etc.) Also Tail. 
 
 Stentan'do (It.) Dragging and heavy, 
 ritenu'to e pesan'te. Also Stenta'to. 
 
 Step. (Ger. Schritt.) A melodic pro- 
 gression of a second (either major, 
 minor, or augm.) Also, often used as 
 synonymous with degree ; and, further, 
 as equiv. to whole tone and semitone, 
 in the phrases whole step and half-step. 
 . . Chromatic step, the progression of a 
 chromatic second . . . Diatonic step, a 
 progression between conjunct degrees 
 of the diatonic scale. 
 
 Ster'bend (Ger., "dying"). Morendo. 
 
 Ste'so (It.) Extended, prolonged ; sfeso 
 moto, a slow movement. 
 
 Stes'so (It.) The same. 
 
 Sthen'ochire. An apparatus designed 
 for increasing the strength and dexterity 
 of the hands and fingers of players on 
 keyboard instr. s. 
 
 Sticca'do, Sticca'to (It.) Xylophone. 
 
 Sticker. See Organ. 
 
 Stie'fel (Ger.) Boot (of a reed-pipe). 
 
 Stiel (Ger.) Stem ; neck (of violin.) 
 
 Stil (Ger.), Sti'le or Sti'lo (It.) Style. 
 
 Still'gedackt (Ger.) A soft-toned stopped 
 organ-register. 
 
 Sti'lo (It.) Style... S. osserva'to, strict 
 style, especially of pure vocal music. . . 
 S. rappresentati'vo, dramatic monodic 
 song with instrumental accomp. in 
 chords ; a style originating toward the 
 close of the i6th century. 
 
 Stim'me (Ger.) i. Voice. 2. Part; 
 milder Stimme, collaparte. 3. Organ- 
 stop (generally in compounds). 4. 
 Soundpost. . . Stimm'ansatz, the attack 
 of a vocal tone . . . Stimm' bander, vocal 
 cords. . . Stimm'bildung, training or de- 
 velopment of the voice. . . Stimm' bruch, 
 breaking of the voice, mutation . . . 
 Stimm' buch, part -book. . . Stim'men, to 
 tune ; to voice (an organ) . . . Stim'mer, 
 (a) tuner; (t>) drone (of bagpipe)... 
 Stimm' flote, pitch-pipe. . .Slimmfuh- 
 rer, leader in a chorus. .. Stimm fuh- 
 rung, leading of the parts . . . Stimm' - 
 gabel, tuning-fork. . . Stimm' hammer, 
 tuning - hammer. . . Stimm'holz, -holz- 
 chen, soundpost. . . Stimm' horn, tuning- 
 cone . . . Stinun'keil, tuning - wedge . . . 
 Stimm' kriicke, tuning-wire. . . Slimm'- 
 mittel, vocal powers, capacity. . . Stimm' - 
 pfeife, pitch-pipe. . . Stimm'ritze, glot- 
 tis. .. Stimm' 'stock, soundpost (violin) ; 
 wrest-plank (pfte.). . .Stimm' urn fang, 
 compass of the voice. . .Stim'mung, 
 (a) tuning ; accordatura ; (b} pitch ; 
 Stimmung halten,to keep in tune; (c)a. 
 mood, frame of mind ; Stim'mungsbild, 
 a " mood -picture ", short characteristic 
 piece. . . Stimm' 'werkzeuge, vocal organs. 
 
 Stinguen'do (It.) Dying away. 
 
 Stiracchia'to, Stira'to (It.) Dragging, 
 retarding the tempo. 
 
 Stock (Ger.) Bundle of 30 strings. 
 
 Stock'chen des Hal'ses (Ger.) "Heel" 
 of violin, etc. 
 
 Stock'fagott (Ger.) Same as Rockett. 
 . . StocKJlote, same as Czakan. 
 
 Stol'len (Ger.) See Strophe. 
 
 Stonan'te (It.) Dissonant. 
 
 Stone-harmonicon. See Lapideon, 
 
 Stop (noun), i. (Ger. Regis' terzug; Fr. 
 regislre; It. regi'stro.) That part of 
 the organ-mechanism controlling the 
 admission of wind to the grooves be- 
 neath the pipes. 2. (Ger. Register; 
 Fr. jeu d"orgue(s); It. regi'stro.} A set 
 or row of organ-pipes of like character, 
 arranged in graduated succession. 
 These are called speaking or sounding 
 stops; they are classed as Flue-work 
 (having flue-pipes), and Reed-work, 
 (having reed-pipes) ; the flue-work has 
 3 sub-classes, namely (a) Principal- 
 work, having cylindrical flue-pipes of 
 diapason-quality, i. e. the characteristic 
 organ-tone ; (b) Gedackt-work, having 
 covered (stopped or plugged) pipes ; 
 and (c) Flute-work, including all flue-
 
 i88 
 
 STOP STRETTA. 
 
 stops having flue-pipes of a scale too 
 broad or too narrow to produce the 
 diapason-tone, together with such stop- 
 ped pipes as have chimneys, and all 3- 
 or 4-sided wooden pipes . . . Complete 
 stop, one having at least one pipe for 
 each key of the keyboard to which it 
 belongs . . . Compound stop, see Mixture- 
 stop. . .Divided stop, one in which the 
 lower half of its register is controlled by 
 a different stop-knob from the upper, 
 and generally bears a different name . . . 
 Flue-stop, one composed of flue-pipes. 
 . .Foundation-stop, one of normal 8-foot 
 pitch. . .Half -stop, incomplete or im- 
 perfect stop, one producing (approxi- 
 mately) half the tones called for by the 
 full scale of its manual . . . Mechanical 
 stop, one not having a set of pipes, but 
 governing some mechanical device ; 
 such are the couplers, tremulant, bell- 
 signal, and the like. . .Mixture-stop, 
 one with 2 or more ranks of pipes, thus 
 producing more than one tone for each 
 key (as the Mixture, Carillon, Cornet, 
 Cymbal) . . . Mutation- stop, one produc- 
 ing tones a major 3rd or perfect 5th 
 (or a higher octave of either) above 
 the 8' stops (as the Tierce, Twelfth, 
 Quint). . .Partial stop, see Half-stop. 
 . .Pedal- stop, a stop on the pedal... 
 Reed-stop, one composed of reed-pipes. 
 . . Solo-stop, any organ-stop adapted for 
 the production of characteristic melodic 
 effects, whether on the solo organ or 
 not. . . Sounding or speaking stop, a stop 
 proper, having pipes and producing 
 musical tones. 3. On a violin, etc., 
 pressure of a finger on a string, to vary 
 its pitch ; a double-stop is when 2 or 
 more strings are so pressed and sound- 
 ed simultaneously ; on wind-instr.s 
 with finger-holes, the closing of a hole 
 by the finger or a key, to alter the 
 pitch ; on wind-instr.s of the trumpet 
 family, the partial closing of the bell by 
 inserting the hand, thus raising the pitch 
 and modifying the quality of the tone. 
 
 Stop (verb). To vary the pitch of instr.s 
 as described under Stop 3 above . . . 
 Stopped notes, notes obtained by stop- 
 ping ; opp. to open . . Stopped pipes, 
 organ-pipes closed (plugged or covered) 
 at the top ; opp. to open. 
 
 Stop'fen (Ger.) To stop (bell of horn 
 with the hand) . . . Stopf'tone, stopped 
 tones, " hand-notes " (horn). 
 
 Stop-knob. The projecting handle of a 
 Stop i. 
 
 Stoss'zeichen (Ger.) Staccato-mark. 
 
 Straccicalan'do (It.) Babbling, prat- 
 tling. 
 
 Strain. In general, a song, tune, air,, 
 melody ; also, some well-defined pas- 
 sage in or part of apiece. Technically, 
 a period, sentence, or short division of 
 a composition ; a motive or theme. 
 
 Strascican'do (It.) Dragging, drawl- 
 ing. (Also strascinan'do; strascinando 
 Tarco, drawing the bow so as to bind 
 the tones.) 
 
 Strathspey. An animated Scotch dance, 
 somewhat slower than the reel, and like 
 it in 4-4 time, but progressing in dot- 
 ted eighth-notes alternating with i6ths, 
 the latter frequently preceding the for- 
 mer, then producing the peculiar jerky 
 rhythm of the Scotch snap. 
 
 Stravagan'te (It.) Extravagant, eccen- 
 tric, fantastical. 
 
 Stravagan'za (It.) An extravaganza. 
 
 Straw-fiddle. See Strohfiedel. 
 
 Strei'chen (Ger.) i. To bow (draw the 
 bow across). 2. To cut (as a scene in, 
 an opera) ... Strei'chend (Ger.; lit. 
 "drawing [as a bow]"), the quality of 
 tone called in English stringy (opp. 
 to reedy, fluty, &G?)...Streichende 
 Regis' ter, in the organ, stops with string- 
 tone . . . Streich'inslrumente, bow-instr.s. 
 . . Streich'orchester, string-orchestra, 
 ' ' the strings "... Streich'quartett, -trio, 
 string-quartet, -trio. . . Streich' zither, 
 bow-zither. 
 
 Streng (Ger.) Strict, severe. (Also 
 adverb?) 
 
 Stre'pito (It.) Noise. . . Strepitosamen'- 
 te, strepito'so, in a noisy, boisterous, 
 impetuous style. 
 
 Stretch. On a keyboard or fingerboard, 
 a wide interval whose tones are to be 
 taken simultaneously by the fingers of 
 one hand. 
 
 Stret'ta, commonly Stret'to (It.; Fr. 
 strette; Ger. Eng'fuhrung.) " Nar- 
 row, drawn together". I. A division 
 of a fugue (usually a final development, 
 for the sake of effect) in which subject 
 and answer follow each other in such 
 close succession as to overlap . . . S. 
 maestra'le, one constructed in strict 
 canon. . .Alia stretta, in, or after the 
 manner of, a stretto. . .Andante stretlo, 
 same as andante agitato. 2. A con- 
 cluding passage taken, to enhance- the 
 effect, in faster tempo.
 
 STRETTE STUFE. 
 
 Strette (Fr.) Stretto . . . S. magistral*, 
 
 same as Stretto tnni-strale. 
 Strich (Ger.) I. Stroke ; Strich'art, 
 
 Bowing 2. 2. A line, dash, or stroke. 
 
 3. A " cut". 
 
 Striden'te (It.; "noisy," " harsh".) In 
 pfte. -playing, equiv. to niartellato 
 (comp. Beethoven, op. 76, Van VI). 
 
 String, ((ler. Sai'tf; Fr. corde; \\..cor'- 
 da.) The materials chiefly used for 
 manufacturing musical strings are gut 
 (entrails of lambs and sheep), cast 
 steel (drawn out for piano-strings, etc.), 
 silver (mostly for covering or winding 
 spirally around a core steel wire or 
 silk cord to make the string thicker 
 and heavier in proportion to its length, 
 and consequently deeper-toned), and 
 silk (as a core in covered strings, es- 
 pecially Tor the guitar and zither). Cop- 
 per and brass are also employed . . . The 
 Strings, technical term for the string- 
 group in the orchestra. . .First string, 
 the highest of a set. . . Open string, one 
 not stopped or shortened . . . Silver 
 string, one covered with silver wire. . . 
 Soprano string, the chanterelle. 
 
 Stringed instruments. (Ger. Sai'ten- 
 instrumente; Fr. instruments a cordes; 
 It. stromen'ti da cor' da.) All musical 
 instr.s whose tones are produced by 
 strings, whether struck, plucked, or 
 bowed. See Instruments. 
 
 Stringen'do (It.) Hastening, accelerat- 
 ing the movement, usually suddenly 
 and rapidly, with a crescendo. 
 
 String-gauge. A gauge for measuring 
 the thickness of strings. 
 
 String-organ. A keyboard instr., pro- 
 vided with a series of free reeds con- 
 nected by rods with ordinary piano- 
 strings of corresponding pitch, which 
 are sympathetically affected by the vi- 
 brations of the reeds. The tone is pure 
 and sweet, the instr. combining in a de- 
 gree the qualities of the harmonium 
 and pfte. Also compare art. Sai tenor- 
 g'l. 
 
 String-quartet. A quartet for 1st and 
 2nd violin, viola, and "cello ; hence, 
 the instr.s themselves, or the players 
 on them ; and, by extension, the string- 
 group in the orchestra (see String-quin- 
 tet). 
 
 String-quintet, i. A quintet for 2 vio- 
 lins, 2 violas, and 'cello ; or for 2 vio- 
 lins, I viola, and 2 'celli ; or for 2 vio- 
 lins, viola, 'cello, and double-bass. 
 
 These are the most usual combinations, 
 which may be variously extended to 
 form string-sextets, septets, etc. 2. 
 The string-group in the orchestra, when 
 considered as composed of (i) 1st and 
 (2) 2nd violins, (3) violas, (4) 'cellos, 
 and (5) double-basses ; called string- 
 quartet when considered as composed 
 of (i) violins, (2) violas, (3) 'cellos, and 
 (4) double-basses. 
 
 Stringy. Having the quality of tone 
 ("string-tone") peculiar to bow-instr.s. 
 
 Striscian'do (It.) Gliding, smooth, 
 legato. 
 
 Stro'fa (It.) Strophe. 
 
 Stroh'bass (Ger.) The deep, husky 
 tone of the lower chest-register (male 
 voice) produced by forcing the breath 
 between the vocal chords when th 
 latter, though brought near together, 
 are in a state of relaxation . . . Stroh'fit* 
 del, the xylophone. 
 
 Stroke. The sweep (fall and rise) of a 
 digital or pedal. 
 
 Strombetta're (It.) To sound a trum- 
 pet . . . Strombettie 1 re , trumpeter. 
 
 Stromenta'to (It.) Instrumented. 
 
 Stromen'to (It.) Instrument. . .S. da 
 area, bow-instr. . . S. da cor da, stringed 
 instrument . . . S. da fia'to (di vento) t 
 wind-instr. . . S. da ta'sto, keyboard in- 
 str. .. S. di le'gno, wooden instr. . . 61 
 di metaflo, metal instr. 
 
 Stro'phe. (Gk., " a turning round".) i. 
 In the Greek drama, the song of the 
 chorus when turning from right to left, 
 the antis'trophe being what was sung 
 when turning from left to right, the 
 ep'ode then following. 2. A recurrent 
 group of lines in a poem, arranged ac- 
 cording, to a fixed metrical system or 
 plan ; equivalent to stanza in modern 
 poetry. 3. The former of two such 
 groups, the latter then being called the 
 antistrophe (see above). . .The Strophe, 
 Antistrophe, and Epode of the Greek 
 tragic chorus and Pindar's odes, closely 
 correspond to the 2 Stollen and the 
 Abgesangoi the German Meister singer ; 
 the Bar being the group formed by the 
 2 Stollen and the Aogesang. 
 
 Stuck (Ger.) A piece ; a number (as 
 on a program). 
 
 Study. (Ger. StiSdie [pi. Stu'dien], or 
 Etti'de [pi. Etu'den}; Fr. AuJt; It. 
 stu'Jio.) See Atude. 
 
 Stu'fe (Ger.) A degree. . . Stu'Jenweist
 
 loo 
 
 STUMM SUITE. 
 
 Fort'schreitung, diatonic or conjunct 
 (" stepwise") progression. 
 
 Stumm (Ger.) Dumb . . . Stum'mes A'la- 
 vifr', dumb piano. . .Stum' me Pfei'fe, 
 dummy pipe. . . Stum'mes Regis' 'ter, 
 mechanical stop. 
 
 Stiir'misch (Ger., "stormy".) Impetu- 
 ous, passionate. (Also adverb.) 
 
 Stiir'ze (Ger.) Bell (of wind-instr.s). . . 
 Stiir'zf in die Hoh'e, ' ' turn the bell 
 upwards !" 
 
 Stuttgart pitch. 
 Scheibler at the 
 Stuttgart Congress 
 in 1834, the 
 
 That proposed by 
 to make 
 
 !~ 4OO VI- 
 
 b rations 
 
 per second at a temperature of 69 
 Fahrenheit. (Comp. Pitch, Absolute.) 
 
 Stutz'fliigel (Ger.) Boudoir grand, 
 " baby" grand (pfte.) 
 
 So (It.) On, upon ; by, near.. .Arco in 
 su, up-bow. 
 
 Suabe flute. A sweet-toned organ-stop. 
 
 Sua've (It.) See Soave. . . Suavita' ', con, 
 suavely, sweetly. 
 
 Sub (Lat.) Under. 
 
 Subbass', Subbour'don. An organ- 
 stop of 1 6 or 32-foot pitch, generally 
 on the pedal and stopped. 
 
 Subcantor. A deputy cantor or precen- 
 tor, supplying the place of his chief in 
 the latter's absence. Also Succentor. 
 
 Subdiapen'te. In medieval music, the 
 fifth below a given tone. 
 
 Subdom'inant. The under-dominant, 
 i. e. the tone below the dominant in a 
 diatonic scale ; the 4th degree. 
 
 Subitamen'te, Su"bito (It.) Suddenly, 
 quickly. . . Volti subito (abbr. V. S.), 
 turn over quickly. . .p subito (after f), 
 an abrupt [change to] piano, without 
 gradation. 
 
 Subject. (Ger. Subjekt'; Fr. stijet; It. 
 sogget'to.) A melodic phrase or motive 
 on which a composition or movement is 
 founded ; a theme ; opp. to answer. 
 (Also antecedent, dux, guida, proposta, 
 etc.) Compare Soggetto. 
 
 Subme'diant. The third scale-tone below 
 the tonic ; the 6th degree. 
 
 Suboc'tave. The octave below a given 
 tone. Suboctave-coupler, an organ- 
 coupler bringing into action keys an 
 octave below those struck, either on the 
 same manual or another. 
 
 Subordinate chords. Chords not fun- 
 
 damental or principle ; the triads on the 
 2nd, 3rd, 6th, and 7th degrees, and all 
 chords of the seventh but the dominant 
 chord. 
 
 Subprincipal. A subbass (pedal-) stop 
 of 32-foot pitch, of the open diapason 
 class. 
 
 Subsemifu'sa (Lat.) A 32nd-note(medie- 
 val). 
 
 Subsemitone. The subtonic, or lead- 
 ing-tone (Lat. subsemito' nium modi). 
 
 Substitution. In contrapuntal progres- 
 sion, the resolution (or preparation) of 
 a dissonance by substituting, for the 
 proper tone of resolution (preparation), 
 its higher or lower octave in some other 
 part. 
 
 Substitution (Fr.) Change of fingers. 
 
 Subtonic. The leading-note. ' 
 
 Succentor (Lat.) A subcantor ; also, 
 the singer of a lower or bass part. 
 
 Succession, i. Progression. 2. Se- 
 quence. 
 
 Suf flbte (Ger.) See Sifflote. 
 
 Suffoca'to (It., " suffocated".) Damped, 
 muffled. 
 
 Su'gli, Su'i (It.) On the (comp. Su/). 
 
 Suite (Fr.) A cyclical instrumental com- 
 position consisting of a set or series 
 of pieces in various idealized dance- 
 forms. It originated, presumably, in 
 the practice of the town-bands, during 
 the later middle ages, of stringing to- 
 gether a succession of dance-tunes, dif- 
 fering in character and form but alike 
 in key. These are the characteristic 
 features of the old Suite, which was 
 taken up in the i?th century by com- 
 posers as a form of clavier-composition 
 under the name of Partie or Partita. 
 The extension of the primitive forms, 
 naturally resulting from instrumental 
 treatment at the hands of Italian and 
 German musicians, was cut short by 
 Couperin (1668-1733), who in many 
 respects served Bach as a model ; the 
 Kammersiiiten of the latter mark the 
 culmination of the old suite-form. The 
 earlier artistic Suites have 4 principal 
 movements or divisions : The Alle- 
 mande, Courante, Saraband, and Gigue; 
 other forms introduced at will (inter- 
 mezzi) are the Bourre'e, Branle, Ga- 
 votte, Minuet, Musette, Passepied, 
 Loure, Pavane, etc. ; such an intermez- 
 zo was usually brought in between the 
 Saraband and Gigue, rarely before the
 
 SUIVEZ SWELL. 
 
 191 
 
 former. The modern orchestral Suite 
 can hardly be called a revival of the old 
 form, as the separate movements are 
 not necessarily or generally in dance- 
 form, nor do they keep to one key ; it 
 more nearly resembles the Divertimen- 
 to, both in character and form. 
 
 Suivez (Fr., " follow".) Same as Colla 
 parte. Also, "continue," " go on" (i. 
 e., in like manner); simile. 
 
 Sujet (Fr.) Subject. 
 
 Sul, sulP, sul'la, sul'le (It.) On the, 
 near the (all contractions of su, on, 
 with the definite article). . . Sulla corda 
 La, on the ,4 -string. . . Sulla tastie'ra, 
 nearer by the fingerboard. . .Sulpon- 
 ticeflo, near the bridge (see Ponticello). 
 
 Summational tone. See Acoustics, 3, b. 
 
 Suona're (It.) Same as Sonare. . . Suon- 
 a'ta, see Sonata . . . Suo'no, sound, 
 tone ; suoni armo'nici, harmonics, 
 flageolet-tones. 
 
 Super (Lat.) Above, over. 
 
 Superdominant. The 6th degree of any 
 major or minor scale. 
 
 Superfluous. (Fr. super -flu.) See Aug- 
 mented. 
 
 Supe'rius (Lat.) Formerly, the highest 
 part. 
 
 Superoctave. I. An organ -stop pitched 
 2 octaves higher than the diapasons 
 (i. e. of 2-foot pitch). 2. An organ- 
 coupler bringing into action keys an oc- 
 tave above those struck, either on the 
 same manual or another. 3. The octave 
 above a given tone. 
 
 Supertonic. The 2nd degree of a dia- 
 tonic scale. 
 
 Suppliche'vole, Supplichevolmen'te 
 (It.) In a style expressive of supplica- 
 tion, entreaty, pleading. 
 
 Support. An accompaniment, or sub- 
 ordinate part. 
 
 Supposed bass. See Bass. 
 
 Sur (Fr.) On, upon, over...Sur une 
 corde, see Sopra una corda. 
 
 Surabondant (Fr.) See .Vote (Fr.) 
 
 Suraigu, -e (Fr.) Superacute. 
 
 Surdeli'na (It.) See Sourdeline. 
 
 Surprise cadence. See Cadence. 
 
 Sus-dominante (Fr.) Superdominant. 
 
 Suspended cadence. See Cadence. 
 
 Suspension. (Ger. Vor'halt; Fr. sus- 
 pension; It. sospensio'ne.) A disso- 
 
 nance caused by suspending (holding 
 back) a tone or some tones of a chord 
 while the other tones progress ; the 
 dissonance of a seventh or second, 
 occurring immediately before a chord 
 which would have entered entire were 
 it not for the suspension ; e. g. 
 X X 
 
 T2- 
 
 Double (triple) suspension, one in 
 which 2 (3) tones are suspended. The 
 suspended tone itself is also termed a 
 suspension. 
 
 Suspi'rium (Lat.) A quarter-rest ; in 
 mensurable notation, a minim-rest. 
 
 Suss (Ger.) Sweet(ly). 
 
 Sustain. To hold during the full time- 
 value (of notes) ; specifically, to per- 
 form in sostenuto or legato style. . . Sus- 
 tainednote, see Organ-point. Sustain- 
 ing-pedal, see Pedal. 
 
 Sus-tonique (Fr.) Supertonic. (Also 
 Sutonique.) 
 
 Susurran'do, Susurran'te (It.) In a 
 whispering, murmurous tone. 
 
 Sveglia'to (It.) Lively, animated, 
 brisk. 
 
 Svel'to (It.) Light, nimble. 
 
 Swell, i. In the organ, a contrivance 
 for producing a crescendo and diminu- 
 endo. By enclosing a partial organ 
 (swell-organ) in a box, the front of 
 which could be opened or shut at will, 
 this end was attained. In the modern 
 (so-called Venetian) swell the front of 
 the swell-box is composed of movable 
 parallel shutters (swell-blinds) ; when 
 these shutters are horizontal, they are 
 usually opened by a lever (swell-pedal) 
 worked by the organist's right foot, and 
 close automatically when the lever is 
 released (but comp. Balance swell- 
 pedal); when vertical, they are closed 
 by a spring. Formerly other devices 
 were employed, notably the nag's-head 
 swell, a single broad shutter in front of 
 an echo-organ, to be raised or lowered. 
 On the harpsichord a swell was ob- 
 tained by a movable cover. 2. A cre- 
 scendo ( "). or crescendo and di- 
 minuendo ( ' ~ ) . . . S-vell- 
 
 keyboard, the manual controlling the
 
 iga 
 
 SYLBE -SYMPHONY. 
 
 swell-organ, generally the one next 
 above the great -organ manual . . . Swell- 
 organ (Ger. [compare Oberwerk] ; Fr. 
 clavier de re"cit; It. organo d'espres- 
 sionc), see Swell I, and Organ. (In 
 organ-music abbr. Sw., or Swell.) 
 
 Syl'be (Ger.) Syllable. 
 
 Syllabic melody. One each tone of 
 which is sung to a separate syllable 
 (Ger. silla' bischer Gesang; Fr. chant 
 sylltibique); opp. to Slurred melody. 
 
 Syllable-name. A syllable taken as the 
 name of a note or tone, as Do for C; 
 opp. to Letter-name. 
 
 Sympathetic string. A string (e. g. 
 the octave-strings stretched over the 
 unisons in Bluthner's "aliquot grands") 
 adjusted so as to be affected by the vi- 
 brations of other strings or resonant 
 bodies, and not by being itself struck, 
 plucked, or bowed. 
 
 Symphone'ta (Lat.) Polyphony, poly- 
 phonic writing. 
 
 Symphoni'a(Gk. and Lat.) I. In Greek 
 music, a consonance. 2. (Medieval.) 
 A name formerly applied to various 
 different instr.s, as the hurdy-gurdy and 
 virginal. 3. A symphony. 
 
 Symphonic. (Ger. sympho'nisch; Fr. 
 symphonique; It. sinfo'nico.) Relating 
 or pertaining to a symphony . . . Sym- 
 phonic poem (Ger. sympho'nische Dich'- 
 tung; Fr. poeme symphonique), an or- 
 chestral composition allied, both in 
 its length and in the power and variety 
 of its instrumentation, to the sym- 
 phony ; but radically differing from 
 the latter by discarding the orthodox 
 form (division into the regular move- 
 ments), and in being directly based on 
 and receiving its inspiration from a 
 program (the poem; i. e., it is conceived 
 as an instrumental poem, depicting 
 events, scenes, or moods like a word- 
 poem). This "fairest flower" of pro- 
 gram-music can necessarily have no 
 fixed form, but its continuous flow is 
 moulded into a sort of unity by the 
 repetition of the same theme variously 
 modified and transformed. 
 
 Symphonic (Fr.) i. Symphony. 2. 
 Harmony, euphony. 3. An instrumen- 
 tal accomp. 4. The string-group in 
 the orchestra. 5. Orchestra. 
 
 Symphonie-Ode (Ger.) A symphonic 
 composition combining chorus and or- 
 chestra (Fr. ode-symphonie). 
 
 Sympho'niker (Ger.) A composer for 
 full (symphony- or opera-) orchestra. 
 
 Sympho'nion. i. A pfte. combined 
 with an organ flute-stop, inv. in 1839 
 by Fr. Kaufmann of Dresden. 2. A 
 music-box, consisting essentially of a 
 graduated comb-like series of steel 
 teeth, and a thin flat metallic disk 
 caused to rotate by clockwork, and in 
 which the notes are punched in such s 
 manner that short tongues of metal 
 project from the lower side of the disk ; 
 in rotating over the steel teeth, these 
 tongues engage a series of small wheels 
 furnished with projecting studs, which 
 twang the teeth in the same way as the 
 studs on the cylinder of the ordinary 
 Swiss music-box. The instr.s are made 
 in all sizes, and as the note-disks are 
 interchangeable, the repertory is limited 
 only by their number (now several 
 thousand). 
 
 Symphoniste (Fr.) i. A composer. 2 
 A symphony-writer. 3. A member o 
 a symphony-orchestra. 
 
 Sym'phony. (Ger. Symphonie', Sin 
 fonie' ; It. sinfoni'a; Fr. symphonic 
 from the Gk. symphoni'a, "conso. 
 nance", i. e. consonant interval.) i. 
 A form of instrumental composition de- 
 veloped from the Overture (q. v.), the 
 3 divisions of which latter were separ- 
 ated towards the middle of the i8th 
 century, by composers writing purely 
 orchestral pieces, into 3 distinct move- 
 ments ; the 4th (the Minuet) being in- 
 troduced by Haydn, who thus consum- 
 mated the modern 4-movement form. 
 This form is identical with that of the 
 Sonata (comp. Form). For the Minuet, 
 Beethoven substituted the Scherzo, 
 which since then has been the typical 
 form of the 3rd movement. Haydn 
 also transferred the ' ' first-movement " 
 form of the sonata to the symphony, 
 and utilized the individual timbres of 
 the various instr.s for contrasts in or- 
 chestration ; the perfection of instru- 
 mental individualization is the work of 
 Mozart and Beethoven, and the latter 
 enlarged the symphony-orchestra to its 
 modern status (comp. Orchestra). The 
 usual plan of the symphony is now I 
 {Allegro [in first-movement form, often 
 with a slow introductory division]) ; II 
 (Adagio); III (Scherzo) ; IV (Allegro 
 or Presto). Its latest development is 
 the Symphonic Poem. 2. Same as 
 Ritornello I. 3. A medieval name for 
 several instr.s, as the Hurdy-gurdy, 
 Bagpipe, etc.
 
 SYNCOPATE TABLATURE. 
 
 193 
 
 Syn'copate. To efface or shift the accent 
 of a tone or chord falling on a naturally 
 strong beat, by tying it over from the 
 preceding weak beat ; a tone or chord 
 so robbed of its accent is termed synco- 
 pated. 
 
 Syncopa'tion. (Ger. Syn'kope; Fr. syn- 
 ccfe; It. sin'cope.*) The tying of a 
 weak beat to the following strong beat, 
 effacing the accent naturally falling on 
 the latter and in most cases shifting it 
 to the (naturally unaccented) weak beat. 
 Syncopation may take place in one, 
 several, or all parts ; in the first two 
 cases as an anticipation, a suspension, 
 or a resolution of either (as a resolution 
 the accent is weakest, or quite elided, 
 particularly when concluding a phrase) ; 
 in the third case, or in anticipation, the 
 accent is apt to have a sforzando char- 
 acter. 
 
 Synem'menon, See Greek music. 
 
 Syn'kope (Ger.) Syncopation. ..Syn- 
 'ren, to syncopate. 
 
 Synonyme (Fr.) Same as Homophone, 
 which latter term is more correct. 
 
 Synton'ic comma. See Comma. 
 
 Syntonolyd'ian. Same as Hypolydian 
 (see Mode). 
 
 Syringe (Fr.) Syrinx. 
 
 Syr'inx. See Pandean pipes. 
 
 System, i. A number of staves braced 
 together for writing out a full score. . . 
 2. (Ger.) See Liniensystem. 
 
 Syste'ma i. (Gk.) In Greek music, 
 a comparatively wide interval filled out 
 by intermediate tones ; e. g. a tetra- 
 chord. 2. (Lat.) The staff. 3. The 
 series of tones constituting a hexa- 
 chord. 
 
 Systeme (Fr.) I. The whole range of 
 musical tones. 2. The compass of any 
 given instr. 
 
 Syzygi'a (Lat.) A chord ; specifically, 
 a triad... S. compo'sita, triad with 
 doubled tone... S. perfec'ta, triad... 
 S. propin'qtta, chord in close harmony. 
 . . S. remo'ta, chord in open harmony. 
 . . S. sim'plex, the simple triad without 
 doubled tones. 
 
 T. 
 
 T. An abbr. of Talon. Tasto (t. s. = 
 tasto solo). Tempo (at. = a tempo), 
 TenJre, Tenor, Toe (in organ-music), 
 Tre(1. C. = tre corde), and Tutti. 
 
 Tabal'lo (It.) See Timpano. 
 
 Tab'lature. i. (Ger. Tabulator*.} The 
 rules and regulations for the poetry and 
 song of the Meistersinger. 2. (Ger. 
 Tabulatur' ; Fr. tablature; It. intavola- 
 tu'ra.) An obsolete system of musical 
 notation employed chiefly for the lute, 
 viol, and organ, and most in vogue 
 from the isth century till early in the 
 i8th. The organ-tablature (also called 
 German t.) used for keyboard instr .s 
 was a system of alphabetical notation 
 based on the division of the mus. scale 
 into the octaves CH (= B), c h 
 (= b), etc.; the melody (highest part) 
 was often noted on a staff, the accom- 
 panying chords being expressed by ver- 
 tical rows of letters. In the lute-tabla- 
 tures (excepting the German) the tones 
 were represented by letters (French or 
 English t.) or numerals (earlier Italian 
 t.) indicating the frets at which the 
 strings were to be stopped, and were 
 written on the lines or in the spaces of 
 a kind of staff, said lines or spaces 
 showing the number of strings on the 
 instrument. The pitch of the tones 
 represented by the letters or figures 
 would therefore vary with the size of 
 the lute, and was not a staff-notation in 
 the modern sense. Three leading fea- 
 tures were common to nearly all systems 
 of tablature : (i) The vertical disposi- 
 tion of the characters representing one 
 chord ; (2) the use of bars to divide the 
 measures ; (3) a system of signs for 
 marking the time-value of the tones 
 called for by letters or figures (or of 
 the corresponding rests), these signs 
 being written either above or below the 
 latter, and signifying: 
 
 Note- Rest- 
 Signs. Signs. 
 
 Time-Value. 
 
 Brevis ( ty ) 
 Semibrevis ( ^ ) 
 
 Minima ( \\ 
 Semiminima (J) 
 
 Fusa 
 
 (J*) 
 
 S s Semifusa ( J5) 
 
 The hooks of consecutive equalnot 
 were often run together thus SEES
 
 194 
 
 TABLE TANDELND. 
 
 or ''III '.. Arbitrary variations from 
 these general rules were, however, of 
 frequent occurrence. A new develop- 
 ment of tablature is the Tonic Sol-fa 
 system of notation. 
 
 Table (Fr.) Soundboard ; belly. (Also 
 table (fharmonie.) . Table de dessous, 
 back. 
 
 Table-music. See Tafelmusik. 
 
 Tabor. A small drum, like a tambour- 
 ine without jingles ; formerly much 
 used by pipers, who beat the tabor with 
 the right hand as an accompaniment to 
 a flageolet or pipe manipulated by the 
 left . . . Tabor et, Tabret, a small tabor. 
 
 Tab'ulature. See Tablature. 
 
 Ta'cent(Lat.) " Are silent". See Tacet. 
 
 Ta'cet (LaO, Ta'ce or Ta'ci (It.) " Is 
 silent"; signifies that an instrumental 
 or vocal part so marked is omitted dur- 
 ing the movement or number in ques- 
 tion. 
 
 Tac'tus (Lat.) A beat. In medieval 
 music its time-value was styled tactus 
 major when it marked a breve to a 
 measure, and tactus minor when a semi- 
 breve. 
 
 Ta'felklavier (Gen) A square pfte. 
 Also ta r felformiges Klavier' . . . Ta'fel- 
 musik, "table-music"; (a) music per- 
 formed during repasts; (6) music so 
 printed that several performers, sitting 
 around a square table, could read their 
 several parts from the same book. See 
 Part-book. 
 
 Tail. Same as Stem . . . Tailpiece. (Ger. 
 Sai'tenhalter; Fr. cordier, queue.} 
 In the violin, etc., the piece of wood 
 (usually ebony) to which the strings are 
 attached behind the bridge. 
 
 Taille (Fr.) Tenor voice (now used only 
 for church -music ; otherwise le'nor}. 
 Also, the tenor violin . . . Taille de bas- 
 son, same as Oboe da caccia. 
 
 Takt (Ger.) I. Abeat. 2. A measure. 
 3. Time. . . Takt' accent, measure- 
 accent, primary accent. .. Takt' art, 
 time, measure, rhythm . . . Takt'erstick- 
 ung, syncopation. . . Takffach, a space. 
 . . Takt'fest, steady in time . . . Takt'- 
 glied, measure-note ... Takt' halU-n, to 
 keep time ; keeping time. . . Tak'tieren, 
 to beat time . . . Tak'tierstab, a baton. 
 . . Takt'm&ssig, in time. . . Takftnesser, 
 metronome. .. Takt' note, whole note. 
 . . Takt? pause, measure-rest. . . Takf- 
 tchlagen, to beat time. . . Takt' stock, a 
 
 baton.. . Takfstrich, a bar. . . Takt 
 teil, beat, count ; guter Taktteil, strong 
 beat; schlechter Taktteil, weak beat. 
 . . Takfvorzeichnung, Takt'zeichen, 
 time-signature. . . Ein Takt wie marker* 
 zwei (" one measure like two before "), 
 same as Doppio movimento . . . Im Takt, 
 a tempo. 
 
 Talon (Fr., " heel"). I. Nut (of the 
 bow.) 2. In pedal-playing, heel ; 
 abbr. t (compare Pointe 2). Talon de 
 la manckf (in the violin, etc.), heel (end 
 of neck joining the body). 
 
 Tambour (Fr.) I. A drum. 2. A 
 drummer (also Ger.) Tambour chro- 
 matique, see Timbalarion. . . T. de 
 basque, tambourine ... 7". roulante, the 
 long drum. 
 
 Tambou'ra, Tambu'ra. An Oriental 
 instr. of the lute kind, having a round 
 body, fretted fingerboard, and 3 or 4 
 strings. 
 
 Tambourin (Fr.) i. A sort of tabor. 
 2. A French peasants' dance, in 2-4. 
 time and lively tempo, often accomp. 
 by the tambourin and galoubet (tabor 
 and pipe). 
 
 Tambourine'. (Ger. Tamburin'; Fr. 
 tambour de basque; It. tamburi'no.) 
 A small drum played by striking it with 
 the right hand, consisting of a shallow 
 circular hoop of wood or metal with 
 one head of parchment ; in apertures 
 made around the hoop are fastened sev- 
 eral pairs of loose metallic plates, 
 called jingles from the noise they pro- 
 duce. Used principally in Spain and 
 southern France as an accomp. to danc- 
 ing ; occasionally employed in the (op- 
 eratic) orchestra. In tambourine-mu- 
 sic, notes with wavy stems r < call 
 for the roll; notes with short vertical 
 
 1 t. Hit II II , U 
 
 strokes over them <5> for the 
 jingles. 
 
 Tamburel'lo (It.) Tabor. 
 Tamburi'no (It.) I. A drummer. 2. 
 
 Tambourine. 
 Tambu'ro (It.) Side-drum ... Tambu- 
 
 ro'ne, the big drum, bass drum (also 
 
 Cassa grande). 
 
 Tamis (Fr.) Pipe-rack (organ). 
 Tam-tam, i. A gong. 2. A Hindu 
 
 drum of elongated form. (Also Tom* 
 
 torn.) 
 
 Tan'delnd (Ger.) In a toying, banter- 
 in style.
 
 TANGENT TEMPERAMENT. 
 
 195 
 
 Tangent. (Ger. Tangen'tc.) In the 
 clavichord, a brass wedge fixed in the 
 jack on the rear end of a key ; on de- 
 pressing the key, the tangent struck and 
 rubbed across the string, and remained 
 bearing on it until the ringer was lifted, 
 thus both producing the tone and fixing 
 its pitch . . Tangen'tenfltigel (Ger.), a 
 clavichord shaped like a grand piano. 
 
 Tanti'no (It.) A little ; very little. 
 
 Tan'to. (It.) As much, so much ; too 
 (much)^ allegro non tanto, not too fast 
 (here equiv. to troppo); a tanto possi'- 
 bile, as much as possible. 
 
 Tanz (Ger.) A dance. .. Tanz'liedcr, 
 dance-songs ; Tanz'stucke, dance-tunes 
 (instrumental); the former were the 
 original form of dance-music (Tatis'- 
 musik), the latter being at first mere im- 
 itations of them. (Comp. Form II, 3.) 
 
 Tarantel'la (It.), Tarentelle (Fr.) A 
 dance of southern Italy, in 6-8 time, 
 the rate of speed gradually increasing, 
 and the mode alternating irregularly 
 between major and minor. In modern 
 music, an instrumental piece in 3-8 or 
 6-8 time, very rapid tempo (presto), and 
 bold and brilliant style. 
 
 Tardamen'te (It.) Slowly, lingeringly. 
 . . Tardan'do, Tarda'to, see Rilardan- 
 do . . . Tar' do, slow, lingering. 
 
 Tartini's tone. A differential tone 
 (comp. Acoustics). 
 
 Tasch'engeige (Ger.) A kit. 
 
 Tasseau(Fr.; Ger. Herz.} The "mould " 
 on which ribs and blocks of a violin are 
 set up. 
 
 Tastatur' (Ger.), Tastatu'ra (It.) 
 Keyboard, fingerboard. 
 
 Tas'te (Ger.) Key (digital or pedal). . . 
 Tas'tenstdbchen, fret. (The usual term, 
 Bund, means literally the space between 
 two frets.} 
 
 Tastie'ra (It.) Keyboard; fingerboard. 
 ..Sulla /., near the fingerboard (di- 
 rection in violin-playing). 
 
 Ta'sto (It.) I. Key (digital). 2. 
 Fret. 3. Touch. 4. Fingerboard ; 
 sul tasto, same as siitla tastiera. . . 
 Tasto solo (abbr. /. s.), " one key alone"; 
 a direction in thorough-bass, signifying 
 that the bass part is to be played, either 
 as written or in octaves, without chords 
 (sign 0, or ^). 
 
 Tattoo'. Military drum-signal or bugle- 
 call for retiring at night. 
 
 Te. For si, in the Tonic Sol-fa system. 
 
 T(Fr.) Cjflfor nt dihe). 
 
 Tech'nic, Technique'. (Ger. Tech'nik.) 
 All that relates to the purely mechani- 
 cal part of vocal or instrumental per- 
 formance. In some German works 
 treating on pfte.-technique, a distinc- 
 tion is made between Mecha'nik (the 
 merely mechanical drill of fingers and 
 wrist, apart from its application in play- 
 ing), and Technik (the acquired skill 
 and dexterity in actual performance). 
 
 Tech'nicon. A finger-gymnasium, or 
 apparatus for training and strengthen- 
 ing the hands and fingers of players on 
 keyboard instr.s ; inv. in 1889 by J. 
 Brotherhood of Montreal, Canada. 
 
 Techniphone. Earlier name of the (im- 
 proved) Virgil Practice-Clavier (q. <y.) 
 
 Tede'sco,-a (It.) German. . .Alia te- 
 desca, in the German style ; " the term 
 1 tedesca ', says Billow, has reference to 
 waltz-rhythm, and invites changes of 
 time". [Quoted from GROVE.]. ..Lira 
 tedesca, hurdy-gurdy. 
 
 Te deum. See Ambrosian Hymn. 
 
 Teil (Ger.) A part. . . Teil'tone, partial 
 tones. 
 
 Telephone-harp. An instr. so connect- 
 ed with a telephone as to render music 
 performed at a distance audible to an 
 audience. 
 
 Telltale. See APPENDIX. 
 
 Te'ma (It.) Theme. 
 
 Temperament. (Ger. Tempera titr'; 
 Fr. temperament ; It. temperamen'io.) 
 A compromise between the acoustic 
 purity of theoretically exact intervals, 
 and the harmonic discrepancies arising 
 from their practical employment. E. 
 g. , taking the tone C as a starting-point, 
 and ascending by quint-strides through 
 a series of 12 perfect fifths (C. ..^5), 
 we reach a tone (B$) which, on instr.s 
 of fixed intonation (like the pfte.), is 
 identical in pitch with the sixth octave 
 of C (r 5 ), but which, as an acoustic in- 
 terval, is by 74 / 78 higher than r*. A 
 similar result is obtained by descending 
 through 12 fifths to Upfy, which proves 
 to be lower by 74 / 78 than the corre- 
 sponding lower octave of C. Now, by 
 setting C = B$, = />>[? and equally dis- 
 tributingthe deviation T VT amon g tne 
 12 quint-tones in either series, i. e. by 
 tempering each fifth, the deviation for 
 each becomes practically unnoticeable 
 on keyboard instr.s ; such equal distri- 
 bution is called equal temperament. 
 Another example: The tone A$, as
 
 196 
 
 TEMPESTOSAMENTE-TEMPO-MARK. 
 
 the major tierce below C, has the ratio 
 4:5; the tone (73, as tierce of the 
 tierce of C, has 25 : 32 ; that is, 6"3 is 
 by Iff = * -^ 11 lower than A'y.li 
 it be attempted, as formerly, to take 
 note of and employ in practice even 
 only the most noticeable of the differ- 
 ent shades of intonation (e. g. by build- 
 ing keyboards with separate keys for 
 ty and diy, d% and ey, etc., etc.), the 
 tones in each octave of our keyboard 
 instr.s would evidently have to be 
 greatly increased in number beyond the 
 ordinary chromatic scale of 12 degrees. 
 However, a perfect fifth ( 8 / g ) differs 
 from a tempered' one by only about ||| 
 [HELMHOLTZ], an interval close to the 
 extreme limit of perceptible differences 
 in pitch, and the use of such an inter- 
 val instead of a perfect fifth can in very 
 few cases be regarded as objectionable. 
 In the system of equal temperament 
 the series of fifths, instead of going on 
 indefinitely, returns to the starting- 
 point C, thus forming a circle, as it 
 were ; this progression from end to 
 end of the series is called the Circle of 
 Fifths : 
 
 d-R. 
 
 r-e 
 
 '-3 
 
 Unequal temperament is a system in 
 which the excess in the series of fifths 
 is not equally apportioned, some inter- 
 vals being purer, and others less pure, 
 than in equal temperament. In the 
 mean-tone system, once extensively em- 
 ployed, the major thirds were tuned 
 true, and divided into two equal tones 
 forming a mean between the greater 
 and lesser whole tone, hence the term 
 mean-tone ; each fifth was * comma 
 too flat, making the I2th in the series 
 about 2 commas out of tune, this 
 error being usually laid upon the fifth 
 the system also had 4 thirds 
 ^~ which were too sharp by near- 
 ly the same interval. The 
 
 discordant effect produced by chords 
 containing any of these anomalous in- 
 tervals was called the " wolf ". 
 
 Tempestosamen'te (It.) Impetuously, 
 passionately ; tempesto'so, impetuous, 
 impassioned. 
 
 Tempete (Fr., "tempest".) A lively 
 dance of modern (Parisian) origin, in 
 2-4 time, and danced like a quadrille, 
 with some modifications of the steps. 
 
 Tem'po (It.; Ger. Zeit'mass.) i. Rate 
 of speed, Movement I. (Compare 
 Tempo-marks.) 2. Time, measure ; 
 beat. . .A tempo, or tempo primo, return 
 to the original tempo . . . Tempo alia 
 bre've, see Breve; alia semibre've, see 
 T. ordina'rio . . . Tempo bina'rio, duple 
 time . . . Tempo com'modo, at a conven- 
 ient pace. . . Tempo de'bole, weak beat. 
 . . Tempo di Ballo, Bole'ro, Minuet 1 to, 
 etc., see Ballo, etc. . . Tempo di primo 
 par'te, in the tempo of the first part. . . 
 Tempo fo/te, strong beat . , . Tempo 
 giu'sto, see Giusto . . . Tempo maggio're, 
 same as /. alia breve. . . Tempo mino're, 
 T. ordina'rio, (a) 4-4 time of 4 beats 
 to the measure ; opp. to /. alia breve; 
 (b) same as /. primo . . . Tempo perdu' to, 
 irregular, unsteady tempo. . . Tempo 
 primo, primie'ro, see A tempo, above. 
 . . Tempo reggia'to, same as Colla parle. 
 . . Tempo ruba'to, see Rubato . . . Tempo 
 te> na'rio, triple time . . . L'istes'so tempo, 
 or Lo stesso tempo, the same tempo ; 
 indicates, at a change of rhythm, that 
 the pace remains the same. (Comp. 
 I stesso .). .Senza tempo, same as a 
 piace're. 
 
 Tempo-mark. (Ger. Tem'pobezeichnung.) 
 A word or phrase indicating the pace 
 or speed of a movement, and thus 
 establishing the absolute time -value of 
 the notes. Generally accepted tempo- 
 marks were hardly known before the 
 beginning of the I7th century, and 
 were used sparingly until the i8th. 
 There are 3 classes : (i) indicating a 
 steady rate of speed ; (2) indicating 
 acceleration ; (3) indicating a slackening 
 of the pace. They do not in them- 
 selves indicate a fixed and positive rate 
 of speed, but only the general character 
 of the movement ; consequently, for 
 the sake of precision, a metronome- 
 mark is often added to the tempo-mark ; 
 e. g. "Adagio, M. M. J 56," sig- 
 nifies a tranquil movement in which a 
 quarter-note has the time-value of one 
 beat of the metronome set at 56. Fur-
 
 TEMPORISER TENORIST. 
 
 197 
 
 thermore, various qualifying words are 
 added (comp. the several Key-words). 
 
 CLASS I. 
 
 (Indicating a steady rate of speed ) 
 Larghis'>imo, molto largo"! 
 Lar go (broad, stately) 
 
 Largamen'te Group I. 
 
 Larghet'to General 
 
 Gra've (heavy, dragging) ', signification 
 
 L>en'to (slow) of terms is 
 
 Adagjs'simo SLOW. 
 
 Ada'gio (slow tranquil) 
 Adagiet'to 
 
 Andanti'no "| 
 
 Andan'te (moving, going along) 
 
 [Modera'to] 
 Allegret'to Group II. 
 
 Allegramen'te General 
 
 Allegro (brisk, lively) [con [ signification 
 mo'to, viva'ce] [agita'to, of terms is 
 appassiona'to] FAST. 
 
 Pre'ato (rapid) [con fuo'co, 
 
 velo'ce] 
 Prestis'simo 
 
 CLASS II. 
 
 (Indicating acceleration.) 
 Acceleran'do (gradually accelerating) 
 
 Dop'pio movimen'to (twice as fast) 
 
 Piu mos'so I (a steady rate of speed, faster 
 
 Velo'ce ( than preceding movement) 
 
 CLASS III. 
 
 (Indicating a slackening in speed.) 
 Rallentan'do 
 Ritardan'do 
 Largan'do 
 Tardan'do 
 Slentan'do 
 Strascinan'do 
 Ritenu'to 
 
 Me'no mos'so f of speed) 
 Calan'do 
 Deficien'do 
 Mancan'do 
 
 * (gradually growing slower) 
 
 (a sudden drop to a slower rate 
 
 Moren'do 
 
 Sminuen'do 
 
 Smorzan'do 
 
 (growing slower and softer) 
 
 Temporiser (Fr.) To play an accomp. 
 
 Ci'l.'a parts. 
 
 Temps (Fr.) Beat . . . T. faible (secon- 
 }, weak beat ; /. fort (sensible), 
 strong beat. . 
 
 Tempus (Lat., "time".) In medieval 
 music, the tempus was simply the time- 
 of the breve (except in case of 
 Alteration). The tempus perfectum 
 ( s '^ n O K was the original kind, in 
 which the breve was equal to 3 semi- 
 breves ; in the tempus imperfectum 
 (sign ) later introduced, the breve 
 had the value of 2 semibreves. (Comp. 
 Notation, 3.). . Tempus hina'rimn 
 (terna'rium), duple (triple) time. 
 
 Ten'ebrae (Lat. pi., " gloom, darkness ".) 
 
 In the R. C. Church, the lamentations 
 (matins and lauds) sung especially on 
 Good Friday in the Sistine Chapel, 
 while the candles burning at the altar 
 are extinguished one by one. 
 
 Te'nero,-a (It.) Soft, tender, delicate. 
 . . Teneramen' te, or con tenerez'za, 
 tenderly, delicately; nearly equiv. to dol- 
 ce, but with somewhat more of passion. 
 
 Teneur (Fr.) The canto fcrmo in a 
 choral or hymn-tune. 
 
 Ten'or. (Ger. Tenor'; Fr. tt'nor or 
 faille; It. tenure.) I. The high nat- 
 ural male voice. The Germans dis- 
 tinguish 2 classes of tenors, the HeF- 
 dentenor (dramatic tenor), and tyrischer 
 Tenor (lyric tenor) ; 
 the compass of the 
 former is from c to 
 the voice full and powerful throughout, 
 with a barytone timbre ; the range of 
 the latter is ss - -the 
 
 about from 
 d to c* (<:$) 
 tones usually rather weak, the high tones 
 brilliant, and the timbre generally bright 
 and pleasing. The Italian terms near- 
 ly corresponding to the above are (i) 
 teno're robu'sto, tenore di for'za, and 
 (2) tenore di gra'zia, t. leggie'ro; but 
 they are very variously and arbitrarily 
 employed. 2. The part taken by a 
 tenor voice ; hence, by transference, a 
 prefix to names of instr.s taking parts 
 of similar compass, as tenor trombone; 
 specifically, the tenor violin (viola). 3. 
 Tenor (from Lat. tenere, to hold), 
 originally "a holding, holding fast", 
 was applied to the melody (as the un- 
 changing part) of the Gregorian chants 
 sung by men, and hence to the high 
 male voice. 4. In medieval music, 
 tenor also signified (a) a hold ; (b) 
 ambitus (of a mode) ; (c ) the initial 
 tone of the EVOVAE. Tenor-C, small 
 c . . . Tenor-clef, see Clef. . . Tenor vio- 
 lin, the viola. 
 
 Teno're (It.) Tenor I...T. buffo,* 
 tenor who sings comic roles ... 7". c on- 
 tralti'no, a light tenor voice resembling 
 the contralto in timbre. . . T. di for'za, 
 di gra'zia, leggie'ro, robu'sto, see Tenor 
 I. T. di mezzo carat' tere, a tenor 
 voice of barytone timbre (see Helden- 
 tt'nor, under Tenor i). 
 
 Tenori'no (It.) A falsetto tenor voice 
 or singer ; specifically, a castrato. 
 
 Tenorist' (Ger.; Fr. tenorisfe; It. 
 (,-nori'sta.) Tenor-singer.
 
 TENOROON TETRAPHONY. 
 
 Tenoroon'. The oboe da caccia, 
 
 Tenor'schliissel, -zeichen (Ger.) Ten- 
 or-clef. 
 
 Tenth. (Ger. De'zime; Fr. dixieme; It. 
 de'cima.) I. An interval of an octave 
 plus 2 degrees.- 2. Same as Decima 2. 
 
 Tenu, -e (Fr.) Held, sustained. 
 
 Tenue (Fr.) A sustained tone, or organ- 
 point. 
 
 Tenu'to (It, " held ".) A direction sig- 
 nifying (a) generally, that a tone so 
 marked is to be sustained for its full 
 time-value ; and (b) occasionally, legato. 
 . .Forte tenuto (ffen.), forte through- 
 out. . . Tenuto-mark, a short stroke over 
 a note, with signification as at (a). 
 Tenute \le note implied], [the notes] 
 sustained or held. 
 
 Tepidamen'te (It.) In an even, unim- 
 passioned style. 
 
 Teponaz'tli (Aztec.) A species of drum 
 still used by the aborigines of Central 
 America and Mexico. It consists of a 
 section of a log (left round in the ruder 
 specimens, but carefully squared in the 
 more artistic ones) in a horizontal posi- 
 tion, from 2 to 5 feet long, hollowed 
 out on the under side so as to leave the 
 ends 3 or 4 inches thick and the top 
 part (belly) a few lines through ; in the 
 belly 2 parallel incisions are made 
 lengthwise, and connected by a shorter 
 one crosswise, the 3 assuming the shape 
 of the letter 3C. The 2 tongues left 
 between, when struck by the sticks, 
 yield 2 different tones, at an interval 
 in various instr.s of a third, fourth, 
 fifth, sixth, or octave apart. It serves 
 to mark the rhythm, and as an imper- 
 fect bass, in the aboriginal music. It 
 is played with 2 sticks, the heads of 
 which are covered with wool or an 
 elastic gum. 
 
 Ter (Lat.) Thrice ; indicates that a pas- 
 sage, or (in songs) a verse or part of 
 one, is to be repeated twice. (Also comp. 
 Bis.). . . Ter unca, the 3-hooked semi- 
 fusa. 
 
 Terce. I. See Tierce 4. 2. The 3rd 
 
 of the canonical hours. 
 
 Tercet (Fr.) A triplet ; in poetry, a 
 group of 3 rhyming lines. 
 
 Ter'nary. (Fr. ternaire; It. terna'rio^) 
 Composed of, or progressing by, threes. 
 . . Ternary form, Rondo-form. . . Ter- 
 nary measure, simple triple time. 
 
 Terpo'dion. A six-octave keyboard 
 
 instr., similar to Chladni's clavicylinder, 
 with wood substituted for glass as the- 
 tone-producing medium ; inv. by J. D. 
 Buschmann of Berlin in 1816. 
 
 Ter'tia (Lat.) A third or tierce. . . Ter- 
 tia modi, 3rd degree of a scale. 
 
 Tertian'. (Ger. Tertian zwei'fafh.) 
 An organ-stop consisting of a tierce 
 and langot combined. 
 
 Terz (Ger.), Ter'za (It.) The interval 
 of a third. . . Terza ma' no (It., " third 
 hand "), an octave-coupler. . . Terzade'- 
 cima (It.), Terzde'zime (Ger.), the in- 
 terval of a thirteenth . . . Terzdezi mo'le 
 (Ger.), a tredecuplet. . . Terzett* (Ger.), 
 Terzetto (It.), properly, a vocal (sel- 
 dom an instrumental) trio; now gener- 
 ally called Trio. . . Terz'flole (Ger.), a 
 small transverse flute pitched a third 
 above the ordinary flute. .. Terzi'na 
 (It.), a triplet. .. Terzo suo'no (It.), a 
 differential tone . . . Tersquartsexfak- 
 kord (Ger.), chord of the third, fourth, 
 and sixth 4 ... Terzquintsexfakkord 
 (Ger.), chord of the (third), fifth and 
 sixth ,5.. . . Terz' tone (Ger. , pi.), tierce- 
 tones. 
 
 Tessitu'ra (It., " web, framework "). 
 The region covered by the main body 
 of the tones of a given part, infrequent 
 high or low tones not included. The- 
 nearest English equivalent is to say 
 that the part " lies " high or low. 
 
 Te'sto (It.) I. See Soggetto. 2. Same- 
 as Libretto. 
 
 Tete (Fr.) Head (of a note); scroll. 
 
 Tet'rachord. I. A 4-stringed instr. 
 2. The interval of a perfect fourth. 3. 
 The scale-series of 4 tones contained in 
 a perfect fourth (comp. Greek music). 
 . . Tetrachor'dal, relating to or consist- 
 ing of tetrachords. . . Telrachordal sys- 
 tem, the original form of the Tonic Sol- 
 fa system. 
 
 Tetrachor'don (Gk.) r. A tetrachord. 
 2. A variety of the piano-violin. 
 
 Tet'rad. A name suggested, but not to- 
 any extent adopted, for chord of the 
 seventh; analogous to Triad. 
 
 Tetradiapa'son. The interval of 4. 
 octaves. (Also quadruple diapason^ 
 octave, or eighth?) 
 
 Tet'raphone. See Tetratone. 
 
 Tetrapho'nia. See Organum. 
 
 Tet'raphony. (Medieval.) Diaphony 
 for 4 parts.
 
 TETRATONE TIME. 
 
 199 
 
 Tet'ratone. An interval embracing 3 
 whole tones ; an augm. fourth. 
 
 Text. The words of vocal music. 
 
 Theil (Ger.) See Teil. 
 
 Thematic composition. A style based 
 on the contrapuntal treatment or de- 
 velopment of one or more themes. 
 
 Theme. (Ger. The'ma; Fr. theme; It. 
 te'ma.) Same as Subject. Specifically, 
 a theme is an extended and rounded-off 
 subject with accompaniment, in period- 
 form, proposed as a groundwork for 
 elaborate variations (tetna con varia- 
 zio'ni). 
 
 Theor'bo. (Ger. Theor'be; Fr. the'orbe, 
 It. tior'ba. tnor'ba.) One of the various 
 double- necked bass lutes so popular in 
 the I yth century, the bass strings (ac- 
 companiment-strings, diapasons) of 
 which were not stopped on the finger- 
 board, but were stretched beside it to a 
 separate peg-box, which latter, in the 
 theorbo, lay next to the other, though 
 somewhat higher up in the head. In 
 its day it was an important member of 
 the orchestra. (Comp. Lute.) 
 
 The'sis (Gk.) The down-beat, strong 
 beat. 
 
 Third. (Ger. Terz; Fr. tierce; It. 
 ter'za.) See Interval. The third in a 
 diatonic scale is also called the mediant. 
 
 Thirteenth. An interval embracing an 
 octave and a sixth ; a compound sixth. 
 
 Thirty-second-note. (Comp. Wot*.) 
 A note having half the time-value of a 
 i6th-note ; a demisemiquaver . . . jsnd- 
 rest, a rest (^) corresponding in value 
 to the above. 
 
 Thorough-bass. (Ger. General' bass ; 
 Fr. bane chiffre"e ; It. basso conti'nuo.) 
 A species of mus. shorthand in which 
 chords are indicated by figures written 
 over a running bass (briefly explained 
 under Chord). It originated in Italy 
 (basso continuo, or, for short, continuo) 
 toward the close of the i6th century, 
 and for 200 years was the common 
 method of notation for accompaniments 
 by the organ or cembalo. It is now 
 principally employed in mus. theory, in 
 teaching the science of chords. 
 
 Three-lined octave. See Pihh, abso- 
 lute. 
 
 Three-quarter fiddle. See Vialino 
 piccolo, under Viohno. 
 
 Three-time, 3-time. Triple time. 
 
 Thren'ody. A song of lamentation ; a 
 dirge. 
 
 Thrice-accented octave. See Pitch, 
 absolute. 
 
 Thumb-position. One of the high po- 
 sitions in 'cello playing, in which the 
 thumb quits the neck of the instr. 
 
 Thumb-string. Melody-string of the 
 banjo. 
 
 Tib'ia (Lat.) The direct flute ; also, the 
 name of various organ-stops . . . T. utri~ 
 culn'ris, the bagpipe . . . Tibi'cen (pi. 
 tibi'cines), a flute-player. 
 
 Tie. (Ger. Bin'debogen; Fr. liaison; 
 It. fa'scia.) A curved line joining 2 
 notes of like pitch which are to be 
 sounded as one note equal to their 
 united time- value. .. Tied notes, (a) 
 notes joined by a tie ; (b) notes (like 
 eighth - notes, 1 6th -notes, etc.) the 
 hooks of which are run together in one 
 or more thick strokes, e. g. J^^^T^- 
 
 Tief(Ger.) Deep, low, grave. 
 
 Tier. Same as Rank (organ). 
 
 Tierce, i. Same as Third. 2. The 
 fourth harmonic of a given tone. 3. In 
 the organ, a mutation-stop pitched 2\ 
 octaves above the diapason ; now used, 
 if at all, as a component of a mixture- 
 stop. 4. One of the canonical hours. 
 . . Tierce-tones, see Pitch, 2. 
 
 Tierce (Fr.) Tierce I and 4... 7*. de 
 Picardie, a major third in the closing 
 chord of a minor movement. . . T. cou- 
 lee (slurred third), a grace \vrittenjfr(e 
 
 montant), or*&~(en descendant); see 
 
 Slide. 
 Tige (Fr.) Stick (of bow); also baguette. 
 
 Timbalarion (Fr ) A set of 8 drums of 
 different sizes, each furnished with a 
 pedal, on which diatonic and chromatic 
 scales, and some chords, can be played. 
 Also Tambour chromatique. 
 
 Timbale (Fr.), Timbal'lo (It.) Kettle- 
 drum. 
 
 Timbre (Fr.; It. tim'bro.) i. Quality of 
 tone. 2. A fixed bell without a clap- 
 oer, struck from outside by a hammer. 
 . .Jeujc de timbres. Glockenspiel (b). 
 3. Snare (of a drum). 
 
 Timbrel. A tambourine. 
 
 Time. i. Same as Tempo. 2. (Ger. 
 Takt, Takt'art; Fr. mesure; It.
 
 300 
 
 TIME. 
 
 tem'po.) The division of the measure 
 into equal fractional parts of a whole 
 note (<=>), forming a standard for the 
 accentuation or regular rhythmic flow 
 of the movement. The sign for time 
 is called the time-signature, and is 
 usually in the form of a fraction set 
 immediately after the clef at the begin- 
 ning of the movement, the numerator 
 indicating the number of notes of a 
 given kind in each measure, while the 
 denominator shows the kind of notes 
 taken as the unit of measure ; e. g. \ 
 (three-four time) means 3 quarter-notes 
 to a measure, | J J J ; } f (twelve-six- 
 teen time) means 12 sixteenth-notes to a 
 
 Among the numerous systems of no- 
 menclature the ordinary English meth- 
 od is still that most in use, and is em- 
 ployed throughout this Dictionary ; 
 some others are appended for the 
 purpose of comparison. There are 
 2 classes of time, Duple and Triple. 
 
 In Duple time the number of beats to 
 the measure is divisible by 2 ; in Triple 
 time, by 3. There are also 2 sub- 
 classes, Compound Dztple time, and 
 Compound Triple time. In compound 
 duple time the number of beats to each 
 measure is still divisible by 2, but each 
 beat contains, instead of an ordinary 
 note divisible by 2, a dotted note (or its 
 equivalent in other notes or rests) divis- 
 ible by 3 ; hence the term compound, 
 each simple beat being represented by 
 a dotted or compound note divisible by 
 3, instead of a simple note divisible by 
 2. In compound triple time not on'.y 
 the number of beats in each measure is 
 divisible by 3, but also each beat, as 
 above. (See Table on p. 201.) 
 
 Another English classification is the 
 following ; it contains the times ordi- 
 narily employed, to which should be 
 added simple octtiple time , and com* 
 pound octuple time (fg), both with eight 
 beats to the measure : 
 
 (From Troutbeck & Dale's Music Primer.) 
 
 
 Duple. 
 
 Triple. 
 
 Quadruple. 
 
 r 
 
 
 
 r * J J 
 
 8 J . J . J 
 
 <t or 'J J J J 
 
 1 
 
 2 J ' 
 400 
 
 3 1 ! I 
 4 0) 0) 0) 
 
 c : j j j j 
 
 'j~. 
 
 
 
 
 
 2 N N 
 
 3 ^ S S 
 
 4 S N S S 
 
 I 
 
 
 
 
 
 * 
 
 if 
 
 6 J 1 
 4 e> . & . 
 
 ! J.-J.J. 
 
 TJ.J.J.J.. 
 
 3 
 
 O j 
 
 1 
 
 6 \ \ 
 
 8 0. J . 
 
 r j j. j 
 
 8 - 
 
 V J. J. J. J. 
 
 
 
 l 
 
 6 > N 
 6 . J . 
 
 ?.">> 
 
 16 
 
 * . * . 
 
 A proposition made in the above 
 work, to indicate the compound times 
 by the same signatures as those of the 
 
 simple times, merely adding a dot to 
 the denominator to show the tripartice 
 division : 
 
 if 
 
 2 * & . & . 
 
 S.J.J.J. 
 
 a * (5 . a <y a 
 
 I 
 
 LJ. J, 
 
 J. J. J. J. 
 
 4 1 J ! J " 
 
 . . V 
 
 o 
 
 I 
 
 i. /. A 
 
 i. /. ;. / 
 
 4 * S 1 K 
 
 8* 0. 0. 0. T.
 
 TIME. 
 
 Triple 1 ime. 
 
 Duple (or Common) Time. 
 
 Compound. Simple. 
 
 Compound. 
 
 .Simple. 
 
 M 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 O 
 
 l 
 
 - 2. 
 
 = =E = : 
 
 
 
 
 
 
 
 
 u, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 U 00 
 
 
 
 
 
 
 
 - 
 
 = " 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 jc 
 sr 
 
 Five-four 
 
 i 
 
 Nine-eight 
 
 X 
 
 5 
 
 Three-eight 
 
 Three-four 
 
 Three-two 
 
 Three-one 
 
 Twenty-four-sixteen 
 
 Twelve-sixteen 
 
 H 
 
 * 
 ? 
 
 K_ 
 
 Twelve-four 
 
 Six-sixteen 
 
 x' 
 2. 
 
 r- 
 
 f. 
 
 f.' 
 
 eg 
 
 o 
 
 F.ight-eight 
 
 Four-s ; xteen 
 
 Four-eight 
 
 Four-four 
 (common) 
 
 Four-two 
 
 Two-eight 
 
 Two-four 
 
 Two-two 
 (alia breve) 
 
 M 
 *. 
 
 3- 
 
 T *; 
 
 * 
 
 2, rt 
 
 5" x" 
 
 * 
 
 2! 
 
 2 
 
 5 
 
 n_ 
 a_ 
 
 5 
 
 r- 
 
 3 
 
 
 
 
 pi" 
 
 Neunvierteltakt 
 
 Dreiachteltakt J r 1 
 
 r 
 Dreivierteltakt 2. 1 
 
 Dreizweiteltakt 
 
 Dreieintelt.lkt 
 
 Zwolfsechzehnteltakt 
 t Vierundzwanzig- 
 i icchzehnteltakt 
 
 ZwSlfachteltakt 
 
 Zwdlfvierteltakt 
 
 Sechssechzehnteltakt 
 
 Sechsachteltakt 
 
 Sechsvierteltakt 
 
 Sechszweiteltakt 
 
 Achtachteltakt 
 
 < 
 
 I 
 tf 
 
 -. 
 -* 
 
 2. 
 
 r- 
 
 Vierachteltakt 
 
 Viervierteltakt 
 
 Vierzweiteltakt 
 
 Zweiachteltakt 
 
 Zweivierteltakt 
 
 Zweizweiteltakt 
 
 German. 
 
 
 U3,Z J 3S33U3 I UIB S n Z 
 
 Hju, a 
 
 K^un >5 1 B X J3 P*J3Q 
 
 Mesures 4 trois temps. 
 
 Mesures a deux ou quatre temps. 
 
 French. 
 
 S 2 
 
 222 
 
 S 
 
 R 
 
 R 
 
 2 
 
 Divisi 
 
 on ternaire. 
 
 Division b: 
 
 naire. 
 
 1 
 
 5' 
 
 3 
 
 i 
 I 
 
 3 
 
 pr 
 
 r 
 
 a trois hui 
 
 i trois qua 
 
 - 
 
 M> 
 
 i. 
 
 B 
 S 
 
 < 
 
 B 
 
 a 
 
 I 
 
 f 
 I 
 
 9 
 
 Douze-quo 
 
 Six-seize 
 
 en 
 x' 
 
 3- 
 
 en 
 
 "H 
 
 ;/. 
 
 1 
 n 
 
 x 
 
 , Huit-huit 
 
 c 
 
 I 
 
 I 
 g. 
 
 1 
 
 Quatre-huit 
 
 Quatre-quatre 
 
 Quatre-deux 
 
 O 
 n 
 
 c 
 
 tf 
 
 
 | 
 
 I 
 
 u 
 
 3 
 
 Deux-deux 
 
 
 
 
 
 3 
 
 
 
 
 
 
 n 
 
 1 Cinque-ottavi (or otto-cinque) 
 
 Cinque-quarti (or quattro- cinque) 
 
 | Nove-sedicesimi (or sedici-nove) 
 
 Nove-quarti (or quattro-nove) 
 Nove-ottavi (or otto-nove) 
 
 (Uno-tre) 
 Tre-mezzi (or due-tre) 
 Tre-quarti (or quattro-tre) 
 Tre-ottavi (or otto-tre) 
 
 (Sedici-ventiquattro) 
 
 O 
 
 I 
 5' 
 
 T 
 
 I. 
 
 c_ 
 i. 
 I 
 
 Dodici-quarti (or quattro-dodici) 
 Dodici-ottavi (or otto-dodici) 
 
 k 
 
 Bi 
 I 
 
 T 
 I 
 
 c. 
 
 I! 
 
 Sei-quarti (or quattro-sei) 
 Sei-ottavi (or otto-sei) 
 
 a 
 
 \ 
 
 a, 
 B 
 
 I 
 
 Otto-ottavi (or otto-otto) J 
 
 '- 
 
 3 
 S 
 
 |' 
 f 
 
 a 
 
 c. 
 
 I' 
 
 _ 
 
 C 
 
 B 
 
 
 1 
 
 
 
 K 
 < 
 
 T 
 
 : 
 
 
 
 2 
 
 B 
 
 
 1 
 
 Quattro-mezzi (or due-quattro) 
 Quattro-quarti (or quattro-quattro) 
 
 (also binario, or ordinario) 
 
 Due-ottavi (or otto-due) 
 
 O 
 
 B 
 I 
 
 A 
 
 ~ 
 
 
 3 
 
 L 
 
 B 
 i 
 
 A cappella (or alia breve) 
 
 Italian. 
 
 ;jsoduio3 -piiduiag 
 
 nsodmoo 
 
 KW! 
 
 U-n 
 
 > 
 
 
 
 '!- 
 
 dl 
 
 ip iiiiu.. 
 
 I. 'UEd idtuaj,
 
 2O2 
 
 TIMIDAMENTE TON. 
 
 is deserving of notice as an ingenious 
 way of marking the number and posi- 
 tion of the beats ; the measure-note 
 being found in each case by multiplying 
 the denominator by 2. 
 
 Still another, and highly ingenious, 
 system, by Mr. Frederick Niecks, is 
 given below ; for the terms duple and 
 triple he substitutes binary and ternary, 
 referring, not to the number of beats, 
 but to the grouping of the measure- 
 notes in twos and threes. 
 
 Simple Times. 
 Simple Binary Time f I | * 
 
 TWnarv " 8888 
 
 icrnary a 4 s i 
 
 Compound Times. 
 Duple Binary Time I } | 
 
 Triple 
 Quadrt 
 
 Finally, a system has been suggested 
 in which the word rhythm is substi- 
 tuted for time; duple and triple retained 
 for the simple forms of the measure ; 
 while the complex forms are called 
 quadruple rhythm, sextuple rhythm, 
 actuple rhythm, etc. However, the de- 
 sideratum of any new system, i. e. the 
 plain expression of the number of 
 beats to the measure as well as of the 
 number of notes of a given kind, is not 
 yet attained ; and well-meant half-re- 
 forms serve only to make confusion 
 worse confounded. . .2-time, j-time, ab- 
 breviations of duple and triple time 
 respectively. 
 
 Timidamen'te (It.) See Angsllich. 
 
 Timidez'za, con (It.) In a style ex- 
 pressive of timidity or hesitation. 
 
 Timoro'so (It.) Timorous, fearful... 
 Timor osamen'te, timorously, etc. 
 
 Tim'pano (It., pi. tim'pani.) Kettle- 
 drum. .. Timpani coper 1 'ti, muffled 
 drums. 
 
 Tintinna'bulura (Lat), Tintinna'bolo 
 (It.) A small bell. -Also, an ancient 
 rattle, formed of little bells or small 
 disks of metal. 
 
 Tintinnamen'to, Tintinni'o (It.) A 
 tinkling or jingling. 
 
 Tin'to, con (It.) With shading ; espres- 
 
 Tior'ba (It.) Theorbo. 
 
 Tirade (Fr.) An extended slide ; a rapid 
 run connecting two melody-notes. 
 
 Tirant (Fr.) I. Stop-knob ... T. a ac- 
 coupler, coupler. 2. Button. 3. Cord 
 of a drum. 
 
 Tirar'si, da (It., "to be drawn out".) 
 Equiv. to the prefix "slide-" in the 
 phrase tromba da tirarsi (slide-trumpet) 
 and the like. 
 
 Tirasse (Fr.) In small organs, a pedal- 
 keyboard having no pipes of its own, 
 acting only on the lower keys of the 
 manual ; also, a pedal-coupler. 
 
 Tira'ta (It.) See Tirade. 
 
 Tira'to (It.) Down-bow (area in gift). 
 
 Ti'ra tut'to (It.) A combination-pedal 
 or draw-stop bringing on the full power 
 of an organ. (Fr. grand jeu.) 
 
 Tire" (Fr., " drawn.") Down-bow. Also 
 tirez, " draw." 
 
 TischTiarfe (Ger., "table-harp".) A 
 variety of autoharp. 
 
 Tocca'ta (It., from tocca're, to touch.) 
 An early species of composition for 
 keyboard instr.s, originating in Italy 
 toward the close of the i6th century. 
 In style it is free and bold, approach- 
 ing the (old) fantasia ; it has no dis- 
 tinctive form, but consists of runs and 
 passages alternating with fugued or 
 contrapuntal work, built up in the more 
 elaborate specimens on a figure or 
 theme, generally in equal notes, with a 
 flowing style and lively, rapid move- 
 ment. Toccati'na, Toccatel la, diminu- 
 tives of Toccata. 
 
 Tocca'to (It.) In trumpet-music, a 
 fourth (bass) trumpet-part added as a 
 substitute for the kettledrums. 
 
 To'(d)tenmarsch (Ger.) Dead-march. 
 
 Ton (Ger.) Atone; pitch; key, mode, 
 octave-scale ... Den Ton angeben, to 
 give the pitch ; den Ton halten, to keep 
 the pitch. . . Ton'abstand, interval. . . 
 Ton'art, Key I ; Ton'artenver-wand- 
 schaft, key-relationship . . . Ton'bestim- 
 mung, the (mathematical) determination 
 of tones. . . Ton'bildung, (a) production 
 of tone ; (b) vocal culture. . . Ton'dichter, 
 composer ; Ton'dichtung, composition. 
 . . Ton' fall, see Ton'schluss. . . Ton'- 
 farbe, "tone-color", timbre, quality. 
 . . Ton'folge, series or succession of 
 of tones . . . Ton'/iihrung, melodic lead-
 
 TON TONIC. 
 
 203 
 
 ing or progression . . . Ton' fuss, () a 
 rhythm ; (b) a measure . . . Ton'gebung, 
 production of tone ; intonation . . . Ton'- 
 geschlecht, mode; " the distinguishing 
 of a chord or key (tonality) as major or 
 minor" [RIEMANNJ. . . Ton'hohe, pitch. 
 
 . . Ton'kunde, science of music. . . Ton'- 
 kunst, art of music, musical art ; music. 
 
 . . Ton' kiinstler, musician . . . Ton'lage, 
 pitch ; register . . . Ton' letter, a scale ; 
 ftinfstufige Ton tetter, pentatonic scale. 
 
 . . Ton' loch, a ventage. . . Ton'malerei, 
 " tone-painting ", imitative music, pro- 
 gram-music . . . Ton'messer, monochord : 
 sonometer ; siren . . . Ton'messung, see 
 
 Ton' bes tint HI ting. .. Ton' rein (of violin- 
 strings), true to pitch, true fifths... 
 
 Ton satz, composing ; composition . . . 
 
 Ton'schluss, cadence. . . Ton'setzer, com- 
 poser. . . Ton'setzkunst, art of composi- 
 tion . . . Ton'sprache, the language of 
 tones (i. e. music) . . . Ton' stiick, piece 
 of music, composition. .. Ton' stuff, 
 degree (of a scale). . . Ton' system, sys- 
 tem or theory of musical tones . . . Ton'- 
 umfang, compass. . . Ton' unterse hied, 
 interval . . . Ton'veriaandschaft, relation 
 or affinity of tones. . . Ton' 'verzie hung, 
 tempo rubato. .. Ton'werkzeug, a mu- 
 sical instr., either natural (voice)or arti- 
 ficial. . . Ton'zeichen, a note or other 
 sign representing a tone. 
 
 Ton (Fr.) I. Tone ; pitch ; donna- k 
 ion, to give the pitch. 2. Mode. 
 3. Scale, key. 4. A crook (ton de re- 
 change). 5. (Formerly) a tuning-fork. 
 . . Ton bouche", stopped tone (horn) . . . 
 Ton d'e'glise, church-mode. .. Ton de 
 rechange, crook . . . Ton entier, whole 
 tone . . . Ton feint, see Fictttm . . . Ton 
 majeur (mineur), a major (minor) key. 
 . . Ton ouver t, open or natural tone (on 
 a wind-instr.). . . Ton relatif, related 
 key...70 g/ne'rateur, one of the 7 
 natural tones. 
 
 Tonal. Pertaining to tones, or to a tone, 
 mode, or key. . . Tonal fugue, see 
 Fugue. . . Tonal imitation, imitation 
 not overstepping the limits of the key 
 of a composition ; non-modulating imi- 
 tation. 
 
 Tonal'ity. (Ger. Tonalitat' ' ; Fr. tonal- 
 ///.) The term Tonality, as contrasted 
 with Key, is distinguished by its broader 
 significance and wider scope. A'ev de- 
 notes simply the ;//<></> (of a piece) and 
 the pitch of that mode ; strictly, it re- 
 fers solely to the harmonies constructed 
 from the tones of its own diatonic scale. 
 
 On quitting these harmonies, even by 
 touching an "altered chord", it tres- 
 passes on the domain of tonality ; for 
 here is the dividing line key embraces 
 the diatonic harmonics referable to one 
 tonic chord as the point whence they 
 depart and whither they return, whereas 
 tonality, taking this same tonic chord 
 as a starting-point, includes any and 
 every harmony related to it, so long as 
 no actual change of tonic is brought 
 about by a modulation. Tonality might 
 therefore be briefly defined as the 
 chords grouped around and attracted by 
 one central tonic chord, and thus 
 appears as founded upon the relations 
 of chords independent (in a measure) 
 of key. (Comp. Phone, 4.) 
 
 Tone. (Ger. Ton; Fr. son, ton; It. 
 tuo'no, suo'no.) See Acoustics. . . Tone- 
 color, quality of tone. 
 
 Tongue. I (noun). Same as Reed; 
 but, in the so-called reed of an organ- 
 pipe, the tongue is the vibratile slip of 
 metal producing the tone. 2 (verb). 
 To employ the tongue in producing, 
 modifying, or interrupting the tone of 
 certain wind-instr.s. . . Tonguing, the 
 production of effects of tone, on wind- 
 instr.s, by the aid of the tongue. Single- 
 tonguing, the effect obtained by the re- 
 peated tongue-thrust to the nearly in- 
 audible consonant lord; Double-tongu- 
 ing, that obtained by the repetition of 
 / k; Triple-tonguing, by t k t; etc. 
 With reed-instr.s, single-tonguing only 
 is applicable. 
 
 Ton'ic. (Ger. To'nika; Fr. tonique; It. 
 to'nica.~) i. The key-note of a scale. 
 2. In the new system of harmony, the 
 tonic chord (in C-major the major triad 
 on C; in f-minor the minor triad on C) 
 is designated as the tonic. (Comp. 
 Phone.}. . Tonic chord, one having the 
 key-note as root . . . Tonic pedal, organ- 
 point on the key-note. . . Tonic section, 
 a section or sentence in the key in 
 which a composition began, with a 
 cadence to the tonic of that key. . . 
 Tonic Sol-fa, a method of teaching 
 vocal music, inv. by Miss Sarah Ann 
 Glover of Norwich, England, about 
 1812, and perfected by the Rev. John 
 Curwen, who became acquainted with 
 the method in 1841. Its formal basis 
 is the "movable-Do" system ; the 7 
 usual solmisation-syllables are employ- 
 ed, but Englished as follows 
 
 doh ray me fah soh lah te ;
 
 204 
 
 TONIC. 
 
 each is represented in notation by its 
 initial letter (d r m etc.) , to which a verti- 
 cal dash is added above or below when a 
 higher or lower octave is entered ; thus 
 s, d d 1 in a soprano 
 part would be equiva- 
 lent, in (7-major, to 
 For teaching the tones and modulation, 
 these tone-names are arranged in a 
 musical chart called a Modulator : 
 
 dl 
 
 f 
 
 
 t 
 
 m 1 
 
 I 
 
 1 
 
 - r" 
 
 s 
 
 s 
 
 DOH' 
 
 f 
 
 
 TE 
 
 m 
 
 f 
 
 ta le 
 
 
 m 
 
 LAH - 
 
 r 
 
 la 
 
 se 
 
 
 r 
 
 SOH 
 
 d 
 
 
 bafe 
 
 
 
 
 t| 
 
 d 
 
 FAH 
 
 
 t. 
 
 ME 
 
 1, 
 
 
 ma re 
 
 
 li 
 
 - RAY 
 
 S| 
 
 
 de 
 
 
 'I 
 
 DOH 
 
 f. 
 
 f 
 
 t ( 
 
 m. 
 
 m. 
 
 lj ^=- 
 
 r, 
 
 r, 
 
 s, 
 
 d| 
 
 
 
 tt 
 
 d| 
 
 fi 
 
 
 tt 
 
 m, 
 
 It 
 
 This arrangement shows the exact 
 position of each tone in its relation to 
 the key-tone ; in fact, the fundamental 
 principle of the method is key-relation- 
 ship, and that the character of every 
 
 tone is decided by the relation which it 
 holds to its tonic, the name Tonic Sol- 
 fa signifying " solfaing according to> 
 the tonic principle". The system of 
 tonic sol-fa insists upon the mental 
 effect of each tone in relation to the 
 tonic, i. e. the pupils are taught to 
 recognize the tones of the scale by 
 observing the mental impressions 
 peculiar to each. The parallel columns 
 of the Modulator show the relation of 
 key to key, and may be extended 
 through all the sharp and flat keys, the 
 former lying to the right, the latter to 
 the left of the central column. Sharped 
 tones take the sharp vowel e, flat tones 
 the broad vowel a (ah). In modulating, 
 so-called bridge-tones are added in the 
 notation in the form of small letters in- 
 dicating the relation of the modulating 
 tone to the key just left, the large letter 
 showing the relation of the tone to the 
 new tonic ; thus 8 d means, that soh of 
 the old key is do h of the new, as in 
 modulating from C-major to (7-major. 
 For a mere chromatic passing-note, 
 however, or a transient modulation the 
 chromatic syllables are employed In 
 the printed notation, equal spaces rep- 
 resent equal times, and fractions of 
 time are shown by fractions of space ; 
 the beats ("pulses") are represented 
 by regular intervals of space. A thick 
 bar marks the primary accent (strong 
 pulse) ; the weak pulse is preceded by 
 a colon ; a shorter bar marks the sec- 
 ondary accent ; a dot midway in a pulse- 
 space marks a half-pulse ; and quarter- 
 pulses are marked by commas. The 
 continuation of a tone is indicated by a 
 dash, while a rest (silence) is left simply 
 as a blank space. In lieu of protracted 
 explanations, the hymn ' America" is 
 here appended in the Tonic Sol-fa 
 notation : 
 
 GOD SAVE THE QUEEN. 
 (America.) 
 
 Key A. 
 
 Arr. by HARRY BKSSON. 
 
 S. 
 
 d : 
 
 d 
 
 : r 
 
 t| 
 
 - .d 
 
 : r 
 
 m : 
 
 m 
 
 c. 
 
 s, : 
 
 S| 
 
 : li 
 
 s, : 
 
 -.fe, 
 
 s, 
 
 d ; 
 
 d 
 
 
 God 
 
 save 
 
 our 
 
 gra - 
 
 clous 
 
 Queen, 
 
 Long 
 
 live 
 
 T. 
 
 m : 
 
 d 
 
 : f 
 
 r 
 
 - .r 
 
 : r 
 
 S : 
 
 1 
 
 B. 
 
 d, : 
 
 m, 
 
 : f, 
 
 s, 
 
 - .1. 
 
 t, 
 
 d : 
 
 1, 
 
 
 (My 
 
 coun 
 
 - try, 
 
 'tis 
 
 of 
 
 thee,iSweet 
 
 land 
 
 f m 
 
 : - .r 
 
 : d ' 
 
 d d 
 
 :- -t t 
 
 : d 
 
 our no 
 
 ble 
 
 Queen, 
 
 
 
 
 ! s 
 
 : - .f 
 
 . m 
 
 f, s, 
 
 : - .se, 
 
 : I, 
 
 of , li 
 
 her 
 
 - ty. /
 
 TONISCH TRACT. 
 
 205 
 
 r : 
 
 d : 
 
 t, d : - : - 
 
 s : s : s 
 
 s : - .f : m 
 
 
 1, = 
 God 
 
 s, : 
 save 
 
 s, 
 
 the 
 
 s, : : 
 
 Queen. 
 
 d : d : d d : - .t, : d 
 
 Send her vie- to - ri - ous, 
 
 
 f : 
 
 m : 
 
 rim: : : m : m : m 
 
 m : - .r : d 
 
 
 f, : 
 Of 
 
 s, : 
 thee 
 
 S l 
 
 I 
 
 d, : : 
 sing. 
 
 d, : m, : s, 
 
 Land where my 
 
 d :-.d : d 
 
 fa - thers died, 
 
 
 f : 
 
 f : 
 
 f 
 
 f : - .m : r 
 
 m : f.m : r.d 
 
 m : - .f : s 
 
 
 ti = 
 
 Hap - 
 
 r : 
 
 py 
 
 ', 
 and 
 
 t, :-.d : t, 
 glo ri ous, 
 
 s, : s, : s,.d 
 Long to reign 
 
 d.I, : s,.f, : m, 
 
 o - ver us, 
 
 
 r : 
 
 s : 
 
 S 
 
 s : - .s : s 
 
 d : t|.d : r.m 
 
 d : - .r : m 
 
 
 s, : 
 Land 
 
 ti : 
 of 
 
 r 
 the 
 
 s, :-.s, : s, 
 pil - grims' pride, 
 
 d : r.d : t|.l t 
 
 s,.f| : m,.r| : d, 
 
 From ev' - ry 
 
 moun tain - side 
 
 rallentando 
 
 
 l.S.f: 
 
 m : 
 
 r 
 
 d : : 
 
 
 
 
 d : 
 God 
 
 d : 
 save 
 
 ti 
 
 the 
 
 d : : - 
 
 Queen ! 
 
 
 
 
 f.l : 
 
 s : 
 
 f 
 
 m : : 
 
 
 
 
 f : 
 Let 
 
 s, : 
 free - 
 
 S| 
 dom 
 
 d, : - : - 
 ring !) 
 
 
 
 Despite strenuous opposition, the Tonic 
 Sol-fa method continues to spread ; and 
 it deserves to, having triumphantly 
 proved its thorough excellence both in 
 principle and practice. 
 
 To'nisch (Ger.) Tonic, i. e. pertaining 
 to the tonic. 
 
 To'no (It.) Tone ; key. 
 
 To'nos (Gk.), To'nus (Lat.) i. Atone 
 (whole tone, major second). 2. A 
 mode. 
 
 Toquet (Fr.) Toccato. 
 
 Tostamen'te (It.) Rapidly and boldly. 
 
 To'sto (It.) The phrase piit tosto is 
 used by Beethoven in the sense of 
 "rather", "quasi"; as Allegro molto, 
 piit tosto presto, "very fast, nearly 
 presto." 
 
 Touch. (Ger. An'schlag; Fr. toucher; 
 It. ta'sto.) The method and manner of 
 applying the fingers to the digitals of 
 keyboard instr.s. 
 
 Touche (Fr.) i. A key (digital). 2 A 
 fret. 3. A fingerboard, either with or 
 without frets. 
 
 Toucher (Fr.) I (verb). To play, as 
 
 toucher le piano. (Jouer is the univer- 
 sally applicable and more modern term.) 
 2 (noun). Touch, manner of ma- 
 nipulation. 
 
 Touchette (Fr.) Fret. 
 Toujours (Fr.) Same as Sempre. 
 
 Tourment6,-e (Fr.) Overdone ; as by 
 an overplus of eccentricity, ornamenta- 
 tion, unusual or disconnected harmo- 
 nies, oddities of instrumentation, and 
 the like. 
 
 Tourniquet (Fr.) Plug or cap. 
 
 Toy Symphony. (Ger. Kin'dersinfonie; 
 Fr. Foire des En fonts.) The original 
 toy symphony was written by Haydn in 
 1788, with parts for 6 toy instr.s (a 
 cuckoo-pipe, playing c and g, a quail- 
 call in /, a trumpet and drum in G, a 
 whistle, and a triangle), with 2 violins 
 and a double-bass. Key, C-major. It 
 has been variously imitated. 
 
 Trackers. (Ger. Abstrak'ten; Fr. 
 aMg/s.) See Organ. 
 
 Tract. (Lat. tractus.) An anthem on 
 verses usually taken from the Psalms, 
 substituted, from Septuagesima to
 
 206 
 
 TRADOTTO TREIZIEME. 
 
 Easter eve, for the Gradual, or for the 
 Alleluia following the Gradual, in the 
 R. C. and some other services. 
 
 Tradot' to (It.) Arranged ; transposed. 
 
 Tra'gen der Stirarae (Ger.) Port de 
 voix. 
 
 Train6 (Fr.) Slurred. . . Trainee, same 
 as Schleifer (b). 
 
 Trait (Fr.) i. Tract. 2. Passage ; vocal 
 or instrumental run...Z". de chant, 
 melodic phrase.../*, d' harmonic, a 
 chord-passage. 3. An old form of the 
 trill-sign (-^^v) ; also plique. 
 
 Traktur' (Ger.) In the organ, the in- 
 terior key-action, especially the trackers. 
 
 Tranche>e (Fr.) Cut, crossed... C- 
 tranche (obsolete ; now C-barre), the 
 sign (. 
 
 Tranquillamen'te (It.) Tranquilly, in 
 a quiet style; also con tranquillita' . . . 
 Tranquil' lo, tranquil ; often (with 
 Beethoven) equiv. to moderate. 
 
 Transcription. i. The arrangement 
 or adaptation of a composition for some 
 voice or instr. other than that for which 
 it was originally intended. 2. (Fr.) 
 Transcription uniforme, the uniform 
 notation of transposing instr.s, peculiar 
 to the French military bands, attained 
 by noting them all in the (7-clef, i. e. 
 an octave higher than the ordinary 
 method. 
 
 Transient. Passing, not principal ; in- 
 termediate ; as a transient modulation. 
 
 Transient chord, in modulation, an 
 intermediate chord foreign both to the 
 key left and that reached. . . Transient 
 modulation, a temporary modulation 
 soon followed by a return to the key 
 left. 
 
 Transition. (Lat. transi'tio; Fr. tran- 
 sition.") i. Modulation ; specifically, 
 a transient one. 2. In Tonic Sol-fa, 
 a modulation without change of mode. 
 
 Tran'situs (Lat.) " A passing-through". 
 
 Tr. regula'ris, progression by pass- 
 ing-notes ; tr. irregula'ris, progression 
 by changing-notes. 
 
 Transpose. (Ger. transponie'ren; Fr. 
 transposer; It. variat' il tuo'no.) To 
 perform or write out a composition in a 
 different key. . . Transposed mode, one 
 of the medieval modes transposed (by a 
 Bty in the signature) a fourth above or 
 fifth below its regular pitch. An added 
 
 Ey raised the new pitch by a fourth, 
 
 1. e. lowered the original pitch by a tone. 
 
 Transposing Instruments, i. Those 
 the natural scale of which is always 
 written in C-major, regardless of the 
 actual pitch. 2. Instruments (chiefly 
 with keyboards, as the pfte., harpsi- 
 chord, etc.) having some device by 
 which the action or strings can be 
 shifted so that higher or lower tones are 
 produced than when they are in the 
 normal position . . . Transposing scales, 
 see Greek music. 
 
 Transpositeur (Fr.) i. A transposer. 
 
 2. A mechanism attached to the valve- 
 horn as a substitute for the numerous 
 crooks generally used ; inv. by Gau- 
 trot. 3. The transposing keyboard of 
 fo& piano transpositeur, inv. by Auguste 
 \Volffof Paris in 1873. 
 
 Transposition. See Transpose. . . Trans- 
 positions' skalen (Ger.), transposing 
 scales. 
 
 Transverse flute. See Flute. 
 
 Trascinan'do (It.) Same as Strasci- 
 nando. 
 
 Trasporta'to (It.) Transposed. . . Chia'- 
 vi trasportati, see Chiavette. 
 
 Trattenu'to (It.) Held back, retarding 
 the tempo. (Abbr. tratt.) 
 
 Trau'ermarsch (Ger.) Funeral march. 
 Trau'rig (Ger.) Sad, melancholy. 
 
 Travailler (Fr.) "To work". An in- 
 strumental part is said to travailler 
 when it leads while the others act as an 
 accompaniment or filling. . .Musique 
 travaille"e, music abounding in passages 
 and bristling with difficulties. 
 
 Travel. To carry ; said of sound. 
 
 Travers'flote (Ger.) i. Flauto traver- 
 so. 2. A 4' organ-stop resembling the 
 orchestral flute in timbre. 
 
 Traversiere (Fr.), Traver'so (It.) 
 
 Transverse. Traversa (for flauto tra- 
 verso) occurs in scores. 
 
 Tre (It.) Three. . .A /re, for 3 voices or 
 instr.s; a tre -voci, for 3 parts... Tre 
 corde, see Una corda. 
 
 Treb'le. See Soprano. . . Treble-clef, G~ 
 clef. 
 
 Trede'zime (Ger.) A thirteenth. 
 
 Trei'bend (Ger.) Urging, hastening; 
 accelerando, stringendo. 
 
 Treizieme (Fr.) A thirteenth.
 
 TREMANDO TRILL. 
 
 307 
 
 Treman'do, Tremolan'do (It.) With 
 a tremolo-effect. 
 
 Tremblant (Fr.) Tremulant. 
 
 Tremblement (Fr.) Trill; tremolo... 
 Trembler , to execute a trill or tremolo. 
 
 Tre'molo (It., "a quivering, flutter- 
 ing ;" comp. Vibrato.) I. In singing, 
 a tremulous fluctuation of tone, effective 
 in highly dramatic situations, though 
 frequently a mere mannerism or vocal 
 defect. 2. On stringed instr.s, an effect 
 
 produced by the extremely -, . 
 rapid alternation of down- ~^^ - 
 bow and up-bow, marked 5^ 
 3. On the pfte., the rapid alternation 
 of the tones of 
 a chord, e. g. 
 written : 
 
 played: 
 
 (2 examples from Gade, Op. 
 
 i. Written: 
 
 played : 
 
 2. Written : 
 
 played : 
 
 (This last is simply a trill without after- 
 beat.) [N. B. The pfte. -tremolo is not al- 
 ways written as an exact abbrevia- ^^ 
 tion (comp. Abbreviation 2); e. g., <s> s 
 
 signify l *'*'*'*" i '^*^* 
 instead i i i ( i i i 3, in case the 
 
 of J * J* J*J* tempo is 
 slow enough to admit of the former 
 reading.] 4. A fluttering effect pro- 
 duced by the tremolo-stop or tremu- 
 lant. $. A tremulant. 
 
 Tremolo'so (It.) With a tremulous, 
 fluttering effect. 
 
 Tremulant. A mechanical device in the 
 organ for producing a tremolo. It con- 
 sists of a valve or arm of thin metal 
 which, when set in action by a draw- 
 stop, partially checks the inflow of 
 wind, by which latter it is forced to os- 
 cillate rapidly, the consequent alternate 
 checking and admission of the wind to 
 the pipes causing a tremulous tone. 
 Organ-pipes producing a similar tone 
 without the tremulant are those of the 
 Piffaro, Unda marts, etc. 
 
 Tremulie'ren (Ger.) To execute a trill 
 or tremolo; also sometimes used (as a 
 noun) for vibrato. 
 
 Trenchmore. An old English country- 
 dance, in lively tempo and triple or 
 compound duple time. 
 
 Trenise (Fr.) A figure in the quad- 
 rille. 
 
 Trepo'dion. See Terpodion. 
 
 Tres (Fr.) Very ; molto. 
 
 Triad. (Ger. Drei'klang", Fr. and It. 
 tria'de.) A " three-tone " chord com* 
 posed of a given tone (root) with its 
 third and fifth in ascending diatonic 
 order. . .Harmonic triad ', a major triad. 
 
 Triangle. (Ger. Triang'el; Fr. triangle; 
 It. trian'golo.) An orchestral instr. 
 of percussion, consisting of a steel rod 
 bent into triangular shape, one corner 
 being left slightly open ; it is struck with 
 a metal wand. The rhythm alone be- 
 ing noted, the triangle-part is usually 
 written on a single line, headed by the 
 //w^-signature only. 
 
 Tri'as (Lat.) A triad. 
 
 Tri'brach. A metrical foot of 3 short 
 syllables, having the ictus on either the 
 first or second, thus: (^ ^ ^ or -^ ^-^). 
 
 Tri'chord. A 3-stringed instr. Tri- 
 chord pfte., one having 3 strings (uni- 
 sons) to each tone throughout the greater 
 part of its compass. 
 
 Trich'ter (Ger.) Tube (of a reed-pipe); 
 bell (of a horn or trumpet). Often 
 . halt 'trickier. 
 
 Trici'nium (Lat.) An a cappella compo- 
 sition for 3 voices. 
 
 Tridiapa'son. A triple octave. 
 
 Trill. (Ger. Tril'ler , Fr. trilU ; It. 
 tririo.) (Also Shake.) [Sign fy- or 
 
 tr -~~~; obs. /., +, -*^*", or( /wv . /wv. 
 
 \ \ 
 
 /v*v etc.] A grace occupying the en. 
 tire time-value of the principal note.
 
 208 
 
 TRILL. 
 
 being the rapid and even alternation of 
 the latter with a higher auxiliary (the 
 maj. or min. second above) ; except 
 when the time for its execution is so 
 brief as to reduce it to a mere turn, or 
 an inverted mordent. In modern mu- 
 
 (a) tr 
 
 (b) tr 
 
 sic, the trill generally begins on the 
 principal note (a), and ends with an 
 after-beat (/>), which should be written 
 out ; if to be begun on the auxiliary, an 
 appoggiatura should be set before the 
 principal note (c). 
 
 tr 
 
 A dotted quarter-note would call 
 
 for one more group of 4 i6th-notes ; a 
 
 !, for 2 such additional groups ; etc. 
 
 These are the typical forms of the long 
 trill ; they differ in different kinds of 
 time ; e. g. 
 
 or when preceded by an ascending appoggiatura : 
 
 tr ~~~ 
 
 the tempo also exercises a controlling 
 
 influence, the ^f&a g^Tl^~, per- 
 following trill: v\) 4 ^* formed: 
 
 Andante. 
 
 time-value of the principal note per- 
 mits of such extension, e.g. 
 
 No. 6, written thus : 
 
 (All , commodo) 
 
 (Presto). The last is one form of the 
 short trill, which might, in turn, be- 
 come a long trill in presto, when the 
 
 
 would be 
 executed : 
 
 7~ 
 
 The after-beat may be modified chro- 
 matically, as at No. 3, or thus :
 
 TRILL. 
 
 209 
 
 (adugio) 
 
 moderato) (presto) 
 Of 
 
 - - ^*m 
 U 1 o 
 
 It is often in place when not written 
 
 it being usually required where the trill 
 
 out (comp. Lx. b under chain oj trills); 
 
 is followed by an accented note ; though 
 
 its introduction is then either a matter 
 
 the next three examples require no 
 
 of taste, or depends on what follows, 
 
 Successive trills, even though alike in reason of the notes immediately pre- 
 notation, may differ in execution by ceding them : 
 
 tr 
 
 tr 
 
 * 
 
 A trill on several tones in direct sue- it may be performed with or without an 
 cession is called a chain of trills ; after-beat : 
 fr 
 
 feJF^^E^zdnf- 
 
 2L
 
 210 
 
 TRILLERKETTE TRIPLE-CROCHE. 
 
 though in case any step is merely a chromatic alteration of a principal note, 
 the after-beat is best omitted : 
 
 the following requires short trills like 
 inverted mordents : 
 
 (all -) 
 
 S 3 3 
 
 The only rule now universally appli- 
 
 cable to the execution of the trill is one 
 equally applicable to all other graces ; 
 namely, that it must exactly fill out the 
 time allotted to it, neither accelerating 
 nor retarding the rhythm. A peculiar 
 mode of commencing the trill, called 
 the ribattuta, and still sometimes em- 
 ployed by vocalists, flutists, and violon- 
 cellists on account of the smoothness 
 attainable thereby, has the following 
 forms : 
 
 0) 
 
 In the 1 7th and i8th centuries, and 
 early in the igth, a common practice was 
 to begin the trill on the auxiliary, and 
 end on the principal note. For varieties 
 of the trill indicated by the signs 
 V-wv ,/wv AAV' /vw, etc., compare Graces, 
 Mordent, Signs . . . Double and Triple 
 Trills, in alternate thirds, sixths, etc. , 
 for both hands, frequently occur in 
 modern pfte. -music. 
 
 Tril'lerkette (Ger.) Chain of trills. 
 
 Tril'lo (It.) Trill. (X. B. The irillo de- 
 scribed in Caccini's Singing Method 
 (1601) " consists of the rapid repetition 
 of a single note .. .He also mentions 
 another grace which he calls the Gruppo, 
 which closely resembles the modern 
 shake : 
 
 .PJJ-JJ, 
 
 GROVE.). . . Trillo capri'no, see Bocks- 
 triller. 
 
 Trine. A 3-tone group, or triad, com- 
 posed of any given tone (the root) with 
 its major thirds above and below (as 
 A\)-C-). Compare Duodene. 
 
 Trink'lied (Ger.) Drinking-song. 
 
 Tri'o (It.) i. A composition for 3 
 voices or parts, (a) The Instrumental 
 Trio, usually in sonata-form, is most 
 commonly either a Pianoforte Trio 
 (pfte., violin, 'cello), or a String Trio 
 (violin, viola, 'cello ; or 2 violins and 
 'cello). Compositions for 3 concerted 
 instruments, accompanied by a fourth 
 playing a basso continue, were formerly 
 also styled trios . . . An Organ Trio is a 
 3-part organ-piece for 2 manuals and 
 pedal, the registration of the manuals 
 being strongly contrasted. (b) The 
 Vocal Trio is usually in song-form or 
 aria-form. 2. In minuets, marches, 
 scherzi, etc., the trio or alternative is a 
 
 division set between the first theme and 
 its repetition, and contrasting with it by 
 a more tranquil movement and canta- 
 bile style ; called "trio" because writ- 
 ten in 3 parts, in contrast to the ordi- 
 nary 2-part style of the principal subject. 
 Trio'le (Ger.), Triolet (Fr.) Triplet. 
 
 Triomphale (Fr.), Trionfa'le (It.) 
 Triumphal. 
 
 Triomphant (Fr.), Trionfan'te (It.) 
 Triumphant. 
 
 Trip'elfuge(Ger.) Triple fugue. . . Trip'- 
 elkonzert, triple concerto (for 3 solo- 
 instr.s with orchestral accomp.) . . . Trip'- 
 eltakt, triple time . . Trip'elzunge, tri- 
 ple-tonguing. 
 
 Tripho'nia. See Organum. 
 
 Tri'pla (It.) I. A triplet. 2. Triple 
 
 time. . . Tripla di mi'nima, 3-2 time. 
 Triple counterpoint, fugue, time. See 
 
 the nouns. 
 Triple-croche (Fr.) A 32nd-note.
 
 TRIPLET TROMMEL. 
 
 Trip'let. (Ger. Trio'le; Fr. triolet; It. 
 
 tri'pla. ) A group of 3 equal notes to 
 
 be performed in the time of 2 of like 
 
 value in the regular rhythm ; written 
 
 S 'T" 
 
 r r i or * r r 
 
 Trip'lum (Lat. ) In medieval music, a 
 third part added to the original Altus 
 and Bassus of the organum, and gener- 
 ally the highest of the 3 ; hence, Engl. 
 treble. 
 
 Tri'pola (It.) Same as tripla. 
 
 Trisemito'nium (Lat.) Minor third. 
 
 Tristez'za (It.) Sadness, melancholy ; 
 from tri'sto,-a, sad, afflicted. 
 
 Tri'te (Gk.) The third tone from above 
 in the conjoined, disjoined, and extreme 
 tetrachords. See Greek music. 
 
 Tri'tone. (Lat. and Ger. Tri'tonus; 
 Fr. triton; It. tri'tono.) The interval 
 of 3 whole tones, 
 or an augment- 
 ed fourth ; as 
 
 Tritt (Ger.) Treadle or pedal . . . Tritt'- 
 harfe, pedal-harp. 
 
 Tri'tus (Lat.) The third authentic 
 church-mode (Lydian). 
 
 Tro'chee. (Lat. troch&'ns^ A metri- 
 cal foot of 2 syllables, long and short, 
 with the ictus on the first ( -^ ). 
 
 Trois (Fr.) Three. . .Jfesiire >} trois- 
 deux, 3-2 time ; a trois-huit, 3-8 time ; 
 & trois-quatre, 3-4 time. 
 
 Troll. A round or catch. 
 
 Trom'ba (It.) A trumpet. . . Tr. croma'- 
 tica, chromatic trumpet, valve-trumpet. 
 . . Tromba mari'na {Sea-trumpet, 
 Marine trumpet. Nun s- fiddle; Ger. 
 Non'nengeige, Trum'scheit), a very 
 ancient single-stringed bow-instr. , hav- 
 ing for a body a long thin wooden shell 
 made of several staves, a flat belly, 
 short neck, and I thick gut string gen- 
 erally tuned to C (sometimes one or 
 more additional strings as drones). One 
 foot of the bridge rests loosely on the 
 belly, the harsh vibration thus induced 
 rendering the tones very powerful, so 
 that the instr. was formerly used in the 
 English navy for signalling. The nat- 
 ural harmonics have a far more pleasing 
 quality of tone, which accounts for the 
 comparative popularity of the instr., 
 in Germany, from the I4th to the i6th 
 century, in German churches and con- 
 vents (whence the name ' ' Nonnengeige" , 
 
 nunVfiddle). It occasionally had an 
 additional octave-string, and some speci- 
 mens were provided with sympathetic 
 strings within the body... Tr. sorJa, 
 muted trumpet. . . Tr. spezza'ta, earlier 
 name for the tromba basso, (bass trum- 
 pet). 
 
 Trombet'ta(It.) i. (Xlsotrombettato're, 
 trombettie're, trombetti'no.} A trum- 
 peter. 2. A small trumpet (dimin. 
 trombetti'na). 
 
 Trombone', i. (It. and Fr. trombo'ne; 
 Ger. Posau'ne.) An orchestral wind- 
 instr. of metal, belonging to the trumpet 
 family, with the distinctive feature of 
 the slide-mechanism (see Slide), in 
 which shape it dates probably from the 
 I5th century. It is constructed in 4 
 sizes (alto, tenor, bass, and the more 
 recently added contrabass); the tenor 
 trombone is the one in most general use. 
 Gevaert suggests that the tromba da 
 tirarsi of Bach's scores was possibly a 
 soprano tr., the place of which was usu- 
 ally supplied by the cornetto. It is a 
 non-transposing instr., and is written 
 in the C-clef (alto or tenor) for the alto 
 and tenor instr.s, and in the /'-clef for 
 the bass and contrabass. In playing, 
 there are 7 positions, obtained on suc- 
 cessive descending semitonic degrees 
 by gradually drawing out the slide, the 
 ist pos. being when the slide is pushed 
 completely in, i. e. when the tube is 
 shortest ; in each position the tones 
 which can be regularly made to speak 
 are the partials 2 to 8. Utilizing all 7 
 positions, the tenor trombone in By has 
 a chromatic u_ this is 
 
 compass of ,, . |MK^~ * ne re ~ 
 
 2\ octaves, sS ) ^Jjii iE ular or- 
 from E to b*\) W-""^ chestral 
 
 compass, above which are the 4 difficult 
 tones b l , f' 2 , r*3. and </*; while below, 
 separated by a tritone from the rest of 
 the scale, are the so-called pedal-tones 
 The orchestral 
 compass of the 
 alto trombone is 
 A -ty. that of 
 the bass trombone BI f 1 . The valve- 
 trombone possesses greater agility than 
 the slide-trombone, but is apt to be 
 inferior to it in purity of tone. (Comp. 
 art. Trumpet, last sentence.) 2. In 
 the organ, a powerful reed-stop (same 
 as Posaune). 
 
 Trom'mel (Ger.) A drum. . . Trom'mfl- 
 bass, the rapid reiteration of a bass tone
 
 212 
 
 TROMPE TRUMPET. 
 
 (a term of disparagement) . . . Trom'mcl- 
 ktippel or -stocke, drumsticks . . . Gro'sse 
 Tr., bass drum . . . Alilitdr' trommel, 
 military drum, side-drum. . .Rolf trom- 
 mel, tenor drum. . . Wit'beltrommel, 
 side-drum. 
 
 Trompe (Fr.) A hunting-horn ; former- 
 ly, a trumpet. . . Tr. de Be"arn, or tr. a 
 laquais, Jew's-harp. 
 
 Trompe'te (Ger.) Trumpet . . . Trompe' - 
 tengeige, tromba marina . . . Trompe' - 
 tenregister,-werk,-zug, trumpet-stop. . . 
 Trompe' ter, trumpeter. 
 
 Trompette (Fr.) i. Trumpet. ..Tr. a 
 coulisse, slide-trumpet. . . Tr. harmo- 
 nieuse, trombone. . . Tr. d'harmonie, or- 
 chestral trumpet . . . Tr. marine, tromba 
 marina. 2. Trumpeter ; bugler (for 
 cavalry). 
 
 Trope. (Lat. tro'pus, pi. tro'pi; Ger. pi. 
 Tro'pen.) One of the numerous formu- 
 las, in the Gregorian chant, for the close 
 of the lesser doxology following the in- 
 troit. Originally, there was but one 
 for each mode ; the different formulas 
 are now termed differentia. 
 
 Trop'po (It.) Too, too much ; allegro, 
 ma non troppo, rapid, but not over- 
 rapid. 
 
 Troubadour (Fr. ; Span, trovador'; It. 
 trovato're; comp. Trouvere.) One of 
 a class of poet-musicians originating in 
 Provence, and flourishing in southern 
 France, northern Spain, and Italy from 
 the nth century till toward the close of 
 the 1 3th. The chief theme of their 
 lyrical effusions was love (comp. J/,-is- 
 tcrsinger). Their art, at first cultivated 
 by princes and knights, gradually de- 
 cayed, passing into the hands of their 
 former attendants, the Me"nestrels. 
 
 Troupe (Fr.) A band or company of 
 
 musicians. 
 
 Trouvere, Trouveur (Fr.) One of a 
 class of medieval bards in northern 
 France, especially Picardy, contempo- 
 rary with the troubadours and often 
 confounded with them, though their 
 poems were chiefly of an epic character 
 and in strong contrast to the elegant 
 lyric verse of the latter. We owe to 
 the trouveres, besides their gra-.id epics 
 and ti\t fabliaux, chansons de geste, etc., 
 the origination of the prose tales of 
 chivalry (the famous Round Table 
 cycle). 
 
 Triib(e) (Ger.) Gloomy, dismal ; sad, 
 melancholy. 
 
 Trug'fortschreitung (Ger.) Progres- 
 sion of a dissonant chord to a dissonance 
 instead of its resolution to a conso- 
 nance . . . Trug'schluss, deceptive ca- 
 dence. 
 
 Trump, i (obs.) Trumpet. 2. Jew's- 
 harp. 
 
 Trumpet, r. (Ger. Trompe' tt; Fr. trotn- 
 pette; It. trom'ba.) An orchestral metal 
 wind-instr. having a tube of somewhat 
 narrow scale, and a cupped mouthpiece ; 
 the convolutions of the tube are straight- 
 er than in the horn, and the bell is 
 much smaller ; length of tube, for the 
 typical pitch in D, is about 7 ft. 3-J- in. 
 By the aid of crooks the pitch of the 
 prime tone in the natural trumpet may 
 be modified to any degree of the 12- 
 tone chromatic scale (A, B*y, B, C, D$, 
 D, E$, , F, f%, G, AQ ; and also to 
 high A and B*y}. The natural trumpet 
 has the following scale 
 
 which, by combining the tones obtained 
 by using the various crooks, gives the 
 following complete compass : 
 
 Good in all nuances 
 
 The tone is brilliant, penetrating, and 
 of great carrying power ; the stopped \ 
 tones, however, are so disagreeable as i 
 to be practically useless. The trumpet 
 is a transposing instr., and its music is ] 
 written in the (7-clef. The chromatic 
 or valve-trumpet is provided with 3 
 
 valves (comp. Valve}. [X. B. With 
 regard to the assumed inferiority in 
 tone of the valve-trumpet and valve- 
 horn, as compared with the natural 
 instr.s, no less an authority than Ge- 
 vaert writes : ' ' The chromatic horns 
 and trumpets, when well constructed,
 
 TRUMSCHEIT TURN. 
 
 213 
 
 possess all the qualities of timbre 
 proper to the natural instr.s. in addition 
 to their own resources".] 2. In the 
 organ, an 8-foot reed-stop of powerful 
 tone. 
 
 Trum'scheit (Ger.) Tromba marina. 
 
 Tu'ba. I. The straight trumpet of the 
 Romans. 2. A name applied to the 3 
 lowest members of the saxhorn family. 
 The original tubas inv. by Wieprecht 
 of Berlin in 1835, are of broad scale 
 and have 4 valves, giving a complete 
 chromatic scale of about 4 octaves. 
 The bass tuba in Bp, and contrabass 
 tuba in^9i[?,are the ordinary orchestral 
 sizes in Germany ; these, and also some 
 others, are in general use in military 
 bands. . . Tuba curva, a species of nat- 
 ural trumpet of very limited compass, 
 taught in the Paris conservatory at close 
 of i8th century. 3. In the organ, a 
 reed-stop (tuba mira'bilis) on a heavy 
 pressure of wind, of very powerful and 
 thrilling tone. 
 
 TuT>icen (Lat.) A blower of the trump- 
 et or tuba. 
 
 Tucket. A flourish of trumpets. 
 
 Tumultuo'so (It.) Vehement, impetu- 
 ous ; agitated. 
 
 Tun. Drum of the aborigines of Yuca- 
 tan. 
 
 Tune. An air, melody ; a term chiefly 
 applied to short pieces or familiar melo- 
 dies of simple metrical construction. 
 
 Tuner, i. (Ger. Stim'mtr; Fr. accor- 
 deur; It. accordato're.) One who tunes 
 instr.s as a profession. 2. Same as 
 Tuning-cone. 3. The adjustable flap 
 or incision at the top of an organ-pipe, 
 by setting which the pitch is regulated. 
 
 Tuning. i. The act or process of 
 bringing an instr. into tune. 2. The 
 accordance or accordatura of a stringed 
 instr. . . Tuning-cone, a hollow cone of 
 
 metal, used in tuning metal flue-pipes 
 in the organ. Their tops are ' ' coned 
 out " by inserting the point of the cone, 
 this increasing the flare and raising the 
 pitch; and "coned in" by pushing 
 the inverted cone down over their tops, 
 decreasing the flare and lowering the 
 pitch. . . Tuning-crook, a crook. . . Tun- 
 ing-fork, a 2-pronged instr. of metal, 
 yielding one fixed tone (usually a 1 ; 
 Tonic Sol-fa, <:*), and employed to give 
 the pitch for tuning an instr., begin- 
 ning a vocal performance, etc. . . Tun- 
 ing-hammer, a hand-wrench used in 
 tuning pftes. . . Tuning-horn, a tuning- 
 cone. . . Tuning-key, a tuning-hammer. 
 . . Tuning-slide, a sliding U-shaped 
 section of the tube in certain brass 
 instr.s, used to adjust their pitch to 
 that of other instr.s. . . Tuning-wire, 
 comp. Pipe 2, b. 
 
 Tuo'no (It.) A tone ; a mode. 
 
 Tur'ba (Lat., "crowd, throng"). In 
 medieval passions, the chorus repre- 
 senting the Jewish populace, or the 
 heathen, and taking part in the action 
 of the play. 
 
 Tur'co,-a (It.) Turkish. . .Alia turca, 
 in Turkish style, with a boisterous 
 and somewhat monotonous harmonic 
 accomp. 
 
 Turkish music. See Janizary music. 
 
 Turn. (Ger. Dop'pelschlag; Fr. groupe; 
 It. gruppet'to.) Sign ; obs. oo, g , g 
 (back turns). A melodic grace consist- 
 ing, in what may be termed the typical 
 form (the direct turn), of 4 notes, a 
 principal note (twice struck) with its 
 higher and lower auxiliary (the maj. or 
 min. second above and below, each 
 struck once). The sign is set either 
 after, or over, the note modified ; a 
 chromatic sign over or under the turn- 
 sign alters the higher or lower auxiliary 
 respectively. 
 
 I. Turn-sign after the note.
 
 2I 4 
 
 TURN. 
 
 Except in extremely rapid move- before the turn, for one-half or % of its 
 ments, the principal note is dwelt on, time-value : 
 
 and the turn is executed in equal usually loses a larger proportion of its 
 notes. But a dotted principal note value : 
 
 and in a slow movement the second 
 member of the dotted rhythm (e. g. the d 
 in the last example) is frequently rob- 
 bed of half its value, which is added to 
 the repercussed principal note ; this 
 form is occasionally called a partial 
 turn. Mozart some- 
 times carelessly 
 wrote the turn thus : 
 
 II. Turn-sign over the note. In 
 
 slow tempi, or where the principal note 
 requires special stress, the turn may be- 
 gin on the principal note, as in :
 
 TUSCH TYPOPHONE. 
 
 215 
 
 ^n%~y 
 
 S\9 
 
 ife: 
 
 this last ornament was called the shaked I Commonly, however, this turn begins 
 turn (Ger. prallender Doppelschlag). \ immediately on the higher auxiliary : 
 
 III. The Back Turn (sign the in- 1 on the lower auxiliary, and the principal 
 verted or vertical turn-sign GO ) begins ! note is generally dwelt on after the turn : 
 
 IV. The sign for the Double Turn 
 <f$) calls for a turn in 2 parts at once. 
 
 Tusch (Ger.) A. thrice-repeated flourish 
 of trumpets accomp. by the roll of the 
 drums, or a flourish by the wind-instr.s 
 in the orchestra, in token of applause 
 or welcome. 
 
 Tut'to,-a (It.) All, whole ; con tutta 
 la for'za, with full power or strength. 
 . . Tutti (pi.), in scores, indicates the 
 entrance of the whole body of instru- 
 mentalists or vocalists after a solo 
 (comp. Solo}. . . Tutto area, whole bow. 
 
 Tuyau (Fr.) A pipe ; a tube (as of the 
 trumpet). . . T. a <incli<\ reed-pipe. . . T. 
 a bouchf, flue-pipe. . . T. d'or^iic, organ- 
 pipe. 
 
 Twelfth, i. The interval of an octave 
 plus a fifth ; a compound fifth. 2. A 
 mutation-stop in the organ, pitched a 
 twelfth higher than the diapasons. 
 
 ' Twenty-second. A triple octave. 
 
 i Twice-accented (a", b", etc.) See 
 
 Pitch, absolute. 
 Two. Two-time, 2-time, duple time. .. 
 
 Two-lined octave, also a, J, etc.; see 
 Pitch, absolute. 
 
 Tympan. i. A timbrel or drum. 2. 
 An obsolete Irish instr., probably a 
 kind of crowd. 
 
 Tym'pano (It.) See Timpano. 
 
 Tympanon (Fr., from Gk.) I. Dulci- 
 mer. 2. Same as tympanum. 
 
 Tym'panum (Lat.) An ancient drum, 
 sometimes having one head like a tam- 
 bourine, sometimes two, closed and 
 rounded below like a kettledrum, and 
 beaten with a stick or the hand. 
 
 Ty'pophone. A keyboard instr., the 
 tones of which are produced by steel 
 wands and a hammer-action similar to
 
 2l6 
 
 TYROLIENNE UNGERADER TAKT. 
 
 that of the pfte. Compass 4 octaves 
 (chromatic) from c ] to <r* inclusive. 
 Tone sweet and sustained, resembling 
 that of the harmonic flute. 
 Tyrolienne (Fr.) A Tyrolese dance or 
 dance-song, a peculiar feature of the 
 latter being the Jodler, especially as a 
 refrain. Hence, a modern round dance 
 in 3-4 time and easy movement. 
 
 u. 
 
 tJ'ben (Ger.) To practise. 
 
 U'ber(Ger.) Over, above. .. U'bfrblastH, 
 to overblow ; overblowing. . . U'ber- 
 gang, a transition, modulation . . . U'ber- 
 gefiihrte Stimmen, divided stops (or- 
 gan). . . U'bergreifen, (a) to cross the 
 hands in pfte. -playing ; (V) same as /?/- 
 munche"; iibergreifendes System, in 
 Hauptmann's theory of harmony, a key- 
 system (i. e. a chain of 3 fundamental 
 triads) formed by adding to the given 
 key-system a new link or triad on the 
 dominant or subdominant side ; e. g. 
 adding to d/ ' F-a-C-e-G-b-D/f the triad 
 D-f$-A, and thus forming the new 
 
 leitung, transitional passage. .. U 'ber- 
 massig, augmented (of intervals)... 
 U'berschlagen (a) to cross hands (on a 
 keyboard instr.); (b) to overblow (of 
 organ-pipes and ^wind-instr.s); (c) see 
 L'mschlagen. . . U'bersetzen, to pass 
 over (as a finger over the thumb on the 
 keyboard, or one foot over the other on 
 the pedals). .. U 'bersteigen, to rise 
 above ; said of a vocal part which tem- 
 porarily ascends above one naturally 
 higher. 
 
 t) "bung (Ger.) Exercise ; practice. 
 
 Ugua'le (It.) Equal, like, even. . . Ugua- 
 lita', equality, conformity. . . Ugual- 
 men'te, equally, alike, evenly. 
 
 Uma'no,-a (It.) Human. . . Voceumana, 
 (a) vox humana ; (l>) cor anglais. 
 
 Um'fang (Ger.) Compass. 
 
 Um'kehrung (Ger.) Inversion. 
 
 Umo're (It.) Humor. 
 
 Um'schlagen (Ger.) i. Of the voice, to 
 break ; umschlagende Stimme, voice 
 alternating between chest-tones and 
 falsetto. 2. Of wind-instr.s, to over- 
 blow ; also compare Goose. 
 
 Um'stimmung (Ger.) i. A change of 
 pitch or key in wind-instr.s or the ket- 
 tledrums, called for in scores by the 
 
 word J/K/fl. 2. A scordatura of 
 
 stringed instr. s. 
 Un, une (Fr ) A, or an. . . Un peu plus- 
 
 lent, a little slower. 
 Un, u'no, u'na (It.) A, or &n...f.'na 
 
 corda, with the soft pedal (pfte.) ; Tre 
 
 corde then signifies that the soft pedal 
 
 is to be released. 
 Unaccented octave. The small octave 
 
 (see Pitch, I). 
 
 Unacknowledged note. An unessen- 
 tial or passing-note. 
 Un'ca (Lat.) Hooked ; hence, an eighth- 
 
 note ( f); bis unca (twice hooked), a 
 
 sixteenth-note( ft). 
 
 Uncoupled. (Ger. Koppel ab.) In or- 
 gan-music, a direction to push in a 
 coupler previously drawn. (Usually 
 "off" ; as Gt. to Ped. off.) 
 
 Un'da ma'ris (Lat., "wave of the sea".) 
 In the organ, an 8-foot flue-stop pitched 
 a trifle lower than the surrounding 
 foundation-stops, the interference of its 
 tone with theirs producing beats and a 
 wavy, undulatory effect of tone. 
 
 Unde'cima (Lat. and It.) The interval 
 of an eleventh. 
 
 Undec'uplet. A group of n equal 
 notes to be performed in the time of & 
 (or 6) of like value in the regular 
 rhythm. 
 
 Under-chord. See Phone, i. .. Under- 
 song, burden, refrain ... Undertones 
 (from Ger. Undertone), the lower par- 
 tials. (See Acoustics.) 
 
 Unde'zime (Ger.) The interval of aa 
 eleventh. 
 
 Undezimo'le (Ger.) An undecuplet. 
 
 Undulazio'ne (It.) On bow-instr.s, the 
 vibrato effect. 
 
 Un'eigentliche Fu'ge (Ger.) Fuga 
 irregularis. 
 
 Un'endlich (Ger.) Infinite. 
 
 Unequal temperament. See Tempera- 
 ment. . . Unequal voices, voices different 
 in compass and quality ; mixed voices. 
 
 Unessential note. One forming no 
 essential part of the harmony or melody 
 as passing-notes, changing-notes, many 
 graces, etc. 
 
 Ung'arisch (Ger.) Hungarian. 
 
 Un'gebunden (Ger.) See Gebunden. 
 
 Un'geduldig (Ger.) Impatient. 
 
 Un'gerader Takt (Ger.) Triple time.
 
 UNGESTRICHENE OKTAVE VALVE. 
 
 217 
 
 Un'gestrichene Okta've (Ger.) Un- 
 accented octave (the " non-lined," or 
 small, octave). 
 
 Un'gestiim (Ger.) Impetuous(ly). 
 
 Un'gleich (Ger.) Unequal. . . Un'gleich- 
 schwebende Tempi-ratio-' , unequal tem- 
 perament. 
 
 Un'harmonisch (Ger.) Inharmonic. 
 
 Unichord. (Lat. unichor'dum.) I. Mono- 
 chord. 2. Tromba marina. 
 
 Unio'ne (It.) Coupler. 
 
 Unison. (Lat. uniso'nus; Ger. Unison' ' ; 
 Fr. unisson; It. uni'sono.) Properly, 
 a tone of the same pitch as a given 
 tone ; by extension, a higher or lower 
 octave of a given tone ; as all'unisono 
 (It.), a I' unisson (Fr.), in unison, at 
 the unison, progressing in unison (in 
 this latter sense often found in scores, 
 as where a double-bass part is written 
 out and the 'cello has merely the direc- 
 tion col basso all'unisono [c. B. alfuni- 
 sond\, i. e., the same part an octave 
 higher). Also, in the pianoforte, a 
 group of 2 or 3 strings struck by one 
 hammer and yielding one tone ; one 
 such string is called a tinison-slring. 
 Finally, sometimes equiv. to Prime. 
 
 Unitamen'te (It.) Unitedly, together 
 with. . . Uni'to,-a, united, joined. 
 
 U'no (It.) See Un. 
 
 Un'rein (Ger.) Impure, false, out of 
 tune. 
 
 Un'ruhig(Ger.) Restless(ly), unquiet(ly). 
 
 Un'schuldig (Ger.) Innocent(ly). 
 
 Un'ter (Ger.) Under, below, sub-... 
 Un'terbass, subbass. . . Unter brock' en^ 
 interrupted. . . Un'terdominantf, sub- 
 dominant. . . Un'ter leitton, dominant 
 seventh... Un'ter median te, submediant. 
 . . Un'tersatz, subbass. . . Un'ter sttzen, 
 to pass under (see Ubersetzfii). . .Un 1 - 
 terstimme, lowest part; bass part... 
 Un'ter taste, a key (digital) belonging 
 to the lower or white row ; a white key. 
 . . Un'tertone (pi.), Un'ter tonreiJie, the 
 series of lower harmonics of a given 
 tone ; the undertones; opp. to Ober- 
 tone. 
 
 Un'vollkommen (Ger.) Imperfect. 
 Uo'mo (It.) Man. (See Primo.) 
 Up-beat. (Ger. Auftakt; Fr. lev/: It. 
 leva'ta.) i. The raising of the hand in 
 beating time ; opp. to down-beat. 2. 
 An unaccented part of a measure. 
 
 Up-bow. (Ger. Hinauf'strich; Fr. 
 pousse"; It. area in su.) In playing bow- 
 instr.s, the stroke of the bow in the 
 direction from point to nut ; sign V or 
 A, which is called the up-bow mark. 
 
 Upright piano. See Pianoforte. 
 
 Ut. I. The first of the Aretinian syllables 
 (see Solmisation). 2. Name in France 
 of the note C. . . In the French system 
 of marking the absolute pitch, the sev- 
 eral octaves are marked as follows : 
 
 begins on 
 English system 
 
 -g- 
 
 **_, */, 
 c, c 
 
 /, 
 
 c 
 
 u l 3 
 
 "t 4 
 
 *' 
 
 Thus Middle-C is marked c l in the 
 English system, and u( 9 in the French. 
 Ut (Lat.) As, just as, like ; ut supra, 
 as above. 
 
 V. 
 
 V. An abbrev. for Vide (v. s. = vide 
 sequens), Violino, Volti (V. S. = volti 
 subito), Voce (m. v. = mezza voce.) 
 V c , orV", Violoncello;^, Viola; V 
 or "Y , Versicle ; Vv., violini. 
 
 Va (It.) Go on, continue. .. Va cre- 
 scendo, go on increasing (the power). 
 
 Vacillan'do (It.) Vacillating; noting a 
 passage to be performed in a wavering, 
 hesitating style. 
 
 Va'gans (Lat.) See Quintus. 
 
 Va'gO (It.) Vague, dreamy. 
 
 Valeur (Fr.), Va'lor (Lat.), Valo're 
 (It.) Value, i. e. time-value. (Ger. 
 Wertk.) 
 
 Valse (Fr.) Waltz; valse chante"e, waltz- 
 song ; valse de salon, a salon-piece in 
 waltz-time for pfte. 
 
 Value. (See Valeur.} The value (or, 
 better, the ///w^-value) of a note or rest, 
 is its length or duration as compared 
 (a) with other notes in the same move- 
 ment, or (b) with the standard whole 
 note & or any fractional note. 
 
 Valve, i. (Ger. VentiF ; Yr. piston; It. 
 val'vola, pisto'ne.) In certain brass 
 wind-instr.s, a device for diverting the 
 air-current from the main tube to an 
 additional side-tube, thus lengthening 
 the air-column and lowering the pitch 
 of the instrument's entire scale. By 
 the aid of valves, natural instr.s are
 
 2lS 
 
 VARIAMENTE VENTIL. 
 
 altered to chromatic instr.s commanding 
 a chromatic scale throughout their com- 
 pass. (Compare Horn, Trumpet; also 
 Key 3.) The valves are operated by 
 the fingers of the right hand ; their 
 usual number is 3, No. I lowering the 
 pitch by (approximately) I tone. No. 2 
 by a semitone, and No. 3 by i } tones. 
 Two systems are in ordinary use ; the 
 Piston-valve, and the Rotary Valve. 
 (a) The Piston-valve is a cylindrical 
 plunger working in an air-tight cylinder, 
 terminating in a short rod surmounted 
 by a button, and pierced crosswise by 
 2 round holes ; the enclosing cylinder 
 is similarly pierced, on either side, one 
 perforation communicating with the 
 main tube, the other with the side-tube. 
 When the piston is not depressed, one 
 of its holes is opposite to those in the 
 cylinder which communicate with the 
 main tube, so that the open (natural) 
 tone of the tube can be sounded ; on 
 depressing the piston with the finger, 
 communication with the main tube is 
 cut off, but opened with the side-tube, 
 so that the lower tone sounds. On re- 
 leasing the piston, a spiral spring 
 causes its return to the original position. 
 The Rotary Valve is " a four-way 
 stop-cock turning in a cylindrical case 
 in the plane of the instrument, 2 of its 
 4 ways forming part of the main chan- 
 nel, the other 2, on its rotating through 
 a quadrant of the circle, admitting the 
 air to the oide-tube ". Its manipulation 
 is lighter than that of the piston, but it 
 is more liable to derangement. 2. In 
 the organ, the principal valves are the 
 suction-valves or suckers admitting 
 wind to the bellows and preventing its 
 escape ; the waste-pallet, relieving the 
 bellows of an over-supply of wind ; and 
 the key-valves or pallets. 
 
 Variamen'te (It.) Variously, different- 
 
 iy- 
 
 Yarian'te (It. and Fr.) A variant ; an- 
 other (optional) reading. See Ossia. 
 
 Variation. (Ger. and Fr. Variation'; 
 It. variazio'nc.) One of a set or series 
 of transformations of a Uieme by means 
 of harmonic, rhythmic, and melodic 
 changes and embellishments. In the 
 Doubles, or earlier form, the variations 
 left the melody, key, and rhythm of the 
 theme intact, merely embellishing it 
 with new and growingly elaborate fig- 
 uration ; whereas the modern tema con 
 variazioni (beginning w'th Haydn and 
 
 Mozart, and fully developed by Beet 
 hoven) may employ the strongest con- 
 trasts of rhythm, harmony, and tonality, 
 the sole limitation being that a memory 
 so to speak of the theme shall in 
 one way or another be kept alive 
 throughout. 
 
 Varia'to (It.), Vari6 (Fr.) Varied... 
 Air varie', theme varie, same as tema 
 con variazoni. 
 
 Varsovienne (Fr. ; It. Varsovia'na.) A 
 dance in moderate tempo and 3-4 time, 
 with auftaktol a quarter-note, the down- 
 beat of every second measure being 
 strongly marked ; presumably invented 
 in France about 1853, as a variant of 
 the Polish polka, mazurka, and redowa. 
 
 Vaudeville (Fr.) Originally, a popular 
 convivial or satirical street-song, or song 
 sung about town ; by the introduction 
 of such verses into light plays and 
 operas the way was paved for the mod- 
 ern vaudeville, a light comedy, often a 
 parody, in which dialogue and panto- 
 mime alternate with witty and satirical 
 couplets generally set to well-known 
 popular airs. 
 
 Veemen'te (It.) Vehement, passionate. 
 . . Veemen'za, con, with vehemence, 
 passion. 
 
 Veil. In singing, an obscuration of tone, 
 either natural or superinduced by out- 
 ward causes, detracting from clear and 
 bell-like vocalization. A veiled voice is 
 called in It. vo'ce vela'ta, in Fr. voix 
 sombre'e or voiUe. 
 
 Vela'to (It.) Veiled (see Veil). 
 Velluta'to (It.) Velvety. 
 
 Velo'ce (It.) Rapid, swift ; usually ap- 
 plied to a passage to be performed more 
 swiftly than those before and after, thus 
 being the opposite of ritenuto . . . Veloce- 
 men'le, rapidly... Velocissimamen'te, 
 velocis'simo, with extreme swiftness, 
 presto. . . Velociia' ', velocity. 
 
 Ventage. (Ger. Ton'loch.) In wind- 
 instr.s having finger-holes or keys, any 
 hole to be stopped by a finger or key. 
 
 Ven'til. I. Valve. 2. In the organ. 
 a cut-off or shutter within the wind- 
 trunk, for shutting the wind off from, or 
 admitting it to, certain stops or partial 
 organs ; often controlled by a draw- 
 stop or pedal. .. Ven til' horn (Ger.), 
 valve-horn ; Ventil' ' kornett, cornet i 
 pistons.
 
 VENUSTO VIBRATOR. 
 
 219 
 
 Venu'sto (It.) Graceful, elegant. 
 
 Vepres (Fr.) Vespers. 
 
 Veran'derungen (Ger.) Variations. 
 
 Verbin'dung (Ger.) Binding, tying, 
 connection ; combination . . . I 'erbin'- 
 dungszeichen, tie. 
 
 Verdeckt' (Ger.) Covered, concealed. 
 
 Verdop'pelt (Ger.) Doubled. . . Verdop'- 
 pelung, doubling. 
 
 Vereng'ung (Ger.) i. See I'erkiir'- 
 zung. 2. Harmonic compression of a 
 theme by substituting in the imitation a 
 narrower interval for a wider one. 
 
 Vergniigt' (Ger.) Cheerful, cheery. 
 
 Vergro'sserung (Ger.) Augmentation 
 (of a theme). 
 
 Verbal 'len (Ger.) To die away. . . Ver- 
 hal'lend, dying away. 
 
 Verkeh'rung (Ger.) Inversion (of the 
 intervals of a theme); i. e. imitation by 
 inversion, or by contrary motion. 
 
 Verklei'nerung (Ger.) Diminution. 
 
 Verkiir'zung (Ger.) Diminution r. 
 
 Verlang'erungszeichen (Ger.) Dot of 
 prolongation. 
 
 Verlo'schend (Ger.) Dying away. 
 
 Vermin'dert (Ger.) Diminished (of in- 
 tervals). 
 
 Vermit'telungssatz (Ger.) Episode. 
 
 Verrillon (Fr.) An Harmonica 2. 
 
 Verschie'bung (Ger.) Shifting pedal, 
 soft pedal; mit Versch., unacorda; ohne 
 Versch., tre corde. 
 
 Verschwin'dend (Ger.) Vanishing ; dy- 
 ing away. 
 
 "Verse. A portion of a service or anthem 
 sung by solo voices ; opp. to chorus. 
 . . Verse-anthem, see Anthem. . . Verse- 
 service, a choral service for solo voices. 
 
 Vrset . (It. verse? to; Fr. verset.) i. 
 Same as Versicle. 2. A short prelude 
 or interlude for the organ. 
 
 Verset'zen (Ger.) To transpose. . . Ver- 
 set'zung, transposition ; Verset'zim^s- 
 zeichen, a chromatic sign. 
 
 Versicle. In liturgies, a short verse gen- 
 erally forming, together with its re- 
 sponse, but one sentence ; e. g. 
 
 Vtrs. O Lord, save Thy people, 
 Resp. And bless Thine inheritance. 
 
 Ver'so (It.) i. A verse or stanza. 2. 
 
 An air or tune. 
 
 Verstimrat' (Ger.) Out of tune ; out of 
 
 humor, depressed. 
 
 Ver'te (Lat.) Turn over. (See Volti.) 
 
 Vertical. Lying in one plane (said of 
 pfte.-strings) ; opp. to overstrung. 
 
 Verve (Fr.) Spirit, animation, vigor, 
 energy. 
 
 Verwandt' (Ger.) Related ; venuan'dte 
 Tonarten, related keys. . . Verwandt'- 
 schaft, relation(ship). 
 
 Verwech'selung, die enharmo'nische 
 
 (Ger.) The enharmonic change. 
 Verwei'lend (Ger.) Delaying ; ritenuto. 
 
 Verziert' (Ger.) Ornamented. .. Ver- 
 zie'rung, ornament, grace. 
 
 Verzo'gerung (Ger.) Retardation. 
 
 Verzwei'flungsvoll (Ger.) Despair- 
 ing(ly); with desperation. 
 
 Vespers. (It. ve'spero; Fr. v$pres; Ger. 
 Vesper!) "Even-song." The 6th of 
 the canonical hours. 
 
 Vezzo'so (It.) Graceful; elegant... 
 Vezzosamen'te, gracefully, etc. 
 
 Vibran'te (It.) With a vibrating, agi- 
 tated effect of tone. 
 
 Vibration. (It. vibrazio'ne . Fr. vibra- 
 tion ; Ger. Schwing'ung.) f he rapid 
 oscillation of any tone-producing body, 
 as a string, an air-column, the vocal 
 cords, etc... Amplitude of vibration, the 
 widest departure of a tone-producing 
 body, towards either side, from a point 
 of rest. . .Amplitude of a single vibra- 
 tion, properly, the departure of the tone- 
 producing body from the middle point 
 towards one side only ; but frequently 
 made to comprehend the entire width 
 of the excursion from side to side . . . 
 Double vibration, the excursion of a 
 tone-producing body (as a string) from 
 one side to the other and back again. . . 
 Vibration-number, a figure represent- 
 ing the number of vibrations (usually 
 estimated by double vibrations) made 
 by a tone. 
 
 Vibra'to (It.) i. On bow-instr.s, the 
 wavering effect of tone obtained by the 
 rapid oscillation of a finger on the 
 string which it is stopping. 2. In sing- 
 ing, a tremulous effect, differing from 
 the tremolo in not fluctuating from the 
 pitch, partaking of the nature of a 
 thrill, or series of very rapid partial in- 
 terruptions of the tone. [Not to be 
 confounded with Tremolo in either 
 sense.] The ill-managed vibrato de- 
 generates to a trillo caprino (q. v.) 
 
 Vibrator. A free reed.
 
 VICENDA VIOLA. 
 
 Vicen'da (It.) Change. .. I'icende'vole, 
 changeably, vacillatingly. 
 
 Vi'de (Lat.), Vi'di (It.) See...Vi-de, in 
 scores, a sign that a "cut" has been 
 made, directing the performers to skip 
 from Vi- over to de. 
 
 Vide (Fr., "empty".) Open (said of 
 strings) . . . Corde a vide, open string ; 
 opp. to corde a jouer, a string to be 
 stopped. 
 
 Viel (Ger.) Much, great ... Mit vie' lent 
 Nach'druck, with strong emphasis . . . 
 Vicl'chorig, for several choirs or (di- 
 vided) choruses. . . VieFf acker Kon'- 
 trapunkt, polymorphous counterpoint. 
 . . Viel'stimmig, polyphonic. 
 
 Viele (Fr.) A modernized spelling of 
 vielle. 
 
 Vielle (Fr.) Hurdy-gurdy. (Also viel'la.) 
 
 Vier (Ger.) Four. . . Vierach'teltakt, 4-8 
 time... Vie) 'doppe her Kon'trapunkt, 
 quadruple counterpoint. . . Vier'fach, 
 seefach . . . Vier'fiissig, 4-foot. . . Vier'- 
 gestrichen, see Gestrichen 2... Vier' '- 
 handig, for 4 hands . . . Vier'klang, 
 chord of the 7th . . . Vier'tel (-note), 
 quarter-note . . . Vier'telpause, quarter- 
 rest. . . Viervier'teltakt, 4-4 time. . . 
 Vierzwei'teltakt, 4-2 time. 
 
 Vif, m., Vive, fern. (Fr.) Brisk, lively. 
 
 Vigorosamen'te (It.) With vigor, ener- 
 gy. .. Vigoro'so, vigorous, energetic. 
 
 Vihue'la. Primitive form of the Spanish 
 guitar. 
 
 Villanci'co (Span.) A sacred vocal com- 
 position resembling the English anthem, 
 sung in Spain at the principal festivals 
 of the Church. 
 
 Villanel'la (It.) An Italian folk-song 
 of the 1 6th century, differing from the 
 
 artistic madrigal by simple harmoniza- 
 tion and the more rustic, humorous, 
 and sometimes loose character of the 
 poem. 
 
 Villarec'cio (It.) Rustic, rural. 
 
 Vi'na. An ancient stringed instr. of the 
 Hindus. The body is a section of 
 bamboo, over which are stretched 
 lengthwise 4 strings, tuned in tha 
 order dominant, leading-tone, tonic, 
 subdominant; the 1 8 movable frets can 
 be adjusted to coincide with any one 
 of the Hindu scales. There are also 3 
 sympathetic strings. Two gourds, fixed 
 at either end of the bamboo, act as 
 resonance-boxes. 
 
 Vina'ta (It.; dimin. vinet'ta.} A vintage 
 song, or drinking-song. 
 
 Vi'ol. (It. via' la ; Ger. and Fr. 1'io'le.) 
 Name of a very ancient type of bow- 
 instr., now obsolete ; the prototype of 
 the violin tribe (but comp. Lira), from, 
 which it differed by having a fretted 
 fingerboard, a variable number of strings 
 (from 5 to 8 or more, though the usual 
 number for all sizes was six), and in 
 the shape of the body. Both belly 
 (usually) and back (always) were flat, 
 the ribs high, the bouts nearly semi- 
 circular, the sound-holes like half-cir- 
 cles, and the upper half of the body- 
 narrow and pointed. The bridge being 
 but slightly arched, and having to sup- 
 port so many strings, those in the mid- 
 dle could scarcely be touched separately 
 with the bow ; this circumstance, how- 
 ever, together with the number and 
 peculiar tuning of the strings, greatly 
 facilitated chord-playing, in which the- 
 violin is comparatively at a disadvan- 
 tage. The tuning was as follows '. 
 
 Viola alta. 
 
 Viola tenore. 
 
 Viola bassa. 
 
 Violone. 
 
 (Treble viol.) 
 
 (Alt 
 
 lto or Tenor viol.) 
 
 (Bass viol.) 
 
 Sva bassa. . . . 
 (Contrabass viol.) 
 
 i.e. in fourths with one third midway. - 
 The viols formerly held, in conjunction 
 with the lutes, the position in the or- 
 chestra now occupied by the violin, etc., 
 and were not fairly ousted by the latter 
 till the beginning of the i8th century. 
 The Bass Viol (i.e. in viol-shape, but 
 with fewer strings) is, indeed, still 
 found in England, though superseded 
 elsewhere by the double-bass of violin- 
 type. The violin first supplanted the 
 
 treble viol; gradually the larger violin- 
 types were invented, with the above- 
 mentioned result. During the transi- 
 tion, the frets were gradually discarded. 
 Vio'la (It.) i. The tenor violin. 2. A 
 viol. . . V. alta, (a) treble viol ; hence- 
 (/>) tenor violin (obsolete name). . . /'. 
 bastat'da, an enlarged viola da gant'ba, 
 originally with 6 or 7 stopped strings, 
 to which were added later an equal 
 number of sympathetic strings stretched
 
 VIOLE VIOLONCELLO. 
 
 221 
 
 beneath bridge and fingerboard. .. V. 
 da brae' do, " arm-viol" (hence Ger. 
 Bra'tsche), a viol held on the arm 
 while playing ; opp. to v. da gamba. . . 
 V. da gamba, " leg-viol," a large viol 
 held, like the 'cello, between the knees ; 
 the bass instr. of the viol family. . . V. 
 d'amo' 're(Yr. rioted* amour), a tenor viol 
 similar to the v. bastarda in stringing 
 and construction, but of course smaller. 
 . . V. da spalla, "shoulder-viol," a 
 somewhat enlarged v. da braccio. . . V. 
 di bardo'ne, see Barytone 2 ... V. pom- 
 posa (violence? lo pic'co'lo), a large kind 
 of violin inv. by J. S. Bach, midway in 
 size between a tenor violin and 'cello, 
 with 5 strings tuned C-G-d-a-e l . . . Con- 
 trabbas'so di via' la, see Viol. 
 
 Vio'le (Ger.) Viol. 
 
 Viole (Fr.) Formerly, a viol ; now, a 
 
 viola. . . Viole d" amour, see Viola da- 
 more. 
 
 Violentamen'te (It.) Violently, impet- 
 uously. . . Violen'to, violent. 
 
 Violet. The viola d'amore. (Sometimes 
 English Violet.) 
 
 Violette (Fr.) Small viola. 
 
 Violet'ta (It.) Small \\o\. . .Viole tta 
 marina, a bow-instr. inv. by Pietro 
 Castrucci, soli for which were written 
 by Handel in Orlando and Sosarme. 
 
 Violin'. (Ger. Violi'ne; Fr. violon; It. 
 violi'no.) A 4-stringed bow-instr. of 
 comparatively modern type (an im- 
 proved viol*), and the leading orchestral 
 instr.; constructed in 4 principal sizes 
 (the so-called string-quartet of the or- 
 chestra), with the io\\ovr\ngaccordature: 
 
 Violin. 
 
 Viola. 
 
 Violoncello. 
 
 1 f 
 
 Double-bass. (written : ) 
 
 '.yjJU-T 
 
 A description of the treble violin, the 
 typical instr. of the family, will suffice 
 for all its members. The resonance- 
 box, or body, is formed by a vaulted 
 belly (bearing the bridge) and back, 
 joined by narrow sides called ribs; the 
 waist is the narrow middle portion be- 
 tween the incurving bouts, at the corners 
 of which, and also at other points with- 
 in the body, are glued triangular pieces 
 of wood called blocks, to strengthen the 
 frame. Also inside, just beneath the 
 treble foot of the bridge, is set a round 
 wooden prop, the soundpost, placed 
 there to resist the tension of the strings 
 and to communicate their vibration di- 
 rectly to the back ; the bass-bar further 
 strengthens the belly. The curved 
 apertures cut in either side of the belly 
 are the /-holes, or sound-holes. At the 
 bass of the body is'the button, to which 
 the wooden tailpiece is attached by a 
 loop of gut ; from the tailpiece the 
 strings are stretched across the bridge 
 and over the fingerboard (which lies 
 partly upon the neck and partly over 
 the belly) to the nut, and thence each 
 to a separate peg in the peg-box or head, 
 which ends in the scroll. The word 
 violin is from the It. violino, a diminu- 
 tive of viola, meaning literally "small 
 yiol ". Violin-music is written in the 
 (7-cIef (violin-clef). The strings are 
 numbered 1234 from highest to low- 
 
 est, because the highest string is that 
 next the bow-hand. (Compare also 
 Bow, Bowing, Position, Shift.). . . 
 Violin-clef, the (7-clef . . . Violin-diapa- 
 son, a diapason-stop of narrow scale 
 and stringy tone. 
 
 Violi'na. A metal flue-stop in the organ, 
 generally of 4-foot pitch, of small scale 
 and stringy timbre. 
 
 Violinette. I. A kit. 2. Same as 
 violino piccolo. 
 
 Violi'no (It.) Violin... K di fer'ro, 
 nail-fiddle . . . V. pic'colo, a violin smaller 
 and tuned a fourth higher than the 
 ordinary violin. . . V. pompo'so, a violin 
 with an ^ T^ V. primo (st- 
 
 additional ^r I :). condo), first (sec- 
 string (c* TT" - ond) violin. 
 
 Violin'schliissel (Ger.) G'-clef. 
 
 Violiste (Fr.; formerly violier.) Viola- 
 player. 
 
 Violon (Fr.) i. Violin. 2. The violin- 
 diapason (organ-stop). 
 
 Violonar (Fr.) Recent name for the 
 double-bass. 
 
 Violonaro (Fr.) Same as Octo-basse. 
 
 Violoncel'lo (It.; Ger. Violoncelf ' ; Fr. 
 violoncelle.) A 4-stringed bow-instr. of 
 
 *A. HADJECKI. in his essay on "The Italian 
 Lira da braccio,' contends very plausibly that 
 the violin was derived, not from the viol, but 
 from the lira da braccio.
 
 222 
 
 VIOLONE VOCALIZZARE. 
 
 violin-type (see Violin), dating in its 
 present form from the latter half of the 
 1 6th century. The word is a diminu- 
 tive of violone, the It. augmentative of 
 viola, thus meaning literally a "little 
 big viol". The 'cello, as it is familiarly 
 called, required more than a century to 
 become popular, taking at first very 
 subordinate parts, whence its desig- 
 nation, in many scores of the iyth 
 century, as Basso or Bass, It slowly 
 conquered the esteem of artists, and 
 supplanted the viola da gamba, like 
 which it is held, for playing, between 
 the knees, while firmly supported on 
 the floor by its pointed peg or standard. 
 Violoncello-music is written in 3 clefs 
 ) for convenience of no- 
 j tation, and now invari- 
 ably according to the 
 actual pitch ; but the classic masters, 
 who also frequently used the (7-clef 
 in chamber -compositions, wrote the 
 notes in this clef an octave higher than 
 they actually sounded. . . Violoncello puf- 
 colo, see Viola pomposa. 
 
 Violo'ne (It., "great viol".) i. See 
 Viol, 2. In the organ, a stop on the 
 pedal, of 1 6-foot pitch and violoncello- 
 like timbre. 
 
 Violoniste (Fr.) Violinist. 
 Vir'ga. Same as Virgula, 
 
 Virgil Practice-Clavier. A toneless 
 keyboard instr. for mechanical pfte.- 
 practice, inv. by A. K. Virgil, of New 
 York, in 1883 (see Technipkone). It 
 differs essentially from the old dumb 
 piano in 2 features : (i) The depres- 
 sion, and also the release, of a digital 
 produces a mild click like that of a tele- 
 graph-key ; this furnishes a means for 
 accurately timing the practice, for 
 acquiring promptness of down-stroke 
 and up-stroke, and for determining the 
 different styles of touch (e. g. for the 
 strict legato the click on depressing 
 one digital exactly coincides with the 
 release-click of the one preceding) ; (2) 
 it affords, by a simple mechanical ad- 
 justment, 6 gradations in the weight of 
 the touch, from 2 to 20 ounces i. e. 
 from the very lightest pfte.-touch up to 
 5 times that of the average pfte. -action, 
 or more than the heaviest organ-touch. 
 
 Vir'ginal. A small kind of harpsichord : 
 often written in the plural form as " a 
 pair of virginals", signifying merely a 
 single instr. (Comp. Pianoforte.} 
 
 Vir'gula. One of the Neumes. 
 
 Virtues' (Ger. ; fern. Virluo'sin.} i. A 
 virtuoso. (Fr. virtuose.} 2. Virtuose; 
 i. e., possessing or exhibiting the quali- 
 ties of a finished artist ; also virtuo'- 
 senhaft. . . Virtues itiit' , virtuosity. 
 
 Virtuo'so.-a (It.; pi. virtuori,-e?) A 
 finished instrumentalist or vocalist. 
 
 Vis-a-vis (Fr.) A harpsichord or pfte. 
 having 2 opposed keyboards, for 2 
 players. 
 
 Vi'sta (It.) Sight; a (prirna) vista, at 
 (first) sight. 
 
 Vi'stamente (It.) Briskly, animatedly. 
 . . Vi'sto, lively animated. 
 
 Vite (Fr.) Quick(ly). 
 
 Viva'ce(It.) A tempo-mark which, used 
 alone, calls for a movement equalling 
 or exceeding allegro in rapidity ; when 
 used as a qualifying term, it denotes a 
 spirited, bright, even-toned style... 
 Vivace me n' te, con vivacez'za, viva- 
 men' te, con vivacita', are terms nearly 
 synonymous with vivace ... Vivacis- 
 simo, with extreme vivacity, presto. . . 
 Vivacet'to, less lively than vivace, about 
 allegretto, 
 
 Vive. See Vif. 
 
 Viven'te (It.) Lively, brisk, animated. 
 
 Vi'vido, vi'vo (It.) Lively, spirited. 
 ( Vivace.) 
 
 Vocal. Pertaining to the voice ; specifi- 
 cally, proper for the singing-voice . . . 
 Vocal cords, the 2 opposed muscles 
 or ligaments set within the larynx, 
 whose vibration, caused by the expul- 
 sion of air from the lungs, produces 
 vocal tones. . . Vocal glottis (Lat. rim a 
 vocalis), the aperture between the v. 
 cords when they are approximated for 
 the production of tones. . . Vocal music, 
 music written for or executed by the 
 voice, as a solo or with accompaniment 
 . . . Vocal register 's, see Voice. . Vocal 
 score, see Score. 
 
 Voca'lion. See Reed-organ. 
 
 Vocalisation (Fr.) The art of singing 
 prolonged and sustained tones on 
 vowels only. . . Vocaliser, to sing ac- 
 cording to the rules of vocal art, using 
 only the vowels a and e. . . Vocalises, 
 vocal exercises or etudes, generally sung 
 to the vowels, but also, in advanced 
 etudes, to words. 
 
 Vocalizza're, Vocaliz'zi (It.) Same 
 as Vocaliser, Vocalises.
 
 VOCE VOLUNTARY. 
 
 223 
 
 Vo'ce (It., pi. voci.) Voice ; part. . . I', 
 ange lica, vox angelica. . . /'. bian'ca 
 ("white voice"), term applied to the 
 voices of women and children, and to 
 the tones of certain instr.s of similar 
 quality. .. F. di ca'mera, a voice of 
 comparatively slight volume... V. di 
 go' la, throaty or guttural voice. .. V. di 
 pet' to, chest-voice. . . ('. di ripie' '>;<>, a 
 ri fit-no part (see Kipieno) ...V. di tt-'sta, 
 head-voice. . . V. grant' 'ta, a powerful, 
 round voice. . . V. pasto'sa, a full, soft, 
 flexible voice. . . V. principa'le, leading 
 part... V. spicca'ta, a voice characterized 
 by clear enunciation. . . A due (tre) voci, 
 for 2 (3) parts, voices ; in 2 (3) parts. . . 
 Colla voce, see Col canto. . .Afessa di 
 voce, see Messa...Mezza voce, sottovoce, 
 see Mezza, So (to. 
 
 Vo'ces (Lat.) Plural of Vox. 
 
 Vo'gelflbte.-pfeife (Ger.) A bird-call, 
 like that played on by Papageno in 
 The Magic Flute. . . Vo'gflgt-sang, a 
 merula, or set of small pipes standing 
 in water, the passage of the wind 
 through the latter producing a "war- 
 bling" tone. (Also Vogelsang?) 
 
 Voice. (Lat. vox; It. vo'ce; Fr. voix; 
 Ger. Slim' me, specifically Sing's/inline.) 
 For the several classes of the human 
 voice comp. Soprano, Mezzo-soprano, 
 Contralto, Tenor, Barytone, Bass. 
 The word voice is often made synony- 
 mous with " part", in imitation of for- 
 eign usage ; the practice cannot be 
 recommended ... Vocal registers. 
 There is hardly any subject on which 
 opinions are more irreconcilably op- 
 posed, than this ; but if we accept E. 
 Behnke's definition (in his treatise : 
 " Mechanism of the Human Voice") of 
 the term register "a series of tones 
 which are produced by the same mech- 
 anism" we arrive at his conclusion ; 
 namely, that there are 3 principal vocal 
 registers in the female voice, and 2 in 
 the male, the chief "break" occurring 
 in both at - - (This is the 
 
 the tone JJSj^dlll *- ' transition from 
 /'or/'jfZ' " chest" - voice 
 
 to falsetto in tenor voices.) The second 
 principal break in the 
 female voice occurs 
 an octave higher at 
 In bass and bary- 
 tone voices, the chief 
 break occurs at 
 also, there is a break at this point. 
 (Comp. the above-mentioned treatise.) 
 
 Voice-part, i. A vocal part [Grove, 
 II, p. 526/', 1.17 ; and IV, p. 496, 
 1.15 ; E. Prout, " Harmony", p. 58, 
 1-7.J 2. A part. [An awkward and 
 equivocal neologism. ] 
 
 Voicing. Tuning, or regulating the 
 pitch and tone of, an organ-pipe. 
 
 Voitee (Kr.) Veiled. 
 
 Voix (Fr.) Voice ; part. . . V. angeli^ue, 
 vox angelica. . . I'. ce'U-ste, an organ- 
 stop with 2 ranks, of the unda marts 
 type. . . V. de poi trine, chest-voice. .. V. 
 de tete, head^-voice. . . V. humaine, vox 
 humana....-/ deux (trots) voix, for 2 
 (3) voices ; in 2 (3) parts. 
 
 Vokal' (Ger.) Vocal. .. Vokafmusik, 
 vocal music, with or without accomp. . . 
 Vokal'stil, a cappella style ; vocal style. 
 
 Volan'te (It., "flying".) Light, swift 
 
 Vola'ta (It.; Ger. Vola'te\ Fr. Volatine.) 
 A short vocal run, or trill ; a run, or 
 division ; a light and rapid series of 
 notes. . .Dimin. volati'na. 
 
 Volks'lied (Ger.) Folk-song. . . Votes'. 
 t(h)iiHilich (Ger.), in a style character- 
 istic of or imitating that of the (Ger- 
 man) folk-song, or popular music in 
 general ; opp. to Kunstlied. A votes' - 
 thiimliches Lied is a product of art in the 
 style of the folk-song. . . Votes' ton, im, in 
 the style having the general character 
 of a folk-song. (It. in nio'dopopola're.) 
 . . . Votes' weise, same as Volkslied. 
 
 Voll (Ger.) Full . . . Fo/V^j Orches'ter* 
 full orchestra ; vol'ies Werk, full or- 
 gan ; mit -voile m Cho'rc, \\ ith full 
 chorus... Vollgriffig ("vf'tfh full hands"), 
 in full chords or harmonies. .. Voll' kom- 
 m en, perfect(ly). . . Voll' stint mig, (a) in 
 full harmonies ; (h) for many parts, poly- 
 phonous. [ Voll frequently occurs as a 
 suffix with the sense of the Engl. -ful ; 
 e. g., gedan' kenvoll, thoughtful(ly), 
 stim'mungsvoll, full of (characteristic) 
 expression ; etc.] 
 
 Vol'ta (It.) A turn or time. . .Prima 
 volta (or /ma volta, Ima, I*., /.), first 
 time ; secunda volta (or I Ida volta, etc ), 
 second time ; una volta, once ; due 
 volte, twice. 
 
 Volteggian'do (It.) Crossing hands 
 (on a keyboard); from volteggia're. 
 
 Vol'ti (It.) "Turn over !" . . . Volti 
 sit' hi to [V. S.], " turn over instantly". 
 
 Volubilraen'te (It.) Fluently. 
 
 Vol'untary. An organ-solo before, dur- 
 ing, or after divine service; also i/i -
 
 224 
 
 VOLUTA WARBLER. 
 
 casionally applied to an anthem or 
 other choral piece opening the service. 
 
 Volu'ta (It.), Volute (Fr.) Scroll. 
 
 Vom (Ger.) From the. . . Vom An' fang, 
 =da capo; vom Blat'te ("from the 
 page"), at sight. 
 
 Voraus'nahme (Ger.) Anticipation. 
 Vor'bereitung (Ger.) Preparation. 
 
 Vor'dersatz (Ger.) First subject or 
 theme ; fore-phrase [PROUT]. 
 
 Vor'geiger (Ger.) Leader, ist violin. 
 
 Vor'halt (Ger.) Suspension . . . Vor'halts- 
 losung, resolution of a suspension. 
 
 Vor'her (Ger.) Before, previous(ly). 
 
 Vor'ig (Ger.) Preceding, previous ; as 
 vor'iges Zeit'mass, = tempo primo. 
 
 Vor'sanger (Ger.) Precentor. 
 
 Vor'schlag (Ger.) Collective name for 
 the various forms of the accented ap- 
 poggiatura ; opp. to Nach'schlag, or 
 unaccented appoggiatura . . . Lang'er 
 (kur'zer) Vor'schlag, long (short) ap- 
 poggiatura. 
 
 Vor'setzzeichen (Ger.) Chromatic sign. 
 
 Vor'spiel (Ger.) Prelude, introduction ; 
 overture. 
 
 Vor'trag (Ger.) Rendering, interpreta- 
 tion, performance, style, delivery, exe- 
 cution... Vor'tragsbezeichnung, Vor'- 
 tragszeichen, expression-mark ; tempo- 
 mark. 
 
 Vor'zeichnung (Ger.) Signature. 
 
 Vox (Lat., pi. vo'ces; see below). Voice. 
 . . Vox ange'lica (angelic voice), a 4- 
 foot organ-stop corresponding to the 8- 
 foot vox huma' na . . . Vox antece'dens 
 (con'sequens), the antecedent (conse- 
 quent). . . Vox huma'na (human voice), 
 an 8-foot reed-stop in the organ, the 
 tone of which has a [fancied] resem- 
 blance to the human voice ; a solo stop, 
 usually drawn with the tremulant. 
 Also occurs, especially in Italy, as a 
 flue-stop, and occasionally in 2 ranks, 
 one of reed-pipes, the other of flue- 
 pipes. .. Vox virginea, same as Vox 
 angelica. . . Vo'ces cequa'les, equal voices. 
 . . Vo'ces Areti'ntz, the Aretinian syl- 
 lables . . . Vo'ces bel'gica, the Belgian 
 solmisation-syllables bo ce di ga lo ma 
 ni bo. 
 
 Vue (Fr.) Sight ; a premiere vue, prima 
 vista. 
 
 Vulga'ris (Lat.) In the organ, a flute- 
 stop, tibia being implied. 
 
 Vuo'to,-a (It.) Open ; as corda vuota, 
 open string. 
 
 w. 
 
 W (as a double V, in Fr. usage). Marks 
 violin-parts copied from a score. 
 
 Waits. [Also Waytes, Wayghtes, etc.] 
 Originally, a class of street-watchmen 
 in England, who gave notice of their 
 approach by sounding horns or other 
 instr.s. The name then appears to have 
 been transferred to town-musicians, 
 and still later to various irregular bands 
 of indifferent music-makers, in which 
 latter application it is not yet obsolete. 
 Whether the instr. chiefly affected by 
 these musicians (a species of shawm or 
 oboe) derived its name from them, or 
 vice versa, is a moot point. 
 
 Wald'flote (Ger., "forest flute" ; Lat. 
 tib'ia silves'ltris.) In the organ, an 
 open metal flute-stop of broad scale 
 and usually of 2 or 4-foot pitch, having 
 a suave, full, resonant tone. 
 
 Wald'horn (Ger.) The French horn 
 without valves. {USeo JagtF horn, Na- 
 tur'horn.) 
 
 Waltz. (Ger. Wal'zer; Fr. valse; It. 
 valzer.) A round dance in 3-4 time, 
 and in tempo varying from slow to 
 moderately fast, from the primitive 
 Landler and ordinary German waltz up 
 to the sprightlier trois-temps (ordinary 
 waltz) and deux-temps (rapid waltz). 
 The steps of these waltzes vary thus : 
 
 1. r. 1. r. 1. r. 
 Slow German 4 f f f f f f 
 
 r r 
 
 Ordinary Waltz } r . 
 
 (trois temps, [ ? 5 
 Wiener Walzer) \* 9 
 Quick waltz ) ] 
 
 (deux-temps, > 3 t? 
 
 Zweitritt) ) ' 
 The origin of the waltz is variously 
 ascribed to Bohemia, Germany (Land- 
 ler), and France (volte). . . Waltz is also 
 the title of numerous effective instru- 
 mental pieces in triple time, but not 
 meant for dance-music . . . Waltz-song, 
 a song in waltz-rhythm. 
 
 Wal'ze(Ger., "roller"). An undulating 
 figure (see Rolle). 
 
 Wan'kend(Ger.) Wavering, hesitating. 
 
 Warbler. On the bagpipe, a term ap- 
 plied to various forms of melodic em- 
 bellishment (graces).
 
 WARME WIRBEL. 
 
 225 
 
 War'me (Ger.) Warmth ; mil gro'sser 
 
 Wdrme, with great warmth. 
 Was'serorgel (Ger.) Hydraulic organ. 
 Waste-pallet. See Valve. 
 Water-organ. Hydraulic organ. 
 Wayghtes. See Waits. 
 Weak accent, beat, pulse. See Accent. 
 
 Wech'selgesang (Ger.) Antiphonal 
 (responsive) singing or song. . . Wech'- 
 selnole, changing-note. 
 
 Weh'mut(h) (Ger.) Sadness, melan- 
 choly. . . Weh'mut(Ji)ig, sad, mournful, 
 melancholy. (Also adverb.) 
 
 Welch (Ger.) i. Soft, tender ; mellow, 
 suave (also adverb). 2. Minor. 
 
 Weight of wind. The tension of the 
 compressed air supplied by the organ- 
 bellows to any stop or group of stops ; 
 the mean pressure raises a column of 
 water in a U-tube to the height of 
 about 3 inches, hence the technical ex- 
 pression "an inch "or "two inches" 
 of wind ; a stop is said to be " voiced 
 on a 3, 6, or lo-inch pressure," etc. 
 
 Wei'nend (Ger.) Weeping. 
 
 Wei'sse Note (Ger.) A "white," or 
 open, note. 
 
 Weit (Ger.) Broad ; open (of harmonies). 
 
 Wel'le (Ger.) Roller (organ) ... Well- 
 atur', system of rollers. . . Wel'lenbrett, 
 roller-board. 
 
 Well-tempered. In equal, and conse- 
 quently satisfactory, temperament ; as 
 (. S. Bach's Well-tempered Clavichord 
 iGer. WokftemperirUi Clavier'). 
 
 We'nig (Ger.) Little ; ein klein -wenig 
 Zamfiamtr, a very little slower. 
 
 Werk (Ger.) In the organ, (a) the set 
 of stops controlled by one keyboard ; 
 (b) a stop or register. 
 
 Wert(h) (Ger.) Value, time-value. 
 
 We'sentlich (Ger.) Essential ... We'- 
 scntliche Dissonanz' ', a dissonant chord- 
 tone, in contradistinction to a disso- 
 nance produced by a passing or chang- 
 ing-note. 
 
 Wet'terharfe (Ger.) yEolian harp. 
 
 Whistle. The smallest and most prim- 
 itive type of instr. with a flageolet or 
 flue-pipe mouthpiece. Comp. Picco- 
 pipt. 
 
 White keys. The continuous lower row 
 of digitals on a keyboard ; formerly 
 they were black, the now black keys 
 
 then generally being white . . . White 
 note, one having an open (not solid) 
 head (^ J). 
 
 Whole note. See Note. . . Whole shift, 
 see Shift. . . Whole step, (a) a step of a 
 whole tone ; (l>) a whole tone . . . Whole 
 tone (Ger. Gam' ton \ Fr. ton plein ; 
 It. tono intero), see Footnote, p. 103. 
 
 Wie (Ger.) As. . . Wie o'ben, as above ; 
 wie vor'her, as before, as at first ; wie 
 aus der Fer'ne, as from a distance. 
 
 Wie'der (Ger.) Again . . . Wie'dergabe, 
 performance, production, rendering, in- 
 terpretation, reading. . . Wiederher'stel- 
 lungszeichen, see Auf'losungszeichen. 
 . . Wiederho'lung, repetition ; W.s- 
 zeichen, repeat. 
 
 Wiegenlied (Ger.) Cradle-song, lulla- 
 by ; berceuse. 
 
 Wind-band. i. A company of per- 
 formers on wind-instr.s. 2. The wind- 
 instr.s in the orchestra ; also, the per- 
 formers on, or parts written for, the 
 same. . . Windchest, see Organ . . . Wind- 
 gauge, an apparatus for measuring the 
 wind-pressure in the windchest of an 
 organ. It consists of a twice-bent glass 
 tube, having water in the U-shaped 
 end, the other end being fixed in a 
 socket ; on setting the socket in a hole 
 in the soundboard, and letting the wind 
 on, the water rises in the outer arm of 
 the U-shaped tube, indicating the wind- 
 pressure by the height in inches to 
 which it is forced. (Comp. Weight.) 
 . . . Wind-instruments (Ger. Blas'in- 
 strumente; Fr. instruments a vent ; It. 
 stromen'li da fia'to), instruments, the 
 tones of which are produced by -wind 
 (i. e. compressed air), the vibrations 
 excited in the latter being transmitted 
 to an air-column enclosed in a tube (e. g. 
 an organ-pipe, or any orchestral instru- 
 ment blown by the mouth), or directly 
 to the open air (e. g. free reeds without 
 tubes). The vibrations of the wind are 
 excited (a) by its impinging on a sharp 
 edge (flageolet, flute, organ-pipe), (b) by 
 the interposition of a vibratile reed (cla- 
 rinet, oboe, reed-pipe), or (c) by the 
 vibration of the player's lips (horn, 
 trumpet, trombone). (Comp. art. In- 
 struments. ) . . . Windlrunk, see Organ. 
 
 Windharfe (Ger.) ^Eolian harp.. . Wind'- 
 kasten, windchest. .. Wind lade, sound- 
 board (organ) . . . Wind' wage, wind- 
 gauge. 
 
 Wir'bel (Ger.) i. Peg; Wir'belkasUn,
 
 226 
 
 WOHLTEMPERIRT ZARZUELA. 
 
 peg -box. 2. Roll (on a drum). 3. 
 Same as Schliigel, the more usual term. 
 
 Wohl'temperirt (C-er.) See Well-tem- 
 pered. 
 
 Wolf. i. A discord induced in certain 
 keys, on keyboard instr.s (especially 
 the organ), by inequality of tempera- 
 ment, such as was inherent in the so- 
 called " meantone " system. (Not sy- 
 nonymous with the Ger. Or'gelwolf.) 
 2. In bow-instr.s, the wolf is the im- 
 perfect or jarring vibration of some 
 particular tone or tones, and is pre- 
 sumably due to some defect in the 
 build or adjustment of the instrument. 
 
 Wolf (Ger.) Wolf; specifically, the I2th 
 fifth in the circle of fifths, being the 
 one which causes the main difficulty. 
 
 Wood-wind. The orchestral wood-in- 
 str.s collectively ; or the performers on 
 them. 
 
 Working-out. Same as Development. 
 
 Wrest. A tuning-hammer. 
 
 Wrestblock, Wrestplank. See Piano- 
 forte. 
 
 Wuch'tig (Ger.) Weighty, weightily, 
 ponderous(ly), with strong emphasis, 
 risoluto. 
 
 Wiir'de (Ger.) Dignity ; mil W., or wiir'- 
 devoll, dignified. 
 
 Wii'thend (Ger.) Furious, frantic ; fu- 
 
 X. 
 
 Xanor'phica. (Ger. Xanor'phika.') A 
 variety of the piano-violin, and the 
 most complicated of all, there being a 
 separate bow for each string ; inv. by 
 K. L. Rollig of Vienna in 1797. 
 
 Xylharmon'ica. (Ger. Xylharmo'nikori). 
 A keyboard instr. inv. by Utho of San- 
 gerhausen in 1810, and resembling 
 Chladni's Euphonium, but with wooden 
 wands instead of glass rods ; an im- 
 proved Xylosistron. 
 
 Xyl'ophone. (Lat. lig'neum psalte'ri- 
 um; Ger. Stroh'fiedel, Holz'harmo- 
 nika, Hoh'- und Stroh' instrument, 
 hol'zernzs Gelach'ter ; Fr. claquebois, 
 e'chelette,patottilli', xvlor^anon; \l.gige- 
 li'ra, sticca'do.} A very ancient and 
 widely disseminated instr. (Europe, 
 Africa, America). consisting of a diaton- 
 ically graduated series of flat wooden 
 bars adjusted horizontally upon 2 cords 
 (which are sometimes made of twisted 
 
 straw), and played on with 2 mallets ; 
 a wooden dulcimer, capable of pleasing 
 effects in the hands of a skilful player. 
 Usual compass 2 octaves, or a little 
 more. 
 
 Xylosis'tron. The parent instrument 
 of the xylharmonikon ; inv. by Utho in 
 1807. 
 
 Y. 
 
 Yang Kin (Chinese.) A Chinese instr. 
 
 resembling the dulcimer, with brass 
 
 strings. 
 
 Yodel, Yodler. English spellings of 
 j ode In, jodler. 
 
 z. 
 
 Za. Former syllable-name for By, in 
 solmisation. 
 
 Zahlen (Ger.) To count; zdhle, count... 
 Zdhlzeit, a count. 
 
 Zale'o. Seejaleo. 
 
 Zampo'gna (It.) i. Bagpipe. 2. 
 Shawm. 
 
 Zapatea'do (Span.) A Spanish dance, 
 in which the dancers mark the rhythm 
 by stamping. 
 
 Zap'fenstreich (Ger.) The tattoo. The 
 gro'sser Zapfenstreich is an imposing 
 mus. finale of a military review, com- 
 mencing with a grand crescendo roll on 
 the drums of the combined regimental 
 bands. The Z. was originally a blow 
 (Stretch) struck on the bung (Zap fen) 
 of the cask of beer or wine, signifying 
 that drinking in camp must cease for 
 the night ; hence, a musical signal to 
 drive the bung into the bung-hole, to 
 attain that end. 
 
 Zaraban'da (Span.) Saraband. 
 
 Zar'gen (Ger., pi.) Ribs. 
 
 Zart (Ger.) Tender, soft, delicate ; slen- 
 der. . .Mitzar'ten Stim'men, with soft- 
 toned stops. . .Zarfflote, in the organ, 
 a 4-foot flute-stop of very delicate in- 
 tonation, the pipes having, instead of 
 the block, a windway reaching up from 
 the foot, and directed against the upper 
 lip. 
 
 Zart'lich (Ger.) Tender(ly), caressing(ly). 
 
 Zarzue'la (Span.) A two-act drama with 
 incidental music, resembling a vaude- 
 ville ; so called because first performed 
 in the royal castle of Zarzuela, in the 
 1 7th century.
 
 ZEFFIROSO-ZOPPO. 
 
 227 
 
 Zeffiro'so (It.) Zephyr-like. 
 
 Zei'chen (Ger.) A sign. 
 
 Zeit (Ger.) Time. Also, same as Takt- 
 teil . . Zeit' mass, tempo ; im ersten (or 
 vor'igen) Zeittnass, = tempo primo. . . 
 Zeifmesser, metronome. . .Zeit'wert(h), 
 time-value. 
 
 Zelosamen'te (It.) Zealously, enthu- 
 siastically. . .Zelo'so, zealous, enthusias- 
 tic, ardent ; marking passages to be 
 performed with energy and fire. Also 
 con ze'lo. 
 
 Zerstreut' (Ger.) Dispersed, open. 
 
 Zieh'harmonika (Ger.) Accordion. 
 
 Ziem'lich (Ger.) Somewhat, rather. 
 
 Zier'lich (Ger.) Neat, delicate ; grace- 
 ful, elegant. (Also adverb.) 
 
 Zif'fer(Ger.) Figure.. .Bezif'fert, figured; 
 Bezif'femn^, figuring. 
 
 Zigeu'nerartig (Ger.) Gypsy-like . . . 
 Zigeu'nerinusik, Gypsy music. 
 
 Zim'balon. An improved dulcimer much 
 employed in Hungarian music, provided 
 with dampers, /it P r - 
 
 and having a ggy. ~ ,f [ lnga- 
 chromatic scale ^~^f^z^j^^ ~' tion of 
 of 4 octaves : *7 a tone 
 
 is obtained by its rapid reiteration, 
 marked p>. 
 
 Zim'beistern (Ger.) A sort of toy-stop 
 in some old organs, consisting of a 
 star hung with little bells, placed con- 
 spicuously in front of the organ, and 
 caused to sound by a current of air 
 controlled by a draw-stop. 
 
 Zingare'sca(It.) A Gypsy song or dance; 
 specifically, a song sung by maskers 
 during the Carnival. 
 
 Zingare'sco,-a (It.) Pertaining to Gyp- 
 sies, Gypsy-like. .. Zingare'se, alia, in 
 Gypsy style. .. Zi'ngaro,-a, a Gypsy; 
 alia zi'ngara,.'\n Gypsy style. 
 
 Zin'ke (Ger.; It. cor net' to). (Also Ziiik, 
 Z in ken.) See Cornet to. 
 
 Zir'kel (Ger.) Circle. . .Zir- kelkanon, 
 infinite canon. 
 
 Zi'ther (Ger., pron. tsit'ter ; Blngl. pro- 
 nun, zith'er.) [The Ger. Zither is a very 
 different instr. from the old Engl. cither 
 or cittern; to prevent confusion, it 
 would be well to adopt the Ger. spelling 
 for the modern instr.] i.(Schld^ zither, 
 i. e. plucked zither.) The zither, as 
 developed from the primitive peasant- 
 instr. of the German Alps, has 32 or 
 more strings stretched over a shallow 
 wooden resonance-box, which is pro- 
 vided with a soundhole, and bears a 
 bridge near the right end and a fretted 
 fingerboard on the side next the player. 
 Above the fingerboard are 5 melody- 
 strings stopped by the left hand, tuned 
 
 the 2 A '* be ' 
 ; ing steel, the D 
 brass, the G 
 steel silver-covered, and the C brass 
 copper-covered. These 5 are plucked 
 with a metal or tortoise-shell ring worn 
 on the right thumb and having a pro- 
 jecting spur. The accompaniment- 
 strings, tuned in fourths as follows : 
 
 are plucked by the fore-, middle, and 
 ring-fingers of the right hand, the lit- 
 tle finger resting behind the bridge to 
 steady the hand. They are of gut, or 
 covered silk, variously colored to guide 
 the player's eye and fingers. The 3 
 ordinary sizes of zither are the Treble 
 Zither (Prim'zither), Concert-Zither, 
 and Elegie' -Zither (also called A It- or 
 Liederzither, and tuned a fourth be- 
 low the Prim- and Concertzither). 
 2. (Stretch' zither, \. e. Bow-zither.) 
 The earlier bow-zithers were heart- 
 shaped ; of the newer ones, the Viola- 
 Zitker has the form of a viola, 
 while the Fhilomele has a more pointed 
 body and shallower bouts ; they are 
 varieties of the viol, with short neck, 
 
 fretted fingerboard, and 4 strings in 
 violin-tuning, the E and A of steel, 
 the D of brass, and the G of silk silver- 
 covered ; but the bow-zither is held 
 quite differently from the viol, its head 
 being furnished with a little foot which 
 rests on the edge of the table before the 
 player, who holds the body in his lap. 
 
 Zit'ternd (Ger.) Trembling, tremulous. 
 
 Zo'gernd (Ger.) Hesitating, lingering, 
 retarding. 
 
 Zolfa' (It.) Sol-fa. 
 
 Zop'po,-a (It.) "Halting, limping". 
 Alia zoppa, syncopated ; as the rhythm 
 
 4 J J J I J J J also applied to 
 Magyar music with the rhythm :
 
 22S 
 
 ZOULOU ZWOLF. 
 
 Zoulou (Fr., "Zulu".) A style of pia- 
 nette. 
 
 Zu'fallig (Ger.) Accidental(ly) . . . ZuT- 
 falliges Verset 'zungszeichen, accidental. 
 
 Zuf'folo (It.) A small flageolet, such as 
 is employed in training singing-birds. 
 (Also Zu'folo.) 
 
 Zug (Ger.) i. Same as Regis' 'terzug. 2. 
 A pedal (pfte.) 3. A slide (of a trom- 
 bone, etc.). . . Zug" trompete , slide-trump- 
 et ... Zug'werk, tracker-action (in the 
 organ). 
 
 Zu'kunftsmusik (Ger.) Music of the 
 future ; a term first used (according to 
 R. Wagner) about 1850, by Dr. L. Fr. 
 Chr. BischofI, in a satire on Wagner's 
 essay upon " The Art-work of the 
 Future" [Das Kunstwerk der Zu- 
 kunft]. The word has been adopted, 
 by enthusiastic disciples of the neo- 
 German cult, as an epithet of distinc- 
 tion, with the meaning " music with a 
 future " a definition whose correctness 
 can hardly be successfully disputed. 
 
 Zu'nehmend (Ger.) Increasing, cre- 
 scendo. 
 
 Zung'e (Ger., "tongue"). Reed... 
 Zung 'enpfeife, reed-pipe . . . Zung'en- 
 stimme, reed-stop... Zung'enwerk, " the 
 reeds," reed-stops of the organ, con- 
 sidered collectively . . . A uf schlagende 
 Zunge, beating reed ; durc h' schlagende 
 Zunge, free reed. . .Dop' pelzunge , etc., 
 see Tonguing. 
 
 Zuriick'halten (Ger.) To retard . . . Zu- 
 ruck'haltend, ritardando . . . Zurtick'- 
 haltung, retardation . . . Zuruck'schlag, 
 same as Ribattu'ta. 
 
 Zusam'men (Ger.) Together, simultane- 
 ous(ly); bei'de Cho're zusammen, both 
 
 choruses (choirs) together . . . Zusam'- 
 menklang, a sounding together, simul- 
 taneous sounding of 2 or more tones ; 
 a "solid" chord ... Zusam'mengcsetzt, 
 combined, compound ; zusam'menge- 
 setzte Takt' art, compound time... 
 Zusam'menschlag, acciaccatura . . . Zu- 
 sam'menspiel, playing together ; en- 
 semble-playing. . .Zusam'menstreichen, 
 to slur (either by means of the sign 
 called a slur, or by joining the hooks of 
 hooked notes); Zusam'menstreichung, 
 slurring. 
 
 Zwei (Ger.) Two. . .Zwei'chorig, for 2 
 choruses (or divided chorus) . . . Zwei'- 
 fach, (a) double, as counterpoint ; (b) 
 in 2 ranks, as organ-stops ; (c) com- 
 pound, as intervals ... Zwei'fiissig, 
 2-foot. . . Zwei' ge sang, a duet. . .Zwei'- 
 gestrithen, see Gestri'chen . . . Zwei'- 
 halbe Takt, 2-2 time . . . Zwei' hdndig, 
 for 2 hands ... Zwei'stimmig, for 2 
 voices ; in or for 2 parts . . . Zwei'tel 
 (-note), a half-note ... Zwei'tritt, see 
 Waltz. . .Zweiunddrei'ssigstel(-note), a 
 32nd-note. . .Zweivier'teltakt, 2-4 time. 
 . . Zwei'zahlig e r Takt, duple time . . . 
 Zweizwei'teltakt, 2-2 time. 
 
 Zwerch'flote, Zwerch'pfeiff (Ger.) 
 The cross-flute, or German flute. 
 
 Zwisch'en (Ger.) Between, intermedi- 
 ate . . . Zwisch'enakt, an entr'acte ; 
 Zwisch'enaktsmusik, act-tune(s). . . 
 Zwisch' enharmonic, see Zwisch'ensatz. 
 . . Zwisch' enraum, space . . . Zwisch'en- 
 satz, episode ... Zwisch' enspiel, inter- 
 lude, intermezzo. 
 
 Zwit'scherharfe (Ger.) See Spitz' harfe. 
 
 Zwolf (Ger.) Twelve ... Zwolfach'teU 
 takt, 12-8 time.. .Zwolf saiter, see 
 Bissex.
 
 APPENDIX 
 
 OF 
 
 ADDITIONS AND CORRECTIONS
 
 APPENDIX. 
 
 (An asterisk * refers to an earlier article in body of Dictionary.) 
 
 A. 
 
 Abbandonan'dosi (It.) Yielding wholly 
 to emotion ; with a burst of passion. 
 
 Abbandona're (It.) To leave, to quit ; 
 sen'za abbandona're la cor'da^ without 
 quitting the string. 
 
 *Abbreviations. Add to former list: 
 c.f. Canto fermo ; cantus firmus. 
 Div. Divisi, divise. 
 incalz. Incalzando. 
 Mov to . Movimento. 
 ovv. Ovvero. 
 po' poco. 
 
 A'bendunterhaltung (Ger.) Pupils' con- 
 cert (in a music-school ; given for en- 
 semble-practice or .guasi public per- 
 formance). (Also Ubungsabend.) 
 
 Ab'Iangen [eines Tones] (Ger.) Taking 
 [a tone] by extension (in violin-tech- 
 nic). 
 
 Ab'schleifer (Ger.) Staccato-dash (' ). 
 
 Accenta'te (It.; plural form of accenta'ta, 
 " le note" being implied.) I. Ac- 
 cented, marked. 2 (imperative, pi.). 
 Accent ! Emphasize ! 
 
 Accentuate (It.) To accent. . .Accentu- 
 an'do, accenting. . .Accentua'to^-a, ac- 
 cented. 
 
 Accessit (Fr.) Honorable mention. 
 
 Accord'zither (Ger.) See Zilherharfe. 
 
 ^Eo'lian. A reed-organ of the American 
 type, the air being drawn through the 
 reeds. It has a keyboard, and may be 
 played like an ordinary organ ; but its 
 distinguishing feature is a mechanical 
 arrangement for executing music with- 
 out using the keyboard. Motive-power 
 and wind are supplied by two pedals 
 (treadles) worked by the feet ; the time- 
 value of the notes is controlled by per- 
 forations in a gradually unrolling sheet 
 of paper, the music-roll ; the tempo is 
 regulated by a stop called the Motor ; 
 and the expression is regulated (a) by 
 the pedal-movement, (/>) by two knee- 
 swells, and (r) by the registration. In 
 the largest instr.s there are ten speaking 
 stops, and a Tremolo. The sEolian 
 
 is remarkable, not merely for extreme 
 technical precision, but for the great 
 variety and artistic finish of musical ef- 
 fects, both tempo and expression being 
 wholly at the player's command. The 
 "sEolian " and the keyboard (which has 
 4 independent stops) may also be played 
 together, the keyboard being used to 
 play an accompaniment to the JEolian. 
 The instr., which is the product of long 
 evolution, became known under its pres- 
 ent name about the year 1883, in New 
 York. Its repertory includes all classes 
 of music, and at present (1900) com- 
 prises about 20,000 numbers. It has a 
 scale of 58 semitones (the keyboard has 
 6 octaves) ; and all its music-rolls also 
 fit the Pianola (g.v.). 
 
 Affretta're (It.) To hasten, to accelerate. 
 
 . . Senza affrettare, without hastening. 
 A fior' di lab'bra (It.; Fr. au bout det 
 
 levres ; Ger. gehautht.) Very lightly 
 
 and softly sung or spoken. 
 Aggiun'to,-a (It.) Added, interpolated. 
 
 . . .Arie aggiunte (pi.), airs interpolated 
 
 in an opera, etc., to which they did not 
 
 originally belong. 
 
 Air coupe" (Fr.) An air of set form. 
 
 Album-leaf. (Ger. Albumblatt; Fr. Feuil- 
 let d' album; It. Pagina d' album.) 
 Title of a short and (usually) simple 
 vocal or instr.l piece. 
 
 Alexandrine verse. "An iambic hex- 
 apody, or series of six iambic feet. 
 French Alexandrines are written in 
 couplets, alternately acalectic with mas- 
 culine rimes and hypercatalectic with 
 feminine rimes. . .The cesura occurs at 
 the end of the third foot. The second 
 line of the following extract is an ex- 
 ample : 
 
 ' A needless Alexandrine ends the song. 
 That, like a wounded snake, drags its slow 
 length along.' (Pope.)" 
 
 [THE CENTURY DICT.] 
 Allarga'te (It. ; imperative.) Slower and 
 broader. 
 
 Amu'sia. Loss of the musical faculty. 
 [BRITISH MEDICAL JOURNAL, Dec. 22, 
 1894.]
 
 232 
 
 ANCORA PIANO BASSHORN. 
 
 Anco'ra pia'no (It.) Still [sing or play] 
 softly ; equiv. to sempre piano. 
 
 Andan'do (It.) Same as Andante. 
 
 An'denken (Ger.) Recollection, souvenir. 
 
 *A / nima (It.) 3. Core (of a covered 
 string). 
 
 A par'te (It.) Aside ; e.g., sottovoce a 
 parte. 
 
 *Aper'to,-a (It.) Open (of organ-pipes). 
 
 Appe'na (It.) Hardly, very little; ap- 
 pena animando, a very little faster ; ap- 
 pena meno, a trifle slower. 
 
 Appoggiamen'to (It.) Chin-rest. 
 
 Appuyer (Fr.) To sustain. 
 
 A quat'tro par'ti (sole) (It.) For four 
 (solo) parts. 
 
 Arched viall. [Bow-viol ?] Pepys' Diary 
 (Oct. 5, 1664) describes this instr. as 
 " being tuned with lute strings and 
 played on with keys like an organ ; a 
 piece of parchment is always kept mov- 
 ing, and the strings, which by the keys 
 are always pressed down upon it, are 
 grated in imitation of a bow, by the 
 parchment ; and so it is intended to re- 
 semble several vialls played on with one 
 bow, but so basely and so harshly that 
 it will never do. But after 3 hours' stay 
 it could not be fixed in tune, and so 
 they were fain to go to some other 
 musique of instruments." 
 
 Arcichitar'ra (It.) A modern Chitar- 
 rone. 
 
 Ardo're, con (It.) WitH ardor, warmth. 
 
 *A'ria (It.) Aria d'entra'ta, the first air 
 allotted to a leading singer (in opera) 
 on entering the stage. . .Aria di sorti'- 
 ta, an air, at the conclusion of which 
 the singer makes his exit. [The Sor- 
 tita is, however, also the name for the 
 first number sung by any of the leading 
 characters in an opera]. . .Arie aggiun'- 
 te, see Aggiunto. . .Aria also signifies 
 wind (in the organ, etc.). 
 
 *Ariet'ta alia venezia'na (It.) Little 
 air in "Venetian" style; i.e., a bar- 
 carola. 
 
 Arietti'na (It.) A brief or trifling ari- 
 etta. 
 
 Armag'gio (di corde) (It.) Set of strings. 
 (Also Montatura.) 
 
 Ascenden'te (It.) Ascending. 
 
 Aspirant' (Ger.) A young musician in 
 an orchestra, on half-pay, "aspiring" 
 to full membership. 
 
 A'spro,-a (It.) Harsh, rough. 
 Assie'me (It.) Same as Ensemble... 
 
 Pezzo d'assieme, a concerted piece. 
 Astuc'cio (It.) Music-roll, music-case. 
 Auda'cia, con (It.) With boldness. 
 Auf'hebungszeichen (Ger.) The " can. 
 
 eel" or natural (;). 
 
 Auf'legestimmen (Ger.) The separate 
 parts of an orch.L composition, to be 
 " laid on " the music-desks. 
 
 Auf'loser (Ger.) The"cancel" ornatu. 
 ral (;). 
 
 Auf schwingend (Ger.) Soaring(ly), ira- 
 petuous(ly) ; con impeto, 
 
 Auf'schwung (Ger.) Lofty flight, soar, 
 ing impetuosity ; mit A., in a lofty, im- 
 petuous, impassioned style. 
 
 Aus'gefiihrter Choral' (Ger.) A" worked 
 out " choral ; a choral with free counter, 
 point ; or, with contrapuntal working, 
 out ; or, contrapuntally worked out (de- 
 veloped). 
 
 Aus'stattungsstiick (Ger.) Spectacle, 
 spectacular play or opera. 
 
 Autoar'pa Wagner (It.; " Wagner Au- 
 toharp.") An improved autoharp (Ak- 
 kordzilher) inv. 1896 by E. Glasel of 
 Markneukirchen, the mechanism of 
 which permits playing in any of the 
 ordinary keys. 
 
 Autre (Fr.) Other; another, different. 
 Avec ame (Fr.) Same as con anima. 
 Avec le chant (Fr.) Same as col canto. 
 A volont6 (Fr.) Same as a piacere. 
 
 B. 
 
 Babillage (Fr.) Babbling, chatter. 
 
 Badinerie (Fr.) Same as Badinage. 
 
 Bagatel'la (It.) Bagatelle. 
 
 Baglio'ra (It.) Flash of light ; title for 
 a swift, light and piquant composition. 
 
 Balancel'la (It.; Fr. balancelle.') A piece 
 of music imitating the easy rocking of a 
 sailboat. 
 
 Baldamen'te (It.) Boldly. 
 
 *Ballabi'le (It.) 2. Ballet-music. 
 
 Ballatel'la (It.) A short ballad. 
 
 Bassanel'lo (It.) i. An obsolete wood- 
 wind instr. allied to the bassoon, with 
 double-reed in a conical mouthpiece 
 carried by an S-shaped crook. 2. A 
 4-foot or 8-foot reed-stop in old organs. 
 
 *Bass'horn (Ger.) A wood-wind instr.
 
 BASSIST CAPOPHONE. 
 
 233 
 
 inv. byFrichot in 1804, and already ob- 
 solete, allied to the Serpent, but with 
 a brass bell, and a cupped mouthpiece 
 on an S-crook. Compass 4 octaves (C 
 to c 3 ). 
 Bassist' (Ger.) Bass singer. 
 
 *Bas'so (It.) 3. An 8-foot pedal-stop 
 on the organ. 
 
 Basso'ne (a lingua) (It.) A i6-foot 
 reed-stop on the swell-organ. 
 
 *Bassoon (compass). The AI below BJr> 
 is occasionally used (Raff). 
 
 Bavardage (Fr.) Chatter, tittle-tattle. 
 
 Bel canto (It.) The art of beautiful 
 song, as exemplified by the finest Italian 
 singers of the i8th and igth centuries, 
 and their pupils or imitators. The term 
 is used especially in contradistinction to 
 the "declamatory" style of dramatic 
 vocalism brought into such prominence 
 by Wagner. 
 
 Bien chante" (Fr.) Same as molto can- 
 tabile. 
 
 Biril'lo (It.) Peg. 
 
 Block (verb). A hammer in the piano- 
 forte-action ' ' blocks " when it remains 
 against the string after impact, instead 
 of recoiling, thus "blocking" (deaden- 
 ing) the tone. 
 
 Bluette (Fr. ; "spark," "flying spark- 
 let.") i. A light, playful comedietta. 
 2. Hence, a light, sparkling piano- 
 piece of no fixed form. 
 
 Botto'ne (da cordie'ra) (It.) Button 
 (on the violin). 
 
 Bouts [pi.]. The incurvations on either 
 side of instr.s of the violin-type, form- 
 ing the " waist." 
 
 *Bridge. A violin-bridge with 4 feet has 
 been inv. (1894) by Edwin Bonn, of 
 Brading. Isle of Wight ; one foot under 
 each string. 
 
 Brisg, le (Fr.) In violin-technic, short, 
 detached strokes of the bow. 
 
 Budel'lo (It.) Gut. (Also minugia.) 
 
 Bu'co (It.; pi. bii'chl.) Finger-hole (of 
 a mus. instr.). 
 
 Biih'ne (Ger.) Stage. ..Buh'tit-nimisik", 
 (a) dramatic music ; (t>) music played on 
 the stage. 
 
 Bun'te Rei'he (Ger.) The phrase means, 
 literally, the alternation, in a company 
 seated at table, of a lady with a gen- 
 tleman ; hence, as a mus. title, a series 
 of contrasted cnaracteristic pieces. 
 
 C. 
 
 C. In recent Italian music " I C." and 
 "3 C." are abbreviations of " tina cor- 
 da " and " tre corde " respectively. 
 
 Cade're (It.) To fall. Cadenza (ca- 
 dence) means literally a " falling back " 
 to the tonic from the dominant ; Beet- 
 hoven uses the word jocularly, in the 
 phrase " Cadenza ma senza cadere " 
 (heading his Cadenza No. I to the 1st 
 movem. of the G-major Pfte.-Concerto), 
 which may be translated: "Fall back, 
 but don't fall down." 
 
 Cahier (Fr.) Book. 
 
 Camor'ra (It.) Paid claqueurs in Italian 
 theatres. 
 
 Campagnuo'lo,-a (It.) Pastoral, idyl- 
 lic ; rustic. 
 
 Campes'tre (It.) Pastoral, rural, idyllic ; 
 as danza campfstre. 
 
 Cano'nico,-a (It.) In canon-form. 
 
 Canticchian'do (It.; Fr. en freJonnant.) 
 Trilling, warbling ; humming. 
 
 *Canti'no (It.) jfs-string. (In mercan- 
 tile Italian the strings of the violin are 
 named cantino, scconda, terza and 
 quarta.) 
 
 *Canto, written in a score over the blank 
 part for any instr. , means that the latter 
 is to play in unison with the vocal (or 
 melody-bearing) part. Written over an 
 instr.l part, it signifies that at that point 
 the vocal melody reenters after a 
 ritournelle or interlude. 
 
 Capo-ban'da (militare) (It.) Band- 
 master. 
 
 Capoco'mico,-a (It.) See Striese. 
 
 *Capo d'astro. [An English corruption 
 of oipotasto.] In the pianoforte, the 
 "capo d'astro bar" is a transverse 
 metallic bar placed above the strings 
 near the wrestplank. Its name is 
 derived from the fact that it bears down 
 on the strings of the three highest 
 octaves (more or less), and is supposed 
 to add to the brilliancy and carrying- 
 power of their tone. It is, however, 
 not removable, like a real capotasto, but 
 fixed. 
 
 Capo-mu'sica (It.) Conductor ; band- 
 master. 
 
 Capo-orches'tra (It.) Conductor of an 
 
 orchestra. 
 Capophone. A set of musical glasses 
 
 inv. by M. F. Coelho, on which he 
 
 produced remarkable effects.
 
 234 
 
 CARATTERISTICO CORTO. 
 
 Caratteris'tico,-a (It.) Characteristic. 
 ...Pezzo caratteristico, characteristic 
 piece. 
 
 Cas'sa (It.) Body (of violin, etc.). 
 
 *Catch. (It. cac'ce, from cac'cia, a 
 chase.) The term occurs as early as 
 the I4th century, in a composition by 
 Fr. Landino. [Cf. AMBROS, " Ge- 
 schichte der Musik," vol. iii, p. 470.] 
 
 Causerie (Fr.) Chat, conversation. 
 
 Cavi'glia (It.) Peg. 
 
 Cello'ne. A bow-instr. intended to 
 replace the 'cello (in conjunction with 
 the I'iolotta \q. z/.]) in the string-quar- 
 tet. In dimensions it resembles the 
 'cello, but the accordatura is a fourth 
 lower, namely, G \-D-A-e. Tone like 
 that of the "cello (though stronger), 
 being far more prompt in speaking, 
 flexible and mellow than that of the 
 double-bass. 
 
 Cer'to.-a (It.) Certain ; con una certa 
 espressione parlante [Beethoven], with 
 a certain declamatory expression. 
 
 Ce'tra ad accor'di (It.) Autoharp. 
 
 Champetre (Fr.) Same as Campestre. 
 
 Char me, avec (Fr.) With charm, grace- 
 fully (It. vezzosamente). 
 
 ^Chin-rest. " An oval plate of ebony, 
 slightly hollowed on its upper surface 
 to receive the curve of the jaw, fastened 
 to the edge of the violin to the left of 
 the tailpiece, and extending over, but 
 not touching, the belly." [KREHBIEL.] 
 
 Chitarra'ta (It.) Piano-piece imitative 
 of the guitar. 
 
 Chord of Nature. The series of har- 
 monics sounding with a generator. (See 
 Acoustics.) 
 
 Chord-bar. One of the bars crossing 
 the strings of the autoharp ; being 
 pressed clown, it allows only the strings 
 of one special chord to vibrate. (Ger. 
 Pedal.) 
 
 Clavi-harpe (Fr.) A harp played by a 
 pianoforte-keyboard ; inv. by Dietz of 
 Brussels in 1887, and used with good 
 effect in the orch. of the Monnaie 
 Theatre there in 1888. 
 
 *Clef. The follow- 
 ing is a form of Jenori 1"ii 
 tenor-clef now 
 (1896) used in 
 Italy. [From the 
 Milan " Gazzetta , 
 
 Musicale ", Dec. Tenon 2< 
 17, 1896.] 
 
 Colori'to (It.) Same as Colorit. 
 
 *Col'po (It.) Stroke ; e. g., colpo ai 
 campanel'lo, stroke of a bell. 
 
 *Co'me pri'ma (It.) Standing alone, as 
 a tempo-mark, it means that the pre- 
 vious tempo is to be resumed (after a 
 digression) ; also written tornando come 
 prima . . . Ritenuto come prima, held 
 back (retarded) as before. 
 
 Co'me re'tro (It.) As before. 
 
 Composed-through. A frequent trans- 
 lation of the German term durchkompo- 
 niert (see Dttrchkomponieren), the cor- 
 rect English equivalent for which is 
 "progressively composed," as con- 
 trasted with " strophic composition" 
 (see Song 2). 
 
 Comprima'rio.-a (It.) In theatrical par- 
 lance, a part (role) of importance, 
 though not one of the leading parts 
 (prime assolute). 
 
 Concentran'do (It.) "Concentrating", 
 an expression-mark in vocal music, 
 calling for a dark, veiled, intense effect 
 of tone. 
 
 *Concerti'sta (It.) 2. Concert-giver. 
 
 Confet'ti (It.) Sugarplums. 
 
 Confinal. Compare Final. 
 
 Conical mouthpiece. See Cupped. 
 
 *Contrab(b)as'so (It.) Sub-bass (organ- 
 stop). 
 
 Corde fi!6e (Fr.) Covered string. 
 Cordie'ra (It.) Tailpiece. 
 Cordo'metro (It.) String-gauge. 
 
 Cordonophon. A keyboard-instr. imitat- 
 ing the tones of bells ; inv. Paris, 1890. 
 The tone is produced by hammers strik- 
 ing on a graduated 2-octave series of 
 hollow bronze cylinders. 
 
 Cori'sta (It.) Chorus-singer ... C. capo- 
 fila, a chorus-leader ; especially one to 
 whom a minor solo part is entrusted 
 (see Pertichino). 
 
 Cornement (Fr.) Running (of wind in 
 an organ). 
 
 *Cornet a pistons. Even in the sym. 
 phony-orchestra the cornet is not infre- 
 quently used ; but its employment as a 
 substitute for the valve-trumpet is to be 
 condemned, these instr.s being too dis- 
 similar in tone. 
 
 Cornet'ta (It.) Cornet a pistons. . . Cor- 
 
 netti'na, a small cornet. 
 Cor'to,-a (It.) Short. "Za cadenza sia
 
 COULE ESCLAMATO. 
 
 235 
 
 corta " [Beethoven], the cadenza should 
 
 be short. 
 
 *Coul6(Fr.) 3. A slur. 
 Counting. When a part "rests" for 
 
 several measures, precision of reen- 
 
 trance is facilitated by counting 
 
 D 
 
 (e. g. f for 
 
 thus: 123, 223, 323, 423, 523. 
 
 Coupure (Fr.) A " cut " . 
 
 Cravat'tentenor" (Ger.) A tenor who 
 sings as if his necktie were too tight. 
 
 Cupped mouthpiece. The shallower 
 form of mouthpiece for brass wind- 
 instr.s (Ger. kes'selformiges Mund'- 
 stiick), in contradistinction to "conical 
 mouthpiece," the deeper form (Ger. 
 trich'terfdrmiges Mund' stuck). 
 
 D. 
 
 Decimaquin'ta (It.) i. Interval of a 
 fifteenth. 2. The Fifteenth (organ- 
 stop). 
 
 Declama'to,-a (It.) Declaimed ; in de- 
 clamatory style. 
 
 Deliran'te (It.) Raving ; frenziedly. 
 
 *Demi-jeu (Fr.) In violin-technic, the 
 persistent employment of short strokes 
 of the bow. 
 
 Dichiarazio'ne (It.) Declaration (title 
 
 of a composition). 
 Discenden'te (It.) Descending. 
 Discretez'za, con (It.) With discretion ; 
 
 discreetly, cautiously. 
 Dispa'ri (It.) Unequal (voices) ; triple 
 
 (times). 
 
 Divagazio'ne (It.) A ramble, excursion ; 
 rambling, strolling. 
 
 Divette (Fr. ; diminutive of diva.) Lead- 
 ing lady in operetta. 
 
 Divi'se. This (the fern, pi.) form is 
 properly applied to instr.s of the femi- 
 nine gender (in Italian), such as iromba ; 
 also to vocal parts (voci divise) ; it may 
 likewise be expressed by numerals, e. g. 
 
 ,-, 1 1 t , i 1 . 
 
 4 T-5 - -m t^-E=Ej etc. 
 
 Dodinette, Dodino, Dodo (Fr.) Lul- 
 laby. 
 
 Do'rico (It.) Doric, Dorian. 
 
 Dugazon (Fr. ; Ger. ersle Liebhaberin.) 
 French designation for the leading so- 
 prano in comedy-opera, operetta, etc. ; 
 
 named after Louise-Rosalie Dugazon. a 
 
 celebrated singer (1753-1821). 
 Dum'ka (Polish.) A sort of romance, 
 
 vocal or instr.l, of a melancholy cast ; 
 
 a lament or elegy. 
 *Du'o. A composition in 2 parts for one 
 
 instrument ; e. g., a violin-duo, in 
 
 contradistinction to a violin-duet for 
 
 two violins. 
 Duologie' (Ger.) Duology (a series of 
 
 two stage-plays, operas, or oratorios). 
 
 E. 
 
 chancrur&s (Fr. pi.) Bouts. 
 
 Eck'satz (Ger.) "Corner movement"; 
 i. e., the opening or closing movement 
 in a cyclical composition. 
 
 ficlat (Fr.) Same as Brio. 
 
 Eguaglian'za (It.) Smoothness, even- 
 ness ; con molta eguaglianza, very 
 smoothly, evenly. 
 
 *Ein'lage (Ger.) Extra number ; inci- 
 dental number. (See Arie aggiunte.) 
 
 Elan (Fr.) Impetuosity, vehemence... 
 Avec Man, same as Con slancio. 
 
 filargissez (Fr.) Same as Allargate. 
 
 Enchainez (Fr.) "Go on directly"; 
 same as Attaccate. 
 
 En glargissant (Fr.) Same as allar- 
 gando, or piu largamente (Ger. breitef 
 werdend). 
 
 En enlevant (Fr.) Raising, lifting; 
 
 detaching (notes). 
 
 Enigmatical Canon. See Canon. 
 Enim'ma (It.; pi. enimme.) Enigma; 
 
 hence, enigmatical canon. 
 En mesure (Fr.) " In measure," i. e., 
 
 a tempo; or a battuta. 
 
 Enrggisseur Rivoire. A phonauto- 
 graph for attachment to a pianoforte ; 
 inv. by Rivoire in 1895. 
 
 Ensem'blestiick (Ger.) A concerted 
 piece (Fr. piece [or morceau] d 1 ensemble). 
 
 Entusias'mo, con (It.) With enthusi- 
 asm. 
 
 Erin'nerungsmotiv" (Ger.) A mus. 
 motive attached to and recalling a past 
 scene, emotion, personage, etc. ; in so 
 far, a Leitmotiv. 
 
 Eroico'mico,-a (It.) Mock-heroic. 
 
 Erzah'lung (Ger.) Story, tale, narra- 
 tion. 
 
 Esclama'to,-a (It.) Exclaimed; decla- 
 mato con forza.
 
 ESEMPIO-FORTSCHREITUNG. 
 
 Esem'pio (It.) Example. 
 
 Espansio'ne, con (It.) With exalted or 
 intense feeling. 
 
 Espansi'vo (It.) Same as con espan- 
 sione. 
 
 *Espressio'ne (It.) Expression-stop. 
 
 Esquisse (Fr.) Sketch. 
 
 Estre'mo,-a (It.) Extreme. . .Eslrema- 
 men'te, extremely. 
 
 Etichet'ta (It.) Maker's "label" on a 
 violin. 
 
 toffer(Fr.) To stuff, fill out ; to "pad." 
 
 Exaltation, avec (Fr.) .Same as con 
 esaltazione. 
 
 Exhibition. A scholarship at an Eng- 
 lish university or music-school, inde- 
 pendent of the foundation ; as the 
 Potter Exhibition at the Royal Acad. 
 of Music, London. 
 
 *Expression-marks. The mark p sf 
 over an arpeggio signifies " begin piano 
 with a swift crescendo, the highest note 
 Sf." 
 
 F. 
 
 Fah'ne (Ger.) A " flag" or hook ( f). 
 
 Fallboard. Same as Fly. 
 
 *Fantasi'a, con (It.) With fancy ; 
 spiritedly, vividly. 
 
 Fantasi'na (It.) Short fantasia. 
 
 Fantasticheri'a (It.) A light, fantastic 
 composition. 
 
 Fascia're (It.) To cover, to wind 
 (strings) . . . Corde fascia' te, covered 
 strings. 
 
 Faerie (Fr.) Fairy-opera, fairy-play. 
 
 Fervo're, con (It.) With fervor, warmth. 
 
 Feuille (Fr.) A leaf ; feuilles volantes, 
 flying leaves. 
 
 Feuillet (Fr.) A leaf, leaflet. . .Feuillet 
 tf album, album-leaf. 
 
 FiaT>a (It.) Fable, fairy-tale. 
 
 *Fia'to (It.) Wind ; strumen'to a fiato 
 (or dajiato), wind-instr. 
 
 Fi'la (It. ; pi. file.} Rank (of organ- 
 pipes) ; e. g. , " Pieno, j file X V, 
 XIX, XXII" signifies " Mixture, 3 
 ranks (Fifteenth, Nineteenth, and triple 
 octave)". 
 
 *Filer un son (Fr.) Also means to sus- 
 tain a tone with a gradual crescendo 
 and decrescendo. 
 
 Fi'lo di voce (It.) The very softest and 
 lightest vocal tone. 
 
 Fingered octaves. In pfte.-technic, 
 octaves played with the 1-5 and 1-4 
 fingers alternately. 
 
 *Fingering. Alternative fingerings may 
 be written thus : 
 
 4 5 
 
 or thus : 
 
 2 35432 
 
 A change of fingers, temporarily de- 
 layed, may be indicated thus : 
 5 4 
 
 ,-3: 
 
 A trill on the pfte. is sometimes fingered 
 thus : f , or f , or f , etc. 
 
 Firing. The ringing of all the bells 
 belonging to a chime at once, in contra- 
 distinction to chiming. 
 
 Fisarmo'nica (It.) Physharmonica. 
 
 Fixing the voice. Conscious artistic 
 control, in singing, of the act of expira- 
 tion. 
 
 Flessibilita' (It.) Flexibility. 
 
 Flies'send (Ger.) Flowing(ly), smooth- 
 ly) ; scorrendo. 
 
 Flute-stop. Any flue-stop on the organ 
 (except stops of diapason-tone) made 
 of metal or wood, closed or open, and 
 of any pitch from if -foot (Terzflote) 
 to i6-foot (Flautone), may be called a 
 " flute '" of some kind, either on account 
 of its tone, or after the builder's taste 
 or fancy. Descriptions of the ordinary 
 styles will be found under their respect- 
 ive names. (Also see Flute-work, under 
 Stop 2.) 
 
 Flutet (Fr.) Same as Galoubet. 
 
 Fo'glio (It.; pi. foglt.) A leaf.../-". 
 d 'album, album-leaf.../'',/^// rolan'ti, 
 flying leaves. 
 
 Folatrerie (Fr.) Whim, caprice, bizarre 
 fancy. 
 
 For'te genera'le (It.) The full-organ 
 combination - stop . . . Forte Vappoggia- 
 tura, accent the appoggiatura strongly. 
 
 *Fort'schreitung einer Dissonanz' 
 (Ger.) Is not necessarily the resolution
 
 FORTTfiNOR HOCHFORMAT. 
 
 237 
 
 of the dissonance, as one dissonance 
 may progress to another ; A ttflosung 
 is the exact German equivalent of 
 " resolution." 
 
 Fortte"nor (Fr.) Dramatic tenor. 
 
 Fouette" (Fr. ; " whipped.") See Whip, 
 ping bow, 
 
 Frammen'to (It.) Fragment. 
 
 Fra se (It.) Aside. 
 
 Frau'enchor (Ger.) I. A female chorus. 
 2. A composition for such a chorus. 
 . . Frau' ensti in i/it'ii, women's voices. 
 
 Freddez'za, con (It.) With coldness ; 
 coolly, indifferently. 
 
 Fremen'te (It.) Furiously. 
 
 Frettolo'so (It.) Hurried. . .Fretlolosa- 
 nu-n'tc, hurriedly. 
 
 Fri'gio (It.) Phrygian. 
 
 Frog. The German word Frosch means 
 both "frog" (the animal) and "nut" 
 (of a violin-bow) ; translators of Ger- 
 man mus. works into English, often 
 mistakenly use the word "frog" in- 
 stead of the proper technical term 
 " nut." 
 
 Fuo'ri di se (It.) Absently ; dream- 
 ingly, as if dreaming. 
 
 Furberi'a del can'to (It.) The vocal 
 effect of the bocca chiusa (humming). 
 
 Fur sich (Ger.) Aside. 
 
 G. 
 
 Garba'to (It.) With simple grace, ele- 
 gance. 
 
 Gefeil'ter Strich (Ger.) Detached bow- 
 ing (violin-technic). 
 
 Gehaucht' (Ger.) Very softly and lightly 
 sung or played. 
 
 Gemen'do (It.) Moaning. 
 
 Gemes'sen (Ger.) Measured(ly), moder- 
 ateOy) ; misurato. 
 
 Gepei'tschte Stricfa'art (Ger.) Whip- 
 ping bow. 
 
 Geris'sen (Ger.) Thrown off (in pfte.- 
 technic) by a rapid, deft lift of the 
 wrist ; as em gerissener Akkord. 
 
 Gesang'reich (Ger.) Very singingly ; 
 cantando, cantabile. 
 
 Gezo'gen (Ger.) "Drawn out"; larga- 
 mente, sostenuto. 
 
 Gio'co, con (It.) Playfully. 
 
 Giovialita', con (It.) With joviality, 
 jovially. 
 
 Gix'er (Ger.) Same as Kicks. 
 
 Glottis. See Vocal glottis. 
 
 Gosier (Fr.) Throat ... hthmt du g., 
 
 isthmus of the throat. 
 *Graces. In "La Poule " (a piece for 
 
 harpsichord, by Rameau), the following 
 
 grace occurs : 
 
 Written: 
 
 Played: I 
 
 In the " Rappel des oiseaux : " 
 "Written: |5r g "*)' 
 
 Played: 
 
 The former is d'Alembert's Chute et 
 Pine/, or J. S. Bach's Accent und Mor- 
 dant (Bach gives a different sign) ; the 
 latter is Fr. Couperin's Pince" simple^ 
 but with a different sign. 
 
 Gradatamen'te (It.) By degrees, grad- 
 ually. 
 
 Grandement (Fr.) With grandeur ; with 
 breadth, dignity and force. (It. con 
 grandezza.) 
 
 Grand'or'gano (It.) Great organ. 
 
 Gravita", con (It.) With gravity, dig. 
 nity ; ponderously. 
 
 *Gruppet'to ascenden'te (It.) Back 
 turn . . . G. discenden'te, ordinary turn. 
 
 H. 
 
 Habane'ra (Sp.) A species of contra- 
 dance comprising two 8-measure peri- 
 ods in 6-8 time. It is a typical Cuban 
 dance; hence called the "contradanza 
 criolla " (Creole contradance). 
 
 Hack'e (Ger.) Heel. (Abbreviated, in 
 organ-technic, H.) 
 
 Harmony, false. I. The inharmonic 
 relation. 2. Discord produced by im- 
 perfect preparation or resolution. 3. 
 Discord produced by wrong notes or 
 chords. 
 
 Havanaise (Fr.) A Habanera. 
 
 Hin'ter der Sze'ne (or Sce'ne) (Ger.) 
 Behind the scenes. 
 
 Hoch'format (Ger.) The ordinary shape 
 of music-paper, higher than it is broad. 
 (See Querformat.)
 
 23S 
 
 HOLDING LONTANISSIMO. 
 
 Holding. The burden of a song. (Ob- 
 solete.) 
 Huitieme de soupir (Fr.) A 32nd-rest. 
 
 I. 
 
 II piu (It.) The most. 
 
 Im (Ger.; contraction of in dem.) In the. 
 . . . hn Tempo , in the (regular) tempo ; a 
 tempo. 
 
 Inci'so,-a (It.) Incisive, sharp ; sharply 
 emphasized ; inci'se \le note], [the notes] 
 sharply marked. 
 
 Ingenuamen'te (It.) Ingenuously, nat- 
 urally. 
 
 Ingranag'gio (It.) Gear, gearing ; ma- 
 chine-head. 
 
 Insceni'rung, Inszenie'rung (Ger.) See 
 Mise en scene. 
 
 Intar'sio, Intar'zio (It.) Purfling. 
 
 Interligne (Fr.) Space (between lines of 
 staff). 
 
 Intermez'zi sinfo'nici (It.) Incidental 
 music (interludes) for orchestra. 
 
 Ipo- (It.) Hypo- ; e.g., ipofri'gio, Hy- 
 pophrygian ; ipoli'dico, Hypolydian. 
 
 Islan'cio (It.) See Slancio. 
 Isthme (Fr.) Isthmus. 
 Istnimentato're (It.) Instrumenter ; or- 
 chestrater ; composer for orchestra. 
 
 J- 
 
 Jingling Johnny. Formerly a popular 
 name, in London, for the Turkish cres- 
 cent. 
 
 Jonction (Fr.) Blending (of the vocal 
 registers) ; also Tuition des registres. 
 
 Juste (Fr.) Perfect (said of intervals). 
 
 K. 
 
 Kan'tor (Ger.) Cantor; the director and 
 trainer of a choir or chorus in a church 
 or school. 
 
 Ker'nig (Ger.) With firmness, decision ; 
 con fermez'za, deciso. 
 
 Kes'selformiges Mund'stiick (Ger.) 
 Cupped mouthpiece. 
 
 Klavier'abend (Ger.) Piano-recital in 
 the evening. Also Clameratetut, 
 
 Klavier'harfe (Ger.) Same as Kla-vi. 
 atur 1 ' harfe. 
 
 Kna'benchor (Ger.) Boy-chorus, boy. 
 choir ; also, a composition for such a 
 chorus or choir. . .Kna'benstimmen, 
 boys' voices. 
 
 Kokett' (Ger.) Coquettish(ly). 
 
 L. 
 
 Lamen'to (It.) Lamentation, dirge, el- 
 
 e gy. 
 
 Lam'penfieber (Ger.) Stage-fright. 
 Languo're, con (It.) With languor, Ian- 
 
 guidly. 
 Larghez'za, con (It.) Same as Largo- 
 
 mente. 
 
 Leer (Ger.) i. Empty, hollow (of a tone). 
 2. Open (of a string). 
 
 Legan'do (It.; " binding.") i. Equiva- 
 lent to Legato. 2. An expression-mark, 
 in vocal or instr.l music, calling for the 
 smooth execution of two or more con- 
 secutive tones by a single " stroke of 
 the glottis " (vocal), in one bow (violin, 
 etc.), by a single stroke of the tongue 
 (wind-instr.s), or legatissimo (on organ 
 or pfte.). 
 
 Lega'te (It.; pi. form of lega'ta, the 
 words "le note" being implied.) Slurred ; 
 played (or sung) evenly and smoothly. 
 
 *Legatu'ra (It.) 2. A slur. 
 
 Leggen'da (It.) Legend. 
 
 Leggeris'sirae (It.; pi. of leggerissima, 
 " le note" being implied.) [Play or 
 sing the notes] very lightly. 
 
 Leg'gio (It.) Music-stand. 
 
 Le'gni (It.; pi. oile'gno, wood.) Wood- 
 wind. 
 
 Lesff(Fr.) The /-holes. 
 
 Lice'o (It.) Lyceum ; Conservatory. 
 
 Lie'derabend (Ger.; "song-evening.") 
 A song-recital (by one singer). 
 
 Lie'derdichter (Ger.) A writer of songs 
 (poems) to be set to music. 
 
 Lie'derspiel (Ger.) i. Ballad - opera, 
 vaudeville. 2. A concert-piece for vo- 
 cal soli, chorus, and pfte. -accompani- 
 ment, with dramatic and local color; 
 invented by Schumann in his " Spa 
 nisches Liederspiel," op. 74. 
 
 Liuta'io (It.) Same as Luthier. 
 
 Liuti'sta (It.) Lute-player. 
 
 Lontanis'simo (It.) Very far away; 
 equivalent to piano possibile.
 
 LUNGA E DIMINUENDO NINNERELLA. 
 
 239 
 
 Lun'ga e diminuen'do [morendo] (It.) 
 Long sustained and diminishing in force. 
 (Here " nota " is implied.) 
 
 M. 
 
 Macchinet'ta (It.) Machine-head. 
 
 Madrile'Ba (Sp.) A dance of Madrid. 
 
 *Mandolina'ta (It.) 2. Title for a man- 
 dolin-piece of a quiet character, such 
 as a serenade or nocturne. 
 
 Mandoloncel'lo, Mandolo'ne (It.) 
 Large styles of the mandolin. " Man- 
 dolina, Mandola, Mandoloncello and 
 Mandolone do not differ one from the 
 other in form, but only in size." [GAZ- 
 ZETTA MUSICALE.] 
 
 Manua'liter (Lat.) On the manual(s) 
 alone (organ-music). 
 
 Marca'te (It. ; pi. of marca'ta.} A direc- 
 tion signifying: "The notes are to be 
 marked"; the words " le note" being 
 implied. 
 
 Mar'kig(Ger.) " Marrowy " ; with strong 
 emphasis ; sturdy, strong, vigorous. 
 (Also adverb.) 
 
 Mediation. See Chant 3. 
 
 Melo'logo (It.; pi. melo'loghi.') Melo- 
 drama ; a spoken dramatic scene accom- 
 panied or illustrated by music. 
 
 Mes'sa da re'quiem (It.) Requiem mass. 
 
 Mes'sa in sce'na (It.) Same as Mist en 
 scene. 
 
 *Mesur6 (Fr.) Equivalent to moderate ; 
 e.g., Allegro mesure". 
 
 Metro'mano-piano (It.) A finger-exer- 
 ciser for pianists, inv. by Luigi Pizza- 
 miglio in 1897, and commended by a 
 special committee of the Milan Conser- 
 vatorio. It has a short keyboard, and 
 various springs and other accessories. 
 
 *Mez'zo(It.; adjective.} Occurring alone, 
 it refers to the dynamic sign next pre- 
 ceding (either/' or ). . .Mezzo respiro, 
 half-breath (i.e., a [rapid] partial inspi- 
 ration). 
 
 Mez'zo (It. ; noun.) Middle ; ne I mezzo 
 del area, in the middle of the bow. 
 
 Milieu (Fr.) Middle. 
 
 Minu'gia (It.) Gut. (Also Budello.) 
 
 Mise en scene (Fr.; It. missa in scena ; 
 Ger. Inszenierung.) Setting of a play 
 on the stage ; stage-setting, mounting. 
 
 Moderatamen'te (It.) With moderation 
 (either of tempo or emotion) ; also con 
 moderazionc. 
 
 Mol'to sot'tovoce (It.) Very softly in- 
 deed. 
 
 Mon'do picci'no (It.) " Little Folks," 
 "Little People"; title equiv. to the 
 German " Kinderszenen," "Kinder, 
 stiicke." 
 
 Montatu'ra (di corde) (It.) Set of 
 strings. 
 
 Mor'bido (It.) Soft, tender ; morbidis- 
 si mo, very soft. . . Con tnorbidezza, with 
 tenderness, softly. 
 
 *Morden'te. G. NAVA, in his "Ele- 
 ments of Vocalization," calls an un- 
 accented double - appoggiatura (e.g., 
 
 a mordente. 
 * ?-& J 
 
 *Mos'so (It.) Occurring alone as a 
 tempo-mark, Mosso is equiv. to Con 
 mo to. [Verdi: "Ai'da," pf. -score, p. 
 285-] 
 
 Mu'sica fic'ta (Lat.; "feigned music.") 
 Mediaeval name for scales transposed by 
 the use of the ft or \) ; such scales being 
 considered irregular (" feigned ") in con- 
 trast with the regular ones. 
 
 Musical Dictation. See Dicte"e musi- 
 cals. 
 
 Mu'sico (It.) An artificial male soprano ; 
 a castrato or evirato. 
 
 Musique de scene (Fr.) Incidental 
 
 music. 
 Musurgia (Gk.) The art of correctly 
 
 employing the musical consonances and 
 
 dissonances. 
 
 N. 
 
 Nach'gebend, Nach'giebig (Ger.) 
 Yielding(ly), slower and slower, rallen- 
 tando. . . Nach'giebiger^ more yielding. 
 \y,piit sostenuto. 
 
 Na'ker. Ancient name of the kettle- 
 drum. 
 
 Naset'to (It.) Point (of bow). Also 
 punta. 
 
 Naufra'gio (It. ; ' ' shipwreck.") Modern 
 equivalent of Fiasco. 
 
 Negligen'za, con (It.) With negligence, 
 carelessly. 
 
 Ni'colo. An ancient style of bombard, 
 the alto of the oboe. 
 
 Nien'te (It.) Nothing. (The phrase 
 quasi niente signifies "inaudible, as it 
 were," i.e., barely audible.) 
 
 Nin'na-nan'na) (It) 
 
 Nmnerella )
 
 240 
 
 NOTATION PEL. 
 
 *Notation. In the following example 
 [Rubinstein, op. 3, No. 4] for pfte., the 
 two notes with convergent stems, g$ 
 5, are to be played simultaneously : 
 
 3 ^ 
 121 
 
 Notturni'no (It., dimin. of Nolturno.') 
 A short nocturne. 
 
 *Numerals. The Roman numerals I., 
 II., III., IV., in violin-playing, indicate 
 the string to be played on, the E-string 
 being I. i ft , 2", 3", and 4* (for prima, 
 seconda, terza and quarta corda, re- 
 spectively), are also written. A single 
 8 under a bass note signifies that the 
 note should be doubled in the lower 
 octave. i C. and j C., in modern Italian 
 piano-music, stand for Una corda and 
 Tre corde respectively. Also cf. Divise 
 and Fingering, in Appendix. 
 
 Nymphale (Fr.) A French portable 
 organ of the i6th century. 
 
 o. 
 
 *0boe (compass), i. The usual orches- 
 tral compass is only to f 3 . . . Oboe da 
 cac'cia (It.), the tenoroou oboe (corno 
 inglese) . . . Oboe lunga, same as oboe 
 d'amore. 2. In the organ, an 8-foot 
 reed-stop, with conical pipes surmounted 
 by a bell and cap . . . Orchestral oboe, a 
 stop accurately imitating the orch.l 
 instr. 
 
 Obo'er (Ger.) Oboist. 
 
 Officle'ide (It.) Alternative spelling of 
 Oficleide. 
 
 *Operette [with /] is the correct spelling 
 of the French word. 
 
 Operi'sta (It.) Opera-composer. 
 
 Order. The arrangement of chord-tones 
 above a given bass, "open" and 
 
 ! *' close order" being equiv. to " open " 
 and " close harmony". 
 
 Orecchian'te (It.) One judging of 
 music " by ear " ; one lacking theoretical 
 and practical training in the art. 
 
 Orfeo'nico (It.) Pertaining to the 
 Orpheons. 
 
 *Organet'to a manu'brio (It.) Hand- 
 organ. (Also O. di JSarbaria.) 
 
 Organ-metal. Same as Pipe-metal. 
 
 Or'gano espressi'vo (It.) Swell-organ. 
 
 Otto'ni (It. ; pi. of otto'ne, brass.) Brass- 
 wind. 
 
 P. 
 
 ppppp. Young Italy occasionally in- 
 dulges in five p's to indicate a barely 
 audible musical murmur. 
 
 Pa'gina d'album (It.) Album-leaf. 
 
 Parabrac'cio (It.) Arm-rest. 
 
 Parallel intervals are formed by the 
 progression of two parts in the same 
 direction and at exactly the same inter- 
 val. 
 
 Pa'ri (It.) Equal (of voices ; " voci 
 pari") ; duple (of times ; " tempi pari "). 
 
 *Parlan'te(It. ; "speaking.") In pfte.- 
 technic, this direction calls for a clear, 
 crisp non legato. 
 
 Parla'to (It.) Spoken. 
 
 Parolier (Fr.) Same as Liederdichter. 
 
 Partie (Fr.) Part, . .Parties s/par<?es, 
 separate parts. . .Partition et parties, 
 score and parts. 
 
 Partitionnette (Fr.) A little (or slight) 
 score. 
 
 Pas'so (It.) i. Step ; e. g., Valzer a 
 due passi. 2. Measure ; time ; passo 
 ordina'rio, common time ; passo doppio 
 composto, compound duple time. 
 
 Pau'ken (Ger.) To thump ; thumping, 
 pounding, banging (rough piano-play- 
 ing)- 
 
 Pau'ra (It.) Fear, dismay. . .Pauro'so, 
 fearful, timid. 
 
 Pedal' dop'pelt (Ger.) " The pedal-part 
 in octaves " (organ-technic ; It. pedale 
 doppio). . .Pedal ein'fach, a direction 
 following the foregoing, and signifying 
 that the pedal-part is no longer to be 
 doubled . . . Pedal' koppel, pedal-coupler. 
 
 Peda'le o'gni battu'ta (It.) "Take 
 pedal with each measure." 
 
 Pedalet'to (It.) A mechanical stop oit 
 the organ ; e. g., /. di accoppiamen'lo, 
 coupler ; /. di combine zio'ne, combina- 
 tion-stop. 
 
 Pedali'no (It.) Same as Pedaletto. 
 
 Pedal-sign. A sign for tbe loud pedal, 
 
 (a) d>) 
 
 written P~- _J, has been introduced 
 by Arthur Foote of Boston ; a showing 
 the precise point at which the pedal 
 should be depressed, and b where it 
 should be raised. 
 
 Pei'tschend (Ger.) See Whipping bow. 
 Pel (It.) Contraction of per tl, "for 
 the"; e. g., pel mandolino, for the 
 mandolin.
 
 PENNA PROGRESSIVE COMPOSITION. 
 
 241 
 
 Pen'na (It.) Pick, plectrum. 
 
 Pensie'ro (It.) Thought ... Pensiero 
 dcl( la) , Souvenir of , Recollections 
 of . 
 
 Penso'so (It.) Pensive, thoughtful. 
 
 Pence (Fr.) Bore (of wood-wind instr.s). 
 
 Per interval'li giu'sti (It.) By exact 
 intervals (in a canon ; i. e. , the theme 
 is repeated interval for interval, strictly). 
 
 Pertichi'no (It.) The singer of an ex- 
 tremely subordinate operatic part ; a 
 part often taken by the chorus-leader. 
 In German such a singer has been 
 jocularly termed a So' he hor" stinger ^ 
 " solo chorus-singer ". (See Corista.) 
 
 Petac'cha (It.) Plectrum. 
 
 Pezzet'to (It.) Little piece. 
 
 Pez'zi stacca'ti (It.) Airs dttachts. 
 
 Phras6(Fr.; noun.) Phrasing. 
 
 Piano'la. A mechanical piano-player, 
 invented by E. S. Votey of New York, 
 in the year 1897. It is furnished with 
 4 stops. Piano, Forte, Tempo and 
 Accent, by whose skilful manipulation 
 the most artistic effects may be pro- 
 duced at will. The motive-power is 
 supplied by two pedals (treadles) worked 
 by the feet ; these pedals actuate (a) a 
 revolving music-roll of perforated paper, 
 whose perforations control the time- 
 value of the notes ; and (l>) the pneu- 
 matic action, consisting of 65 felt- 
 covered levers, or automatic fingers, 
 which command a compass of five 
 octaves and four semitones (from A\ to 
 f*i), and act with all the delicacy and 
 precision of a trained pianist's digits, 
 besides being able to play any 4-hand 
 pieces. The apparatus is not attached 
 to the pianoforte, but set in front of it 
 in such a position that the 65 automatic 
 fingers engage the proper keys. The 
 repertory, comprising at present (1900) 
 about 20,000 numbers, embraces all 
 grades of popular, romantic, and classic 
 pianoforte - music and arrangements. 
 (Cf. ^Eolian) 
 
 Pib-corn (Welsh.) A hornpipe. 
 
 Piffera'ta (It.) Air for the fife, or in 
 imitation (as on the pfte.). 
 
 Placidez'za, con (It.) With placidity; 
 tranquilly, calmly. 
 
 Plain-beat. An obsolete English harp- 
 sichord-grace ; 
 
 Written: . Played: 
 
 Plein (Fr.) Full ; a plein son, with full 
 tone (sonoramente). 
 
 Plet'tro (It.) Plectrum, pick. 
 
 Pluperfect. Augmented (of intervals). 
 
 Po'co me'no (It.) When this phrase 
 occurs alone as a tempo-mark, mosso is 
 implied ; i. e., poco meno mosso, a little 
 less fast [slower]. . .Poco piit, standing 
 alone, also implies mosso ("a little 
 faster ") . . . Poco piit lento delta 7 a 
 volta, somewhat slower than the first 
 time. 
 
 Poemet'to (It.; "little poem.") A 
 slight musico-dramatic work. 
 
 Pointing. See Chant 3. 
 
 Pol'ca (It.) Polka. 
 
 Polchet'ta (Polketta?) (It.) Little 
 polka. 
 
 Polio'nico,-a (It.) Polyphonic. 
 Pol'nisch (Ger.; " Polish.") Polacca (as 
 the title of a piece). 
 
 Polone'se (It.) Polonaise. (Polacca.) 
 Pom'pa, con (It.) With pomp, pom. 
 pously, loftily. 
 
 Porta-mu'sica (It.) Music-roll, port. 
 
 folio. 
 Porta'te la vo'ce (It.) "Carry the 
 
 voice"; a direction to more than one 
 
 singer to sing portamento. 
 
 Post-horn. A horn without valves or 
 keys, capable of producing the natural 
 harmonics of its fundamental tone ; 
 used on post-coaches. 
 
 Premier dessus (Fr.) Soprano. 
 
 Pressan'do (It.) Same as Pressante. 
 
 Prestissimamen'te (It.) With extreme 
 
 rapidity (equiv. to Prestissimo). 
 
 Pre'sto parlan'te (It.) "Speaking rap- 
 idly (volubly) "; a direction in recita- 
 tives, etc. 
 
 Principali'no (It. ; "small diapason.") 
 An 8-foot stop on the swell-organ. 
 
 Prinzipal'stirame (Ger.) Leading part ; 
 solo part. 
 
 Profa'no,-a (It.) Secular ; as oratorio 
 profano, musica prof ana. 
 
 Programmist. i. A musician who writes 
 music to fit a " program " , which latter 
 may be either expressed or implied. 2. 
 A theorist or critic who favors compos- 
 ing according to program. 
 
 Progressive composition of a song is 
 the English equivalent for Durchkom 
 p.niicrcn (q, v).
 
 242 
 
 PROLONGEMENT ROLATA. 
 
 Prolongement (Fr.) Sustaining-pedal. 
 
 Pronunzia'to,-a (It.) Pronounced, em- 
 phasized. 
 
 Protagoni'sta (It.), Protagoniste (Fr.) 
 Singer of the leading role in an opera. 
 
 *Pro'va (It.) Rehearsal. . .P. in costu'- 
 me, dress-rehearsal .../*. genera' 'ie, full 
 rehearsal. 
 
 Pult (Ger.) Vesk...rstes (7.) Pult, 
 and Zweites (//.) Pult, in a score, in- 
 dicate, respectively, Division / and 2 of 
 a group of orch. 1 instr.s playing divisi. 
 
 Pult'virtuos (Ger.; Fr. virtuose de pu- 
 pitre.) A " virtuoso of the desk " (i. e. , 
 conductor's desk) ; a conductor of 
 celebrity, like Hans Richter, von Billow, 
 Weingartner, etal., who either travels 
 with his own orchestra, or conducts 
 different orchestras at various places. 
 
 Pun'to corona'to (It.) Hold (^*\). 
 
 Q. 
 
 Qua'dro (It.) Picture, tableau. 
 
 Quer'format (Ger.) Oblong (shape of 
 music-paper, broader than long). 
 
 Quitter (Fr.) To quit, leave ; sans quit- 
 ter la corde, without quitting the string. 
 
 R. 
 
 Raccoglimen'to (It.) Collectedness of 
 mind, composure. 
 
 Raccol'ta (It.) Collection. 
 
 Raccon'to (It.) Tale, story. 
 
 Rallenta'te (It., imperative.) Go slower. 
 
 Recessional. A hymn sung in church 
 during the departure of the choir and 
 clergy after a service. 
 
 Redite (Fr.) Repetition. 
 
 Reduce (It. ridur're.) Same as RMuire. 
 . .Reduction (Ger. Reduktion' ' Fr. re"- 
 duction ; It. riduzio'ne), a reduced com- 
 position (see Re"duire). 
 
 Reiftanz (Ger.) Same as Schdfflertanz. 
 
 Reminiscen'ze (It. pi.) Recollections. 
 
 Re~solument (Fr.) Same as Risohita- 
 mente. 
 
 Restez (Fr. ; " stay there ! ") In music 
 for bow-instr.s this direction means : 
 (i) "Play on the same string", or (2) 
 " Remain in the same position (shift)". 
 
 *Rests. A pause of 
 several measures is 
 often written thus : 
 
 Retenu (Fr.) Same as Ritemito. 
 Retrosce'na (It.) Behind the scenes. 
 
 Revue (Fr.) A review in musico-dra- 
 matic form, and generally humorous, of 
 the striking events in a season or year 
 just closing. 
 
 *Ribattu'to,-a(It.) Restruck, repeated ; 
 
 note ribattute, repeated notes. 
 Ric'cio(It.) Scroll. 
 
 Ricochet (Fr.) In violin-technic, a var- 
 iety of staccato differing from the sau- 
 tille (saltato) in not employing the wrist 
 (in the saltato, up-stroke, a separate 
 wrist-movement is made for each de- 
 tached tone). 
 
 Rifiormen'to (It.) Same as AJorna- 
 mento. 
 
 Rimembran'za (It. ; pi. rimembran'ze.) 
 Recollection, souvenir, memory. 
 
 Ripieni'no (It.) A 4-foot stop on the 
 
 swell-organ. 
 *Ripie'no (It.) A combination-stop in 
 
 the organ drawing all registers of any 
 
 given manual. 
 Ripi'glio (It.) Repetition, reprise. 
 
 Ripo'so (It.) Repose. . .Riposa't'\ re- 
 poseful, restful. . . Riposatamen' te , re- 
 posefully. 
 
 Ripren'dere (It.) To resume; strin*endo 
 per riprendere il 1 tempo, hastening, 
 in order to regain the former tempo. 
 
 Risolutezza, con (It.) With resolution, 
 decision. 
 
 Rispet'to (It.) Love-ditty. 
 
 Rit. is given on p. 2 as an abbreviation 
 of Ritenuto, and is often so used, though 
 more frequently for Ritardando. In 
 view of the difference in meaning 
 between Ritenuto and Ritardando, it is 
 advisable always to write Ritenuto out 
 in full, when that nuance is desired. 
 
 Ritardan'za (It.) Retardation. 
 
 Ritardazio'ne (It.) Retardation, drag- 
 ging- 
 
 Rit'mico (It.) Rhythmical ... Rit'wico, 
 written after a recitative, is also equiva- 
 lent to " a tempo " or mistirato. 
 
 Rit'ter-Bra'tsche (Ger.) A large style 
 of viola, the Viola alia, inv. by 
 Hermann Ritter of Wurzburg ; a per- 
 former on it is sometimes called a 
 " Ritter-Bratschist'." 
 
 Rivi'sta (It.) Same as Revue. 
 Rola'ta (It.) A roulade.
 
 ROMANZA SENZA PAROLE SIGNS. 
 
 243 
 
 Roman'za sen'za paro'le (It.) Song 
 
 without words. 
 Romanze'ro (It.) A suite or cycle of 
 
 romantic pieces for pfte. 
 
 s. 
 
 Sag'gio (It.) Examination .. (Concerto 
 di saggtOt pupils' concert given for 
 practice in ensemble, or quasi public, 
 performance ; equivalent to the German 
 Ubungsabend or Abendunterhaltung). 
 
 *Sampo'gna (It. ) A variety of the Italian 
 bagpipe, having (in a specimen examined 
 in the United States) 2 drones, and 2 
 melody-pipes fingered by the right and 
 left hands respectively ; on it was played 
 the accompaniment to a shrill reed-pipe 
 which the performers called a corna- 
 musa. The bag is inflated by the breath 
 and squeezed by the right arm. 
 
 Sans (Fr.) Without. 
 
 Sautilte (Fr.) Saltato. 
 
 Sauvement (Fr.) Resolution (of a dis- 
 sonance). 
 
 Saxofo'nia (It.) Saxophone. 
 
 *ScaIe. 4 (of a piano). Compass ; i.e. , 
 the range of tones represented by the 
 keyboard. 
 
 Schafflertanz (Ger. ) Festival procession 
 and dance, probably of great antiquity, 
 of the Coopers' Guild at Munich ; held 
 every 7 years. 
 
 Schie'ber (Ger.) Same as Schub. 
 
 Schiettez'za, con (If.) Simply ; neatly, 
 
 deftly. 
 Schla'ger (Ger.) A "hit"; brilliantly 
 
 successful piece or play. 
 
 Schmach'tend (Ger.) Languishing(ly), 
 longing(ly). 
 
 Scintil'la (It.; pi. scintil'le.) A spark. 
 
 Scivolan'do (It.) Same as Glissando, in 
 pfte.-technic. 
 
 Scoop. Vocal tones are said to be 
 "scooped" when taken, instead of by 
 firm and just attack, by a rough por- 
 tamento from a lower tone. 
 
 Secondan'do (It.) Supporting, follow- 
 ing ; secondando la voce (or il canto}, 
 yieldingly following the principal part 
 (with the accompaniment). 
 
 Second dessus (Fr.) Mezzo-soprano. 
 
 Semitril'lo (It.) Inverted mordent. 
 
 Sentimenta'le (It.) Feelingly. 
 
 Sen'za misu'ra (It.) "Without meas- 
 
 ure " ; i.e., not in strict time ; equiva- 
 lent to the tempo-mark a piacere, and 
 opposed to Hiisurato. . .Senza swmo, 
 " without tone " ; i.e., spoken. 
 
 Sept'akkord (Ger.) Seventh-chord. (Also 
 Sep' timenakkord.) 
 
 Serenatel'la (It.) Little serenade. 
 
 Serenita', con (It.) With serenity, se. 
 renely, tranquilly. 
 
 Serieta", con (It.) Seriously. 
 
 Settimi'no (It.) A piece for 7 perform- 
 ers. 
 
 Severita', con ; Seve'ro (It.) In a se- 
 vere (stern, austere) manner. 
 
 Sfuma'to (It.; pi. sfuma'te \le note im- 
 plied].) Very lightly, like a vanishing 
 smoke-wreath. . . Sfumatu'ra, " Smoke- 
 wreath " (title of a light, airy composi- 
 tion). _.._ ^..^ 
 
 *Signs. 2 3 Instead of the mis- 
 leading short slur, with figure, for doub- 
 lets, triplets' etc., modern French music 
 sometimes has a dotted slur (as shown 
 above), which is an improvement. 
 
 another sign for 
 the triplet (= 
 
 This sign, at the end of a staff, 
 shows that the measure is unfin- 
 ished, so that no bar is required. 
 .(W8) The re- 
 
 peat-s i g n 
 is some- 
 times writ- 
 
 The sign ( is used 
 
 like I to connect 
 
 notes to be played 
 by one hand. 
 
 '/-//- This sign 
 
 is used : (r) 
 
 As a breath- 
 ing-mark ; (2) to mark a very brief 
 pause, together with the interruption 
 caused by taking breath. 
 * Another sign for the Back Turn. 
 
 -^-^^ Sig- 
 nifies mezzo staccato 
 e pesante (tnarcato) ; 
 e.g.:
 
 244 
 
 SILENZIO SVIZZERA. 
 
 I~l A In organ-pieces, signs for pedal- 
 ling are sometimes written thus : 
 For right foot, heel H , toe A 
 " left " " U " V 
 IJ [ In piano-playing a note to be 
 I " taken by the right hand is some- 
 times marked thus : U ; for the left 
 hand: |f. 
 
 (Also ff., in APPENDIX, the articles Notation, 
 Numerals, Time and Turn.) 
 
 *Silen'zio (It.) 2. A pause, silence ; as 
 lungo silenzio. 
 
 Simplement (Fr.) Simply, semplice ; 
 tres simplement, semplicissimamente. 
 
 *Sinfoni / a (It.) This term is still used 
 in Italy to designate an opera-overture ; 
 e.g. , la sinfonia del Tannhduser. 
 
 Sinfoni'sta (It.) A writer of sympho- 
 nies, or for symphony-orchestra. 
 
 Sing'amt (Ger.) See Singmesse . . . Sing 1 - 
 en, to sing, warble ... Sing'gedicht, a 
 poem for mus. setting. ..Sing'kunst, art 
 of singing. . . Sing' le/irer, singing-teach- 
 er. . . Sing* letter, gamut, vocal scale. . . 
 Sing' marc hen, vocal ballad. . .Si ng'- 
 meister, singing - master . . . Sing'messe, 
 a - cappella mass . . . Sing'saite, treble 
 string, chanterelle. . . Sing's tunde, sing- 
 ing-lesson, vocal instruction. .. Sing'- 
 iibung, singing-exercise. . . Sing'verein, 
 singing-society. 
 
 Singhioz'zo (It.) Sob. 
 
 Slancian'te, Slancia'to (It.) ' ' Thrown 
 off " lightly and deftly, or forcibly and 
 vehemently. 
 
 Slarga'to (It.) Slower, piu sostenuto. 
 
 *Slide. 4. On a violin-bow, that part of 
 the nut which slides along the stick. 
 
 Solmizza're (It.) Same as Solfeggtare. 
 Sopranist' (in) (Ger.) Soprano singer. 
 Sorri'so (It.) A smile. 
 *Sorti'ta (It.) See Aria in APPENDIX. 
 Soutenu (Fr.) Same as Sostemito. 
 
 Specification. (Ger. Disposition^) An 
 enumeration of the various stops com- 
 posing any given organ, giving number, 
 kind, and arrangement. 
 
 Spianar' la vo'ce (It.) To render the 
 voice even ; to blend the registers. 
 
 *Spicca / tO (It.) In violin-technic, a va- 
 riety of staccato differing from the sal- 
 tato in employing the wrist - stroke 
 throughout, for each detached note. 
 
 Spie'gelkanon (Ger.) A canon to be 
 performed backwards ; i.e., as it appears 
 when held before a mirror (" Spiegel "). 
 
 Spigliatez'za (It.) Agility, dexterity, 
 briskness ... Sfigliatez' ze (pi.), short, 
 lively pieces or studies requiring dex- 
 terity. 
 
 Stanchez'za (It.) Weariness; con sf., 
 wearily, very dragging. 
 
 Stan'co,-a (It.) Weary. 
 
 *Stentan'do (It.) Means literally, " de- 
 laying, retarding, dragging " the tempo. 
 . . . Stenta'to, delayed, retarded, dragged. 
 
 Stiria'na (It.) See Styrienne. 
 
 Stornel'lo (It.) A form of song in which 
 each 8-line stanza rhymes thus : 1-3 2-4 
 5-6 7-8. 
 
 Strambot'to (It.) Folk-song ; rustic 
 love-ditty. (Also Strambot' tolo?) 
 
 Strappa're (It.; "to pluck off.") In 
 piano-technic, to throw off a note or 
 chord by a rapid, light turn of the 
 wrist . . . Lo strappare, the throwing-off . 
 . . . Strappato, thrown off (Ger. gerissen). 
 
 Strascina're la vo'ce (It.) To sing a 
 portamento with an exaggerated drag- 
 ging or drawling. 
 
 Strei'cher (Ger.) Player(s) on any bow- 
 
 instr.s. 
 Stret'ta (It.) A closing passage (coda) 
 
 in swifter tempo than the movement 
 
 preceding. 
 
 Strich'-Staccato (Ger.) A staccato in- 
 dicated by wedge-shaped dashes ( ' ' ). 
 
 Strict style (of composition). See Coun- 
 terpoint, strict. 
 
 Strie'se (Ger.; It. capoco'mico.} The 
 leading comic actor or singer in a com- 
 pany, either gentleman or (It. capoco'- 
 micd) lady. 
 
 Strimpella'ta (It.) Strumming, scrap- 
 ing. 
 
 Strin'gere (It.) To hasten ; senza strin~ 
 gere, without hastening. 
 
 Strophic composition. See Song z. 
 
 Styrienne (Fr. ; It. Stiriana.) An air in 
 slow movement and 2-4 time, often in 
 minor, with Jodler after each verse ; 
 for vocal or instr. 1 solo. 
 
 Super'bo,-a (It.) Superb ; proud, lofty. 
 . . . Superbamen'te, proudly, loftily. 
 
 Svilup'po (It.) Development. 
 Sviz'zera, alia (It.) In Swiss style-
 
 TABLE DU FOND UNGEBUNDEN. 
 
 245 
 
 T. 
 
 Table du fond (Fr.) Back (of violin). 
 
 Ta'glio (It.) A "cut." 
 
 Tallo'ne (It.) Nut (of bow). 
 
 Tarantelli'na (It.) Little tarantella. 
 
 Telltale. A small weight moving verti- 
 cally in a groove, and so connected with 
 the bellows of an organ that, by rising 
 and falling, it shows the organist or 
 "blower" the amount of wind in the 
 bellows. 
 
 Terzetti'no (It.) A short terzet. 
 
 Tetralogie' (Ger.) Tetralogy; a series 
 of 4 stage-works or oratorios. 
 
 Three-Step. (Ger. Dreitrilt ; It. Valzer 
 a ire pas si ; Fr. trois-temps.) The or- 
 dinary (Vienna) waltz. (See Waltz?) 
 
 Timballo'ne (It.) A i6-foot pedal-stop 
 in the organ. 
 
 Timbrel ( Hebr. ) A tambourine or tabor. 
 
 *Time. In French notation 
 the large 3 is still some- 
 times employed instead of |. 
 
 Ti'mido (It.) Timid, timorous. . . Time'- 
 re, con, with timidity ; timorously, fear- 
 fully, anxiously. 
 
 Tonan'te (It.) Thundering, thunderous. 
 
 Ton'figuren (Ger., pi.) " Tone-figures " ; 
 i.e., "nodal figures" (y.v.). 
 
 Toni'metro (It.) Tuning-fork (t. a per. 
 cussionc); pitch-pipe (t. a Jiato). 
 
 *Ton'satz (Ger.) 2. Arrangement (e.g., 
 of the vocal or instr.l accomp. to an 
 ancient melody). 
 
 Tornan'do (It.) Returning; t.alprinto 
 tempo (or /. come prima), returning to 
 (resuming) the original tempo. 
 
 Traduzio'ne (It.) Arrangement. 
 
 Trascrizio'ne (It.) Transcription. 
 
 Traspor'to, con (It.) With transport, 
 ecstatically. 
 
 Treff'iibung ((ler.) A singing exercise 
 on the " attack," as regards either pitch, 
 or time of entrance (in duets, canons, 
 etc.). 
 
 Treman'te (It.) Trembling; i.e., with 
 a tremolo effect. 
 
 Trial (Fr.) Buffo (or comic) tenor. 
 
 Trich'terformiges Mund'stiick (Ger.) 
 Conical mouthpiece. 
 
 Trilogie' (Ger.) Trilogy; a series of 
 3 stage-works or oratorios. 
 
 Trisser (Fr.) To demand a number for 
 
 the third time ; to " encore " for a sec- 
 ond time. 
 
 Trito'nikon (Ger.) A modern form of 
 double-bassoon, made of metal. 
 
 Trom'ba rea'le (It.; "royal trumpet.") 
 An 8-foot trumpet-stop in the organ. 
 
 Trompe des Alpes (Fr.; \\..trombadelle 
 A /pi.) ' ' The hollowed trunk or branch 
 of a tree, from which the old moun- 
 taineers draw strange tones." [Rein- 
 troduced lately into Swkzerland by Prof. 
 Heim of Zurich.] 
 
 Tron'co,-a (It.) Cut off short ; stopped 
 abruptly. . . Suoni tronchi, tones cut off 
 suddenly. 
 
 *Tuba. The bass tuba in Efo is exten- 
 sively employed in the modern orchestra. 
 
 *Turn. Example of turn-sign over a 
 dotted note; from Beethoven, op. 14, 
 No. I, showing the dot as he himself 
 wrote it : 
 
 Written : 
 
 Played : 
 
 Tut'ta for'za (It.) Abbreviation of " con 
 tutla la forza" with full force. 
 
 Two-step (Ger. Zweitritt ; It. Valzer a 
 title' passi ; Fr. deux-temps.) The rapid 
 waltz. (See IValtz.) 
 
 U. 
 
 U'bungsabend (Ger.) See Abendunter. 
 haltung, in APPENDIX. 
 
 U 'bungsstiick (Ger.) See Vortragsstuck, 
 in APPENDIX. 
 
 Um'gekehrt (Ger.) Reversed; umje- 
 kehrter Doppelschlag, back turn. 
 
 Um'schmeissen (Ger. theatrical slang.; 
 To break down in a role, so as to neces- 
 sitate a general stoppage and the recom- 
 mencement of the passage. 
 
 *Un'gebunden (Ger.) Unconstrained ;
 
 246 
 
 UNION DES REGISTRES-WHIPPING BOW. 
 
 mit ungebundenem Humor, with uncon- 
 strained humor, burlando. 
 
 Union des registres (Fr.) Blending of 
 the (vocal) registers. 
 
 Uni'ti (It., pi.) "United"; this direc- 
 tion in a score, after divisi, signifies 
 that the instr.s or voices again perform 
 their part in unison. 
 
 Unvocal. I. Not suitable for singing. 
 2. Not vibrating with tone ; unvocal air 
 is breath escaping with a more or less 
 audible sigh or hiss, due to unskilful 
 management of the vocal apparatus. 
 
 V. 
 
 Val'zer(It.) Waltz. 
 
 Veris'mo (It.) Naturalism. .. Verts' tisch 
 
 (Ger.), pertaining to or affected by 
 
 naturalism ; naturalistic. 
 
 Verstar'ken (Ger.) To reinforce. 
 
 *Vibra'to,-a (It.; pi. vibrate [lenote\m- 
 plied].) Strongly accented, and dimin- 
 ishing in intensity (e ; vocal or instr.l). 
 
 . . . Vibrazio'ne dl vpce, the attack of a 
 tone forte or sf, and diminishing while 
 holding it. 
 
 Vi'de se'quens (Lat.) " See the follow- 
 ing." 
 
 Vielle a roue (Fr.) Hurdy-gurdy. 
 
 Vigo're, con (It.) With vigor. 
 
 Vio'la al'ta. A large viola, inv. by Her- 
 mann Ritter of Wismar, Germany, and 
 described in his pamphlet, " Die Ge- 
 schichte der Viola alta und die Grund- 
 satze ihres Baues " (1877). It has a 
 fuller and freer tone than the ordinary 
 viola, and has been quite extensively 
 introduced into German orchestras. 
 
 Vio'la di bordo'ne. The barytone 
 (instr.). 
 
 Violina'ta (It.) I. A piece for violin. 
 2. A piece for another instr. , imitating 
 the violin-style. 
 
 Violinzo'li (It.) An 8-foot stop on the 
 swell-organ. 
 
 Violi'sta (It.) Viola-player. 
 Violoncelli'sta (It.) 'Cellist. 
 
 Violot'ta. A bow-instr. of violin-type, 
 inv. 1895 by Dr. Alfred Stelzner, Dres- 
 den, and intended to fill the hiatus in the 
 string-quartet between viola and 'cello. 
 It is played like the viola, and has the 
 same dimensions ; but its accordatura 
 1 , a fourth lower than the viola. 
 
 Tone full in lowest register, mellow and 
 tender in the medium, and the ^"-string 
 well-adapted for sustained melody. Suc- 
 cessful concerts have been given with 
 the Violotta and 'Cellone (q.v.} in Dres- 
 den. Dr. S. claims to have solved the 
 problem of obtaining the most equable 
 and powerful resonance from instr.s of 
 the violin-type. 
 
 Virtuose de pupitre (Fr.) See Pultrir- 
 tuos. 
 
 Vitesse (Fr.) Rapidity, swiftness. 
 Vivement (Fr.) Same as Vivace. 
 
 *Vocal cords. "The free median bor- 
 ders of 2 folds of mucous membrane 
 within the larynx, bounding the ante- 
 rior two-thirds of the glottis on either 
 side. Each is formed by the free me- 
 dian edge of an elastic (inferior thyro- 
 arytenoid) ligament running from the 
 angle of the thyroid cartilage to the 
 vocal process of the arytenoid, and cov- 
 ered with thin and closely adherent 
 mucous membrane." [CENTURY DICT.] 
 
 *Vo'gelgesang (Ger.) 2. A stop in an 
 organ ("bird-stop "). 
 
 Voile du palais (Fr.) Veil of the palate. 
 
 Vor'setzungszeichen (Ger.) Chromatic 
 sign. 
 
 Vor'tragsstiick (Ger.) A piece for per- 
 formance before an audience (in con- 
 tradistinction to Ubungsstuck, a prac- 
 tice-piece) ; a concert-piece ; a show- 
 piece. 
 
 Vor'warts (Ger.) Forward(s) ; etivas v. 
 gehend, somewhat ias,\.er,foco piit mosso. 
 
 *Vuo'to,-a (It.) 2. Empty ; scena vuofa, 
 the stage [remains] empty. 
 
 w. 
 
 Whipping bow. (Fr. fouette" ; Ger. ge- 
 peitschte Strichart.) A form of violin- 
 technic in which the bow is made to 
 fall with a certain vehemence on the 
 strings. Chiefly employed when it is 
 desired to mark sharply single tones in 
 rapid tempo ; e.g., 
 
 Not infrequent in modern orchestral 
 music ; but avoided by the classic com- 
 posers on account of its rough, harsh 
 effect.
 
 ZARAMELLA ZITTERA. 
 
 247 
 
 z. 
 
 Zaramel'la (It.) Rustic pipe, with 
 double-reed held between the player's 
 lips, 7 finger-holes, and bell-mouth ; 
 plays melodies to the accompaniment 
 of the Neapolitan sampogna (q.v.', AP- 
 PENDIX). 
 
 Ziem'lich bewegt' und frei im Vor 7 - 
 
 trag (Ger.) Quite animated and free 
 in delivery (style). 
 
 Zi'therharfe (Ger.) A species of auto- 
 harp in which dampers actuated by 
 digitals are used to damp the strings. 
 Mliller's Accordzither (inv. 1894 ?) is 
 an example. 
 
 Zit'tera (It.) Zither.
 
 SUPPLEMENT. 
 English-Italian Vocabulary 
 
 for 
 
 Composers. 
 
 ABOVE BELOW. 
 
 A. 
 
 Above. Sopra. . .Above the right hand, 
 
 sopra la mano destra. 
 Accelerated. Accelerate ; accelerating, 
 
 accelerando ; stringendo ; pressante . . . 
 
 Accelerating the tempo, ravvivando il 
 
 tempo. [See Enliven.] 
 
 Accented. Marcato; enfatico, conenfasi. 
 
 Accompaniments. Accompagnamenti. 
 
 . .Accompaniment -very soft throughout, 
 
 sempre pp. gli accompagnamenti. 
 Affected(ly). Smorfioso ; affettato (con 
 
 affettazione). 
 Affectionate(ly). Affettuoso (rffettuo- 
 
 samente). [See Tender.] 
 Afraid. Paventato. [See Fearful.] 
 Again. Ancora, ancor. 
 Agility. Agilita ; velocita. 
 Agitated(ly). Agitato (con agitazione); 
 
 tumultuoso (tumultuosamente) ; vi- 
 
 brante. 
 Agreeable. Gradevole ; piacevole. [See 
 
 Pleasing] 
 
 Air. [See Melody.] 
 All together. Tutti. 
 Also. Anche. 
 
 Alternatively. Alternamente. 
 Always. Sempre. . .Always swift and 
 
 soft, sempre con agevolezza e sotto- 
 
 voce. 
 
 And. E, ed (before a vowel). 
 Angry. Adirato ; angrily, con ira. 
 Animated(ly). Animato (con anima) ; 
 
 allegro (allegramentt) ; vivace (viva- 
 
 cemente) ; vivido, vivo (vivamente ) ; 
 
 vivente ; visto (vistamente); con moto ; 
 
 svegliato ; risvegliato.. . With growing 
 
 animation, animandosi. 
 An octave higher. A 11 'ot lava 
 
 (8va , or 8 , or 8va 
 
 alia). 
 
 An octave lower. All'ottava bassa (8v 
 bassa). 
 
 Anxious(ly). Ansioso (ansiosamente) , 
 
 affanoso (affanosamente) ; timoroso 
 
 (timorosamente ; con timore). 
 Ardent(ly). Ardente (con ardore) ; fer- 
 
 vente (con fervore). 
 Artless(ly). Innocente (innocentemente); 
 
 semplice (semplicemente) ; naturale 
 
 (naturalmente). 
 As. Come. 
 
 As above. Come sopra. 
 As before. Come avanti ; come prima 
 As far as. Fino, or fin"; sino, or sin'. 
 Aside. In disparte. 
 As if. Quasi. 
 As usual. Al solito. 
 As written. Come sta ; loco (after 
 
 8va ; or simply terminate 
 
 dotted line with a down-stroke). 
 At a distance. In distanza ; in Ion- 
 
 tananza ; da lontano. 
 At pleasure. A piacere ; ad libitum ; a 
 
 bene placito ; senza tempo ; a suo 
 
 arbitrio. 
 
 At sight. A prima vista. 
 Attack. Attacca, attaccate (//.) ; at- 
 
 tack instantly, attacca(te) subito. 
 At the former tempo. A tempo, or 
 
 Tempo I ; moto precedente. 
 
 B. 
 
 Babbling. Straccicalando. 
 Back to the sign. Dal segno (%) 
 . . Back to the beginning, da capo. 
 
 Backwards. Al rovescio. 
 
 Begin (to). Attaccare. . .Begin ! attacca, 
 
 attaccate ... To begin again, ripigliare. 
 Beginning. Principio ; capo. 
 Below. Sotto ; below the left hand, sotto 
 
 la mano sinistra.
 
 250 
 
 BITTERLY DIVIDED. 
 
 Bitter(ly). Amarevole (con amarezza). 
 Bizarre(ly). Bizzarre (bizzarramente, 
 
 con bizzarreria). 
 Boisterous(ly). Strepitoso (strepitosa- 
 
 mente, constrepito) ; brioso (con brio); 
 
 tempestoso (tempestosamente). 
 
 Bold(ly). Ardito (con arditezza) ; fiero 
 (fieramente ; con bravura ; francamente; 
 con fierezza); intrepido (intrepidamente, 
 con intrepidezza ; tostamente). 
 
 Bound. Legato. 
 
 Brilliantly. Brillante ; scintillante. 
 
 Brisk(ly). Vivo (vivamente) ; visto 
 (vistamente) ; allegro (allegramente) ; 
 lesto ; vivace. 
 
 Broad(ly). Largo (largamente, con 
 larghezza) ; (f rase larga) ; very broad(ly), 
 larghissimo (molto largamente) ; growing 
 broader, largando, allargando... 
 Broader, piu largamente. 
 
 Brusquely. Bruscamente. 
 
 Burlesque(ly). Burlesco (burlescamente). 
 
 But. Ma. 
 
 By. Da ; by leaps or skips, di salto. 
 
 c. 
 
 Calm(ly). Tranquillo (tranquillamente, 
 
 con tranquillita) ; placido, (placida- 
 
 mente) ; quieto. . . Growing calmer, 
 
 calmando ; calando ; raddolcendo, 
 
 raddolcente. 
 Caprice. Capriccio ; capricious, capric- 
 
 cioso, vicendevole ; capriciously, a 
 
 capriccio, vicendevolmente. 
 Carefully. Con diligenza ; con osser- 
 
 vanza ; con precisione. 
 Careless(ly). Negligente (negligente- 
 
 mente). 
 Caressing(ly). Carrezzando, carrez- 
 
 zevole (carezzevolmente); accarrezzevole 
 
 (accarrezzevolmente). 
 Certain (adj ). Alcuno,-a. 
 Change ! Muta. 
 Chant. HSee Melody.} 
 Charming(ly). Vezzoso (vezzosamente). 
 Chaste. Nobile. 
 Clear(ly). Chiaro (chiaramente) ; netto 
 
 (nettamente). 
 Coaxing(ly). Lusingando, lusinghevole 
 
 (lusinghevolmente). 
 Cold(ly) Freddo (f reddamente , con i 
 
 freddezza). 
 
 Comic(ally). Buffo, -a ; buffonesco (but- 
 
 fonescamente). 
 Complaining. Lamentando, lamente- 
 
 vole ; lagrimando, lagrimoso. 
 Connectly. Legato. 
 Consoling(ly). Consolante. 
 Continually. Sempre. 
 Continue. Ya. 
 Contra-dance. Contraddanza. 
 Coquettishly. Con civetteria. 
 Country-dance. Contraddanza. 
 Cradle-song. Ninna-nanna ; ninnerella. 
 
 D. 
 
 Dark. Cupo. 
 
 Dashing. Sbalzato ; precipitate. 
 
 Decided(ly). Deciso ; fermo (con fer- 
 
 mezza) ; energico (con energia). 
 Declamatory. Declamando ; narrante ; 
 
 parlando. 
 Decreasing (in force}. Decrescendo ; 
 
 diminuendo ; raddolcendo ; diluendo. 
 Decreasing (in speed). Rallentando ; 
 
 ritardando ; ritenente ; tardando ; 
 
 lentando ; slentando ; strascinando ; 
 
 rilasciando ; rilasciante. 
 Decreasing (in force and speed). Cal- 
 ando ; deficiendo ; mancando ; mo- 
 
 rendo ; sminuendo ; smorzando. 
 Deliberate(ly). Deliberato (delibera- 
 
 mente). 
 Delicate(ly). Delicato (delicatamente, 
 
 con delicatezza) ; tenero (teneramente, 
 
 con tenerezza). 
 Desperate(ly). Disperato (con dispera- 
 
 zione). 
 Detached. Staccato, distaccato ; pic- 
 
 chettato ; very detached, staccatissimo. 
 Determined. Determinate ; risoluto. 
 
 Devotional(ly). Devoto (devotamente, 
 
 con devozione) ; religioso (religiosa- 
 
 mente). 
 
 Dignified. Posato ; grave. 
 Discreet(ly). Discrete (con discrezione). 
 Disdain. [See Scorn.] 
 Distant. Lontano ; at a distance, da 
 
 lontano, in lontananza, in distanza. 
 Distinct(ly). Chiaro (chiaramente) ; ben 
 
 marcato ; distinto (distintamente). 
 Distressed. Appenato. 
 Divided. Divisi.
 
 DOLEFULLY FREELY. 
 
 251 
 
 Ooleful(ly). Dolendo.dolente (con dolore, 
 
 dolentemente). 
 Dragging. Stentando ; strascinando ; 
 
 strascicando ; stirato. 
 Drawling. Strascicando. 
 Dreaming. Sognando. 
 Dreamy. Vago. . .Dreamily, quasi so- 
 
 gnando. 
 
 Drinking-song. Brindisi. 
 Droll. Buffonesco. 
 Dry. Secco. 
 
 Dwelt upon. Tenuto, sostenuto. 
 Dying away. Morendo ; smorzando ; 
 
 mancando ; perdendosi ; diluendo ; 
 
 espirando ; estinguendo, stinguendo. 
 
 E. 
 
 Easy. Agevole ; commodo ; disinvolto ; 
 
 facile ; mobile . . . Easily, con agevolezza, 
 
 agevolmente ; agiatatnente ; commoda- 
 
 mente ; facilmente ; con disinvoltura. 
 Ecno. Ecco. . . Like an echo, quasi ecco. 
 Elegant(ly). Garbato (con garbo). [See 
 
 Graceful.] 
 Empbatic(ally). Enfatico (conenfasi); 
 
 marcato ; sforzato. 
 End. Fine. . . To the end, sin' (or fin') 
 
 al fine. 
 Energetic(ally). Energico (energica- 
 
 mente, con energia) ; risentito ; riso- 
 
 luto (risolutamente, con risoluzione). 
 Enlivening (tempo). Ravvivando il 
 
 tempo ; animandosi, animando. 
 Enttvusiastic(ally). Zeloso (con zelo ; 
 
 con entusiasmo). 
 Entreating(ly). Supplichevole (sup- 
 
 plichevolmente). 
 Equal(ly). Eguale (egualmente) ; equa- 
 
 bile (equabilmente). 
 Even(ly). Eguale (egualmente) ; uguale 
 
 (ugualmente) ; tepido (tepidamente) ; 
 
 spianato. 
 Exact. Esatto . . . With exactness, con 
 
 esatezza. [See Precise.] 
 Expiring. Espirando. [See Dying 
 
 away] 
 
 Expressive(ly). Espressivo (con 
 
 espressione) ; sentito, risentito; pietoso; 
 
 sentimentale ; (con sentimento ; con 
 
 sensibilita). 
 Extempore. All'improvvista ; alia 
 
 mente . . . Extemporaneously, improv- 
 
 visamente. 
 
 Extinct. Estinto. 
 
 Extravagant (ly). Stravagante (stra. 
 
 vagantemente). 
 Extreme. Sommo,-a. 
 Extremely. Molto, di molto ; -issimo. 
 
 F. 
 
 Fading away. [See Dying away] 
 
 Faint. Fiacco ; debile ; estinto. 
 
 Fantastic. Fantastic. 
 
 Fast. Allegro ; vivace ; vivo ; presto. 
 . . Very fast, allegro molto, allegro 
 assai, allegro vivo ; vivacissimo ; pre- 
 stissimo. . .Rather fast, allegretto, al- 
 legro moderate. . .Not too fast, non 
 troppo allegro. . . Twice as fast, doppio 
 movimento ; not so fast, meno mosso. 
 
 Faster. Piu mosso ; piu allegro ; piu 
 presto ; veloce . . . faster and faster, 
 sempre accelerando ; pressando, pres- 
 sante. 
 
 Fearful(ly). Paventato ; timido (timi- 
 damente) ; timoroso (timorosamsnte ; 
 con timore). 
 
 Feeble. Debile, debole. 
 
 Feelingly. \SttExpressivefy.] 
 
 Fervent(ly). Fervente (con fenrore) ; 
 ardente (con ardore). 
 
 Festive(ly). Festive (festivamente). 
 
 Fierce(ly). Feroce (con ferocita) ; fiero 
 (fieramente) ; barbaro. 
 
 Fiery. Fuocoso ; con fuoco ; ardente. 
 
 Firm(ly). Fermo (fermamente, con fer- 
 mezza). 
 
 First part. Primo (in a duet) ; first 
 time, prima volta ( |i. )). 
 
 Flattering(ly). Lusingando, lusin- 
 ghevole (lusinghevolmente). 
 
 Flowing(ly). Scorrendo, scorrevole ; 
 disinvolto (con disinvoltura) ; sciolto 
 (scioltamente); andante (andantemente). 
 
 Fluently. Volubilmente. [See Flowing] 
 
 Flying. Volante. 
 
 Following. Seguente, seguendo. 
 
 Fond(ly). Amorevole (amorevolmente, 
 con amore) ; amoroso (amorosamente). 
 
 For. Per. . .For voices alone, a cappella. 
 
 Forcibly. Con forza ; bruscamente ; 
 con tutta forza. 
 
 Forcing. Forzando, sforzando. 
 
 Free(ly). Disinvolto (con disinvoltura; 
 francamente, con franchezza ; libera- 
 mente); generoso; sciolto (scioltamente).
 
 252 
 
 FRENZY- IN MILITARY STYLE. 
 
 Frenzy. Delirio ; frenzied^} 1 ), delirante 
 
 (con delirio ; con rabbia). 
 From. Da ...1-r om the beginning, Da 
 
 capo ... From the sign, Dal segno; 
 
 from the sign to the sign, Dal segno al 
 
 segno. 
 
 Full. Pieno,-a. 
 Funereal. Funebre. 
 Furious(ly). F.irioso (furiosamente ; 
 
 con rabbia) ; with extreme fury or 
 
 passion, furiosissimamente. 
 
 G. 
 
 Gay. Gajo ; giojoso. . . Gaily, gajamente, 
 giojosamente. 
 
 Gliding. Glissando ; portamento, por- 
 tando ; scorrendo ; strisciando. 
 
 Gondola-song. Gondoliera. 
 
 Go on ! Va. 
 
 Graceful(ly). Grazioso (graziosamente, 
 con grazia ; con garbo) ; disinvolto 
 (con disinvoltura) ; galante (galante- 
 raente) ; elegante (elegantemente) ; vez- 
 zoso (vezzosamente) ; venusto. . . Grace- 
 fully and sweetly, affabile, amabile. 
 
 Gradually. A poco a poco ; gradata- 
 mente. 
 
 Grand(ly). Grandioso ; nobile (nobil- 
 mente, con nobilita). 
 
 Grave(ly). Grave (gravemente, con 
 gravita). 
 
 Grotesque(ly). Grottesco ; burlesco (bur- 
 
 lescamente). 
 
 Grooving. [See Decreasing and Increas- 
 ~ 
 
 H. 
 
 Half. Mezzo, -a. . .Half-loud, mezzo forte; 
 
 half-soft, mezzo piano, mezza voce. 
 Hammered. Martellato. 
 Harsh(ly). Aspro (con asprezza); duro 
 
 (duramente) ; stridente. 
 Harshness. Asprezza ; durezza. 
 Hastening. Accelerando ; stringendo ; 
 
 affrettando ; calcando. 
 Haughty. Fiero. . .Haughtily, fiera- 
 
 mente. 
 Heartfelt. Intimo, intimissimo ; affet- 
 
 tuoso, con affetto. 
 Heavy. Ponderoso ; pesante ; grave... 
 
 Heavily, pesantemente, gravemente. 
 Held back. Ritenuto ; trattenuto ; 
 
 meno mosso. 
 
 Held down. Tenuto. 
 
 Heroic. Eroico,-a. 
 
 Hesitatingly ). Irresolute ; timido <ri- 
 
 midamente) ; vacillando. 
 High. Alto, -a. . .Highest, il piu alto, 
 
 altissimo. . .In the higher octave, ot*:iva 
 
 alta (8va ). 
 
 Hoarse(ly). Fioco (con fiochezza). 
 Holding back (tempo). Riteneute ; 
 
 ritardando. 
 
 Humorously. Con umore. 
 Hurried(ly). Affrettoso (con fretta) ; 
 
 frettoloso (frettolosamente). 
 Hurrying. Affrettando ; stringendo 
 
 I. 
 
 If. Se. 
 
 Imitating. Imitando ; quasi. 
 
 Impassioned. Appassionato, appassio- 
 
 natamente; con abbandono, abbando- 
 
 natamente ; caloroso. 
 Impatient(ly). Impatiente (impatiente- 
 
 mente). 
 
 Imperceptible. Insensibile ; impercep- 
 tibly, insensibilmente. 
 Imperious(ly). Imperioso (imperios:i- 
 
 mente). 
 Impetuous(ly). Impetuoso(con impeto, 
 
 impetuosamente, con impetuositi) ; 
 
 s b a 1 z a t o ; tempestoso (tempestpsa- 
 
 mente). 
 
 Imposing. Imponente. 
 In a festive manner. Con festivita. 
 In a gentle, quiet manner. Con lenezza, 
 In a sweet manner. Con dolce maniera. 
 Increasing (in speed}. Accelerando ; 
 
 stringendo ; affrettando ; incalzando ; 
 
 ravvivando il tempo ; doppio movimento. 
 Increasing (in force). Crescendo ; ac- 
 
 crescendo ; rinforzando. 
 Increasing (in force and speed). Strin- 
 gendo ; affrettando ; incalzando. 
 In declamatory style. Declamando, 
 
 recitando ; narrante ; parlando. 
 In devotional style. Devoto, con de- 
 
 vozione. 
 Indifferent(ly). Indifferente (indiffe- 
 
 rentemente ; con indifferenza) ; tepido 
 
 (tepidamente). 
 Infernal. Infernale. 
 In haste. Con fretta. 
 In military style. Militarmente.
 
 IN MODERN STYLE MUFFLED. 
 
 253 
 
 In modern style. Alia moderna. 
 
 In octaves. Doppio pedale (organ- 
 
 fedal ) ; coll'ottava (<<>// ^' ). 
 
 Insinuating. [See Flattering.} 
 Intense(ly). Intense (intensamente, con 
 
 intensita). 
 
 In the same manner. Simile. 
 In the same time. L'istesso tempo ; 
 
 moto precedente. 
 In the style of a. Alia. 
 In time. A tempo ; Tempo I ; misurato 
 
 (after a recitative). 
 
 Ironical(ly). Ironico (ironicamente). 
 Irresolute(ly). Irresolute (con irreso- 
 
 luzione). 
 
 J. 
 
 Jesting(ly). Scherzando ; giocoso (gio- 
 
 cosamente). 
 
 Jovially. Con giovialita. 
 Joyous(ly). Giojoso (giojosamente) ; 
 
 gaudioso. 
 Jubilant(ly). Giubiloso (con giubilio, 
 
 con giubilazione). 
 Judicious(ly). Discrete (con discre/ione). 
 
 L. 
 
 'Lamenting. Lamentando, lamentabile, 
 
 lamentoso ; piangendo. 
 Languid(ly). Languido (con languore, 
 
 languidamente). 
 
 Languishing(ly). Languendo (langui- 
 damente). 
 
 Left hand. Mano sinistra. 
 Leisurely. Adagietto ; moderate. . . 
 
 Rather leisurely, commodetto. 
 Less. Meno. 
 Light(ly). Leggero or Leggiero (leg- 
 
 geramente, con leggerezza ; agilmente) ; 
 
 sfogato ; svelte. 
 Lingering(ly). Tardo, tardando (tarda- 
 
 mente). 
 
 Little by little. A poco a poco. 
 Lively. Vivace, vivacemente ; vivo, viva- 
 
 mente ; allegro, allegramente ; visto, 
 
 vistamente ; con allegrezza ; svegliato ; 
 
 lesto ; desto. 
 Lofty. Nobile ; fastoso ; pomposo ; 
 
 elevate . . . Loftily, con nobilita ; con 
 
 pompa. 
 Longingly. Con desiderio. 
 
 Loud. Forte ; con forza ; -try loud, 
 fortissimo ; extremely loud, con tutta 
 forza, forte possibile (fff) ; luilf-loud, 
 mezzo forte ; loud, suddenly decreasing 
 to soft, forte piano (fp). 
 
 Louder. Piii forte ; crescendo ; rinfor- 
 zando. 
 
 Love. Amore. 
 
 Loving(ly). Amorevole, amoroso (con 
 amore, amorosamente) ; amabile. 
 
 Lullaby. Ninnerella, ninna-nanna. 
 
 Lyric. Lirico. 
 
 M. 
 
 Majestic(ally). Maestoso, maestevole 
 (maestosamente, con maesta) ; pomposo 
 (con pompa) ; fastoso (fastosamente). 
 
 Manner. Maniera ; in a quiet manner, 
 con dolce maniera. [See /.] 
 
 Marked. Marcato ; con forza ; rinfor- 
 zato, rinforzando ; enfatico ; sforzato 
 sforzando (sfz). 
 
 May song. Maggiolata. 
 
 Measured. Misurato. 
 
 Medley. Mescolanza ; olio ; pasticcio. 
 
 Melancholy. Malinconico ; with mel- 
 ancholy, malinconicamente, con malin- 
 conia. 
 
 Melody. I .a mclodin. II canto. La 
 parte. . .Mark (or accent) and " carry" 
 the melody, Marcato e portando la 
 melodia (if canto) ; ben e precisamente 
 portando la melodia ; la melodia (il 
 canto) ben portando ed espressivo. 
 
 Menacing(ly). Minaccevole (minacce- 
 volmente). 
 
 Mildly. Dolce ; (dolcemente, con dol- 
 cezza) ; piacevole ; affabile. 
 
 Moderate(ly) (speed}. Moderate (mode- 
 ratamente) ; non troppo allegro. 
 
 More. Piu ; more slowly, piu lento, piu 
 adagio. 
 
 Most. II piu. 
 
 Mournful(ly). Mesto (mestamente) ; 
 addolorato ; amarevole (a m a r e v o 1- 
 mente) ; flebile ; funebre ; lugubre ; 
 (con espressione di patimento) ; dolente. 
 
 Mouth. Bocca ; with closed mouth, con 
 bocca chiusa. 
 
 Moved. Concitato. [See Agitated.} 
 
 Movement. Movimento. 
 
 Much. Molto. 
 
 Muffled. Coperto ; suffocate ; sordo 
 (sordamente); con sordini.
 
 254 
 
 MURMURING RINGINGLY. 
 
 Murmuring. Mormorando ; susurrando. 
 Muted. Con sordino (pi. con sordini). 
 Mysterious(ly). Misterioso (misteriosa- 
 mente) ; cupo. 
 
 N. 
 
 Natural(ly). Naturale (naturalmente). 
 
 [See Simple] 
 Nearly. Quasi. 
 Neat(ly). Netto (nettamente) ; leg- 
 
 giadro (leggiadramente). 
 Negligent(ly). Negligente (negligente- 
 
 mente, con negligenza). 
 Night-piece. Notturno. 
 Nimble. Agile; svelto ; sciolto... 
 
 Nimbly, agilmente, con agilita ; sciolta- 
 
 mente ; allegramente. 
 Nobly. Nobilmente, con nobilita. 
 Noisy. [See Boisterous] 
 Not. Non . . . Not so, meno ; not so fast, 
 
 meno mosso, meno allegro ; not too, 
 
 non troppo ; non tanto. 
 
 o. 
 
 Obliged (necessary). Obbligato. 
 
 Obscure. Cupo ; misterioso. 
 
 Of. Di. 
 
 On. Su ; sopra (above). 
 
 Or. O, od (before a vowel); or else, 
 
 ossia ; oppure ; ovvero. 
 Other. Altro.-a. 
 
 P. 
 
 Passionate(ly). Passionate (passionata- 
 mente) ; appassionato (appassionata- 
 mente) ; (con passione) ; ardente (con 
 ardore) ; fervente (con fervore) ; furioso 
 (con furore) ; caloroso (con calore). 
 
 Pastoral. Pastorale ; rustico ; campestre. 
 
 Pathetic(ally). Patetico (patetica- 
 mente) ; doloroso (dolorosamente, con 
 dolore). 
 
 Pensive. Pensieroso. 
 
 Phrase (to). Fraseggiare ...Well 
 phrased, ben fraseggiando. 
 
 Piece. Pezzo. 
 
 Piquantly. Con piccanteria. 
 
 Placid(ly). Placido (placidamente). [See 
 Tranquil] 
 
 Plaintive(ly). Lamentando ; dolendo, 
 dolente, doloroso (con dolore, dolorosa- 
 mente) : addolorato ; flebile ; piangendo. 
 [See Mournful] 
 
 Playful(ly). Giuochevole, giuocante ; 
 
 (con giuoco) ; giocoso (giocosamente) ; 
 
 scherzoso, scherzando. 
 Pleading(ly). Supplicando, suppliche- 
 
 vole (supplichevolmente). 
 
 Pleasing(ly). Piacevole (piacevolmente), 
 compiacevole ; gradevole (gradevol- 
 mente). 
 
 Pompous(ly). Pomposo (con pompa) ; 
 fastoso (fastosamente). 
 
 Ponderous. Ponderoso ; pesante. 
 
 Possible. Possibile ; as fast as pos- 
 sible, presto possibile ; as loud as pos- 
 sible, forte possibile ; con tutta forza. 
 
 Prattling. Straccicalando. 
 
 Prayer. Preghiera. 
 
 Precipitate(ly). Precipitate, precipi- 
 toso, precipitando (precipitatamente). 
 
 Precise(ly). Precise (con precisione). 
 
 Pressing (tempo). Stringendo, pressante ; 
 (expression) insistendo. 
 
 Prompt(ly). Pronto (prontamente, con 
 prontezza). 
 
 Pronounced. Pronunziato. 
 
 Proud(ly). Fiero (fieramente) ; altiero- 
 
 (altieramente, con alterezza). 
 Psalm. Salmo. 
 
 Q. 
 
 Quiet(ly). Quieto ; tranquillo (tranquilla- 
 mente ; con lenezza). [See Tranquil] 
 
 R. 
 
 Rapid(ly). Rapido (rapidamente, con 
 rapidita) ; celere ; veloce (velocemente, 
 con velocita, velocissimamente) ; mosso 
 (in phrases like meno mosso, piii mosso. 
 etc.) ; tosto (tostamente). 
 
 Rather. Quasi ; piuttosto ; poco. 
 
 Refined. Nobile (nobilmente). 
 
 Religious(ly). Religiose (religiosa- 
 mente) ; devote (devotamente). 
 
 Reposeful(ly). Riposato (riposata- 
 mente). 
 
 Resonant(ly). Sonoro ; sonante (con 
 risonanza ; sonoramente, con sonorita). 
 
 Restless. Inquieto. 
 
 Resume (to). Ripigliare ; riprendere. 
 
 Reverie. Meditazione. 
 
 Rhythmized. Ben ritmato. 
 
 Right hand. Mano destra. 
 
 Ringing(ly). Sonoro (sonoramente, con 
 sonorita).
 
 ROMPING-THAN. 
 
 255 
 
 Romping. Burlando. 
 
 Rough(ly). Aspro (con asprezza) ; ru- 
 vido (ruvidamente) ; (bruscamente). 
 
 Rustic. Rustico ; campestre ; pastorale. 
 
 s. 
 
 Sad(ly). Tristo (tristamente, con tri- 
 
 stezza) ; mesto(mestamente, con mesti- 
 
 zia) ; languendo, languente ; dolente. 
 Same (the). Medesimo ; detto ; stesso. 
 Scorn. Sdegno ; scorn fnl(Iy) t sdegnoso 
 
 (sdegnosamente). 
 
 Second part. Secondo {in a duet). 
 Second time. Seconda volta. (f^ |.) 
 Serious(ly). Serioso (con serieta). 
 Sighing. Sospirando, sospirevole, so- 
 
 spiroso. 
 
 Similarly. Simile. 
 Simple. Semplice ; schietto ; naturale. 
 
 . . Simply, semplicemente, con sem- 
 
 plicita ; schiettamente, con schiettezza ; 
 
 naturalmente. 
 Singing. Cantando ; melodico. . .In a 
 
 singing style, cantabile. 
 Sketch. Bozzetto. 
 Sliding. Sdrucciolando. 
 Slow(ly). Adagio ; lento (lentamente, 
 
 con lentezza) ; very slow, lento molto, 
 
 adagissimo ; grave ; largo ; rather 
 
 slow, andante, andantino, adagietto, 
 
 moderate. 
 Slower. Meno mosso ; piu adagio ; piu 
 
 lento. [See Decreasing.]. . . Slower and 
 
 slower, a poco a poco rallentando (or 
 
 ritardando). 
 Slurring. Legato ; portamento, por- 
 
 tando ; slissando. 
 Smooth(ly). Legato ; eguale (egual- 
 
 mente) ; piacevole (piacevolmente) ; 
 
 slissato ; soave (soavemente) ; stri- 
 
 sciando. 
 
 Sobbing. Singhiozzando. 
 Soft(lyV Piano ; dolce (dolcemente ; 
 
 mollemente) ; very soft, pianissimo ; 
 
 dolcissimo ; estinto. 
 
 Softer. Meno forte. [See Decreasing.] 
 Solemn(ly). Solenne (solennemente, 
 
 con solennita). 
 Somewhat. Poco ; quasi. 
 Song. [See .Vflody] 
 Sonorous(ly). Sonoro (sonoramente, con 
 
 sonoritaj. 
 
 Sorrowful(ly). Afflitto (con afflizione); 
 mesto (mestamente) ; doloroso (doloro. 
 samente). 
 
 Sparkling. Brillante ; scintillante. 
 Spirited(ly). Spiritoso (spiritosamente, 
 
 con spirito) ; brioso (con brio). 
 Sportive. [See Playful] 
 Sprightly. Desto. 
 Springing. Saltando. 
 Stern(ly). Duro (duramente). 
 Sternness. Durezza. 
 Stifled. Suffocato ; con voce suffocata- 
 Still. Ancora ; still faster, ancor pifr 
 
 mosso ; still slower, ancor piu lento, 
 
 ancor piu moderate. 
 Strict(ly). Giusto (giustamente, con 
 
 giustezza) ; severo (severamente) . . . 
 
 Strictly in time, a (or al) rigore di tempo; 
 
 tempo rigoroso ; misurato ; aggiusta- 
 
 tamente ; andare a tempo ; a battuta. 
 
 (Ben misurato. Ben ritmato). 
 
 Strident. Stridente. 
 
 Style. Stilo ; modo. ..In the style of a, 
 
 alia ; in modo. 
 Suave(ly). Soave (soavemente, con 
 
 soavita) ; dolce (dolcemente, con dol- 
 
 cezza, con dolce maniera). 
 Sublime. Elevato ; nobile. 
 Suddenly. Subito, subitamente; di colpo. 
 Supplicating(ly). Supplicando, sup. 
 
 plichevole (supplichevolmente). 
 Sustainedly. Sostenuto, sostenendo, 
 
 sostenente. 
 Sweet(ly). Dolce (dolcemente) ; affabile, 
 
 amabile. [See Suave.] . . . Very sweetly, 
 
 dolcissimo. 
 
 Swelling. Crescendo. 
 Swift. [See Rapid] 
 Sympathetic(ally). Pietoso (con pieta) 
 
 T. 
 
 Tasteful(ly). Gustoso (con gusto). 
 
 Tearful(ly). Lagrimoso, lagrimando ; 
 piangendo ; flebile , (con pianto). 
 
 Tempestuous(ly). Tempestoso (tern- 
 pestosamente). 
 
 Tender(ly). Tenero (teneramente, con 
 tenerezza) ; dolce (dolcemente, con 
 dolcezza) ; affettuoso (affettuosamente, 
 con affezione) ; amabile ; amorevole, 
 amoroso ; lirico. 
 
 Than. Ue.
 
 256 
 
 THEN WITH EASE. 
 
 Then. Allora ; poi. 
 Thoughtful. I'ensieroso. 
 Threatening(ly). Minacciando, minac- 
 
 cioso, minaccevole (minaccevolmente). 
 Timid(ly). Timido (timidamente, con 
 
 timidezza). 
 Timorous. Timoroso (timorosamente, 
 
 con timore). 
 Tinkling. Squillante. 
 To. A, ad (before a vowel}.*. To the 
 
 j/V//, al segno. 
 
 Together. Unisono ; tutti. 
 Too. Anche (also) ; troppo ; not too 
 
 fast, non troppo allegro ; not too slow, 
 
 non troppo lento. 
 Tranquil(ly). Tranquillo (tranquilla- 
 
 mente, con tranquillita) ; placido (placi- 
 
 damente, con placidezza) ; spianato. 
 
 [See Quietly.} 
 Trembling(ly). Tremolo ; tremolando, 
 
 tremoloso (tremolosamente). 
 Triumphant(ly). Trionfante (trionfal- 
 
 mente). 
 
 Tune. [See Melody.} 
 Turn over quickly. Volti subito. 
 Twice as fast. Doppio movimento. 
 
 u. 
 
 Under. Sotto ; under the right hand, 
 
 sotto la mano destra. 
 Undulating. Ondeggiante ; tremando, 
 
 tremoloso. 
 Uneasy. Affanato, affanoso ; uneasily, 
 
 affanosamente. 
 Unimpassioned. Tepido. 
 Unrestful. Inquieto. 
 Until. Fino (fin') ; sino (sin*). 
 Upon. Su ; sopra. 
 Up to. [See Until.} 
 Urgent(ly). Insistendo (con insistenza); 
 
 instante (instantemente). 
 
 V. 
 
 Vague. Vago. 
 
 Veheraent(ly). Veemente (con vee- 
 menza) ; acciaccato ; sforzando ; feroce 
 (con ferocita ; con islancio); smaniante. 
 
 Very. Molto ; assai ; ben(e) . . . Very 
 slow, molto lento ; very moderate, molto 
 moderato; very fast, molto allegro, alle- 
 gro assai ; presto, prestissimo, prestissi- 
 
 mamente ; very marked, ben marcato, 
 
 marcatissimo ; very soft, pianissimo, 
 
 dolcissimo ; (vocal) a fior di labbra , 
 
 very loud, fortissimo. 
 Vibrant, Vibrating. Vibrante. 
 Vigorous(ly). Vigoroso (vigorosamente, 
 
 con vigore). 
 Violent(ly). Violento, violente (violente- 
 
 mente). [See Impetuous.} 
 Vivacious. [See Animated.} 
 Voice. Voce, canto, parte ; with the 
 
 voice, colla voce, colla parte, col canto. 
 
 w. 
 
 Wailing. Lamentando ; piangendo. 
 Warlike. Guerriero ; bellicose ; /';/ war. 
 
 like style, bellicose, bellicosamente. 
 Warmly. Con calore, caloroso. 
 Wavering. Tremolando ; vacillando. 
 Weak. Debile, debole. 
 Well. Bene, ben. . . Well marked, ben 
 
 marcato, or ben pronunciato ; well 
 
 rhythmed, ben ritmato ; well sustained, 
 
 ben tenuto, or ben sostenuto . . . W. ell 
 
 phrased, ben fraseggiando. 
 Whim. Ghiribizzo ; capriccio ; fantasia. 
 Whimsical. Ghiribizzoso. 
 Whispering. Susurrando, susurrante. 
 Wild(ly). Feroce (ferocemente) ; fiero 
 
 (fieramente). 
 
 With affectation. Smorfioso. 
 With affection (pathos). Con affetto. 
 With anger. Con ira, irato. 
 With anguish. Angoscioso, angoscic- 
 
 samente. 
 
 With ardor. Con affetto ; con ardore. 
 With boldness. Con fiducia. 
 With breadth. Largo, largamente. 
 With confidence. Con fiducia. 
 With constantly increasing warmth, 
 
 Sempre incalzando. 
 With decision. Deciso. 
 With deliberation. Con lentezza , 
 
 lentamente. 
 
 With desperation. Con disperazione 
 With discretion. Con discrezione, 
 
 discrete. 
 With distinctness. Distintamente, di- 
 
 stinto ; con chiarezza ; marcato, mar- 
 cando. 
 With ease. Con agevolezza.
 
 WITH EMOTION ZEPHYR-LIKE. 
 
 257 
 
 With emotion. Con affetto ; con 
 
 affezione. 
 
 With energy. Con energia. 
 With expression. Con espressione, 
 
 expressive; sensibile, sentito. 
 
 With facility. Con agevolezza. 
 With feeling. Sensibile, sentito. 
 With fervor. Con calore. 
 With firmness. Con fermezza. 
 With frenzy. Con delirio, con rabbia. 
 ^Vith grace. Con grazia, con eleganza, 
 
 grazioso, elegantemente. 
 With grandeur. Con grandezza, grandi- 
 
 oso. 
 
 With grief. Con duolo, con dolore. 
 With growing animation. Animando, 
 
 animandosi ; ravvivando. 
 With impetuosity. Con impeto. 
 With intensity. Con intensita. 
 With lightness. Con leggerezza, leg- 
 
 germente ; con disinvoltura. 
 With longing. Con desiderio. 
 With mandolin-effect. Mandolinata. 
 With much passion. Con molto pas- 
 
 sione. 
 
 With nobility. Con nobilita. 
 With promptness. Con prontezza. 
 With rapidity. Con prestezza. 
 With resolution. Con risoluzione. 
 With resonance. Con sonorita. 
 With sadness. Con tristezza. 
 With spirit. Con spirito ; con anima ; 
 
 con brio. 
 
 With sweetness. Con soavita. 
 With tears. Piangendo ; lagrimando. 
 With the bow. Coll'arco ; arcato. 
 With the fingers. Pizzicato (violin). 
 With the left hand. Colla mano sinistra 
 
 (usually simply m. s.), or colla sinistra 
 (c. s.) 
 
 With the loud pedal. Fed. ; tre corde 
 (after una corda) ; with pedal through- 
 out, sempre pedale. 
 
 With the octave. Coll'ottava 
 (coirs ). 
 
 With the right hand. Colla mano 
 destra (usually simply m. </.), or colla 
 destra (c. d.} 
 
 With the soft pedal. Una corda. 
 
 With the stick. Col legno. 
 
 With the voice. Colla voce ; colla 
 
 parte ; col canto. 
 With warmth. Con calorosita ; con 
 
 calore. 
 
 With wrath. Con ira ; irato. 
 Without. Senza. 
 Without accelerating. Senza ac- 
 
 celerare. 
 
 Without altering. Senza alterare. 
 Without growing slower. Senza ral- 
 
 lentare. 
 Without interruption. Senza inter- 
 
 ruzione. 
 
 Without repeating. Senza ripetizione. 
 Without retarding. Senza ritardare; 
 
 senza di slentare. 
 
 Without stopping. Senza fermarsi. 
 Without taking breath. Senza re- 
 
 spirare. 
 
 Without the mutes. Senza sordini. 
 Wrathful(ly). Adirato (con ira). 
 
 z. 
 
 Zealous(ly). Zeloso (zelosamente cor 
 
 zelo). 
 Zephyr-like. Zemroso.
 
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