EDUCATIONAL MUSICAL WORKS BY H. A. CLARKE, IVIus. Doc. Theory Explained to Piano Students, - - $0.50 A System of Teaehing Harmony, - - 1.25 Key to "A System of Harmony," - - .50 Counterpoint, Strict and Free, - - - l.OO The Art of Pianoforte Playing, ... l.so Pronouncing Dictionary of Musical Terms, 1.00 Pronouncing Musical Dictionary (PocKct Ed.), .25 Jerusalem, A Grand Oratorio, - - . 1.50 PRONOUNCING DICTIONARY of MUSICAL TERMS GIVING THE MEANING, DERIVATION, AND PRONUNCIATION IN PHONETIC SPELLING OF ITALIAN, GERMAN, FRENCH, AND OTHER WORDS ; THE NAMES WITH DATE OF BIRTH AND DEATH AND NATIONALITY OF THE LEADING MUSICIANS OF THE LAST TWO CENTURIES ENGLISH VOCABULARY, WITH EQUIVALENTS IN ITALIAN, GERMAN, AND FRENCH A LIST OF THE MOST CELEBRATED OPERAS, WITH THE COMPOSERS' NAMES BY H. A. CLARKE, Mus. Doc. PROFESSOR OF MUSIC, UNIVERSITY OF PENNSYLVANIA PHILADELPHIA THEODORE PRESSER CO. 1 712 CHESTNUT STREET Copyright, 1S96, by Theo. Presser PREFACE This Dictionary has been undertaken with the object of putting into the hands of every student of music, in convenient shape, a work in which may be found the meanings, derivations, and pronunciations of the English, Italian, German, and French words used in musical works; also the names, nationality, and dates of birth and death of the leading musicians of the eighteenth and nineteenth centuries. A feature of especial value is the list of English words with their Italian, German, and French equivalents. The author's design has been to produce a useful work. He has therefore omitted many Greek and Latin terms which are never met with, except in obsolete treatises ; the admission of such words would only serve to swell the size ot the volume, without, in the least degree, adding to its value. H. A. CLARKE. M45159 DIRECTIONS FOR PRONUNCIATION. All Italian, French, and German words are written out phonetically, on the following system : A as va.far, represented by ah. The Continental e has the sound of a in fare ; it is represented by eh. The Continental / has the sound of e in deer ; it is represented by ee. The following vowel sounds have no equivalents in English : French e, when not accented, something like the vowel sound in love. German o (^ modified, or Umlaicf) has nearly the same sound. German ii is about half-way between the sound of o in love and e in deer. O and u have the same sound as in English, the u sound being represented by oo, as in cool. Italian ae has the sound of long / in English. German a is the equivalent of a in air. German eu is sounded like oi, as in toil. The following consonantal sounds have no English equivalents : German hard guttural ach and soft guttural ag. The French sound of y is represented by zh as nearly as possible. The French nasals an, en, in, on, can be repre- sented but very unsatisfactorily in English only by adding a final g. Whenever ch is found it is to be sounded like ch in chair. C always has this sound in Italian when followed by i or e. The Italian ch, on the contrary, always has the sound of k, or c hard, and is thus represented. The Italian zz has the sound of is or ds, and is thus represented. With this explanation of the phonetic system adopted to represent the foreign sounds, it is believed that the reader will find no difficulty in acquiring their proper pronunciation. PRONOUNCING DICTIONARY OF MUSIC TERMS O -I * * ' A. The 6th of the normal major scale ; the 1st of the normal minor scale ; the standard by which the orchestra is timed, given by the oboe. A, A (It. and Fr. ) [aA). At, in, by, for, with. A battuta {bat-too' -to). By the beat. A bene placito [beh-neh plah-chee'-td). At pleasure, without regard to time. Alia breve [breh-veh'). Same as above ; also a rhythm of two in the measure, indicated by (^. Alia breve time resembles | time in having but one accent in each measure. It was originally written with a breve in the measure, thus : — \ \ \ V 12 12 1 2 3£;=; -rj Q- but as the breve is rarely used in modern music the wliole note (semi-breve) is sub- stituted with the direction: alia breve, i. e., in the manner of music written with a breve in each measure. The following passage — written (l) alia breve, (2) \, (3) I — will exhibit the difference of accent between alia breve and | and its similarity A or Alia capella {cah-peF-hi). In church style, i. e., ei-ther without accompaniment or with the instruments in unison with the Abbott, Emma. Soprano; U. S. A. B. 1850 ; d. 1891. A capriccio [cah-pritck'-eo). Capriciously; without regard to time in performance; without regard to form in construction. A demi-jeu [deh-niee-zheoo). With half force or play. A direction to use half the power of the instrument, generally used of the organ. A deux cordes [doo-corJ). On two strings. A deux mains [iioo-mang). By or for two hands. A deux temps [doo-tahm). In | time. A la. In the manner of, as a la chasse (shass). Like a hunt ; hunting song. A mezza voce (It.) (jitet-zavo-chee). With half voice. Apiacere [pee-ah-cheh'-reh), or Al placer, or A piacimento [pee-ah-c/iee-nn'n'-to). At pleasure. A poco a poco (It.). Little by little A poco piu lento (It.). A little slower. A poco piu mosso (It.). A little faster. A punto (It.). Accurate, strict time. A punto d'arco (It.). With the point of the bow. A quatre mains (Fr.) [katr-mang). For four hands. A quattro mani (It.) {kwat-tro mah-nee). For four hands. A sue arbitrio [soo-oh ar-bee'-tre-o). At your will. A tempo {tem'-po) . In time. A direction to resume strict time after Rail, or Rit., q. V. A tempo giusto [joos^-to). In strict time. A tempo rubato [roo-bah'-to). In stolen time, i. c, retarding and hurrying the time irregularly. A tres cordes [tray). On three strings. Abbellimento (It.) (ab - bel- lee-men'-to). Embellishment. Abbellitura (It.) {ab-bellee-too' -ra). Embel- lishment. Both are derived from — Abbellire [abbel-lee'-rek). To ornament. Pihl, Yrdinz [apt, frants). Songwriter; Ger- many. B. 1819 ; d. 1885. ABBREVIATION ABBREVIATION Abbreviation. A system frequently employed in music, by which a portion of a technical term is made to stand for the whole. The following is a list of the abbreviations in most common use ; the explanation of each term may be found on reference to the words themselves in their proper places : — , 1 ' ' ' ' [ Accelerando Accel" J Ace I Accom I Accompaniment Accomp. ... J Accres Accresciamento Ax5g^ or ad' ; •. . . AdagLo V ' 'Adl. .'. '. . ■, . Y . , ,..-., . J ,., r Ad iiDitum Ad lib J Affett" Affettuoso Affrett" Affrettando Agif.' : : : : : i^g^'^^^^ All" ....... Allegro AUgtt" Allegretto Air ott "I Air *. All' 8va /^'^ ^"^''^ Al seg Al segno And"" Andantino And^« Andante Anim" Animate Arc Coll arco, or arcato Ard" Ardito Arp" Arpeggio At ] A tern y A tempo A temp J Aug By Augmentation (Bass (voice) Bassoon Contre bass B. C Basso continuo Brill Brillante C. B. ' Col basso CD Colla destra C. S Colla sinistra Cad Cadence Cal Calando Can Cantoris Cant Canto Cantab Cantabile Cello Violoncello Cemb Cembalo Ch Choir organ Chal Chalameau Clar . Clarinet Clar't" Clarinetto Clar Clarino Co. so Come sopra Col C Col canto Col ott» Coir ottava Col. vo Colla voce Con esp Con espressione Cor Cornet or horn Cres" } r' J r- > Crescendo Cresc J C. S Colla sinistra C. 8'a Coll' ottava C° I"" Canto primo Co. I""* Gome primo C* Concerto D Destra, droite D. C Da capo Dec Decani Decres Decrescendo Delic Delicamente Dest Destra Diap Diapasons Dim By diminution Dim Diminuendo Div Divisi Dol. , Dolce Dolcis Dolcissimo Dopp. ped Doppio pedaie D. S Dal segno Energ Energicamente T^ P I Espressivo Espres J ^ F. or for Forte Fag Fagotto Falset Falsetto Ff. or Fff. Fortissimo Fl Flauto R^g.: : : : ;}Fu11 organ ^ ^^ )■ Forzando Fz J G Gauche G. O ] G. Org I Great Organ Gt J Gr Grand Grand" Grandioso Graz" Grazioso Hauptw ^ Hptw >• Hauptwerk H. W j Haut Hautboy H. C Haute contre Intro Introduction Inv Inversion L Left Leg Legato Legg" Leggiero L. H Left Hand Lo Loco Luo Luogo Lusing Lusingando M ) Main > Manual Mano J Maest" Maestoso Magg Maggiore ABBREVIATION ABBREVIATION Man Manuals Mane Man'io . . Marc. .... Mancando M. D. M. M. M. M. ^ := 92 . - M. P. MS. Marcato Mano diritta Main droite ( Mano destra M. G Main gauche Maelzel's Metro- nome ' The beat of a quar- ter-note is equal to the pulse of the pendulum of the Metronome said to be Maelzel's, with the weight set at 92. . Mezzo piano J Manuscript or \ Mano sinistra Men Meno Mez . Mezzo Mf. or Mff. .... Mezzo forte Modt^ Moderate Mus. Bac Bachelor of Music Mus. Doc Doctor of Music M. V Mezzo voce Ob Oboe, or Hautbois Obb Obbligato Oberst Oberstimme Oberw "( ^, , Obw jOberwerk Oh. Ped Ohne Pedal Org Organ Cva -> S- '.'.'.'.'.'. '. }0«ava 8»» alta Ottava alta 8^» bas Ottava bassa P Piano Ped Pedal Perd Perdendosi P. F Piu forte Piang Piangendo Pianiss Pianissimo Pizz Pizzicato Pmo } T,- ■ ■ pp > rianissimo PP'P. '...'.'.'. \^. PPPP /^'^ l™» Prima (volta) I™" Primo 4"« Quartet 5"e Quintet Rail Rallentando Raddol Raddolcendo Recit Recitative Rf., rfz., or rinf. . . Rinforzando R. H Right Hand Ritar Ritardando Riten Ritenuto lanississimo S Senza S. A Sign Scherz Scherzando 2 Sensa sordini q [ V Sostenuto Spir Spiritoso S. T Senza tempo Stacc Staccato St. Diap. . ... . . Stopped Diapason String Stringendo Sw Swell Organ Sym Symphony ry f Tenor, tutti, tempo, \ tendre T. C Tre corde Tern Tempo Tem. 1" ..... Tempo primo Ten Tenuto Timb Timballes Timp Timpani Tr Trillo Trem Tremolando 3» Trio Tromb. ... . Trombi Tromb Tromboni T. S Tasto solo U .Una U. C Una corde Unis Unisoni V Voce V Volti Va Viola Var Variation Velio Violoncello Viv Vivace Vo 1 Vno V Violino Violo J V. S Volti subito VV. '.'.'.'.'. /Violini There are other abbreviations employed in manuscript or printed music, the chief of which are as follows : — In time, a dash with a figure above signi' fies the length of the pause in bars, e. g. : — • 24 ABBREVIATION 10 ACCOMPAGNAMENTO In notes, the trouble of writing a passage in full is saved by the use of abbreviations, e. g. :— IVritten. Beat, Written. Repetition phrases are thus shortened : — f^ ^ $ ^ Abbreviations, by signs, of musical graces :- The Turn. ess The back Turn, Written. m Sung. p ^ p Passing shake. Written. m Sung. -f- f rf-p-f~ ftL Written. Sung. _J p_ Shake, inr Sung. ^«=r: Written. Written. ^ Played. ^^ -HH 1- ^^ ;t*- Abgestossen (Ger.) [ap-gek-stoss-en) [from adstossen, to knock off ]. Detached ; stac- cato. Absolute Music. Music independent of words, scenery, acting or "programme;" the highest class of instrumental music. Accelerando (It. ) {at - chel - leh - ran - do). Hastening the movement (tempo). Accent. The stress which recurs at regular intervals of time. Its position is indicated by upright strokes called bars. The first note inside a bar is always accented. When the bars contain more than one group of notes, which happens in compound time, other accents of lesser force occur on the first note of each group; these are called secondary or subordinate accents, whilst that just inside the bar is termed the pri?>!ary or principal accent. Other accents can be pro- duced at any point by the use of the sign :___=- or sf. The throwing of the accent on a normally unaccented portion of the bar is called syncopation . A proper grouping of accents will produce rhythm. It is con- sidered a fault if an accented musical note falls on a short syllable. Acciacatura (It.) {at-cheea-ca-too' -ra). A short grace note, written thus : ^ takes the place in the harmony of the note it precedes ; is played rapidly. [From Acciaccare [at- chee-ac-ca'-reh), to crush or jam together.] Accidentals. All signs for raising or de- pressing letters that are not found in the signature. Accolade (Fr.) (ac-co-lahd). A brace en- closing two or more staves, -j [From Latin fli/, to ; collum, the neck.] Accompagnamento (It.) To embrace. (ac-com-pan-ya- 7nen-to), Accompagnement (Fr. ) [ac-com- pang-mongt). Accompaniment. The sep- arate part or parts that accompany a solo or ACCOMPANIMENT 11 AIR chorus ; generally instrumental, but a vocal solo with vocal accompaniment is frequently met with. Accompaniment ad libitum (Lat.). An accompaniment that may be omitted without injury to the musical effect. Accompanist or Accompanyist. One who plays or sings an accompaniment to a solo. Accoppiato (It.) {ac-cop-pee-ah' -to). Coupled or joined together. Accord (Fr. ). A chord ; agreement in pitch. Mode of tuning a string instrument. Accordatura (It.) [ac-cor-da-too'-ra). The mode of tuning string instruments, as violin, guitar, etc. Accordion. A small, portable instrument with free reeds. Achtel (Ger.). Eighth-note. Achtel Pause (pow-ze). Eighth-rest. Acoustics [(7-koos-tics) [from Greek aktio, to hear]. The science of sound; that which treats of the cause, nature, and phenomena of sound as a branch of physical science. Action. The mechanism by means^ of which the hammers of the piano and the valves and stops of the organ are controlled by the per- former. Acuta (Lat.). Acute. A mixture-stop in the organ. Acute. Pitched high ; the opposite of grave. Adagietto (It.) {a-da-jee-et'-to). Diminutive of Adagio ; not so slow as Adagio. Adagio (It.) (a-da'-jee-o). Slowly; also a name given to a movement written in that time. Adagio assai {as-sah-e). Adagio di molto ((/rt' niol-to). Very slowly. Adagio cantabile {can-tah' -bee-leJi). Very slow and sustained, as if being sung. Adagio patetico \pa-ieh' -tee-co). Slow and with pathos. Adagio pesante (^peh-san' -teJi) . Slow and weighty. Adagio sostenuto [sos-teh-noo-to). Slow and sustained. Adagissimo (It.). Superlative of Adagio. More than usually slow ; very slow in- deed. Addolorato (It.) {ad-do-lo-7-ah' -to) . Sorrow- ful ; dolorous. Adirato (It.) (ad-ee-rah'-to). Angrily; irri- tated. Adjunct Keys or Scales. Those a fifth aliove and fifth below the given key or scale. Related scales. The scales or keys of the dominant and subdominant. Adam, Adolph Charles Opera and song witer; France. B. 1803; d. 1S56. Adjunct Notes. Short notes, not essential to the harmony, occurring on unaccented parts of a bar. [Cf. Auxiliary Notes, Passing Notes. '\ Ad libitum (Lat.). At will, (i) In passages so marked, the time may be altered at the will of the performer. (2) Parts in a score that may be omitted. A dur (Ger.) {dure). A major. .^olian. The name of one of the Greek scales ; also of one of the ecclesiastical scales. Identical with modern A minor without sharped seventh. .^olian Harp. A shallow, oblong box with gut-strings set in motion by the wind, gen- erally made to fit a window with the lower sash raised enough to admit it. The strings should be tuned in unison. Aussere Stimmen (Ger.) {ois-eh-reh stim- men). The outer parts, as soprano and bass in a chorus, or violin and violoncello in a quartet. Ausserst (Ger.). Very; extremely. Ausserst rasch {rash). Very quick. Added Sixth. A name given to the subdom- inant chord with the 6th over its fundamental added, thus: F A C D. This explanation of this combination is not now generally accepted. Affabile (It.) {af-fah'-bce-leh). Pleasing; affably; agreeably. Affannato (It.) {af-fah-nah' -to) [from af- famio, anxiety]. Distressfully. Affannosamente (It.) {af-fah-no-sah-inen'- tch). Restlessly. Affannoso (It.) {af-fah-no-so). Mournfully. Affettuosamente (It.) {af-fet-too-o-sa-men- te/t), Affetuoso (It.) {af-fet-ioo-o-so). Af- fectionately. Affinity. Connected by relation. Relative keys. Afflitto (It.) {af-flit'-to). Sadly; afflictedly. Affrettando (It.) (a/-/";-,?/'-/««^-^/('), Affrettate (It.) {af-fret-tah'-t'eh), Affrettore (It.) {af- fret-to'-reh). Hastening the time. Agevole (It.) {a-jeh'-vo-leh), Agevolezza (It.) {a-jeh-vo-letz' -ah). With lightness or agility. Agilmente (It.) {a-jil-men'-teh), Agilmento (It.). In a lively, cheerful manner. Agitamento (It.) {a-jee-tah-men' -to). Rest- lessness. Agitato (It.) {a-jee-tah'-to). Agitated. To sing or play in an agitated, hurried manner. Air. A tune, song, melody. Agramonte, Emilio {ah-gra-inoii-teh). Vocal teacher; France. B. 1S44. AIS 12 ALLEGRO Ais (Ger.) [a-iss). A sharp. A la mesure (Fr.) (meh-zoor). In time. Same as A tempo and A battuta. Albert! Bass. Broken chords arranged thus : — So called from the name of its reputed in- ventor, Domenico Alberti. Al' loco. At the place. Used after the di- rection to play 8th higher or lower. Al piacere. See A piacere. Al rigore di (or del) tempo (ree-go-reh dee tempo). In strict time. Al scozzese [scots-zeh-zeli). In Scotch style. Al segno (^sen-yo). To the sign. A direc- tion to return to the sign ^. D'al segno, from the sign, is used with the same inten- tion. Air antico {an'-tee-ko). In ancient style. Air ottava {ot-tah-vaJi). When over the notes play octave higher than written, when tinder, an octave lower. In orchestral scores it means that one instrument is to play in octaves with another. Air unisono. At unison. Alia (It.). Written Al. or All. before words beginning with a vowel. Like ; in the style of. Alia breve. The value of one or two whole notes in the measure, with rhythm of two beats. Indicated by ^. In modern music, chiefly used in rapid tempo. See A capella. Alia caccia (It.) {cat-cliid). In hunting style. Alia camera (It.) [ca'-meh-rah). In cham- ber-music style. Alia capella. In church style. See A ca- pella. Alia deritta. By degrees. Alia hanacca [Iia-nak-kd). In the manner of a hanacca. Alia marcia [inar'-chee-d). In march style. Alia mente [men-te/t). Extemporaneous. Alia militare {mee-lee-tali-reh). In military style. Alia moderno. In modern style. Alia Palestrina. In the style of Palestrina, ?'. e. , strict C. P. without instrumental accom- paniment. Alard, Delphin {ah-lard, del-feen). Violin- ist; France. B. 1815; d. 1S88. Alary, Guilio Eugenio Abrama {ah-lah-ree, ju-lio eti-jeh-ne-o ah-bra-mak). Composer; Italy. B. 1814. • Alia polacca. Like a polacca or polonaise. Alia quinta. At the fifth. Alia rovescio [ro-veh' -shee-o). By contrary motion or reverse motion, as when a phrase is imitated with the movement of the inter- vals inverted. Example : — I :& -•-+- --f^ ^ Alia siciliana [see-chee-lee-ah' -tiah). In the style of a Siciliana, q. v. Alia stretta. Like a stretto, q. v. Alia turca. In Turkish style. Alia zingaro. In Gypsy style. Alia zoppa. Lamely ; halting. Allegramente (It.) {al-leh-grah-men' -teKy Joyfully. Allegretto (It.) {al-leh-gret'-to). Diminu- tive of Allegro, (i) Slower than Allegro. (2) A movement in this time. Allegrettino (It.) [al-leh-gret-tee^ -710). Di- minutive of Allegretto, (i) Not so fast as Allegretto. (2) A short Allegretto move- ment. • Allegro (It.) (al-leh-gro). (Lit., joyful.) Quick, lively. The word is occasionally employed to describe a whole movement of a quartet, sonata, or symphony. In music it is sometimes qualified as : — Allegro agitato (It.) Quick and in an excited manner. " assai " Literally, fast enough. A quicker motion tlian simple alle- gro. •' commodo or comodo con brio An easy, graceful allegro. Quickly and with spirit. " con fuoco " Rapidly and with fire. " con moto " With sustained joyfulness. " con spirito " Joyfully and with spirit. " di bravura " A movement full of executive dif- ficulties intend- ed to exhibit the capacity of the singer or player. " di molto " Exceedingly quick. Albani, Marie Louise Emma Cecilie {al-bah- 7iee). Soprano singer; Canada. B. 1850. Alboni, Marietta (al-bo-nee, mar-yet-ta). Con- tralto; Italy. B. 1824; d. 1894. ALLEMANDE 13 ANDACHTIG Allegro furioso (It.) Rapidly and with fury. " giusto " In quick but steady time. " ma grazi- "I ,, Lively and with oso J graceful motion. ♦' ma non ) ,, Rapidly, but not presto / too fast. " ma non 1 ,, Quickly, but not tanlo J too much so. " ma non K, Lively, but not too troppo J fast. " moderato " Moderately quick. " molto " Very quick. " risoluto " Lively and with firmness and de- cision. " veloce *' Lively and with speed. " vivace " Lively and brisk. " vivo " Quick and lively. Allemande (Fr. ) [abnain, aHemaigne). A German dance (or some authorities say French), originally in duple time. Adopted as one of the movements in the Suite by Bach, Handel, and others, and written in \ time. Allentamento (It.) [al-len-tah-men-to), Al- lentato (It.) [al-Ien-tah-to), Alientando (It.) [al-len-tan-do). Giving way ; slack- ening the time. Allmahlig (Ger.) [aH-niay-lig). Gradually; by degrees. Alpenhorn or Alphorn. A wooden horn slightly curved, 4 to 8 feet long, used by the Swiss herdsmen. Alt (Ger.). The alto voice or part. Alt-Clarinette. Alto clarionet. Its pitch is a 5th below the ordinary clarionet. Alt-Geige. The viola. Alt-Oboe. Oboe de caccia, q. v. Alt-Posaune {^po-zoiv-neli). Alto trombone. Alterato (It.) (al-teh-rah'-to), Altere (Fr.) {al-teh-reli). Changed; altered. Altered. Said of intervals, the normal con- dition of which in a scale or chord is changed. Alternativo (It.) {al-/e>--na/i-iee^-vo). An alternate. A part of a movement to be played alternately with others. This name is frequently given to the second trio of a Scherzo in chamber music when (as is un- usual) a second trio is added. Albrechtsberger, Johann Georg [al-brechts- berger, yo-hann G.). Composer and theo- rist; Germany. B. 1736; d. 1S09. Amati, Andreas ((7- W(7/^-/ff, .•/.). Italy. B. 1520; d. 1577. Amati, Antonio. Italy. B. 1550. Altissimo (It.). The highest. Alto (It.). High, loud. Originally applied to high male voices, now generally lu the lowest female voice. Also applied to the viola (or tenor violin). Alto Clef. The C clef on the third line, used for the viola, alto trombone, and (in Europe) for the alto voice. Altra, Altre, Altri, Altro (It.) (masculine and feminine forms in the singular and plu- ral). Other, others. Amabile (It.) {ah-mah'-bee-leK). Amiably, sweetly, tenderly. Amarevole (It.) (ah-mah-reh' -vo-leli). Sad, bitter. Amateur {Yx.) [a-mah-toor'). A lover of art. Generally applied to one who does not fol- low it professionally. Ambrosian Chant. The system of church music introduced by Ambrose of Milan in the fourth century. Ambrosian Hymn. A name given to the Te Deum on account of the belief — now known to be erroneous — that it was written by Ambrose of Milan. Ame (Fr. ) [am]. Soul. The French name for the sound-post of instruments of the violin family. American Organ. The English name for American reeil organs, in which the air is drawn through instead of being forced through the reeds, as in the usual Euro- pean system. A moll (Ger.). A soft, i. e., A minor. Amorevole (It.) {a-mor-eh' -vol-eh), Amore- volmente (It.), Amorosamente (It.), Amoroso (It.). Lovingly ; tenderly ; am- orously. Amusement (Fr.) {a-mooz-mong). A light composition ; a divertimento. Anche (Fr.) {onsh). A reed of organ-pipe, or mouth-piece of oboe, clarionet, etc. Jeu-d'anche, reed-stop. Ancia (It.) (an-chee-a/i). Italian form of the same word. Anche (It.) {an-kek). Also; yet; still. Anche piu moto. Still or yet faster. Ancor(It.). Also; yet; still; used in the same way as Anche. Ancora (It.). Again. Fr., encore. Andachtig (Ger.) [an-daych-tig). Devoutly.. Amati, Geronimo (yi?//-ro''-«^if-wo). Italy. B. ; d. 1635. Sons of Andreas. Amati, Nicolo («^^-f 0-/0). Italy. B. 1596; d. 1684. Son of Geronimo. Violin makers of Cremona. Ambros, August W. Historian and pianist; Germany. B. 1816; d. 1876. ANDAMENTO 14 ANTIPHONY Andamento (It.) [an-da-men'-to). Move- ment ; the coda to a long fugue theme frequently dropped in the " working out." Andante (It.) [from andare, to walk or go slowly]. A slow movement ; quiet, peace- ful tempo. Andante affettuoso. Slow, with tenderness. Andante cantabile (can-tah' -bee-leh). Slow and singing. Andante con moto. Slow, but with a little motion. Andante grazioso. Slow and graceful. Andante maestoso. Slow and majestic. Andante non troppo or ma non troppo. Slow, but not too slow. Andante pastorale. Slow, in pastoral style. Andante sostenuto (It.) [sos-tek-noo'-to). blow, with smoothness. Andantemente (It.). Like an Andante. Andantino (It.) {an-dan-tee' -no). A dimin- utive of ^wf/aw/^. A little faster than Andante (some say slower, but the Italian diction- aries say faster). Anelantemente (It.) (ah-neh-lan-teh-men'- teh). Ardently; eagerly. Anfang (Ger. ). Beginning. Anfangsgriinde (Ger.). Rudiments. Anfangs-Ritornel(Ger.). Introductory sym- phony. Angenehm (Ger.) (ati'-geh-nehni). Pleasing; agreeable. Anglaise (Fr.) [on-glehs), Anglico (It.) (an'- i^Iee-ko). The English country dance. Angelica (Lat.). The vox angelica. AngeFique (Fr.) [on-Jeh-leek). Voix an- gelique, angel voice, name of an organ- stop. Also called Voix Celeste (Fr. ) {ro-a seh-lesf). Celestial voice. Angosciosamente (It.) {an-go-shee-o-sa- mt-n'-teh), Angoscioso (It.) [an-go-shee- o'-so). Painfully ; with anguish. Anhang [Gtr .)\_an/idngen, to hang to] . Coda. Anima (It.) [ah' -nce-mah), Animato (It.) {ah-nee-mah'-td), Kn\TS\z.ndiO (It.). Soul; spirit ; life ; lively with animation. Animosamente (It.) {ah-iiee-mo-sah-men'- teh\, Animosissimo (It.) or Animosis- samente. Very energetic ; boldly. Animoso (It.). Spiritedly; energetically. Anlage (Ger.) (an-lah' -geh) . The plan of a composition. Ambrose, St. Established the Ambrosian Chant ; Gaul. B. 340 ; d. 398. Andre [an-dray], Johann ; Germany. B. 1741; d. 1799. Andre, Johann Anton, son of preceding. B. 1775; d. 1842. Anleitung (Ger.) (an-ley'-tooug). Direction; guidance ; preface. Anmuth (Ger.) yiin-vioot). Sweetness; grace ; charm. Anmuthig (Ger.). Sweetly; gracefully. Ansatz (Ger.). (l) Attack. (2) Position of mouth in singing. (3) Position of lips in blowing a wind instrument. See Embou- chure. Anschlag (Ger.). Touch, as applied to piano and other keyed instruments. Anschwellen (Ger.) [an-shvel-len). To in- crease in loudness ; crescendo. Antecedent [Lat. ante, cado, to fall before]. The subject or theme proposed for imitation ; the subject of a fugue. The reply or imi- tation is called the consequent. Anthem, *anth6me, *antem, s. [In A. S. (jntefen, a hymn sung in alternate parts, an anthem ; O. Fr., antliame, autene, cuttiefine, antevene ; Prov., anlifene, antifona : Sp. and It., antifona; Low Lat., autiphona ; from Gr. ai'Tifuvov (antiphonon), an anti- phon, an anthem ; avrlipurog [antiphotios), sounding contrary, . . . responsive to ; avrl (rt«/«j, opposite to, contrary to; (^urri [phone), a sound, a tone.] * (l) Originally: A hymn sung "against" another hymn ; in other words, a hymn in alternate parts, the one sung by one side of the choir, the other by the other. "Anthem, a divine .song sung alternately by two oppo.site choirs and choruses." — Gtossog. J\'ov., ^A ed. (1719). (2) A^o7u : A portion of Scripture or of the Liturgy, set to music, and sung or chanted. There are three kinds of anthems: (l) A verse anthem, which in general has only one voice to a part ; (2) a full anthem with verse, the latter performed by single voice, the former by all the choir; (3) a full an- them, performed by all the choir. Anthropoglossa [Gr. anthropos, man ; glossa, the tongue]. Like the human voice; the vox humana stop in the organ. Anticipation [Lat. ante, before ; capio, to take]. To introduce a note belonging to the next chord before leaving the preceding chord. Antiphon [Gr. anti, against ; phoneo, to sing]. A short sentence or anthem sung before and after the psalter for the day. Antiphony. The responsive singing of two choirs generally placed on opposite sides of the chancel, one called the Decani, on the Andre, Johann Baptist, son of preceding. 15. 1823; d. 1882. Andre, Peter F. I., brother of last. B. 180S; d. 18S0. Archer, Frederick. Organist; England. B. r8;S; i\. 1901, ANWACHSEND 15 ARSIS Dean's side of the chancel, the other the Cantoris, on the precentor's or leader's side. The verses of the psalms are sung by the choirs alternately, but the Gloria by the united choirs. Anwachsend (Ger. ) ian-vach-seu/). Swell- ing ; crescendo. Aperto (It.) [ah-pehr-to). Open. Direction to use the damper (" loud ") pedal. Appassionata (It.) {ap-pas-sion-ah'-taJi), Appassionamento (It. ). With strong pas- sion or emotion. Appassionatamente (It.). Impassioned. Appenato (It.) {ap-peh-nah'-to). Distress- fully. Applicatur (Ger.) [ap-plee-ka-toor'^. The lingering of a musical instrument. Appoggiando (It.) {ap-pod-je-an' -do). Lean- ing upon; suspended notes. Appoggiato (It.). Retardations; syncopa- tions. Appoggiatura (It. ) [ap-pod-jea-too'-rah\. To lean against. An ornamental note foreign to the harmony, one degree above or below a member of the chord, always on an accent or on a beat. It takes half the value of the note it ])recedes, but if the note it precedes is dotted, it takes two-tliirds of its value. Written. I Written. z^zit— =tz— -zzit— ^r^ A Rendered. }( 4 . — • » ^ ' l(n A 1 —(^—"-0 f — — ^ — 1 VU 4- 1 U— [- — ^- 1 1 1 The modern practice is to write as rendered, thus avoiding any confusion between the ap- poggiatura and the acciaccatura. Arcato (It.) {ar-kah'-td). With the bow ; a direction to resume the bow after pizzicato. Arco (It.). The bow. Ardente (It.) [ar-den-teJi). Ardent; fiery. Ardente (Fr. ) [ar-dongt). Ardently. Ardito (It.) [ar-dee-to). Ardently; boldly. Aretinian Syllables. Ut, re, mi. fa, sol, la, given by Guido Aretinus to the hexachord. Ut was changed to do, as being a better vowel for solemnization. Arditi, I.uigi [ar-dee-tee, iit-eg-jee). Conduc- tor and composer; Italy. B. 1822; d. 1903. Aria (It.) {ah'-ree-ak). Air; song. Inform the aria consists of three members : Part I, a more or less elaborate melody in the tonic key. Part II, another melody in a related key. Part III, a repetition of the first melody to which a coda is generally added. Aria buffa (It.) {boof'-fah). An aria with humorous words. Aria concertante (It.) (con-cher-fan' teh). An aria with obbligato accompaniment of instruments. Aria di bravura (It.) (ilce-brah-voo' -rah) or d'abilita {cf ah-hee-lee-tah). An aria with difficult, showy passages. Aria fugato (It.) {foo-gah'-to). An aria with an accompaniment written in fugue style. Aria parlante (It.) {par-Ian' -teh). Literally a speaking aria, one in which the music is designed for declamatory effect. The aria parlante was the precursor of the recitative. Arietta (It.) {ah-ree-et'-ta). A small aria, less elaborate than the aria. Arioso (It.) (ah-ree-o' -so). A short melody at the end of or in the course of a recitation. Armonia (It.) {ar-mo'-nee-ah). Harmony. Armoniosamente (It.) {ar- mo - nee - o - sa- inen'-teh), Armonioso (It.) {ar-mo-nee- o'-so). Harmonious; harmoniously. Arpa (It.) [ar'-paJi). Harp. Arpege (Fr.) (ar-pehzh'). Arpeggio (It.) [ar-ped-jeeo). In harp style. In jMano music a direction to play the notes of a chord in rapid succession from the lowest up- ward. Indicated by or A reversed arpeggio is indicated by or In old music the arpeggio is sometimes indicated thus : — I Arpeggiando (It.) {ar-ped'-jee-an-do). In harp style. Arpeggiato (It.) (ar-ped-jeea'-to). Arpeg- giated. Arrangement (P>.) [ar-ranzh-fnong). A piece of music written for one or more in- struments or voices adapted to other instru- ments or voices. Also called Transcription. Ar''sis (Gk.). The unaccented or upbeat; the reverse of Thesis, the accented or down- beat. Arne, Thomas Augustus. Composer; Eng- land. B. 1710; d. 1778. ARTICOLATO 16 AUXILIARY SCALES Articolato (It.) [^nr-tik-ko-lah' to). Articu- lated distinctly. Artig (Ger.) {akr-teech). Neat, pretty, un- affected. As (Ger.). A flat. As dur {doohr), A flat major. As moll, A flat minor. Assai (It.) {as-sah'-ee). Very, extremely, as Allegro assai, very fast. Adagio assai, very slow. Assez (Fr.) [as-se/i). Rather, as Assez vite {I'eet), rather quick, or quick enough. Assoluto (masc. ), Assoluta (fern.) (It.) {as-so-/oo'-io). Absolute. Applied to the leading singers of an opera troupe, as Prima donna assoluta, first lady absolute ; Prima uomo assoluto, first man absolute. Attacca (It.) {aZ-fak'-ka). Attack. Begin the next movement with slight or with no pause. Attacca subito (It.) (soo-l>ee-to). Attack quickly, without pause. Attacco (It). Attaque (Fr.) {nt-tak'). The motive or theme of an imitation or short fugal subject. Attaquer (Fr.) [attak-keJi). Same as At- tacca . Attack. The manner of beginning a phrase or piece; refers generally to the promptness or firmness of the performer or performers. Attendant Keys. The keys of the 4th and 5th above, and the relative minors of the principal key and these two major relations, as :— CFG Rel. minors A D E Aubade (Fr.) (o-^rt^'). Morning music ; the opposite of Serenade, evening music. Audace (Fr.) (o-dass). Bold, audacious. Auffiihrung (Ger.) {owf-fee-rootti). Per- formance ; representation of an opera. Aufgeregt (Ger.) [geh-rehgt). With agita- tion. Aufgeweckt (Ger.) [geh-vekt). With ani- mation. Aufhalten (Ger.) (Jiol-teii). To suspend (of dissonances). Also, to hold back or retard (of time). Aufhaltung (Ger.) {/lol-toonk). Suspension. Auflosen (Ger.) (/e/i-zen). To let loose; resolve a dissonance. Auflosungszeichen (Ger.) {hh-soonks- tzeich-eii). Releasing sign ; the jj. Artot {ar-to), Alex. I. Violinist; Brussels. B. 1815; d. 1845. Ascher, Joseph. Pianist. B. 1S31 ; d. 1869. Astorga, Emmanuele Baron D. Composer ; Sicily. B. 1681 ; d. 1736. Attwood, Thomas. Composer; England. B. 1765; d. 1838. Auber, Daniel Frangois Esprit [o-be/tr, D.fran- Aufschlag (Ger.). Up-beat. Aufschwung (Ger.) (ow/shvoonk). Soar- ing, elevation. Aufstrich (Ger.). Up-bow. Auftakt (Ger.). The unaccented part of the measure, or the fraction of a measure, at the beginning of a piece. Augmentation. When the theme of a fugue or imitation is given in notes of double or quadruple the length of those in its original form. Augmented, (i) Any interval greater than perfect or major. (2) A theme written in notes of greater value than in its original form. Augmented Sixth Chord. Called also ex- treme sharp sixth ; superfluous sixth ; when formed thus, A^ C F+t, the Italian sixth ; thus, Aiz C I) FiJ, the French sixth ; thus, A[2 C Etz 1'^, the German sixth. Augmenter (Fr.) [og->/iong-tek). To increase in force. Same as Crescendo. Ausarbeitung (Ger.) {ows'-arbye-toonk\. Development ; the working out of a fugue or sonata, etc. Ausdruck (Ger.) [drook). Expression. AusdrucksvoU (Ger.). With expression; literally, full of expression. Ausfiihrung (Ger.) {fee-roonk). Execu- tion ; , manner of performance. Ausweichung (Ger.) {veick-oonk). Liter- ally, evasion ; modulation ; change of key. Authentic. The Ambrosian scales. A melody that lies between the keynote and its octave is called authentic. One that iies between the fourth below and the fifth above the key- note is called plagal. These terms are only used in the ecclesiastical modes. Authentic. The church scales beginning and ending on any given tonic (except B). Authentic Cadence. Tonic preceded by dominant Autoharp. A modern instrument resembling a zither, of easy performance. The plec- trum is drawn across all the strings at once, and those that it is not desired to sound are silenced by a series of dampers controlled by the left hand of the player. Auxiliary Note. Grace note; appoggiatura. Auxiliary Scales. Related scales. soa es-pree). Opera composer; France. B. 1784; d. 1871. Audran, Edmond {o-drong). France. B. 1842. Auer (our), Leopold. Violinist; Germany. B. 1845. Avison, Charles. Composer; England. B. 1710; d. 1770. B 17 BARCAROLE B B. The seventh or leading tone of the nat- ural major scale; in German, the note or key of lit*, B|3 being called H. Baborak or Baboracka. A Bohemian dance. Backfall lute music, written An ornament in harpsichord or played £J Badinage (Fr.) (Jiah-dee-naje). Banter; rail- lery. Bagatelle (Fr.) (bah-gah-tell). A trifle; a name frequently given to short pieces of music. Bag-pipe. An instrument consisting of a leather bag into which air is forced either from a bellows or by the mouth of the player; furnished with from two tcv four pipes, one pipe with double reed pierced with holes upon which the melody is played, called in Scotland the chanter ; the remain- ing pipes with single reeds, called drones, sound continuously the first and fifth of the scale or first fifth and octave. Bajadere or Bayadere [by-a-dehr). East Indian dancing girl. Bakkia {bak -kee -ah). A Kamskatdale dance. Balabile (It.) {bah-lah-hee' -leJi). Any piece of music written for dancing purposes. Ballad. A simple song, originally a song to accompany dancing ; derived from the low Latin word ballare, to dance ; in its French form, ballade, it is used by modern com- posers as a title for extended lyric compo- sitions, as the ballades of Chopin. Balladenmassig (Ger.) (^bal-la' -den-meh- sicli). In ballad style. Ballad-opera. An opera made up of simple songs, and without recitative. Balafo (bah-lah-fo). An African instrument resembling the xylophone ; a South Ameri- can variety is called the marimba. Balalaika (Russ.) {bah- lah-lye'-ka). A Russian guitar with three or four strings, the body triangular. Ballata (It.). A ballad. Ballerina (It.) {bal-leh-ree' -nah). A female ballet dancer. Bach, Johann Sebastian. Composer; Ger- many. B. 1685 ; d. 1750. Bach, Carl Philipp Emanuel. Inventor of the sonata; Germany. B. 1714; d. 1788. Bach, Johann Christoph Friedrich. Organ- ist; Germany. B. 1732; d. 1795. Bach, Wilhelm Friedemann. Organist ; Ger- Ballet (Eng.), called also Fa-la. An old form of part song in simple counterpoint. Ballet (Fr.) [bal-lfh). A combination of music and dancing, designed to tell a story in pantomime. Balletto (It.) {bal-let'-to). A ballet. Used as a name for a movement by Bach. Ballo (It.). A dance; a ball. Ballo in maschera [inas-keh-rali). Masked ball. Band. (l) A company of instrumentalists. (2) The term is used to distinguish the vari- ous groups of instruments in the orchestra ; as, string band, wood band, brass band. (3) The commonest use of the word is as ap- plied to a company of players on brass instruments. (4) A band composed of wood and brass instruments is called a harmony band. Band (Ger.) [bonf). A volume ; a part. Banda (It.) [ban-dah). A band. Bandola [ban-do' -laJt). A variety of man- dolin. Bandera (Fr. ) [ban- do' - 7-ah), Bandore (Eng.), Pandoura (Gk.). An obsolete instrument of the guitar family. Bandurria (Span. ) {ban - door - ree -ah). A variety of guitar with wire strings. Banger, Bania, Banja, Banjo. An instru- ment resembling a guitar, with a circulai body, consisting of a broad hoop of woo(^ covered with parchment, generally provided with five strings. The modern banjo is furnished with frets and with a screw mech- anism to tighten the parchment. Bar, A line drawn across the staff or staves to divide the music into portions of equal duration. The portion enclosed between two bars is called a measure. The almost universal custom of musicians, however, is to use bar in the sense of measure. Barbaro (It.) {bar' - bah - ro). Savagely; ferocious. Barbiton (Gk.). (i) A variety of lyre. (2) A string instrument resembling the violoncello (obsolete). Barcarole, Barcarolle (Fr.) {bar-ca-rol), Barcarola (It.) {bar-ca-ro-lah), Barcaru- many. B. 1710; d. 1784. Sons of J. S. Bach. Baillot, Pierre Marie Frangois de Sales {bai- yo). Violinist; France. B. 1771 ; d. 1842. Balatka, Hans. Pianist and conductor; Ger- many. B. 1827. Balfe, Michael William. Opera and song writer. B. 1808 ; d. 1870. BAREM 18 BASSOON ola (It.) [liaj'-ca-roo-o-Ia). A boat-song; gondolier's song ; vocal or instrumental com- positions in the style of the Venetian gondo- liers' songs. Barem (Ger. ) {bah-rehni). A soft organ- stop ; closed pipes of eight- or sixteen-foot tone. Bargaret (Fr.) (/;rtr-.<;^(?//-;-,?/?), Barginet (Fr.) {bar-zhee-neh), Berginet (Fr. ) (behr-zhee- tieh), Bergiret (^bchr-zhee-reli). A shep- herd's song ; pastoral song. From berger (Fr. ), a shepherd. Baribasso (It.). A deep bass voice. Bariolage (Fr. ) {bah-ree-o-laje), A medley; a series of cadenzas. Baritenor. A low tenor. Baritone. A brass instrument ; a clarionet of low pitch ; an obsolete variety of the viol family ; the male voice ranging between bass and tenor (also written barytone) ; the F clef on the third line (not used now). Barocco (It.), Barock (Ger.), Baroque (Fr.) [ba-rok). Irregular; whimsical; unusual. Barquade, Barquarde (Fr.) [bar-kad, bar- kafd). Same as Barcarole. Barre (Fr.) [bar-reh'). In guitar playing, pressing the first finger of the left hand across all the strings ; the finger acts as a temporary "nut," raising the pitch of the strings. Barre (Fr.) [bar). Bar. Barre de repetition. A double bar with re- peat marks. Bas dessus (Fr.) [ba/i-des-soo^). The mezzo- soprano voice. Base. Old way of writing bass. Bass, Basso (It.), Basse (Fr.), Bass (Ger.). Low ; deep. Basse chantante (Fr. ) {shan-tont). Bari- tone voice. Basse chiffree (Fr. ) \shif-freli). Figured bass. Basse continue (Fr. ) . Same as Figured Bass. Basse de cremone (Fr. ) (cveh-mone). Bas- soon. Basse d'harmonie (Fr.) [d' a r- mo-nee). The ophicleide. Basse de hautbois (Fr.). The English horn. Basse de viole (Fr.). Violoncello. Basse de violon. The double bass. Bargiel, Woldemar {bar-gee! , vol deh-iiiar"). Composer and pianist ; Germany. B. 1828; d. 1897. Barrnan, Carl. Pianist and composer; Ger- many and U. S. B. 1839. Barnb_^, Joseph. Composer; England. B. "838; d. 1896. Barnett, John. Composer. B. 1802; d. tQ^o Basse taille (Fr.) [ta/i-ee). Baritone voice. Bass-bar. A strip of wood glued to the belly of instruments of the violin family under the lowest string. Bass Clef. The F clef on the fourth line. Bass-Flote (Ger.) {Jla-teh). A low-pitch flute. Bass-Geige (Ger.). The violoncello. Bass-Pommer (Ger.). An obsolete ancestor of the bassoon. Bass-Posaune (Ger.) [po-zc7u-neh). Bass trombone. Bass-Schliissel (Ger.) [sc/ilis-sel). Bass clef. Bass-Stimme (Ger.) [s'im-me/i). Bass voice or part. Bass Tuba. A brass instrument of low pitch. Bass Viol. The largest viol of a set or " chest " of viols. Bass Voice. The lowest male voice. Basset Horn. A variety of the clarionet, ranging from F below bass staff to C above treble staft ; rich quality of tone; a favorite of Mozart, who used it in several of his operas and in his Requiem Mass. Basetto (It.). An eight- or sixteen-foot reed- stop in the organ ; obsolete name for viola. Basso (It.). The lowest part ; a bass singer. Basso buffo (It.). A comic bass singer. Basso cantante (It.) {can-tan' -teK). A vocal or singing bass. Basso concertante (It.) {con-cker-tan' -teli). The principal bass that accompanies solos and recitatives. Basso continue (It.). A figured bass. Basso obbligato (It.) {ob-blee-gah'-to'). An essential bass ; one that may not be dis- pensed with. Basso ostinato (It.) {os-tee-nah'-to). Liter- ally, obstinate bass ; a continuously repeated bass with constant variation of the upper parts ; generally used as the foundation of that member of the suite called the Passa- caglia. Basso profundo (It.). A very deep, heavy bass voice. Basso ripieno {\\..) {ree-pee-eh'-no). A " fill- ing up ' ' bass. See Kipietio. Bassoon, Basson (Fr.), Fagotto (It.), Fagott (Ger.). A wood wind instrument with double reed ; the bass of the wind Barnett, John Francis, nephew of above. tJoiii|ju:,t,i and pianist; England. B. 1837; .1. 1898. Bartholomew, Mrs. Ann. Organist and composer; England. B. 1811 ; d. 1S91. Bartlett, Homer N. Composer; U. S. A. B. 1846. BASSON QUINTE 19 BINARY FORM band ; compass from B!2 below bass staff to BJ2 in treble staff (two or three higher notes are possible). Basson quinte (Fr. ) [kangt). A bassoon a fifth higher than the preceding. Biton(Fr.). (i) The stick used by a conductor; also, figuratively, his method of conducting. (2) A pause of several measures, signified thus 12 in modern music, viz.: one or two heavy diagonal lines with figures over to indicate the number of bars rest. Batterie (Fr.) {hat-teh-ree). (l) The roll on the drum. (2) Repeated or broken chords played staccato. (3) Striking instead of plucking the strings of the guitar. Battuta (It.) (bat-too' -tah). A measure or bar. Bauerpfeife (Ger. ) {bower-pfifeh). An 8-foot organ-stop of small scale. Baxoncillo (Sp.) [bah-hon-theeF -yo). Open diapason. Bayadere. See Bajadire. Bayles (Sp.) [bahl-yelis). Comic dancing songs. Bearings or Bearing Notes. The notes first tuned by an organ- or piano-tuner as a guide to the rest. Beat. ( I ) The motion of the hand or baton by which the time (rate of movement) of a piece is regulated. (2) The equal parts into which a measure is divided. (3) The throbbing heard when two sounds not ex- actly in unison are heard together. (Beats are also produced by other intervals.) Bebung (Ger.) [beh-booiik). Trembling; an effect obtained on the obsolete clavichord by rapidly vibrating the finger u|) and down without raising it from the key ; the tremolo- stop in an organ. Batiste, Antonio Edward (^ba-teest). Organ- ist and composer; France. B. 1820 ; d. 1876. Beethoven, Ludwig van ibay-to-fett). Com- poser ; Germany. B. 1770; d. 1S27. Bellini, Vincenzo {bel-lee-nee, vin-chertt-so). Opera; Italy. B. 1802; d. 1835. Benda, Georg. Composer ; Bohemia. B. 1721 ; d. 1795. Bendel, Franz. Pianist and composer ; Bo- hemia. B. 1833; d. 1874. Bendix, Otto. Composer and pianist ; Copen- hagen. B. 1S50. Benedict, Sir Julius. Composer and pianist ; Germany. B. 1804; d. 1885. Becken (Ger.). Cymbals. Begeisterung (Ger.) [be - geis' - te - roonk). Spirit ; excitement. Begleitung (Ger.) {be-glei'-too7ik). Accom- paniment. Bell. (l) A cup-shaped metal instrument. (2) The cup-shaped end of brass and some wood instruments. Bell Diapason, Bell Gamba. Organ-stops with bell-shaped mouth. Bellezza (It.) (bel-let'-zd). Beauty of ex- pression. Bellicosamente (It.) [bel-le-co-sa-vien' -teh). In a warlike manner; martially. Belly. The upper side of instruments of the violin and guitar families. Beklemmt (Ger.) (beh-kkmt'). Anxious; oppressed. Bemol (Fr.) [beh-mol). The sign b. Ben (It.) [bekn). Well; as, ben marcato, well marked. Bene placito (It.) (beh-neh pla-chee'-to). At pleasure. Bequarre or Becarre (Fr.) {beh-kar). The sign t[. Berceuse (Fr.) [behr-soos). A cradle-song ; lullaby. Bergomask or Bergamask. A lively dance in triple time. Bes (Ger. ) {behs) . B double flat. Bestimmt (Ger.). With energy; con ener gia. Bewegt (Ger.) (beh-vehgt'). Moved; with emotion ; con moto. Bev^egung (Ger.) [beh-veh' -goonk'). Motion. Bien-chante (Fr. ) {be-ang-shong-tek). Liter- ally, well sung ; smoothly; cantabile. Bifara (Lat.). An organ-stop; same as Vox auge/ica ; two pipes not in perfect unison. Binary Form. A movement founded on two principal themes. Bennett, Sir Wm. Sterndale. Composer and pianist; England. B. 1816; d. 1875. Berg, Conrad M. Pianist; Alsace. B. 1785; d. 1852. Beriot, Ch. Auguste de [beh-ree-o). Violinist; France. B. 1802; d. 1870. Berlioz, Hector {behr-lee-6). Composer; France. B. 1803 ; d. 1869. Bertini, Henry I. [ber-tee-nee). Pianist', England. B. 1798; d. 1876. Best, Wm. Thomas. Organist ; England. B. 1826; d. 1897. Beyer, Ferdinand. Pianist ; Germany. B. 1803 ; d. 1863. Biletta, G. Emanuele (3^^-/f/-/«). Composer; Italy. B. 1825. BINARY MEASURE 20 BRAVURA Binary Measure. A measure wilh two beats. Bind. A tie. The same sign, when over two or more notes on different degrees, is called a slur. Bis (Lat.). Twice. When placed over a short passage, inclosed thus, Bis signi- fies that it is to be played twice. Bit. A small piece of tube used to lengthen the trumpet or other brass instrument to alter the pitch. Bizzarramente (It.) {bid-zar7-a-mente), Biz- zaria (It.) {bid-zarria), Bizzaro (It.) {bid- zarro). Bizarre; fantastic; odd; droll. Blanche (Fr. ) (blottgsh). A half-note; minim. Blanche pointee {poin-teK). A dotted half- note. Blase-Instrument (Ger.) {blah-zeh). Wind instrument. Bob. A technical term in bell ringing. Bocca (It.). The mouth. Con bocca chiusa {^kee - 00 - so), with closed mouth; humming. Bocca ridente (It.) {ree-den' -teli). Smiling mouth ; the proper position of the mouth in singing. Bocktriller (Ger.). A bad trill. (Literally, goat's bleat). ^o\s{Yx.) (bo-a). Wood. Les bois, the wood wind. Bolero (Sp.) (bo-leh-7-o). Spanish dance in ^-time ; also called Cachuca [ka-ckoo-ka). Bombard. An 8 or 1 6-foot reed-stop in the organ. Bombardon. A large, deep-toned brass in- strument. Bird or Byrd, Wm. Composer; England. B. 1538; d. 1623. Bishop, Anna. Soprano singer; England. B. 1810; d. 1884. Bishop, Sir Henry Rowley, her husband. Composer, opera and song ; England. B. 1785; d. 1S55. Bizet, "Georges" (bee-zeh). Opera; France. B. 1838; d. 1875. Blahetka, Leopoldine {blah-et-kd). Pianist .) [she -va- leh). Bridge of string instruments. Chiara (It.) {ke-ah-rah). Clear, pure. Chiaramente (It.) (ke - ah - rah - vien' - teh). Clearly, distinctly. Chiarezza (It.) {ke-ah-ret'-za), con. With clearness. Chiarina (It.) [/ce-ah-ree'-na). Clarion. Chiave (It.) {ke-ah'-veh). Key or clef. Chica (Sp.) [chee-ka). Old Spanish dance. The original of Giga, Jigue, and Jig. Chi^sSi (\i.) [ke-eh^-sa). Church. Concerto da chiesa, a church concert.' Sonata da chiesa, a church sonata. Chime. A set of bells, generally five to ten. To chime ; to play a set of bells by striking them with hammers or by swinging their clappers. Chime Ringing is to swing the bells themselves. Chirogymnast, Chiroplast. Obsolete ma- chines for strengthening the fingers of pian- ists and keeping them in position. Chitarra (It.) (kit-tah^-rah'). Guitar. Choeur(Fr. ) [koor). Chorus, choir. Choir. (l) A company of church singers. (2) The part of the church appropriated to the singers. In English churches (Anglican) the choir is divided into two parts, called the decani, or choir on the dean's side, and can tori, or choir on the cantor's side. When chanting, they generally sing anti- phonally, joiningin the "gloria." In anthems the words decani and cantoris are printed to indicate which side is to sing a given part. Choir Organ. One of the divisions of the organ, the manual for which is generally the lowest. Was originally called chair organ ; called in France prestant. Chor (Ger.) {kore). Chorus, choir; a num- ber of instruments of the same kind. Choragus (Gk.). (i) Leader of a chorus. (2) A musical official at Oxford College, England. Choral, (i) For a chorus. (2) An old form of psalm-tune. Choral Service. A service of which singing is the most prominent part. Chord, Akkord (Ger.), Accord (Fr.), Ac- cord (It.). A combination of three or more Chappell, W^m. Historian ; England. B. iSoq; d. 1888. Cherubini, Maria Luigi C. S. [keh-roo-bee- nee). Composer and theorist ; Italy. B. 1760; d. 1842. Cheve, Emile J. M. {sheh-veh). Inventor of sim]:)lified system of music ; France. B. 1804; d. 1864. sounds — common or perfect chord, or triad. Consists of any sound with its third and' fifth ; it is called major when the interval from one (or root) to three contains two whole tones ; minor, when it contains a tone and a half; diminished, if there are three whole tones from one to five ; augmented, if there are four whole tones from one to five. A chord is inverted when its root is not at the bass ; chords with more than three letters are dissonant chords, called chords of the seventh if they contain four letters, chords of ninth if they contain five letters, etc., etc. Chords bear the name of the degree of the scale upon which they are written : First, tonic ; second, supertonic ; third, mediant; fourth, subdominant ; fifth, dominant ; sixth, submediant ; sev- enth, leading note or diminished chord. Chorister. A chorus- or choir-singer; a precentor. Chorus. (i) A company of singers. (2) The refrain of a song. {3) A composition for a company of singers. (4) The mixture- stops in an organ. Chromatic, Chromatisch (Ger.), Chroma- tique (Fr.), Cromatico (It.), (i) Sounds foreign to the key. (2) A scale, consist- ing of half-tones. Chromatic chord, one including foreign sounds. Foreign to the key ; chromatic interval, one not found in the major scale; chromatic half-tone, chang- ing the pitch without changing the letter, as C, C#. Church Modes. The scales derived from the Greek, in which Gregorian music or plain songs are written. Cimbal. A dulcimer ; harpsichord. Cimbali (It.) {cliim-ba-lee). Cymbals. Cimbalo (It.) [chivi'-ba-lo). See Cembalo. Also a tambourine. Cimbel (Ger.) [tsiin-bel). A mixture-stop in the organ. Cink (Ger.) [tsink). Cinq (Fr.) [satik). A small reed-stop in the organ. Cinque pace (Fr.) (sank pace). An old French dance. In old English, sink a pace. Circular Canon. One which ends a half-tone higher than it begins, consequently will, if repeated often enough, go through all the keys. Chickering, Jonas. Piano maker ; U. S. A. B. 1798; d. 1853. Chopin, Frederick F. [sho-pang). Composer and pianist ; Poland. B. 1809; d. 1849. Chorley, Henry F. Critic ; England. B. 1808; d. 1872. Chwatal, Franz X. [shvah' -tal). Composer; Bohemia. B. 1808; d. 1879. CIRCULUS 26 CLOSE HARMONY Circulus (Lat.). A circle; the old sign for what was called perfect time, three beats in the measure ; for imperfect time, two beats in the measure, the circle was broken in half, thus, C. It is from this the sign for com- mon time is derived ; it is not as is generally supposed the letter C. Cis (Ger.) [fsi's). C sharp. Cithara (Gk.). An ancient lute. Citoli. Old name for the dulcimer. Civetteria (It.) {chee-vet-tee'- rea), con. With coquetry. Clairon (Fr.). Clarion. Clangtint. A term introduced by Tyndal to designate the quality of sounds (translation of Ger. Klangfarbe) ; means much the same thing as the French word timbre. Claque bois (Fr. ) {clack bod). The xylo- phone ; in German, Strohtiedel ; straw fiddle. Italian, Organo di legno. Graduated strips of hard wood laid on supports made of straw, played by striking with small hammers held in the hands. Clarabella. An eight-foot soft organ-stop. Clarabel Flute. The same stop when of four- foot tone. Clarichord. An old variety of the harpsichord. Clarinet or Clarionet (a little clarion). A wind instrument with a beating reed, in- vented in 1654 by Denner. The compass of the clarinet is from E third space bass to the second C above the treble (the highest octave is rarely used). Clarinets are made in several keys ; those used in the orchestra are in C, B? and A ; the Bb clarinet sounds a whole tone lower than the written notes, the A clarinet a minor third lower ; alto and bass clarinets are also used, the former in F and Eb, the latter an octave below the ordinary clarinet. The clarinet has four well-marked registers: the first, or chalu- nieau, extends from the lowest note to the octave above ; second to Bt> in treble staff; third to C above treble staff; fourth the rest of the compass. Clarinetto (It.), Klarinette (Ger.), Clari- nette (Fr.). The clarinet. Clarino (It.) {cla/i-ree-no). Clarion or trum- pet ; an organ-stop; four-foot reed. Claviatur or Klaviatur (Ger.) {kla-fee-a- toor'Y Keyboard. Clavicembalo (It.) [cIa-7'ee-cJiejn'-ba-lo). keyed dulcimer ; the harpsichord. Clavichord. An instrument resembling a square piano. The strings were vibrated by forcing wedge-shaped pieces of brass called tangents against them. By depressing the Cimarosa, Dominico {chee-viah-ro-sah'). Com- poser ; Italy. B. 1749; d. 1801. Clapisson, Antonie L. [clah-pee-song). Com- poser and pianist ; Italy. B. 1808; d. 1866. keys, the tangent acted both as a means of vibrating the string and as a bridge. When the finger was raised, the string was damped by a piece of woolen cloth wrapped round it, between the tangent and the pin-block. The chief interest in this obsolete instrument is the fact that it was tb i favorite of J. S. Bach. Clavi9on (Fr.) (cla-vee-soong) [from Lat. clavis, a key]. The harpsichord. Clavicytherium. A variety of harpsichord. Clavier or Klavier (Ger.) {klah-feer'). (i) Keyboard. (2) Used as a name for the piano- forte. Clavier (Fr. ) [klah-vee - eh). An organ manual. Clavierauszug (Ger.) [k/ak-feer-ows-tsoog). A pianoforte score or edition. Clef [from Lat. clavis, a key]. A sign placed on the staff to indicate the names and pitch of the sounds. Three clefs are used in modern music: (i) The treble or G clef, EK also called violin clef; this is now always placed on the second line. (2) The Cclef:— H _ . . this clef, when on first line, is called soprano clef; on second line, mezzo-soprano clef; on third line, alto clef, also viola or alto trombone clef; on fourth line, tenor clef; used also for upper notes of violoncello and bassoon. The C clef always signifies middle C ; that is, C that lies between the fifth line bass staff and first line treble staff. Bass or F clef, Ol placed on the fourth line, oc- casionally on the third, when it is called the baritone clef; used for bass voices and all bass instruments. Cloche (Fr.) {closh). A bell. Clochette (Fr.) {closhet'). A small bell. Close Harmony. When the sounds forming the chords are drawn together as much as possible. -tSl 122: I 2 No. I, close harmony; No. 2, open har- mony. Clarke, Hugh A. Theorist and composer; Canada. B. 1839. Clay, Frederick. Composer; England. B. 1840; d. 1889. CODA 27 CONCITATO -Joda (It.). "Tail." A passage added after the development of a fugue is finished, or after the " form " of a sonata, rondo, or any other composition has been completed, to produce a more satisfactory close. Codetta (It.). A short coda. Cogli stromenti (It.) {^col-yee sti-o-rnen' -tee). With the instruments. Coi {coee), Col, Coll', Colla, CoUe, Collo (It.). With the. Col arco. With the bow. Used after the direction "pizzicato." Col basso. With the bass. Col canto. W.'th the melody. Col legno (It.) {col-latie-yo). With the wood ; a direction to strike the strings of the violin with the back of the bow. Colla parte. With the principal part. Colla voce. With the voice. In score writ- ing, to save the labor of re-writing a part which is to be played by two or more in- struments. It is usual to write the part for one instrument, for instance, the violin, and write the words col violino on the staff ap- propriated to the other instrument. Colophony. Rosin. Colorato (It.) [co-lo-rah'-to). Florid. Coloratura (It.) {co-!o-rah-too'-rah). Florid passages in vocalization. Come (It.) (coh-me/i). As; like. Come prima (It.) (coh'-meh pree'-maJi). As at first. Comes (Lat.) [comes). The answer to the subject, dux of a fugue. Dux means leader ; conies, follower. Comma. The difference between a major and a minor tone. Commodamen''te, Commodefta Ouietly ; leisurely ; without hurry. Commodo (It.) [com-iiio'-do). At a con- venient rate of motion. Common Chord. The combination of any sound (called the root) with its major or minor 3d and perfect 5th. Common Metre, or Ballad Metre. A stanza, consisting of alternate lines of four and three iambuses ; as. How blest is he who ne'er consents By ill advice to walk. Common Time. Two beats, or any multiple of two beats, in the measure. The signs |, C, (I), 4 (^, ?, s rare) indicate simple com- C'ementi, Muzio (cleh-iuen-fee, mootsio). Composer and pianist ; Italy. E. 1752; d. 1832. (It.). mon time; |, |, "^^ , indicate compound common time, \ being compounded from two measures of |; ^ from two measures uf •|; and y from four measures of \ time. Compass. The complete series of sounds that may be produced by a voice or instru- ment. Compiacevole (It.) {co)7i-pea-cheh' -vo-leh). Agreeable ; pleasing ; charming. Complement. The interval which being added to another, will make an octave. A complementary interval is found by inverting any given interval that is less than an octave. Composer, Componista (It.), Componist or Komponist (Ger. ). One who composes music. Composition. The sounds that make up the series of a mixture- or other compound or- gan-stop. Composition Pedal or Knob. A mechanism worked by the foot or by pressing a button with the finger, which throws on or off cer- tain combinations of stops in the organ. Compound Intervals. Intervals greater than the octave. Compound Times. Those formed by adding together several measures of simple time. 4> 8' V' V ^•'^ compound common, having an even number of beats ; \,\ are compound triple, having an odd number of beats. Con (It.). With. Concert. Any musical performance other than dramatic. Concertante (It.) (con-cher-tan' -teh). A composition in which two or more parts are of equal importance. Concerted Music. Music for several voices or instruments, or for voices and instruments combined. Concertina. A small free-reed instrument somewhat like the accordion, but far su- perior. Concertmeister (Ger.). Concert master; the leader or conductor of the orchestra. Concerto (It.) {con-cher'-to), Conzert (Ger.), Concert (Fr. ) {con-sehr). A composition designed to display the capabilities of one instrument accompanied by others. Concert spirituel (Fr.) [con-sehr spiri-too-el). An association in Paris for t!ie performance of sacred music, vocal and instrumental, founded 1725. Concertstiick (Ger.) [steek). Concert piece; concerto. Concitato (It.) [con-chee-tah'-to). Agitated. Concone, Giuseppe U-oii-co-neh , jeif-sep-peh). Teacher and composer; Italy. V>. iSio; d. 1861. CONCORD 28 COUCHED HARP Concord. Agreeing. Literally, chording with. Concordant, (i) Agreeing with. (2, Fr. ) The baritone voice. Conductor. The director or leader of a chorus or orchestra. Cone Gamba. An organ-stop with bell- shaped top. Conjunct (Lat. , con-junclus). Joined to- gether. Adjacent sounds in the scale. Conjunct Motion. Moving by steps. Consecutive. Two or more of the same in- tervals in succession. Consecutive Fifths. Two voices or parts m'oving together a fifth apart. Consecutive Octaves. Two voices or parts moving together an octave apart. Consecu- tive fifths and octaves are forbidden by the laws of composition, but the prohibition is frequently disregarded by the best writers. Consequent. The answer to a fugue subject ; comes. Consolante (It.) {con-so-lan' -tehy Soothing. Consonance. Literally, sounding together. Those intervals that enter into the compo- sition of the common chord and its inver- sions, viz., major and minor 3d and 6th, perfect 4th and 5th, and dctave. The major and minor 3d and 6th are called imperfect consonances, being equally consonant whether major or minor. The perfect 4th, 5th, and Sth are called perfect because any alteration of them produces a dissonance ; i. e., an interval that requires resolution. N. B. — This definition of consonance ap- plies only to the modern tempered scale. Con sordini (It.) (sor-dee'-nee). With the mute, (i) In piano music, with soft pedal. (2) Instruments of the violin family : a di- rection to fasten on the bridge a small im- plement of wood or metal which has the effect of deadening the tone. (3) Brass instruments : a direction to place a cone- shaped piece of wood covered with leather in the bell, which has the same effect. Consort. A chest of viols. Contra (It.). Against; in compound words, means an octave below, as contra-bass, contra-fagotto. Contra danza (It.). Country dance. Contralto (It.). The lowest female voice, usually called alto. Contraposaune. A 16 or 32-foot reed-organ stop. Converse, C. C. Composer; U. S. A. B. 1832. Corelli, Arcangelo [cor-rel-lee). Violinist; Italy. B. 1653; d. 1713. Contrapuntal. Belonging to counterpoint. Contrapuntist. One skilled in counterpoint, or who writes on the subject of counterpoint. Contratenor. The highest male voice. Contra violone (It.) [vee-o-lo^-7ieh), Contra basse (Fr.). Double bass. Countertenor. The developed falsetto. See Alto. Convict of Music. An institution for musi- cal instruction. [Lat., convicttts, an asso- ciate, from convivere^ to live together.] Cor (Fr.). A horn. Cor Anglais [ong-la\^. English horn ; 3 variety of the hautboy, sounding a fifth lower. Corale (It.) {co-rah'-lih). A choral. Coranto (It.), Courante (Fr.). An old dance in triple time, used as a movement in the suite. Corda (It.). String. Una corda, Due corde, Tre corde or Tutte corde, one string, two struigs, three strings, all the strings, are directions for the use of the pedal in Grand J>. f. that shifts the action so as to strike one, two, or all of the strings allotted to each key. Cornamusa (It.) {co7-/!a-moo-.m), Corne- muse (Fr. ) {^cor7i-vioos). Bagpipe. Cornet, Cornetto (It.), Zinke (Ger.). (i) Originally a coarse-toned instrument of thfl hautboy family. (2) A compound stop in the organ. (5) Cornet-a-piston, a biass instrument of the trumpet family. (4) Echo cornet, a compound organ-stop with small scale pipes, usually in the swell. Corno (It.). Horn; the P'rench horn, or Waldhorn (Ger.). The horn of the or- chestra. Corno alto. High horn. Corno basso, low horn. Corno di basetto. Basset horn. Corno di caccia. Hunting horn. Corno Inglese. Cor Anglais. Cornopean. Same as Coriiei (brass) ; a reed- stop on the organ, S-foot tone. Coro (It.). Chorus. Corona (It.). " Crown ; " a pause. Corrente (It.) i^cor-ren'-teJi). Coranto. Cottillion (Fr., Cottillon, co-tee-yon'). A dance with numerous figures, originally rather lively, now much the same as tiie Quad- rille. Couched Harp. The spinet. Corri, Domenico (<;77r-;Yf). Composer; Italy. B. 1746; d. 1825. Costa, Sir Michael. Composer and conduc- tor ; Italy. B. 1810; d. 1884. COUNT 29 CZIMKEN Count. The beats in the measure are called counts, from the practice of counting the time. Counterpoint [from Latin contia-punctus, against the point]. Notes were originally called points, hence when another set of points were added above or below the points of the theme, they were called counterpoints. In modern use counter- point may be defined as the art of making two or more parts move together with such freedom that they seem to be independent, each one with a design of its own. Counter-subject. A theme employed in conjunction with the principal theme in a fugue. Coup d'archet (Fr.) {coo d\i7--shay). A stroke of the bow. Coupler. A mechanism in the organ, by means of which the keys of two manuals are joined so that the depression of the keys of one causes the depression of the correspond- ing keys of the other. Pedal Coupler joins pedal keys to one of the manuals. Octave Coupler causes the octave above or below each key struck to sound either on the same or on another manual. Couplet (Fr.) [coo-play). Stanza; ballad. Couplet (Eng. ). A pair of rhvming lines. Two notes played in the time of three of the same denomination. Cracovienne (Fr. ). Polacca. Cremona. ( i ) A town in Italy celebrated for its violin makers. (2) A violin made in Cremona. (3) A soft S ft. reed organ stop (corrupted from Kn/i/n/i/ioru). Couperin, Armand Louis. Organist. B. 1600; d. 1665. Couperin, Frangois [koo-peh-raug). Called le Grand. Composer and improver of sys- tem of fingering; France. B. 1668; d. 1733- Cowen, Frederick H. Composer ; England. B. 1852. Cramer, John Baptist {crah-vie7-). Pianist and composer; Germany. B. 1771; d. 1858. Crescentini, Girolamo {creshen-tee'-nee). So- pranist and composer ; Italy. B. 1766; d. 1846. Cristofori, Bartolomeo di F. {c?-is-to-fo-ree). Inventor of the piano; Italy. B. 1651 ; d. 1731- Crescendo (It.) (cray-slien-do'). Abbrevia- tion, crcs., sign : — — • ~ to increase in loudness [from It. crescere, to increase]. Crescendozug (Ger. , hybrid of It. and Ger. ). The swell box of the organ. Croche (Fr. ) (crosli). An eighth-note. Crotchet. A quarter-note. Crowd, Crouth, Crood, Crooth. An an- cient string instrument played with a bow. Of Celtic origin. Crush Note. Appoggiatura. Cue. The last notes of one voice or instrument, written in the part of another as a guide to come in. Cuivre (Fr. ). Brass. Faire cuivrer {fare koo-e-vreh), a direction to produce a rattling metallic note on the horn by insert- ing the hand partway in the bell. Cuvette (Fr.) {koo-vet'). The pedal of a harp. Cyclical Forms. Forms of composition in which one or more themes return in pre- scribed order, as sonata, rondo, etc. Cymbals {Bee ken, Ger., Piatti, It.), (i) Discs of metal clashed together or struck with drumsticks, used in the orchestra and in military music. (2) A shrill compound stop in the organ. Czakan {cha-kan). A cane flute. Czardas (ckar-dcis/i). A Hungarian dance with sudden alterations of tempo. Czimbel {chiin-bel'). A dulcimer strung with wire strings ; a national instrument in Hungary. Czimken {chifn-keti). A Polish dance. Crivelli, Domenico {cree-vel-lee). Teacher of singing; Italy. B. 1794; d. 1856. Cross, Michael H. Composer, organist ; U. S. A. B. 18 jj- Crouch, Frederick N. Ballad writer; Eng- land. B. 1808; d. 1896. Cui {coo-ee'), Cesar A. Pianist; Poland. B. 1835- Curschmann, Karl F. (koorsch-man') . Com- poser ; Germany. B. 1805 ; d. 1841. Curwen, Rev. John. Inventor of Curwen's system; England. B. 1816; d. 1880. Cusins, Sir Wm. G. Pianist, composer. B. 1833; d. 1893. Cuzzoni, Francesca {coo(zo-nee). Soprano; Italy. B. 1700; d. 1770. Czerny, Karl {chtir-neh). Composer and pi- anist ; Austria. B. 1791 ; d. 1857. D 30 DEMI-BATON D D. Second letter in the natural scale; the third string of the violin ; second string of viola and 'cello ; abbreviation of Da or Dal ; from D. C, da capo, D. S., dal segno. Da (It.). From. Da ballo (It.). In dance style. Da camera (It.). Chamber music. Da capo (It.). From the beginning; ab- breviated L). C. Da capo al fine. From the beginning to the word fine {/ee-uch), the end, or a double bar with /r\ over it. Da capo al segno (It.) {se/m-yo). From beginning to the sign ^ D. C. al '^ e poi la coda. From the begin- ning to the sign, then the coda. D. C. senza replica (It.) [se/iii/za reJt'-plee- lali). From the beginning without repeat- ing the parts. D. C. senza repetitione {reh-peh-tee-shee- o-Hi'/i) means the same as above. Da capella (It.). Church music. Daina or Dainos. A Lithuanian love-song. Damper. A mechanism in the piano to stop the vibration of the strings when the finger is raised from the key. Damper Pedal. The miscalled loud pedal, a mechanism controlled by the foot for raising all the dampers at once from the strings. Danse. A piece of music meant to accom- jiany rhythmical movements of the body. Darabookka. An Arabian drum. Dash, (i) A line drawn through a figure (^) in figured bass signifies the note must be raised chromatically. (2) A short stroke over a note, signifying it is to be played staccato. Daumen (Ger.) {dota ->iien). The thumb. D dur (Ger.). D major. Debut (Fr.) [ch'/i-lwo). A first appearance. Dalayrac, Nicolas (dah-leh-)-ak). France. 1;. 1753; d. 1809. D'Albert, Ch. L. N. Writer of band music; Germany. B. 1809; d. 1886 in London. D'Albert, Eugene, his son. Pianist; Scot- land. B. 1864. Damoreau, Laura C. M. [dah-mo-ro) , known as Cinti Damoreau {chin-tec). Singer. B. 1801 ; d. 1863. Damrosch, Leopold. Violinist; Posen. B. 1S32; d. 1885. Damrosch, Walter, his son. Composer, conductor; Germany. B. 1862. Damrosch, Frank. Conductor, educator; Germany. 1!. I "^59. Decani (Lat.). (i) The dean's side in a cathedral. (2) That part of a choir that occupies the dean's side. Deceptive Cadence. One in which the dominant chord is not followed by the tonic. Decima (Lat.). An organ-stop pitched an octave above the tierce. Deciso (It.) [clch-chee'-so). Decided; ener- getically. Declamando (It.) (deh-cla-7nan'-do). In de- clamatory style. Declamation. The correct enunciation of the words in singing, and their rhetorical accent. Decres. Abbreviation of Decrescendo (It.) {deh-creh-slien' -do). To decrease in volume of sound. Sign : j^^UlI^ ^— — ^ Decuplet. A group of ten notes played in the time of eight of the same denomina- tion. Defective. The diminished 5th is sometimes so called. Degree. From one letter to the ne.xt, a de- gree may be a half-tone, minor second ; whole tone, major second ; tone and a half, augmented second. Del, Delia, Delli, Dello (It.). Of the. Deliberatamente (It ). Deliberately. Deliberato (It.) [deh-lee-heh-rali' -to), con. With deliberation. Delicatamente (It.). Delicately; gently. Delicatezza (It.) (deh-Iee-cah-tetza), con. With delicacy. Delicatissimo (It.). Exceedingly delicate. Delicato (It.) {deh-lce-cah-to). Delicate. Delie (Fr.) (deh-lee-d). The reverse of le- gato. Literally, not tied. Yi€\.v:\o [\\..)[deh-lee-reeo),zovi. With frenzy. Demi-baton {Yr.){deh-i7iee-bah-tong). A rest of two measures. Dancla, Jean Ch. Violinist; France. B. 1818; d. 1895. David, Felicien C. [da/i-vccd). Composer; France. B. 1810; d. 1876. David, Ferdinand (dah-veed). Violinist; Germany. B. 1810; d. 1873. Day, Alfred. Theorist; England. B. 1810; d. 1849. De Koven, R. Composer; U. S. A. B. 1859. Delibes, Leo (deh-Ieeb). Operas; France. B. 1836; d. 1S91. DEMI-CROCHE 31 DISPOSITION Demi-croche (Fr.) [crosh). A sixteenth- note. Demi-jeu (Fr. ) {zheu). Half play; a direc- tion in organ playing to use half the power of the instrument. Demi-pause (Fr. ). A half-rest. Demi-semi-quaver. Thirty-second note. Demi-soupir (Fr.) {soo-pee). Eighth-rest. Derivative. Any chord of which the root is not at the bass; an inverted chord. Des (Ger.). D flat. Descant or Discant. (i) The earliest at- tempts at adding other parts to a cantus were called descant. (2) The highest part (so- prano) in vocal music. Des dur (Ger.). DI2 major. Desiderio (It.) {i.{eh-sce-dee'-7-io). Longing. Des moll (Ger.). D2 minor. Dessus (Fr.) [iles-soo). The soprano part in vocal music. Destinto (It.) [lieh-stin-to). Distinct. Desto (It.). Sprightly; briskly. Destra(lt.). Right. Mano destra, the right hand. Mano sinistra, the left hand. CoUa destra, with the right. A direction in piano music< Detache (Fr. ) {(.ieh-tash-eJi). Detached; staccato. jDeterminato (It.). Resolutely; with de- termination. Petto (It.). The same. II detto voce, the same voice. Development. [In German, Dinr/ifiik- ning.'\ (I) The technical name of that part of a sonata form which precedes the return of the principal theme. In the develop- ment both the themes are used in fragments mixed with new matter, the object being to present the musical thought in every possible aspect. (2) The working out of a fugue. Devoto (It.). Devout. Devozione (It.) {<{eh-vot-see-o'-neh\, con. \\ ith devotion. Di (It.) {dee). By, with, of, for. Di bra- vura, with bravura. Literally, with bravery. Diana (It.), Diane (Fr.). A morning seren- ade; aubade. Diapason I Gr.). (l) An octave. (2) An organ-stop of 8-foot pitch, open or closed (stopped). (3) The standard pitch, A = 435 vibrations per second, not yet universally adopted. Diatonic, (i) The major and minor scales. Strictly speaking, the modern harmonic De Reszke, Eduard (rets-kay). Baritone; Poland. B. 1855. De Reszke, Jean {rets-kay), his brother. Tenor. B. 1852. minor is not jiurely diatonic, owing to the presence of the augmented 2d between 6 and 7. (2) Diatonic chords, melody, pro- gressive modulation, are those in which no note foreign to the scale in which they are written appears. [From Gr. dia-teino, to stretch; referring to the string of the canon or monochord.] Di colto (It.). Suddenly. Diecetto (It.) {dee-chetto). A composition for ten instruments. Diese (Fr.) [dee-ehs). A .sharp. Difficile (It.) {dif-fee'-chee-leh). Difficile (Fr.) {dif-fi-seel). Difficult. Di gala (It.). Merrily. Diluendo (It.) \_dilHere, to dilute]. Wasting away ; decrescendo. Diminished. (l) Intervals less than minor or perfect. (2) A chord with diminished 5 th, as on the 7th of the scale or the cd of the minor scale. (3) Diminished 7th chord, a chord composed of three superimposed minor thirds, as B D F A^ Diminuendo (It.). Same as Decrescendo. Diminution. In canon and fugue, w^hen the answer (comes) is given in notes of half (01 less) the value of those in the subject (dux). Di molto (It.). Very much. Allegro di molto, very i^ast. Direct. (l) A sign y\/\/ placed at the end of a staff to indicate what is the lirst note on the next ]5age. (2) In MS. music it indicates that the measure is completed on the next line. Direct Motion. Both (or all) parts ascending or descending together. Dis (Ger.). D shaip. Discant. See Descant. Discord. Cacophony; noise. Used incor- rectly for dissonance. Dissonance is musi- cal, but discord never is. Disinvolto (It.). Free; naturally; easily. Disjunct Motion. Moving by skips. Dis moll (Ger.). D*J minor. Disperato (It.), Con disperazione {dis- peh-ratz-eo'-neli). Desparingly; with des- peration. Dispersed Harmony. When the members of the chords are separated widely. Disposition, (i) Of a chord, the order in which its members are arranged. (2) Of a score, the order in which the instruments Devrient, Ed. P. [deh'-vree-ong). Basso; Germany. B. 1 801 ; d. 1877. Devrient, Mme. W. Schroeder. Soprano. B. 1804; d. i860. DISSONANCE 32 DOUBLE Bass are arranged on the page. (3) Of an or- chestra, the positions assigned to the differ- ent instruments. Dissonance. An interval, one or both of whose members must move in a certain way to satisfy the ear. All augmented and diminished intervals, seconds, sevenths, and ninths, are dissonances. Ditty. A short simple air, originally with words that contained a moral. Divertimento (It.) {(lee-ver-tee-j)ien' -to). Di- vertissement (Fr. ){di'e-vehr-tiss-i)iong). (l) A pleasing, light entertainment. (2) A composition or arrangement for the piano ; this is the most usual meaning. (3) A suite or set with a number of movements for instruments, called also a serenata. Divisi (It.). Divided; a direction that the siring instruments must divide into two masses or more, as may be indicated by the composer. Divisions. An old name for elaborate vari- ations. Divoto (It.). See Dei'o/o. D moll (Ger. ). D minor. Do. (l) The first note in the natural scale in Italy ; this syllabic was substituted for ui, the first of the Cniidonian syllables; tit is still retained in France. (2) In the " mov- a'ile do " system of singing, the keynote of every scale is called do. Dodecuplet. A group of twelve notes played in the time of eight of the same denomina- tion. Doigter (Fr.) {doy-teh). See Fingering. Dolcan, Dulciana. Soft eight-foot open organ-stop. Dolce. A stop of same character as dulciana, but softer. Dolce (It.) {dol-i/ii'/i). Sweet. Dolcemente, con dolcezza (It.) [dol-chet- zah). With sweetness. Dolciano, Dolcino (It.), Dulcan (Ger.). Dulciana stop. Dolcissimo (It.) (dole-chis-see- mo). As sweet as possible. Dolente (It.). Afflicted. Dolentimente (It.). Mournfully; afflictedly. Dolzflbte(Ger.) (,^//.f/«-/^/0. (i) The old German fiute with si.\ holes and one key. (2) A soft eight-foot organ-stop. Diabelli, Anton [dee-a-bel' -lee). Composer; Germany. B. 1781 ; d. 1858. Dohler, Theo. (de/i-ler). Pianist ; Italy. B. 1814; d. 1856. Donizetti, Gaetano [do-nee-tzet'-tee, gah-e- Domchor (Ger.) [do/iie-kor). Cathedral choir. Dominant, (i) The fifth note in the scale. (2) The reciting note in Gregorian chants. Dominant Chord. The major triad on the fifth of the major or minor scale. Dominant Key. The usual key in which the second theme of a sonata or rondo in major mode is written. Dominant Seventh. The seventh over the root added to the dominant chord. Dopo (It.). After. Doppio (It.) {dop'-pee-o'). Double, as (/c///^ viovenicnlo, double movement, i. e., twice as fast. Dorian. A Greek or ecclesiastical mode, D to D. Dot. (l) A dot after a note or rest increases its duration one-half; a second dot in- creases the duration one-half of the first dot r "I I I » p p p I 1 I u (2) A dot over a note signifies that it is to be played or sung staccato. (3) Dots com- bined with slur r in music for bow instruments signify the notes are to be played with one motion of the bow with a slight stop after each note ; in piano music, to raise the arm with stiff wrist after each note or chord and let it fall lightly from the elbow on the next. (4) Dots over a note thus r signify that the note is to be repeated by sub-division into as many notes as there are dots. Double, (i) An oldname for7'i7;7'rt/'/c7«. (2) An octave below the standard pitch, as double bass, double diapason, double bassoon. Double (Fr. ) [doobl). A variation on a min- uet; in Italian, alternativo. Double Bar. Two single bars placed close together signifying: (i) The end of a part or piece. (2) A change of key or of time signature. (3) In hymn-tunes the end of a line. Double Bass. The violone \\\..,vee-o-lo-neJi, Fr. , contrabasse]. The largest of the tah'-iio). Composer; Italy. B. 1797; d. 184S. Donzelli, Domenico [dond-sel'-lee). Tenor; Italy. B. 1790; d. 1873. Dorn, Ileinrich L. E. Composer, pianist; Germany. B. 1804; d. 1892. DOUBLE BASSOON 33 DULCIANA violin family. Two kinds are in use, one with three strings tuned: f"\» /2 The pitch is an octave below the written notes. Double Bassoon. A bassoon of l6-foot pitch Double Bourdon. An organ-stop of 32-foot tone. Double Chant. See Cliaiit. Double Counterpoint. A counterpoint so contrived that it may lie placed either above or below the theme, without producing any forbidden intervals. A double counter- point is said to be at the octave when, if written above the theme, it may be moved down an octave ; at the loth, if it may be moved down a tenth ; at the 12th, if it may be moved down a twelfth. Double counter- point "may also be at the 9th and Ilth, but the former are much more used. Double Croche (Fr.) {doobt crosJi). A six- teenth-note. Double Diapason. An organ-stop of 16- foot tone. Double Drum. A drum struck at both ends. Double Flat, J^lz, depresses a letter a whole tone. Double Main {jiiaiig). Octave-coupler in the organ. Double Sharp, '^, raises a letter a whole tone. Double Stop. In violin music, playing simultaneously on two strings. Double Tongueing. Playing repeated stac- cato notes on the flute, cornet, etc., by a movement of the point of the tongue against the roof of the mouth. Double Touche (toosli). A contrivance for regulating the depth of the descent of the keys of the harmonium. Doublette (Fr. ) (doo-b/et). A two-foot organ- stop, the 15th, or a compound stop of two ranks. Doucement (Fr. ) [doos-»iotig). Sweetly, softly. Doux (Fr.) ((/()()). Sweet, soft. Dowland, John. Madrigalist and lutenist. B. 1562; d. 1626. Dragonetti, D. [drah-go-n^t'-tee). Double bass player; Italy. B. 1755; d. 1846. 3 Down Beat. The lirst l>eatiin the measure j the principal accent in the measure. Down Bow. In instruments of the viclin family, the motion of the bow from the nut to the point. The sign is i"! or A. In French the word tirez {tee-reh), draw. Doxology [from Greek ^/(ua, praise ; leg'^, to proclaim]. A short ascription of praise to the Trinity, metrical or otherwise. Drammatico (It.), Drammaticamente (It.) Dramatic ; in dramatic style. Drangend [Qitx.) (drayii'-genty Hurrying, accelerating. Dritta (It.). The right hand. Droit or Droite (Fr. ) {droa). Right hand. Drone. The pipe that sounds one note con- tinuously in the bagpipe. Drum. An instrument of percussion, the body hollow, made of wood or metal, one or both ends being covered with vellum or parch ment drawn tight by braces. Three kinds of drum are used in modern music: (i) The kettle drum ; this is the only one that may be tuned to definite pitch ; a pair are generally usetl in the orchestra, tuned usu- ally to the 1st and 5th of the key. (2) The snare drum or side drum, with parchment at both ends ; that at one end is crossed by several thick gut-strings tliat rattle when the drum is struck on the other end by the ]iair of drumsticks. (^ The long drum, double drum, gi-osse caisse, used chiefly in military music; struck on both ends. Drum Slade. A drummer. Due (It.) [doo-eh). Two. A due, by two; that is, divide, when marked over a string part in the orchestra ; but when over a wind instrument part it means that both of the pair are to play the notes. Due corde (It.). Two strings. In violin music, means that the note is to be played on the open string and as a stopped nct^: simultaneously. The only notes that may be so played on the violin are : — 1 :s^; IS*- r sometimes signified by writing them as above. Duet, Duo (Fr.), Duetto (It.). A compo- sition for two voices or instruments or for two performers on the piano or organ. Duettino (It.) [doo-et-tce'-nd). A little duet. Dulciana. A soft, open, 8-foot organ-stoj); flue pipes ; in some foreign organs, a soft reed-stop. Dressel, Otto ((/r<'//-sf/). Pianist; Gernianv. B. 1S26; d. 1890. Dreyschock, Alex, (dry-shock). Pianist; Germany. B. 1818; d. 1869. . DULCIMER 34 ELEVATO Dnlcimer. (l) An instrument consisting of an oblong or square box strung with wire strings, struck by small hammers held in the nands of the performer. (2) A small toy instrument, in which strips of glass or metal are used instead of wire strings, played in the same way. Duolo (It.) idoo-o'-lo), con doloroso (It.), con dolore (It.) [lio-lo'-reh). Plaintively; mournfully. Duple. Double. Duple Time, two beats in the measure. Dur (Ger. ) ((/^iaJi-leh). Final. The last movement of a sonata or symphony or of the act of an opera. Fesca, F. E. Composer ; Germany. B. 1789; d. 1826. Fetis, F. J. {feh-tees). Essayist, composer ; France. B. 1784; d. 1871. Field, John. Pianist; Ireland. B. 1782 ; d. 1837- Fillmore, J. C. Pianist, essayist; U. S. A. B. 1843; d. 1S9S. FINGERBOARD 38 FORLANA Fingerboard. The upper side of the neck of strmg instruments, generally a thin strip of ebony against which the strings are pressed by the lingers of the left hand. Fingering. The art of using the fingers systematically when playing an instrument; the marks or figures that indicate what fingers are to be used. Fingersetzung (Ger. ). Fingering. Finto (It.). A feint ; applied to a deceptive cadence. Fioretto (\.i.) [fi'e-o-rct-to). An ornament, b'iorito (It.) [fee-o-ree-to). Florid. Fiorituri (It.) [fee-o-ree-too-7-ee). Embellish- ments ; florid passages. Fis (Ger.). F sharp. Fisfis or Fisis, F double sharp. Fis dur. F sharp major. Fis moll. F sharp minor. Fixed Do. Do used as the name of C ; movable Jo is do used as the keynote of any scale. Flageolet. A small pipe blown at the end ; an organ-stop of 2-foot pitch. Flageolet Tones. The harmonic sounds pro- duced by touching lightly the strings of violin, etc. Flat. The sign of depression (|?) lowers the letter a half-tone. Flautando, flautato (It.). Flute-lilsc ; in violin playing, a direction to produce flageo- let tones. Flautino (It.), {//au-fee-no). A small flute ; a piccolo. Flue Stops. Organ stops, the pipes of which are constructed on the same principle as the whistle or flageolet. Flute, Flauto (It.) (flau-to), Flote (Ger.) [Jlate/i). (l) One of the most important of orchestral instruments ; a cylindrical tube blown at a hole in the side called the em- bouchure. The modern flute, constructed on the Boehm system, is very much superior to the older instrument in both tone and tune. Its compass is from Srvz. i (2) An organ-stop of 8 or 4-foot pitch ; in French organs a general name for flue stops. Finck, H. T. Essayist. B. 1854. Fioravanti, V. ( fee-o-rah-van-tee). Com- poser ; Italy. B. 1770; d. 1837. Flotow, F. F. A. Opera composer; Ger- many. B. 1812 ; d. 1883. Foerster, Adolph M. Composer; U. S. A. B. 1854. There are many varieties of the flute, the major part of which are now either obsolete or used as names for organ-stops, as flauto traverso, transvere or German flute ; flute d'amour, a soft-toned organ-stop : flute har- monique, an overblown flute, the pipe of which is twice the length necessary to pro~ duce the sound it is made to give. F moll. F minor. Foco (It.). Fire. Con foco or fuoco, with fire. Focoso. Fiery ; ardently. Foglietto (li.) {fol-yet'-to\ The part used by the leader of the violins in the orches- tra, containing cues, etc., of the other in- struments, sometimes used by the conductor in place of a score. Fois (Fr.) [foa). Time; as, premiere fois, first time. Folia (Sp.), FoUia (It.). A Spanish dance. Elaborate variations are called Follias de Espaiia, in French, Folies de'Espagne, meaning " follies of Spain " (a pun on the word folia), wdiich has become a proverbial expression for trifles. Fonds d'orgue (Fr. ) {fond-dorg). The 8- foot flue-stops of the organ. The foundation stops. Foot, (i) A poetic measure or meter. (2) A drone bass. (3) Ihe unit used in de- termining the pitch of organ pipes, the standard being 8-foot C, 9* the lowest note on the manuals of the modern organ. An open pipe must be eight feet long to produce tiiis sound, if closed it must be four feet long. Applied toother instruments it signifies that their pitch corresponds with that of the organ diapasons, that is, it is the same as the written note. All the violin family are of 8-foot pitch, except the double bass, which is of l6-foot pitch, that is, the notes sound an octave lower than written. The flute, hautboy, clarionet, and bassoon are also of S-foot pitch. Of brass instruments, the cornets, trumpets, and trombones are of 8-foot pitch. The high horn in C is 8-foot, but the low horn in C is i6foot pitch. Forlana ( It. ), Fourlane (Fr.) [foor-lan). A dance somewhat similiar to the tarantella. Foote, Arthur. Composer; U. S. A. B. iS53- Forkel, Johann N. Organist ; Germany. B. 1749 ; d. 1818. Formes, Karl (/£?r-wf/^.f). Basso; Germany, B. 1810; d. 1889. FORM 39 FREDEZZA Form. The number, order, and key relation of the several themes that are crimbined to make an extended composition, such as the sonata, rondo, symphony, concerto, etc. The lyric or dance form is the germ from which all varieties of instrumental music have been developed. The simplest form of lyric melody may be thus divided : Motive, two measures ; Section, two mo- tives ; Phrase, two sections ; Sentence, two phrases ; Period, two sentences, making sixteen measures in all. The lyric form may be extended indelinitely by the addition of new periods in related keys. One of the most usual is the addition of a new period in the key of the dominant, subdominant, or relative minor, followed by a repetition of the first period. This is called the Aria Form. It was formerly largely used in ■ vocal music, and is now one of the most usual forms for the lighter class of piano music. The follovi'ing outlines of sonata and rondo forms give their main character- istics. The sonata form is the form of the symphony, and of the trio, quartet, etc. , for string instruments, or for piano with strings, or other instruments. The same is the case with the rondo ; this form is frequently used for the final movement. Outline of Sonata Form itt Major Key. FIRST HALF. 1st Theme. 2d Theme. Tonic key. Dominant key. SECOND HALF. 1st Theme, 2d Theme. Development. Tonic key. Tonic key. Sonata in Minor Key. 1st Theme. Tonic. FIRST HALF. 2d Theme. Relative major. SECOND HALF. 1st Theme. 2d Theme. Development. Tonic. Parallel major. Frequent deviations may be found from the foregoing schemes. The intervals between the themes are filled with transition passages or modulations so constructed as to heighten the effect of the theme that follows ; codas are frequently added after both appearances of the second theme. Modern Rondo Form, Major Key. FIRST HALF. 1st Theme. 2d Theme. 1st Theme. Tonic. Dominant. Tonic. Foster, Stephen. Songwriter; U.S.A. B. 1826-. d. 1864. Franchomme, A. {fransh-om). 'Cellist ; France. B. 1808; d. 1884. SECOND HALF. 3d Theme. 1st Theme. 2d Theme. Coda. Sub-dom. Tonic. Tonic. Made Rel. minor. from 1st Parallel minor. theme or all the themes. For an example of this kind see Beethoven's No. 2 Sonata of the three dedicated to Haydn, last movement. Same Form of Rondo in Minor Key. FIRST HALF. 1st Theme. 2d Theme. 1st Theme. Tonic. Relative major. Tonic. SECOND HALF. 3d Theme. 1st Theme. 2d Theme. Coda. Sub-dom. Tonic. Tonic Minor, and relative major, major. See last movement of Sonata Pathetique — Beethoven. Forte (It.) {for-teh). Loud. Fort (Fr.), Stark (Ger.). Meno forte, less loud. Mezzo forte (M. F.), half loud. Piu forte, louder. Poco forte, a little loud ; rather loud. Sempre forte, always loud. Forte stop, a mechanism worked by the feet or the knee, or a draw-stop, by means of which the whole power of the har- monium, organ, etc., may be put on at once. Forte possibile (It.) { pos-see' -bee-le}i). For- tissimo (It.). Loud as possible. Fortemente (It.): Loudly; forcibly. Forza (It.) {fo?-tza), con. With force. Forzando (It.) { fortzando). Forcing the sound ; emphasizing a certain note, indi- cated by <, /\, fz, sfz. Forzato (It.) {fortzato), Sforzando, Sfor- zato. All have the same meaning as Forzando. Fourniture (Fr.). A mixture-stop in the organ. Fourth. (l) An interval embracing four letters. (2) The subdominant of the scale. Fran9aise (Fr.) {^frong-says). A dance in triple time. Francamente (It.) ( frank - a - men'- tek). Frankly ; boldly. Franchezza (It.) (/r^w-^^f/^-sa). Franchise [Fr.) { f-ong-shees). Freedom; confidence. Freddamente (It.). Frigidly ; coldly. Fredezza (It.) [freh-det'-za), con. With coldness. Franz, Robert (frants). Composer ; Ger- many. B. 1815 ; d. 1892. Frescobaldi, G. [fres-co-hal-dee'). Composer, organist ; Italy. B. 1583 ; d. 1644. FREE FUGUE 40 GALA Free Fugue. One that does not conform to strict rules. Free Parts. Parts added to a canon or fugue that take no part in its development. Free Reed. See Reed. Free Style. The reverse of strict contrapuntal style. French Horn. .See Horn. Io/), Gavotta (It.). An old dance in (^ time; lively, yet dignified. Frequently introduced in the suite. G Clef. See C/ef. Gedeckt (Ger.) [from decken, to close]. Closed ; the stopped diapason. Gedehnt (Ger.). Slow ; stately. Gedicht (Ger.). Poem. Gade, N'els W. {gah-dek). Composer; Den- mark. B. 1817; d. 1890. Gadsby, H. R. Composer; England. B. 1842. Galelei, Vincenzo {gah-iee-Ieh-ee, vin-chent- zo). Essayist and composer; Italy. B. 1535 ; d. 16—. Galin, Pierre {gah-Iong). Inventorof numeri- cal notation ; France. B. 1786; d. 1821. Galluppi, Baldessaro {gah-loop-pee). Com- poser; Italy. B. 1706; d. 1785. Gansbacher, J. B. [gehns-bach-er). Com- poser; Germany. B. 1778; d. 1844. Ganz, Wilhelm {gahnts). Composer; Ger- many. B. 1830. Garcia, Manuel {gar-chee-ak). Teacher of singing, inventor of laryngoscope ; Spain. B. 1S05 ; (1 1900. Gefallen (Ger.) {geh-fal-len). Pleasure. Nach Gefallen, at will. See Bene placito and A piacere. Gefiihl (Ger.) {geh-feel). Feeling. Mit Gefuhl, with feeling. Gegensatz (Ger.) {^ gek-gen-sats). The second theme in a sonata. Lit., the against or contrary theme ; Hauptsatz being the chief or principal theme. Gehalten (Ger.) [geh-kal-ten). Held; sus- tained ; tenuto. Gehend (Ger.) (^^,^-^«-ah-doo-el-)nong). By degreef. Gran cassa (It.). Great drum ; long drum. Gran gusto (It.), con. With grand expres- sion. Gran tamburo (It.). The big drum. Grand barre (P>.). 'iee Barri. Grand jeu (Fr.) {zkeii). Grand choeur {koiv). Full organ. Grand Piano. Properly, the long, wing- shaped pianoforte with keyboard at the wide end ; commonly applied to all varieties of piano with three strings to each key. Grande orgue (Fr.) {org). Great organ. Grandezza (It.) {gran-det'-za), con. With grandeur. Grandioso (It.) {gran-de-o'-sd). Grandly. Grave [Fr., grahv ; It., grah-veh^. Deep in pitch ; slow ; solemn. Godefroid, Felix [gode-frod). Composer, harpist; France. B. iSiS ; d. 1897. Godfrey, D. Dance writer, band-master; England. B. 1831 ; d. 1903. Goetz, H. Composer; Germany. B. 1840 ; d. 1876. Goldbeck, Robert. Composer, pianist; Germany. B. 1835 ; d. 1908. Goldmark, Karl. Composer; Germany. B. 1832. Golischmidt, Otto. Conductor and com- poser, husband of Jenny Lind ; Germany. B. 1829; d. 1907. Gollmick, Adolf. Composer, pianist ; Ger- many. B. 1825 ; d. 1883. Goltermann, G. E. Violoncellist; Germany. rJ. iS 4; d. 1898. Goovaerts, A. I. M. A. {goo-7'ehrts). Com- poser; Netherlands. B. 1847. Goria, A. E. [go^-ree-a/i). Pianist; France. B. 1823; d. i860. Gobs, Sir John. Composer, organist; Eng- land. B. 1800; d. 1880. Gossec, F. J. {gos-sek). Composer; France. B. 1733; d. 1829. Gottschalk, L. M. Pianist; U.S.A. B. 1829; d. 1869. Gravecembalum (Lat.),Gravicembalo (It.) {gra-z'ee-cliendialo). The harpsichord. Gravement (Fr. ) {grahv- inong), Grave- mente (It.) {grah-veh-znen-teh). Slowly; seriously. Gravita (It.) [gra-vee-tah), con. With dig- nity. Grazia (It.) {grat-se-a), con. With grace; elegance. Grazioso (It.) {^grat-si-oso), Graziosamente [grat-si-osa-men-teh ). Gracefully ; ele- gantly. Great Octave. The sounds from 9t -y9- Great Organ. The division of an organ that contains the most powerful stops, generally operated by the middle keyboard or manual, the upper being the swell organ, the lower the choir organ. Greater. Major; as, greater third, greater sixth. In old usage the major scale is called the scale with the greater third. Greek Music. The Greek system of music is still a subject of controversy about which very little is known. The best attempts at its elucidation may be found in Chappel's " History of Music" and Munro's " Greek Music." Its interest is purely antiquarian. Gregorian Chant. See Plain Soig. Goudimel, Claude {goo'-dee-nicl'). Composer; France. B. 1510; d. 1572. Gounod, Ch. F. (goo -no). Composer; France. B. 1818; d. 1893. Gouvy, Theo. [goo^-vee). Composer; France. B. 1819; d. 1898. Gow, Neil. Violinist, dance writer ; Scot- land. B. 1727; d. 1807. Grancino, G. {gran-chee-nd). Violin maker; Italy. Grancino, P. Violin maker. B. 16 — ; d. 17—- Graun, J. G. Composer; Germany. B. 1698; d. 1771. Graun, Karl H., his brother. Composer. B. 1701; d. 1759. Greatorex, Th. Organist, composer; Eng- land. B. 1758; d. 1831. Gretry, A. E. [greh-tree). Composer; Bel- gium. B. 1741 ; d. 1813. Grieg, Ed. {greeg). Comjioser, pianist; Sweden. B. 1843 ; d. I907. Griepenkerl, F. C. ( gree - pen - kerl ). Theorist; Germany. B. 1782; d. 1849. Grisi, Mme. {gree-see). Soprano; Italy. B. 1812; d. 1869. Grove, Sir George. Author of dictionary; England. B. 1S20; d 1900. GROPPO 44 HALF-TONE Groppo (It.), Groppetto (It.). A turn ; a group. Grosse (Ger.) {gros-seh). (i) Major, ap- plies to intervals. (2) Great or grand, as, grosse Sonate. (3) An octave below stand- ard pitch, as, grosse Nazard, an organ stop an octave below the twelfth. Grosse-caisse, Gros tambour. See Drum. Grosso (It.). Great; large; as, grosso con- certo. Grottesco (It.) [grot-les'-ko). Grotesque; comic. Ground Bass. A bass of four or eight bars, constantly repeated, each time with varied melody and harmony. The ground bass was generally used as the basis of the cha- conne and passacaglio. Group, (i) A series of rapid notes grouped together. (2) One of the divisions of the orchestra, as string group, brass group, wood group. Gruppo, Grupetto. See Groppo, Groppetto. G-Schliissel (Ger.) {gay-shlues-sel). G clef. Guaracha (Sp.) (g7aah-7-ah'-chah) Spanish dance in triple time. Guerriero (It.) {g7ver-ree¥ warlike. Guida (It.) [g7vee-da/i) of a canon or fugue. Guidonian Hand. A diagram consisting of a hand, with the syllables written on the tips of the fingers and on the joints, in- Griitzmacher, r. [greetz-»iac/ier). Violon- cellist; Germany. B. 1832; d. 1903. Guarnerius, A. {gwar-neh-ree-us). Violin maker; Italy. B. 1683; d. 1745. Guglielmi, P. { gool-yel-niee). Composer; Italy. B. 1727 ; d. 1804. QiM\.Ao[^g7vee-Jo). Theorist; Italy. Eleventh century. Guilmant, F. A. {geel-mong). Organist, composer; France. B. 1837. A lively 7-0). Martial; Guide ; the subject tended to assist chord scales. in memorizing the hexa- Guidonian Syllables. The syllables applied by Guido to the notes of the hexachord, itt, re, mi, fa, sol, la. When the octave scale was adopted si was added for the seventh note ; ut was changed to do as a better syl- lable for vocalizing. Guitar. A string instrument with fretted fingerboard, played by plucking the strings with the fingers of the right hand, one of the oldest and most widespread of instru- ments. It probably originated in Persia, where it is called tar or si-tar, passed from thence to Greece, and to the rest of Europe and North Africa. The guitar now in gen- eral use is called the Spanish guitar. It has six strings tuned thus: — X m but their actual sound is an octave below the written notes. Gusto (It.), con. With taste. Gustoso. Tastefully. Gut. The material (sheep's entrails) of which violin, guitar, and other strings are made, commonly called catgut. QvlX [Ger.) {goot). Good. Guter Taktteil, lit. , good bar part ; the accented part of the bar. Guiraud, E. [g7vec-ro). Composer; France. B. 1837 ; d. 1892. Gungl, J. [goongl). Dance writer; Bo- hemia. B. 1810; d. 1S89. Gurlitt, C. Pianist, composer ; Germany. B. 1820 ; d. 1901. Gutmann, A.- Composer ; Germany. B. 1818; d. 1882. Gyrowetz, A. { gee-ro -7'e/z). Composer; Bohemia. B. 1763; d. 1850. H H. Abbreviation for Hand. Hah (Ger.), the note BJJJ, Bj2 being called B [iay). It is this system of nomenclature that makes possible the fugues on the name of Bach, written by Bach, Schumann, and others: — i -^- '«'- -g- is: A C H Literally, chopping-board. Halb ((^ler.) {lialp). Half. Hackbrett (Ger.). The dulcimer. Halbe Cadenz (Ger.). Half cadence. Halbe Note. Half-note. Halber Ton. Half-tone. Half-Note. |^ Half-Rest. — Half- Shift. On the violin, the position of the hand between the open position and the first shift. Half-Step. Half-tone. Half- Tone. The smallest interval in modem music. liALLKLUjAH 45 HARMONIUM Hallelujah (Ileb.). The Greek form Alle- luia is often used '• I'raise ye Jehovah." Hailing. A Norwegian dance in triple time. Hals (Gar.). Neck, as of violin, guitar, etc. Hammerklavier (Ger.). A name for the P. F. (used by Beethoven in the great sonata, Op. io6). Hanacca. A Moravian dance in | time, somewhat like the polonaise. Hardiment (Fr.) {/iar-dee-iiiong). Boldly. Harmonic Flute. See Flute. Harmonic Scale. The series of natural harmonics; the scale of all brass instru- ments without valves or pistons. Harmonic Stops. Organ-stops with pipes of twice the standard length pierced with a small hole at the middle, causing them to sound the first overtone instead of the sound that tlie whole length would produce. Harmonica, (l) An instrument invented by Benjamin Franklin, the sounds of which were produced from glass bowls. (2) An instrument consisting of plates of glass struck by hammers. (3) A mixture-stop in the organ. Harmonici (Gr.) {har - tjion-i-kee). The followers of Aristoxenus, as opposed to the Canonici (ka-noii-i-kee), the followers of Pythagoras. The former taught that music was governed by its appeal to the ear, the latter that it was a matter for mathematical and arithmetical study only. Harmonicon. A toy instrument with free reeds, blown by the mouth. Harmonics, Overtones, Partial Tones. (l) The sounds produced i)y the division of a vibrating body into eijual parts ; it is upon the presence or absence and relative in- tensity of the overtones that the quality of the sound depends. Open pipes, strings, brass instruments, and instruments with double reed (bassoon and hautboy) give the following series : — 123456 789 C CGCEGBI2CDE, etc. generator 2345 6 7 ssio Closed pipes and beating reeds (clarionet) Habeneck, F. A. Violinist, conductor ; France. B. 1781 ; d. 1849. Haberbier, Ernst {hah'-behj--heer). Pianist, composer; Germany. B. 1813 ; d. 1869. Hale, Adam de la [hahl). Troubadour; France. B. 1240; d. 1287. Halevy, J. F. {kak-leh-vee). Composer; France. B 1799; d. 1862. Halle, Sir Ch. [hal-leh). Pianist, conductor; Hagen. B. 1819 ; d. 1896. Halm, A. [haluii). Pianist, composer. B. 1789; d. 1872. Hamerik, Asgar. Composer; Denmark. B. 1843. omit all the even numbers in this series. (2) The sounds produced on the violin by touching the string lightly at one of the points of division ; those produced by thus touchihg the open string are called natural harmonics. Artificial harmonics are pro- duced by stoppnig the string with the first finger and touching it lightly with the fourth, at the interval of a fourth above ; the resulting harmonic is two octaves above the stopped note. In writing music this is indicated by writing thus: — -6^ -^ -#■ I Effect. Flayed. The lozenge-shaped notes indicate the notes to be lightly touched. Natural harmonics are frequently used on the harp, guitar, and mandolin. Harmonie-Musik (Ger.). Harmony music ; music for wind instruments. A band com- posed of brass and wood instruments is called a harmony band. Harmonist. One who is an expert in the art of harmony. Harmonium. A keyboard instrument with free reeds. It differs from the reed organ in that the air is forced through instead of drawn througli the reeds, giving a stronger, rougher quality of tone. In harmonium music, published in Europe, the stops are in- dicated by figures placed in a circle. Each stop is divided at the middle. The figure in circle, placed below the bass stall, refers to the lower half of the stop ; above the treble staff, to the upper half. The cor an- glais and flute form one stop, marked \}j below for cor anglais, |ij above for flute. 2 means bourdon, below ; clarionet, above. 3 " clarion, " piccolo, " 4 " bassoon, " hautboy, " Handel, G. F. Composer; Germany. B. 1685; d. 1759. Hanslick, i:d. Critic; Bohemia. B. 1825 ; d. 1904. Hardegen, J. von. Composer, pianist ; Aus- tria. B. 1834; d. 1867. (Jules Egghard.) Hartnock, Carl E. Pianist. B. 1775; d. 1834. Hartog, Edward. Pianist, composer ; Hol- land. B. 1828. Hartvigson, Anton. Pianist, composer ; Swe- den. B. 1845. Hartvigson, Fritz. Pianist, composer ; Swe- den. B. 1851. HARMONY 46 HEPTACHORD .Harmony [from Or., hanno, to join]. The art of combining sounds. The study of harmony in its fullest extent is that which treats of the combination of sounds, conso- nant and dissonant, and their succession. The so-called laws of harmony have all been arrived at empirically, hence have been sub- ject to change, each new composer of suffi- cient originality and genius modifying them to suit his purposes. Harmonic combina- tions may be either consonant or dissonant. The consonant combinations consist of the common (perfect) chord and its derivatives. The dissonant combinations all include some dissonant interval, viz., 7th or 2d, augmented 4th, diminished or augmented 5th, augmented 6th or diminished 3d, or 9th. The movement of consonant combi- nations is perfectly free ; that of dissonant combinations is subject to the rules govern- ing the resolution of the dissonant sounds they contain. Two classes of dissonances are recognized: (l) Those that belong to the overtone series, called essential; (2) those that result from the employment of suspen- sions, retardations, changing and passing notes. Harp. A string instrument of very ancient origin, probably first suggested by the bow. The earliest forms of ligyptian harps resemble that weapon, the tront bar or support being wanting. The modern harp, by means of conirlvances for altering the tension of the strings, controlled by pedals, has the com- plete chromatic scale. The harp is exten- sively used in the modern orchestra ; its clear, "glassy" tones form a striking and effective contrast to the rest of the orchestra. It is most effective when used to give " ar- peggios," or broken chords, particularly in soft passages. Scales are ineft'ective on the harp, and the chromatic scale is impossible. The compass of the modern harp extends from the second C'l? below the bass staff to Haslinger, Tobias. Composer, publisher ; Austria. B. 1787 ; d. 1842. Hasse, Faustina {/las-seh). Soprano ; Italy. B. 1700 ; d. 1783. Hasse, J. A., her husband. Composer; Sax- ony. B. 1699; d. 1783. Hatton, John L. Composer; England. B. 1809; d. 1886. Hauck, Minnie {hozvk). Soprano ; U. S. A. B. 1852. Haupt, Carl {hotvpf). Theorist, organist; Germany. B. 1810; d. 1891. Hauptmann, 'i^lor'iX.z {kowpt-man). Theorist, teacher; Germany. B. 1792; d. 1868. Haweis, Rev. H. R. Essayist; England. B. 1S38 ; d. 190 1. Haydn, Josef {kigkdn). Composer; Austria. B. 1732; d. 1809. the second FI2 above the treble staff, six and one-half octaves. The natural harmonics, produced by touching the middle of the string lightly with one hand, are extremely effective in very soft passages. Harpe (Fr.), Harfe (Ger.). The harp. Harpsichord, Harpsicol, Clavicin (Fr.), Cembalo (It.), Clavicembalo (It.), Fliigel (Ger.). A string instrument wiih keyboard, in shape like the modern grnnd piano. The sound was produced by pieces of quill, leather, or tortoise-shell, which scratched across the strings when the keys were struck. Haipsichords were often made with two rows of keys and with stops, by means of which the tone might be modi- fied. Haupt (Ger.) [ho-u>pt). Head ; chief; prin- cipal. Hauptmanuel. Great organ. Hauptnote. Essential note in a turn, mor- dent, etc. Hauptsatz. Principal theme in a sonata or rondo, etc. Hauptwerk. Great organ. Hautbois (Fr.) {Jiote-boa'). See Oboe. Hautbois d'amour. A small variety of the hautboy. H dur (Ger.). B major. H moll (Ger.) [hah moll'). B minor. Head. The membrane of a drum ; the peg- box of violin, guitar, etc. Head Voice. See Voice. ' Heftig (Ger.). Impetuous. Literally, heav- ily. Heimlich (Ger.). Mysteriously; secretly. Heiss (Ger.). Ardent. Heiter (Ger. ). Clear; calm. Heptachord [Gr. , hepta, seven; horde, string]. A scale or lyre with seven diatonic sounds. Haydn, Michael. Composer; Austria. B. 1737; d. 1806. Hayes, Catherine. Soprano ; Ireland. B. 1825; d. 1861. Hegner, Otto. Pianist. B. 1877. Heller, Stephen. Pianist, composer; Pesth. B. 1814; d. 1888. Helmholtz, H. L. F. Acoustician ; Ger- many. B. 1821 ; d. 1894. Henkel, H. Pianist, teacher, composer. B. 1822 ; d. 1899. Hennes, Aloys. Teacher, pianist ; Germany. B. 1827; d. 1889. Henrion, Paul (Jwng-ree-ong). Composer, pianist; France. B. 1819. Henschel, Geo. Composer, singer, conduct- or; Germany. B. 1850. HERABSTRICH 47 IIVMX TLXK Herabstrich or Herstrich (Ger.). Down bow. Heraufstrich or Hinaufstrich (Ger). Up laovv. Hidden Fifths or Octaves. Called also concealed. These occur when two parts or voices take a 5th or 8th in parallel motion. The rule forbidding hidden 5ths and Sths is now very little regarded. His (Ger.). B sharp. Hoboe, Hoboy. See Oboe. Hochzeitsmarsch (Ger.) [hoch-tseits). Liter- ally, high time. A wedding march. Hohlflote (Ger.) [Jiole-fla-teh). Hollow flute; an organ-stop of 8-foot tone, soft, full qual- ity ; a stop of the same character a fifth above the diapason is called Hohlquinte (kvin- teh). Holding Note. A sustained note ; a pedal point. Homo'phony, Homo''phonic, Homo''- phonous [Gr. , homo, one or single; phonos, sound]. Music in which one part (melody) is the most important factor, the remaining parts being entirely subsidiary, that is, simply accompaniment. Horn [It., Corno ; Fr. , Cor ; Ger., Horn or IViildhorn^ A generic term for instruments of brass or other metal, wood, or animal Henselt, A. Composer, pianist; Germany. B. 1814; d. 1889. Hering, Carl G. Teacher, pianist ; Germany. B. 1765; d. 1853. Herold, Louis J. F. {Jieh-rold ). Composer; Prance. B. 179I ; d. 1833. Herz, Henry [herfs). Pianist ; Austria. B. 1806 ; d. 1888. Hesse, Ad. F. [hes-seh). Organist; Ger- many. B. 1809 ; d. 1863. Heuschkel, J. P. [hoysh-kel). Pianist, teacher; Germany. B. 1773; d. 1853. Hiller, Ferd. Composer, conductor, pianist; Frankfort. B. 1811 ; d. 1885. Hiller, Johann A. Conductor, composer; Gorlitz. B. 1728 ; d. 1804. Himmel, F. H. Composer; Germany. B. 1765; d. 1814. Hofmann, H. Composer, pianist; Germany. B. 1S42 ; d. 1902. horns sounded by means of a cup-shaped mouth-piece. In modern usage applied only to the orchestral horn, called also French horn. A brass instrument with a long, nar- row tube bent into a number of circular curves, with a large bell. The modern horn is provided with pistons, whicli make it a chromatic instrument. The custom is now almost universal of using tiie horn in F, the part for which is written a fifth higher than the actual sounds. Before the application of pistons to the horn its part was always written in C, and the key was indicated by writing: Corni in Bj? or Ej?, etc., as the case might be. Many composers retain this method of writing, but the horn-players generally transpose the part , T'istci to suit the F-horn. Horn Band. In Russia, a band of performers, each one of whom plays but one sound on his horn. Hornpipe. An old English dance of a lively, rapid character. Horn-Sordin (Ger.). A contrivance placed in the mouth of the horn to deaden the tone. Humoresque {¥r.)[oo-mo-resk), Humoreske (Ger.). A caprice ; humorous fantastic com- position. Hunting Horn [Fr., Cor Je Chasse : It., Corno di Caccia\. The horn from which the orchestral horn was developed. Hymn Tune. A musical setting of a religious lyric poem, generally in four parts. Hofmann, Joseph. Composer, pianist ; Ger- many. B. 1877. Hoi, Richard. Composer, jiianist. B. 1S25; d. 1885. Horsley, Wm. Composer; England. B. 1774; d. 1858. Horsley, Ch. E., his son. Composer; Eng- land. B. 1821 ; d. 1876. Huber, Hans. Pianist, teacher ; Germanv. B. 1852. Hucbald. Theorist ; Flanders. Tenth cen- tury. Hullah, John P. Teacher of singing, com- jioser ; England. B. 1812; d. 1884. Hiillmandel, N. [heei-?)ian-de/). Pianist, composer; Alsace. B. 1751 ; d. 1823. Hummel, J. N. Composer, pianist; Press- burg. B. 1778; d. 1837. Hiinten, Franz. Composer, teacher ; Ger many. B. 1793; d. 1878. IDEE EIXEE INSTRUiMENT [dee fixee (Fr.) {e-deh fix-efi). Hxed idea; a name given by Berlioz to a short theme used as the principal motive of an extended composition. Idyl [Fr., Jdylle ; Gr., Eidullion^. A small image or form ; a short, tender piece of music generally of a pastoral character. II piu (It.) [eel peii). The most. II piu forte possibile, as loud as possible. Imitando (It.). Imitating; as, Imitando la voce, imitating the voice ; a direction to the instrumentalist to imitate the vocalist. Imitation. A device in counterpoint ; a musical phrase being given by one voice is immediately repeated by another voice. There are many varieties of imitation : (i) By augmentation, when the imitating part is in notes of twice or four times the value of those in the theme. (2) By diminution, wlien the value of the notes is reduced one- half or one-fourth. (3) By inversion, when the intervals are given by the imitating part in inverted order. Imitation is called Can- onic when the order of letters and intervals is exactly repeated, thus : — C D E F G A B C Strict, when the order of letters only is re- peated, as : — CD E F A BC D Free, when the theme is slightly altered, but not enough to destroy the resemblance. The theme is called the antecedent ; the imitation, the consequent. There are other varieties of imitation, but they are now gen- erally obsolete, being more curious than musical. Immer (Ger.). Ever; continuously; always. Impaziente (It.) (ini-pah-tse-en-teh). Im- patient : restless. Impazientemente (It.). Vehemently; im- patiently. Imperfect Cadence. Same as Half Cadence. Imperfect Consonance. Major and minor thirds and sixths. Imperfect Fifth. The diminished fifth. Imperioso (It.). Imperiously; with dignity. Impeto (It.) [im^-peh-to), con. With impetu- osity. Impetuoso (It.), Impetuosamente (It.). Impetuously. Implied Intervals. Those not expressed in the figuring. Incledon, Ch. B. Tenor; England. B. 1763 ; d. 1826. Imponente (It.) {im'-po-nen-teh). Emphatic; pompous. Impromptu. (l) An extemporaneous per- formance. (2) A piece of music having the character of an extemporaneous perform- ance. Improvisation. Unpremeditated music. Improvise. To play unpremeditated music. Improviser (Fr.) (im-pro-vee-se/i), Improv- visare (It.). To extemporize. Improvvisatore (It.). An improviser (male). Improvvisatrice (It.) {itn- prov-vi-sa-tree- clieli). An improviser (female). In alt (It.). The notes in the first octave above the treble staff In altissimo (It.). All notes above the octave in alt. In nomine (Eat.). In the name; a sort of free fugue. Incalzando (It.) [in-cal-tsan-do). To chase; pursue hotly, with constantly increasing vehemence. Indeciso (It.) [indeh-chee-so). With inde- cision ; hesitating. Infinite Canon. See Canon. Inganno (It. ). Deceptive. Cadenza inganno, deceptive cadence. Inner Parts. The parts that are neither at the top nor the bottom, as the alto and tenor in a chorus. Inner Pedal. A sustained note in an inner part. Innig (Ger. ). Fleartfelt ; fervent. Innigkeit (Ger.), mit. With fervor; intense feeling. Inniglich (Ger.). See Innig. Inno (It.). Hymn. Innocente (It.) [in-no-c/ien'-teii), Inno- centemente. Innocent ; natural. Innocenza [inno-c/ient'-sa/i), con. With artlessness. lT\(\\i\Gto (\l.) {iu-qiiee-e/i-to). Unquiet; rest- less. Insensibile (It.) (in-sen-si-bee-leJC), Insen- sibilmente (It.). By imperceptible degrees; gradually. Insistendo (It.), Instante (It.), Instandig (Ger.). Urgent; pressing. Instrument. Any mechanical contrivance for the production of musical sounds. Instruments are classified as follows : Siring instruments, wind instruments, pulsatile in- Isouard, Nicolo (^'-f(ici-ar). Composer; Malta. B. 1775; d. 1S18. INSTRUMENTATION 49 INTRODUCTION struraents. String instruments are divided into bow instruments, violin class ; instru- ments the strings of which are plucked by the fingers — harp, guitar, etc. ; plectral, /. e., the strings struck by a rod or thin strip of wood, metal, etc., as mandolin, zither; strings struck by hammers held in the hand- cymbal ; strings struck by hammers operated by keyboard — piano-forte. Wind instru- ments are divided as follows: (l) Vibrat- ing column of air — flutes and flue-stops of organ. (2) Single reed — clarionet, saxo- phone, basset horn, reed-stops in the organ. (3) Double reed — oboe, bassoon. (4) Free reed — harmonium, vocalion, cabinet organ. (5) Brass instruments in which the lip of the player acts as a reed — trumpet, horn, etc. Pulsatile instruments — - drums, triangles, cymbals, bells, xylophone. The small or chamber orchestra includes the following instruments: String — first violins, second violins, violas, violoncellos, contrabassi. Wood- wind — pair of flutes (It., fl.anti'), pair of hautboys (It., oboi), pair of clario- nets (It., clarionetti), pair of bassoons (It., fagotti). Brass- wind — pair of trumpets (sometimes omitted) (It., clarhii), pair of horns (It., corni), pair of kettle-drums (It., timpani). The adilition of three trombones changes this to the full or grand orchestra, which is often augmented by the addition of the following instruments : Wood- wind — piccolo or octave flute, Eng- lish horn (It., corno IngLse), alto or bass clarionet, double bassoon (It., contra fa- gotto). In the brass quartet the horns are increased to four, and the alto, tenor, and bass trombones are added and the bass trombone reinforced by the bass tuba. Three or more kettle-drums are frequently employed, also the following pulsatile instruments: large drum, snare drum, tri- angle, and cymbals. The harp has almost become an essential in the modern orchestra, whether large or small. Instrumentation. The art of using a num- ber of instruments in combination ; the manner of arranging music for the orches- tra. Instrumento or Stromento (It.). An instru- ment. Instrumento or Stromento di corda (It.). String instrument. Instrumento or Stromento di fiato (It.). Wind instrument. Interlude, Intermede (Fr.) {in-ter-tiiade), Intermedio (It.) {i>i-ter-nteh-deo). A short piece of music between the acts of a drama or the verses of a hymn. Intermezzo (It.) {iu-ter-mrdzo). An inter- lude ; a short movement connecting the larger movements of a symphony or sonata. Interrupted Cadence. See Cadence. 4 Interval. The difterence in pitch betweei two sounds. i'he name of an interval is determined by the number of letters it includes (counting the one it begins with and the one it ends with). Seconds may be minor (E, F), major (E, F?), augmented (EJ2, F#). Thirds maybe minur (E, G), major (E, Gif), diminished ( E, G^). Fourths may be perfect (E, A), augmented (E, A#), diminished (E, AJZ). The inversion of an interval produces one of the opposite kind except when it is jjer- fect. Inversion of minor 2d produces major 7th, and since all intervals lie within the octave, and the octave con- tains twelve half-tones, it follows that an interval and its inversion must together make an octave or twelve half-tones. In- tervals are further divided into consonant and dissonant, the consonant into perfect and imperfect. The perfect consonances are the 4th, 5th, and octave. They are called perfect because any alteration of them pro- duces a dissonance. The imperfect conso- nances are the major and minor 3d and 6th, called imperfect because equally consonant whether major or minor. All other inter- vals are dissonant, that is, one or both the sounds forming them must move in a cer- tain direction to satisfy the ear. If the dis- sonant is minor or diminished the sounds must approach each other ( except minor 2d) ; if major or augmented they must sep- arate (except major 7th, which may move either way). Intervals are augmented when greater than major or perfect. Intervals are diminished when less than major or perfect. The prime or unison is often called an in- terval and if altered, as, C C,*, is called an augmented unison or prime ; it is more properly a chromatic semitone. Natural intervals are those found in the major scale. Chromatic intervals are those found in the harmonic minor scale and in chords that include sounds foreign to the scale or key. Intimo (It.) [in'-tec-mo). Heartfelt; with emotion. Intonation, (i) The correctness or incor- rectness of the pitch of sounds produced by the voice or by an instrument. (2) The notes which precede the reciting notes of the Gregorian chant. Intoning. In the Anglican Church the sing- ing of prayers, etc., in monotone. Intrada (It.). An introduction or interlude. Intrepido (It. ) [in-tre-pee-do], Intrepidezza, con (It.) {in-trek-pee-detza), Intrepida- mente (It.) \in-trehpee-da men-teh). Bold- ly ; with daring ; dashingly. Introduction. A preparatory movement to a piece of music, symphony, oratorio, etc., sometimes very short, sometimes a long, elaborate movement in free style. INTKODUZIONE 50 JUST INTONATION Introduzione (It.) {in-tro-doo-tse-onch). In- troduction. Introit. A short anthem sung before the ad- ministration of tlie communion in the Pro- testant Episcopal Churcli ; in the Roman Catliohc (Jhurcli before the celebration of the mass. Invention. A name given by Bach to a set of thirty pieces in contrapuntal style. Inversion. (l) Of intervals. See Inferr'al. (2) Of chords, when any member of the chord but the root is used as a bass. (3) Of themes. See Imitation. Ira (It.) [e-rah), con. With anger. Irate (It.) (e-rak'-to). Angrily. Irlandais (Fr.) {ir-lan-day). In the Irish style. Ironico (It.) [e-ron' -e-co). Ironicamente (It.). Ironically; sardonically. Irresolute (It.) (ir-reh-so-lu'-to). Undecided ; irresolute. Islancio (It.) (is-lan'-chee-o). Same as Slancio. Istesse (It.). Same. L'istesso tempo, the same time, i. e., rate of movement. Italian Sixth. See Aiigi/iented Sixth. Italienne (Fr.) (e-ta-lee-en), Italiane (It.) {e-tal-yah-no). In Italian style. Jack. The short, upright piece of wood at the end of the key of the harpsichord or spinet, to which the quill was attached which struck the strings. Jagdhern (Ger. ) ( yagd-horn) . Hunting horn . Jagerchor (Ger.) [yay-ger-kore). Hunting chorus. Jalee (Sp.) [liah-leh-6). A Spanish dance in triple time. Janke Keyboard i^yanko). The invention of Paul Janko, arranged like a series of steps, six in number. Each key may be struck in three places, some on the 1st, 3d, and 5th steps, the rest on the 2d, 4th, and 6th, thus enabling the jierformer to select the most convenient for tlie passage to be executed. The chief advantages claimed for this key- board are : that all scales may be fin- gered alike ; that the thumb may be placed on any key, black or white ; that the extended chords are brought within easy reach. Janissary Music. Instruments of percussion, as small bells, triangles, drums, cymbals. Jeu (Fr.) [zhoo'). Literally, play. A stop on the organ. Jeu d'anche [d'oitgs/i). Reed stop. Jeu de flute. Flue stop. Jackson, \Vm. Organist, composer; Eng- land. B. 1730; d. 1803. Jacobsehn, S. E. (yah-cob-sone). Violinist; Germany. B. 1839. Jadassohn, S. {yah-das-sone). Composer, theorist; Germany. B. 183 1 ; d. 1902. Jaell, Alfred {yale). Pianist; Austria. B. 1832; d. 1882. Jahn, Otto [ya/m). Essayist; Germany. B. 1813; d. 1869. Janiewicz, Felix [yah-nee-vich). Violinist; Poland. B. 1762; d. 1848. Janssens, J. Y. [yahn-sens). Composer; Belgium. B. 1810; d. 1890. Jarvis, Ch. II. Pianist; U. S. A. B. 1836; d. 1895. Jeu demi ((/?// -wt"^). Half power; mezzo forte. Jeu deux [doo). Soft stops. Jeu forts (fort). Loud stops. Jeu grand. P'uU organ. Jeu plein [plane). Full power. Jig [It., Giga ; Fr. and Ger., Gigne ; comes either from Geige, an obsolete variety of fiddle, or from Chica, a rapid Spanish national dance]. Now a rapid rustic dance of no fixed rhythm or figures. In the classic suite the jig is the last movement, written in % time and often very elaborately treated in iugal form. Jedeln (Ger.) [yo-debi). A manner of sing- ing cultivated by the Swiss and Tyrolese; it consists of sudden changes from the natural to the falsetto voice. Jota (Sp.) [ho-ta). A Spanish national dance in triple time. Jour (Fr. ) [zhoor). Day. An open string is called corde a jour. Jubal (Ger.) (yoo-bal). An organ-stop of 2- or 4- foot pitch. Jungfernregal (Ger.) [yung-fern-reh-gal). See / 'ox angelica. Just Intonation. Singing or playing in tune. Jensen, Adolf {yen-sen). Composer; Ger- many. B. 1837 ; d. 1879. Joachim, J. {yo-a-kim). Violinist; Hungary. B. 1S31 ; d. 1907. Jomelli, N. {yo-mel-lee). Composer; Italy. B. 1714; d. 1774. Joncieres, Victorin de (zhon-see-ehr). Real name, T. L. Rossignol. Composer ; France. B. 1839; d. 1903. Joseffy, Raphael [yo-sef-fee). Pianist; Hun- gary. B. 1S52. Josquin, Despres [zhos- kang, deh - preh). Composer; France. B. 1450 ; d. 1521. JuUien, L. A. [zhool-leang). Composer and conductor; F"rance. B. 1S12 ; d. i860. Jungmann, A. [yoong - man). Composer, pianist; Germany. B. 1S14; d. \'>c)i. KALAMAIKA 51 KIRCllENTON K Kalamaika [ka-la-»iy-ka). A Hungarian dance ; rapid \ time. Kammer (Ger.). Chamber. Kammerconcert. Chamber concert. Kammermusik. Chamber music. Kammerstil. Chamber-music style. Kammerton. Concert pitch. Kanon, Kanonik (Ger.). See Cation. Kanoon. A Turkish dulcimer, played like the psalterion by means of plectra attached to thimbles. Kantate (Ger.). Cantata. Kanzone (Ger.), Kapodaster (Ger.), Capo- tasto, Kassation (Ger.), Kavatino (Ger.). See same words under C. Kapellmeister (Ger.). The leader of a band or chorus attached to a royal or noble house- hold. Kapellmeister-Musik (Ger.). A contempt- uous term for music that is dull and un- original but correct and pedantic. Keckheit (Ger. ). Boldness. Mit Keckheit, with boldness. Kehrab or Kehraus (Ger.). Lit., turn out. The last dance at a ball. Kent Bugle. A wind instrument generally made of copper, with cup-shaped mouth- piece, furnished with keys. Keraulophon [from Gr., /t^rffj-, horn ; aulas, flute; scaA phone, sound]. A soft flue-stop of 8-foot pitch. Keren. A Hebrew trumpet. Kettle-drum. A half-sphere of copper, the head made of vellum, which may be tight- ened or loosened by means of screws or braces. The kettle-drum is the only drum from which sounds of definite pitch may be obtained. They are generally used in pairs in the orchestra, and are tuned to the tonic Kafka, J. C. Violinist; Austria. B. 1747 ; d. 1800. Kafka, J. N. Composer and pianist ; Bohe- mia. B. 1819; d. 1886. Kalkbrenner, F. W. M. {kalk-brenner). Pianist, composer; Germany. B. 1784; d. 1849. Kalliwoda, J. W. (kal-Iee-vo'-dah). Com- poser, violinist ; Bohemia. B. 1800 ; d. 1867. Kastner, J. G. [kasf-nei-'). Composer; Alsatia. B. 1810; d. 1867. Keler Bela, A. von {keh-ler beh-la). Com- poser, band-master; Germany. B. 1820 ; d. 1882. and dominant of the key, but modem writers adopt various other methods of tun- ing ; it is also quite usual now to use three drums. The larger drum may be tuned to any note from 9i The smaller -^y^ 1^=2^ 9^ -^6>- P^: In old scores the drum part was always written in C and the sounds wished were indicated by writing Timpani in F, BjZ, etc. The modern custom is to write the actual sounds. Key. (l) A series of sounds forming a major or minor scale. See Scale. (2) A piece of mechanism by means of which the ventages of certain wind instruments, as flute and clarionet, are closed or opened. (3) A lever by which the valves of the organ are opened or the hammers of the piano-forte put in motion. ^A Table of Signatures and iVa7nes of all the Major and Minor Keys on the following page. ) Keyboard, Klavier (Ger.) [kla-feer). The rows of keys of the organ or piano ; tho.se for the hands are called manuals, for the feet, pedals. Keynote. The sound or letter with which any given scale begins ; tonic. .See Scale. Kinderscenen (Ger.) ( kinder - stsa - nen ). Child-pictures ; a name given by Schumann to a collection of little pieces for the piano. Kinderstiick (Ger.). Child's piece. Kirchenmusik (Ger.). Church music. Kirchenstil. Church style. Kirchenton. Ecclesiastical mode. Kellogg, Clara Louisa. Singer ; U. S. A. B. 1842. Kerl, J. C. [kerl). Composer, organist; Bavaria. B. 1628; d. 1690. Kiel, Fredk. [keel). Composer; Germany, B. 1821 ; d. 1885. Kiesewetter, R. G. von. Essayist ; Ger- many. B. 1773; d. 1850. King, Julie Rive. Pianist; U. S. A. B. 1856. Kircher, A. Historian; Germany. B. 1602; d. 1680. Kirnberger, J- P- {keern-behr-ger). The- orist; Gerniany. B. 1721; d. 1783. KIT 52 KNEE-STOP TABLE OF SIGNATURES AND NAMES OF ALL THE MAJOR AND MINOR KEYS. Key-s.gna- E„g,i^,_ German. French. Italian. f C-major X A-minor Cdur A moll Ut majeur La mineur Do maggiore La minore G-major ' E-miiior G dur E moll Sol majeur Mi mineur Sol maggiore Mi minore f D-major ( B-miiior D dur H moll Re majeur Si mineur Re maggiore Si minore \ — f A-major A dur I \ F-sharp minor Fis moll ( E-major E dur IC-sharp minor Cis moll ^£&- J B-major H dur " ( G-sharp minor Gis moll ?#j^-Jt_J f F-sharp major Fis dur y t '■ I D-sharp minor Dis moll La majeur La maggiore Fa diese mineur Fa diesis minore Mi majeur Mi maggiore Ut diese mineur Do diesis minore Si majeur Si maggiore Sol diese mineur Sol diesis minore Fa diese majeur Fa diesis maggiore Re diese mineur Re diesis minore Natural key. Keys with sharps. fG-flat major Ges dur Sol bemol majeur Sol bemolle maggiore 1 E-flat minor Es moll Mi bemol mineur Mi bemolle minore fcfclz^ / D-flat maj i^±l^:= \ B-flat min. or Des dur Re bemol majeur Re bemolle maggiore nor B moll Si bemol mineur Si bemolle minore J A-flat major F-minor f E-flat major \ C-minor As dur La bemol majeur F moll Fa mineur Es dur Mi bemol majeur C moll Ut mineur La bemolle maggiore Fa minore Mi bemolle maggiore Do minore ■^ ( B-flat major B dur T^ ( G-minor G moll Sol mineur " Sol minore Si bemol majeur Si bemolle maggiore fF-, Id- major minor F dur D moll Fa majeur Re mineur Fa maggiore Re minore Keys with f flats. Kit, Pochette (Fr.), Taschengeige (Ger. ). A small pocket-fiddle used by dancing- masters. Klangfarbe (Ger.). Lit., sound-color. (Quality of tone; timbre (Fr. . ^amdr). Klavier or Klaviatur (Ger.) {^kla-feer' , klah- fee-a-toor'). Keyboard. Klavierauszug. Piano-forte arrangement. Klaviermassig. Suited to the piano. Kittl, T- F. Organist; Bohemia. B. 1806; d. 1868. Kierulf, Halfdan [kefroolf, ho/dan'). Com- poser; Norway. B. 1815; d. 1868. Klpin, Michel R. {kline, iiieechel). Pianist; Silesia. B. 1846. Klaviersatz. In piano-forte style. Klavierspieler. Pianist. Klein (Ger. ). Small; minor. Klein gedeckt. Small stopped diapason. Knee-stop. A lever controlled by the knees of the performer, used in the harmonium or cabinet organ either to operate the swell or to put on or off the full power of the instrument. Klengel, A. A. Composer, pianist. B. 17S4; d. 1852. Klindworth, C. (klint-worth). Pianist; Ger- many. B. 1830. Kohler, L. Pianist, composer ; Germany. B. 1820; d. 1886. KOPPEL 53 LAMENTABILE Koppel (Ger.). A coupler. Koppel ab, coupler off. Koppel an, coupler on. Kosakisch (Ger.). Cossack dance in | time. Kraft (Ger.). Force; power. Kraftig (Ger.). Vigorous; powerfully. Krakowiak \kra-ko-viak). Cracovienne. Kreuz (Ger.) {kroyls). A sharp. Kriegerisch (Ger.). Martial. Kriegerlied (Ger.). War-song. Kontski, A. de {kont-skee). Composer, pianist ; Poland. B. 1817. Kontski, Appolinaire. Violinist ; Poland. B. 1825 ; d. 1879. Kotzeluch, J. A. {kots-eh-loocJi). Composer; Bohemia. B. 1738; d. 1814. Kotzeluch, L. K. Composer; Bohemia. B. 1748; d. 1814. Kotzwara, F. (/JoA-zw/^-;-rt'/^). Violinist; Bo- hemia. B. 1750; d. 1791. Krebs, J- L- Composer, organist ; Germany. B. 1713; d. 1780. Krebs, R. A. Composer; Germany. B. 1804; d. 1880. Krebs, Marie, daughter of last. Pianist. B. 1851. Kreutzer, A. Auguste {kroit-zer). Violinist; France. B. 1781 ; d. 1832. Kreutzer, Conrad. Composer; Germany. B. 1780 ; d. 1849. Kreutzer, Rudolph, brother of A. Violinist ; France. B. 1766; d. 183I. Kreutzer, Leon, son of R. Violinist ; France. B. 1817; d. 1868. Krummhorn (Ger.). Crooked horn ; the cre- mona stop. Kunst (Ger.). Art. Kunstlied (Ger.). An artistic song; the reverse of a popular song or Volkslied. Kurz (Ger.) [koorts). Short; staccato. Kurz und bestimmt. Short and emphatic. Kyrie [Gr., Loi-d'\. The first word of the mass ; used as a name for the first division. Kriiger, \Vm. [k?-ee-ge}-). Pianist ; Germany. B. 1820; d. 1883. Krumpholz, J. B. {kroomp- holts). Harpist ; Bohemia. B. 1745 ; d. 1790. Krumpholz, W. , brother of J. B. Harpist ; Bohemia. B. 1750; d. 1817. Kiicken, F. W. (^kt-e-ken). Song writer ; Germany. B. 1 810; d. 1882. Kufferath, H. ,F. {koof-e-raht). Germany. Pianist; composer. B. 1808 ; d. 1882. Kiiffner, J. (keef-ner). Pianist; Germany. B. 1776; d. 1856. Kuhe, W. [koo-eJi). Pianist; Bohemia. B. 1823. Kuhlau, F. D. R. [koo'-hnv, Ger. au like oio m toiun). Composer, liutist ; Denmark. B. 1786; d. 1832. Kuhnau, J. [koo'-noiv). Composer, organist ; Germany. B. 1667 ; d. 1722. KuUak, Adolf {kool-lak). Composer, essay- ist; Germany. B. 1823; d. 1862. KuUak, Theo. , brother of above. Pianist. B. 1818; d. 1882. Kummer, F. A. [koom-tner). 'Cellist; Ger- many. B. 1797; d. 1879. L. H. Abbreviation for left hand ; in German, linke Hand. La. The sixth Aretinian syllable ; the name in French and Italian of the sound A. Labial [Lat. , labium, lip]. A flue-stop. Labialstimme (Ger.). A flue-stop. Labitsky, Josef [lak-bil^-skee). Composer; Schonfeld. B. 1S02 ; d. 1881. Lablache, Luigi [laJi-hlask'). Basso; Na- ples. B. 1794; d. 1858. Lachner, Franz {lac¥-nehr). Conductor, composer; Bavaria. B. 1804; d. 1890. Lachner, Theodor {^lach'-nehr), brother of above. Organist; Bavaria. B. 1798; d. 1877. *-achner, Ignaz {lach'-nehr'), brother of above. Composer, conductor ; Bavaria. R. 'jc ; d :895. Lacrimoso or Lagrimoso (It.) [from la- _o7'?'wrt, tear]. Tearfully; mournfully. Lamentabile, Lamentabilmente, Lamen- tando, Lamentevolmente, Lamente- vole, Lamentato [It., from lamentare, to lament]. Mournfully; complainingly. Lachner, Vincenz (lach'-nehr), brother of preceding. Organist, conductor; Bavaria. B. 181 1 : d. 1S9J. La Grange, Anna (lah-gronzh). Soprano; Paris. B. 1825. Lalo, Edward [lah-lo). Composer, violinist ; France. B. 1823 ; d. 1892. Lambillote, Louis {lavi-bee-yoie). Composer; France. B. 1797; d. 1855. Lamoureux. Ch. (lah- mo-rod). Violinist, conductor; France. B. 1834; d. 1899. Lamperti, F. (lam-pehr'-tee). Singer; Italy. B. iSi ;; <1. 1.S02. LANCERS r>4 LEGGIADRAMENTE Lancers. The name of a variety of the contra (lance. Landler (Ger. ) \layn,i-lei). A slow waltz ol South German origin. Langsam (Ger. ). Slow. Etwas langsam, rather .slow ^ poco adagio). Ziemlich [tst-etii- lich) langsam, moderately slow (andante). Sehr langsam, very slow (adagio). Language. The diaphragm of a flue-pipe. Languendo (It.) {km- gun-n' - do), Lan- guente (It.) {!an-gwen'-teh) [from lan- i;uii-e, to languish], Languemente (It.) (Jaii-gzvehiiieii' -Ich). In a languishing style. Largamente (It.). Broadly; slowly; with dignity. Largando (It.). Gradually slower and broader. Largement (Fr.) [larzh-jnoiig). Largamente. Larghetto (It.) {/argel-to). Rather slow. Larghissimo (It.) [liir-gis-si/n-7no). Slowest possible time. Largo (It.). Lit. , large; broad. Very slow, stately movement is indicated by this term. Largo assai. Slow enough. Largo di molto. Very slow. Largo ma non troppo. Slow, but not too much so. Larigot (Fr. ) [iarigo). An organ-stop of ly^- foot pitch, that is, a twelfth-stop. Lauftanz ( Ger. ). Running dance ; the coranto. Launig (Ger. ) (/(?7£/-«?^). Gay; light ; facile. Lavolta (It.). An old Italian dance resem- bling the waltz. Lay [Ger., Lird ; Fr. , /(?/]. A song. Leader. Conductor ; principal violinist in an orchestra ; principal clarionet in a wind band ; principal cornet in a brass band. Leading Motive. In German, Leitmotiv, q. V. Leading Note. The yth note of a scale ; in the major scale the 7th is naturally a half- tone below the keynote, in the minor scale Lang, Ben. J. Composer, pianist, conductor; U. S. A. B. 1840; d. 1909. Lange, Gustav { laiig' - eh). Composer, pianist; Germany. B. 1830 ; d. 1889. Lanner, Jos. F. K. [Inn^-tiei'). Composer; .\ustria. P3. 1801 ; d. 1843. Laport, Ch. P. [loh-port). Composer; Paris. B. 1781; d. 1839. Laspen, Eduard. Composer ; Denmark. B. 1S30 ; d. 1904. Lavalee, Calixa (lah-vah-leh). Composer, pianist ; Canada. B. 1842 ; d. 1888. Le Carpentier, Adolphe C. {U car - poug- tee-eh). Composer, nianist ; Paris. B. 1809 ; d. 1869. it is naturally a whole tone below, and must be raised by an accidental (see Minor Scale); called also sub-tonic. Leaning Note. See Appoggiatura. Leap. To move from one tone to another more than one degree distant ; the reverse of diatonic or chromatic. Lebendig (Ger.) {leh-ben'-dig), Lebhaft {Ge.x.) [lehb'-hahft). Lively; with anima- tion. Ledger Line. See Leger Line. Legato (It.) {leh-gah'-td), Legando (It.) {leh-gan'-do) [from legare, to tie or bind]. Passages thus marked are to be played with smoothness, without any break between the tones. Legatissimo, as smooth as possible, the tones sligiitly overlapping. Legato is indicated by this sign -' ^ called a slur. The proper observance of Legato is of the utmo.st importance in phrasing. Legatura (It. ) [leh-gah-too'-ra). A tie. Legatura di voce {de-vo-cheh). A group of notes sung with one breath ; a vocal phrase, Legend, Legende (Fr. ) [le/i-zhend ), Le- gende (Ger.) [lek-ghen'-deh). A name given to an extended lyric composition, somewhat in the manner of "program music." [^Cf. Chopin's Legendes.] Leger, Legere (Fr.) {leh'-zhehr). Light. Leger Line. Short lines used for notes which are above or below the staff. Legerment {leh-zhehr-inong). Lightly. Leggeramente ( led - jeJir - a - men' - teh ). Lightly. Leggerezza (It.) [led-jeh-ret'-za). Lightness. Leggero {led-jeh-ro), Leggiero [led-Jee-ro). Light ; rapid. Leggiadramente (It.) {led-jak-drah-men'- ieh), Leggiaramente [led-jah-ra/i-i/ien/ tell), Leggiermente (led- jeer -men' -teli). All these terms (derived from the same root — leggiere, light, quick, nimble,) indicate a light, rapid style of performance without marked accent. Leclair, Jean M. [leh-clare). Composer, violinist; France. B. 1687; d. 1764. Lecocq, Alex. Ch. (le-kok). Composer; Paris. B. 1832. Lecouppey, Felix (le- coop-pay). Composer, pianist; Paris. B. 1814; d. 1887. Le Due, Alphonse. Composer, pianist; France. B. 1804; d. 1868. Lefebure-Wely, Louis J. A. ( le-feh-boor- veh-lee). Comcoser, organist ; Paris. B. 1817; d. 1869.* Lemmens, Nicholas J. Organist ; Holland- B. 1823; d. 1881. Lemoine, Henri. Composer, pianist ; Paris. B. 17S6; d. 1854. LEGNO 55 L'ISTE.SS(3 Legno (It.) {lehn-yo). Wood. Col legno, with the wood. A direction in violin play- ing to strike the strings with the wooden part of the bow. Leicht (Ger.). Light; easy. Leichtbewegt (Ger.) [beh-vekgt). Light; with motion. Leidenschaft (Ger.). Passion; fervency. Leidenschaftlich (Ger.). Passionately. Leierkasten. Barrel-organ. Leiermann. Organ-grinder. Leise (Ger.) {lei'-seJi). Soft; piano. Leiter (Ger.). Ladder. Tonleiter, tone- ladder ; scale. Leitmotiv (Ger. ). Leading motive ; a name given by Wagner to certain striking phrases used to indicate certain emotions, characters, or situations. Leitton (Ger.). Leading note. [Note, —ei in German is sounded like eye in English.] Lenezza (It.) {leh-net'-za). Gentleness. Leno (It.) (Jeh'-no). Faint ; feeble. Lentamente (len-tah-mefi-teli). Slowly. Lentando. Growing slower ; retarding. Lentezza {len-tet-za). Slowness. Lento (It.). Slow, between adagio and grave. Lesser. Minor is sometimes so called, as key of C with lesser third ; C minor. Lesson. A name used in England for the suite, or the various members of it. Lesto (It. ) (/t'/i'' -.?/(?). Lively; brisk. Letter Name. The letter used to designate a degree of the scale, key of piano or organ, line or space of the staff. Leve (Fr.) {lek-veli). Raised; up-beat. Leyer or Leier (Ger.). Lyre. Liaison (Fr.) {lee-eh-song). A tie. Libellion. A variety of music-box. Liberamente (It. ) (lee-beh - ra - nie7i'-teh), Librement (Fr. ) [leebr-mong). Freely. iLemoine, Jean B. {le-iiio-ane). Composer; France. B. 1751 ; d. 1796. Leschetitsky, Theodor {leh-shay-tit' -skie). Composer, pianist ; Austria. B. 1831. Leslie, Henry D. Composer, conductor; London. B. 1822; d. 1896. Leybach, Ignace {li'-bach'). Composer, pi- anist ; Alsace. B. 1817; d. 1891. Lickl, J. G. Composer, organist; Germany. B. 1769 ; d. 1 841. Liebling, Emil [leeb-ling). Pianist; Silesia. B. 1851. Lille, Gaston de {/eel). Composer; France. B. 1825. Libretto (It.) {lee-bret to). Little book ; the book of an opera or oratorio, etc. License, Freiheit (Ger.), Licence (Fr.), Licenza (It.) (Jee-chentza). An intentional disregard of a rule of harmony or counter- point. Liceo (It.) (Jee-cheh'-o). Lyceum; academy of music. Lie(Fr.) (lee-eh). Tied; bound; legato. Lieblich (Ger. ). Sweet; lovely. Lieblich gedacht. Stopped diapason. Lied (Ger.) [leed). Song. Durchkom- poniertes Lied (all through composed), a song with different melody, etc., to every stanza. Strophenlied, the same melody repeated with every stanza. Kunstlied, art song ; high class of song. Volkslied, people's song; national song. Lieder-Cyclus. Song-circle (as Schubert's Miillerin). Liederkranz. A singing-society. Liederkreis. Song circle ; collection of songs. Liederspiel. Song-play ; operetta ; vaude- ville. Liedertafel (song-table). A social singing- society. Ligato. See Legato. Ligature. A tie. See Legatura. Ligne (Fr. ) (Jeen), Linea (It.) {lee' neh-ah), Linie (Ger.) {lee-nee-e/i). Line. 'L.mgua. {\i.) i^ling-wah'). Tongue; reed of organ -pipe. Linke Hand (Ger.). Left hand. Lip. The upper and lower edges of the mouth of an organ pipe. To lip, the act of blowing a wind instrument. Lippenpfeife or Labialpfeife (Ger.). A tlue pipe-organ. Lira (It.) {lee'-ra). Lyre. Lirico (It.) {lee'-ree-cd). Lyric. Liscio (It.) {lee'-sho). Smooth. L'istesso (It.) {Us-tes'-so). See Istesso. Lind, Jenny. Vocalist; Sweden. B. 1820 ; d. 1887. Lindley, Rob. Violoncellist ; England. B. 1776; d. 1855. Lindley, Wm. , son of R. Violoncellist ; England. B. 1802; d. 1869. Lindpaintner, Peter J. von. Composer; Coblenz. B. 1791 ; d. 1856. Linley, George. Composer ; England. B. 1798 ; d. 1865. Linley, Thomas. Composer ; England. B, 1732; d. 1795. Linley, William. Composer; England. B. 1767 ; d. 1835. LITANY 56 MACHINE HEAD Litany [from Gr., litaino, to pray]. A form of prayer consisting of alternate petitions and responses by priest and people, fre- quently sung or chanted. Livre (Fr. ) (leevr). Book. A libre ouvert, " at open book ; " to sing or play at sight. Lobgesang (Ger. ). Song of praise. Loco (It.). Place; play as written. Used after 8va. Lontano (It.), Da lontano. As if from a distance. Losung or Auflosung (Ger.) {lay-soonk) [from Ger., I'dsen, to free]. Resolution. Loud Pedal. A name for the damper-pedal. Loure (Fr. ) {loor). (l) A slow dance in | or I time. (2) An old name for a variety of bag-pipe. Loure (Fr. ) {looreh). Legato; slurred. Low. (i) Soft. (2) Deep in pitch. Lugubre [Fr., loo-goobr ; It., loo-goo-breh^ Mournful. Lullaby. Cradle song ; berceuse. Lunga (It.). Long. Lunga pausa, long pause. Luogo (It.). See Loco. Lusingando (It.) {loos-in-gan' -do^, Lusin- gante (It.) \loo-sin-ga7i' -teli), Lusinghe- volmente (It.) [loo-sing-eh-vol-inen' -teJi), Lusinghiere (It.) [loo - sin - gee - eh - reh). Coaxing; caressing; seductive. [From It. , Insingare, to coax or flatter.] Lustig (Ger.) (^oi-Z/j-). Merry; gay ; lively. Lipinski, Karl J. [lip-in' -skee'). Violinist; Poland. B. 1790 : d. 1861. Lisle, Rouget de [ieel). Composer; France. B. 1760; d. 1836. Listemann, B. F. [lis'-teh-tnan). Violinist; Germany. B. 1841. Liszt, Franz [lisf). Composer, pianist; Hun- gary. B. 181 1 ; d. 1886. Litolff, Henri C. [lee'-tolf). Pianist; Eng- land. B. 1818; d. 1891. Logier, J. B. (/o-zV^t). Composer; Germany. B. 1780; d. 1846. Lortzing, Gustav A. [lort-zing^. Composer; Germany. B. 1803; d. 1851. Lute, Luth (Ger.) [loot). A string instru- ment of the guitar family of very ancient origin. It was brought into Eurcpe by the Moors. In shape it resembled the mando- lin, and was strung with from six to twelve or more strings of gut. The bass strings were wire-covered and did not pass over the fingerboard. For several centuries the lutes held the foremost place aa fashionable instruments. They were made of several sizes. The kirger varieties were called Theorbo, Arch Lute, or Chittarone. Music for the lute was written in a system of nota- tion called tablature, q. v. Luth (Ger.) [loot). Lute. Luthier (Ger.) [loof-eer). A lute-maker; also given to makers of all string instruments of the guitar or violin families. Luttosamente. Mournfully. [From It., iuttare, to mourn ; struggle.] Luttoso (It.) [loot-to-so). Mournful. Lyre. A Greek string instrument of the harp family. Lyric. Song-like. In poetry, a short poem of a simple, emotional character. The term has been borrowed by music to designate musical works of like character. Lyric Form. A composition the themes of which are not treated in the manner of the rondo or sonata, q. v. Lyric Stage. The operatic stage. This terra will hardly apply to the modern " music drama." Loschhorn, Albert [lesh'-honi). Pianist, composer; Germany. B. 1819; d. 1905. Louis (Prince Ludwig F. C. , of Prussia). Composer. B. 1772; d. 1806. Lowe, Johann C. G. [leh'-veh). Composer: Cothen. B. 1796; d. 1869. Lucca, Pauline. \'ucal.c..; .nutria. B. 1S4I ; d. 1908. Lully, Jean Bap. de [liil-lee). Composer; Italy. B. 1633; d. 1687. Lumbye, Hans C. [loom' -bee). Composer; Denmark, B. 1808; d. 1874. Lysberg, Ch. S. [lis-berg). Composer, pian- ist ; Switzerland. B. 1821 ; d. 1873. M M. Abbreviation for Mano or Main, the hand. M. D. Abbreviation for Main Droite or Mano Destra, the right hand. M. F. Abbreviation for Mezzo Forte, half loud. M. G. Abbreviation for Main Gauche, left hand. M. M. Abbreviation for Maelzel's Metro- nome. M. V. Abbreviation for Mezzc Voce. Ma (It). But. Machine Head. The screw and wheel con- trivance used instead of pegs in the guitar, etc. MADRE 57 MARCATISSIMO Madre (It.) {malt' -dreh). Mother; the Virgin Mary. Madrigal. A word of uncertain origin. A name given to contrapuntal compositions in any number of parts. They differ from the motet only in being written to secular words, generally amatory. This style of com- position was cultivated with great success in England in Elizabeth's reign. Maesta (It.) {mah' -es-ta), con, Maestade {inah'-es-tah-dfh), con, Maestevole {iiiah'- es - ta - vfl - Ich ), Maestevolmente ( vol- >neni-e), Maestosamente [jnah' -es-to-sah- tnen'-^ek). All mean the same thing: — Dignified ; with dignity. Maestoso (It.) [tnah-es-to'-sd). Majestic; with dignity. Maestrale (It.) {mah-es-trah-IeJi). " Mas- terful;" the stretto of a fugue when writ- ten in canon. Maestro (It.) {mah-es-tro). Master. Maestro al cembalo. Old term for conduc- tor of orchestra, so called because he con- ducted seated at the cembalo, or harpsi- chord. Maestro del coro. Master of the chorus or choir. Maestro del putti {del pool' -tee). Master of the boys (choir boys). Maestro di capella. Master of the church ; choir-master ; also conductor of the music in the household of a great personage. Magadis (Gr. ). A string instrument tuned in octaves. Magas (Gr. ). A bridge. Maggiolata (It.) (madfo-lak^-tak). A spring song (from Maggio-May). Maggiore (It.) {madjo'-reh), Majeur (Fr.) (/iiah-z/ioor), Dur (Ger.) [dukr). Major. Maggot. Old English name for a short, slight composition of fanciful character. Magnificat (Lat.). Doth magnify; opening word of the hymn of the Virgin Mary. Main (Fr.) {mang). Hand. M. D. or droite, right hand ; M. G. or gauche, left hand. Maitre (Fr.) {mehtr). Master. Maitrise (Fr. ) [meh-tt-ees). A cathedral mu- sic school. Maas, Louis. Composer, pianist ; Germany. B. 1852; d. 1889. MacDowell, Ed. A. Composer, pianist; U. S. A. B. 1861 ; d. 1908. Macfarren, Sir G. A. Composer, theorist; London. B. 1813 ; d. 1887. Macfarren, Walter C. Composer, pianist ; London. B. 1826; d. 1905. McKenzie, A. C. Composer, violinist ; Scot- land. B. 1847. Majestatisch (Ger.) {mah-yes-tay' -tish). Majestically. Major (Lat. ). Greater. Major Chord or Triad. One in which the third over the root is major, i.e., two whole tones above the root. Major Scale. One in which the third of the scale is a major third above the keynote. Major Key, or Mode, or Tonality, has the same meaning. Malinconia ( It. ) [timh-lin-co-nee' -a), Malin- conico, Malinconoso, Malinconioso, Malinconicamente. Melancholy ; in a sad, melancholy manner. Mancando (It.) [from mattcare, to want; fail]. Decreasing; dying away in loudness and speed. Manche (Fr.) {inans/i), Manico (It.) {muh'- nee-ko). Handle ; neck of violin, etc. Mandola (It.), Mandora. A large man- dolin. Mandolin, Mandolino (It.) {man-do-lee-no). A string instrument of the lute family, strung with eight wire strings tuned in pairs ; the tuning same as the violin ; played by means of a small plectrum ; fingerboard fretted like the guitar. Mandolinata (It.). Resembling the man- dolin in effect. Manichord [from \^2X. ,m anus, \\2iwA, chorda, string]. Supposed to be the earliest form of a string instrument, with keyboard, pos- sibly the same as the clavichord. Manier (Ger.) {mah-neer'). A harpsichord grace. Maniera (It.) {man-ych' -ra). Manner; style. Mannerchor (Ger. ) {t7ian'-ner-kor). A men's chorus. Mannergesangverein. Lit., men's song- union. Mano(It.). Hand. D. or destra, right hand ; S. or sinistra, left hand. Manual [from Lat. , manus, hand]. An organ keyboard. Marcando, Marcato. Decided ; marked, with emphasis. Marcatissimo. As decided as pos.sible. Maelzel, J. N. {male-tsel). Inventor of the metronome ; P'rance. B. 1772 ; d. 1838. Maggini, G. P. {mad - Jee'-nee). Violin- maker; Italy. B. 1581 ; d. 1632. Malibran, Maria F. {m a li' -lee-bran). So- prano; Paris. B. 1808 ; d. 1836. Marchesi, Mathilde de C. {mar-keh'-see). Soprano ; Germany. B. 1826. Maretzek, Max. Composer, conductor; Brunn. B. 1821; d. 1897. MARCH 58 MEISTERSANGER March, Marche (Fr. ) (warj/5), Marcia (It.) [mar-ckee-a), Marsch (Ger. ) [marsh). A composition with strongly marked rhythm, designed to accompany the walking of a body of men. Marches vary in tempo from the slow, funeral march to the "charge." The following are the principal varieties : Parade March (Ger. , Faraden-MajscA ; Yr., pas-ordiitaire); Quick-march or Quick- step (Ger., Gesc/nvind-JMarsch ; Fr. , pas redouble) ; Charge (Ger. , Sturin-Marsch ; Fr. , pas-de-charge). The funeral march and parade march are generally in \ time ; the quick marches often in | time. Mark. A sign, q. v. Markiert (Ger.) {mar' -keert) , Marque (Fr.) [jiiar-kay). See Af areata. Marseillaise (Fr. ) [mar-sel-yase). The French national song, composed by Rouget di Lisle. Martele (Fr.) (w^?;--A'/-M'), Martellato (It.) [viar-td-lah' -to). Hammered. In piano mu- sic indicates a heavy blow with stiff wrist ; in violin music, a sharp, firm stroke. Marziale (It.) [inart-se-a'-leh). Martial. Maschera (It.) (tnas-kay'-ra). A mask. Mascherata (It.) [inas-kay'-ra-ta). A mask. Masque. Mask. A species of musical and dramatic entertainment founded on mythical or allegorical themes. Mass, Missa (Lat.), Messa (It.), Messe (Fr. and Ger.). The communion service in the Roman Catholic Church. In music, that portion of the service consisting of the Kyrie, Gloria, Sanctus, and Agnus Dei, which are .sung. The word mass is gener- ally explained as being derived from the words "//i? missa est,''' used to dismiss non-communicants before the service. High Mass is used on feasts and festivals. Low Mass on ordinary occasions, sometimes without music. Mario, G. (niah'-ree-o). Tenor; Italy. B. 1812 (?) ; d. 1883. Marmontel, A. F. Pianist, composer ; France. B. 1S16; d. 1898. Marpurg, F. W. Composer; Germany. B. 1718; d. 1795. Marschner, H. {marsh' -nehr). Composer, conductor; Germany. B. 1795; d. 1861. Martini, G. B. {mar-tee' -nee). Composer, theorist; Italy. B. 1706; d. 1784. Marx, Ad. B. Theorist ; Germany. B. 1799 ; d. 1865. Mason, Lowell. Composer, writer ; U. S. A. B. 1792; d. 1872. Mason, William (son of L.). Composer, pianist ; U. S. A. B. 1829 ; d. 1908. Massenet, Jules F. E. {rnas-seh-neh'). Com- poser; France. B. 1842. Massig (Ger.) {may'-sig). Moderate; mod- erate. Massima (It.). Whole note. Master Chord, The dominant chord. Master Fugue. One without episodes. Master Note. The leading note. Masure {mah-soo-re), Masurek, Masurka, Mazurka. A Polish dance in \ time. Matelotte (Fr.). A sailors' hornpipe dance in I time. Matinee (Fr. ) {ma-tee-neh'\. A morning concert. Mean. Old name for an inner part in music for voices ; also for inner strings of viol, lute, etc. The C clef was also called the mean clef. Measure. (l) Old name for any slow dance. (2) The portion of music enclosed between two bars. (3) Rhythm. (4) Tempo. Mechanism, Mecanisme (Fr. ), Mechanik (Ger.). (I) A mechanical appliance. (2) Technical skill. Medesimo (It.) {mee -deh'- see-mo). The same as. Medesimo tempo, the same time. Mediant. The third degree of the scale. Mediation. That part of a chant (Anglican) between the reciting note and the close. Meisterfuge (Ger.). See Master-fugue. Meistersanger (Ger.). Master-singers; the successors of the minnesingers or Trouba- dours ; the most renowned was Hans Sachs, of Nuremberg, the hero of Wagner's opera, " Der Meistersanger." The meistersanger first appeared in the 14th century. They were for the most part workingmen, differ- ing in this respect from their predecessors, the minnesingers, who numbered royal and noble singers in their ranks. The meister- sanger only became extinct in 1839, when their last society in Ulm was dissolved. Materna, Anialie. Soprano ; Germany. B. 1847. Mathews, W. S. B. W^riter, pianist ; U. S. A. B. 1837. Mattel, Tito {mat-teh'-ee, tee' -to). Composer, pianist ; Italy. B. 1841. Maurel, Victor (w(7-r^/). Baritone; Prance. B. 1847. Mayer, Karl. Composer, pianist ; Germany, B. 1799; d. 1862. Mayseder, J. {juy'-seh -der). Violinist; Austria. B. 1789; d. 1863. Mazas, J. F. (w:z/i''-s»/i). Violinist; France. B. 1782; d. 1849. Mazzinghi, J. {mat-siii-gee). Composer; London. B. 1765 ; d. 1844. Mehlig, Anna. Pianist; Germany. B 1846. MELANCOLIA 59 METRE Melancolia (It.), Melancholic (Fr. ). See Aldliiiconia. Melange (Pr.j [jnch-loiizh). A medley. Melisma (Gr.). (i) A song ; melody. (2) A run ; roulade. Melismatic. Florid vocalization. A melis- matic song is one in which a number of notes are sung to one syllable, as in the tlorid passages in Handel's solos. Melodeon. The precursor of the cabinet organ ; an instrument with free reeds, oper- ated by suction. Melodia (It.), (i) Melody. (2) An organ- stop of 8- or 4foot pitch; soft, flute-like quality. Melodic. Pertaining to melody, as opposed to harmonic. Melodico, Melodicoso (It.). Melodiously. Melodie (Fr. j. Melody; air. Melodrama. A play abounding in romantic and dramatic situations, with or without musical accompaniment. Melodramatic music is music used to accompany and "intensify" the action of a drama. The term is also applied to instrumental music abounding in startling changes of key or sudden changes of loud and soft. Melody. An agreeable succession of single sounds, in conformity with the laws of rhythm and tonality. In music for voices the melody is generally in the soprano, or, if for male voices, in the first tenor, but there are many exceptions to this. In orchestral music it is even less necessary that the melody should be in the highest part, as the varying "tone color" of the instruments used is enough to give it the necessary prominence. Melograph. A mechanical device for record- ing improvisation on the piano-forte. Many attempts have been made to produce such a machine, but with only partial success. Melopiano. A piano-forte in which a con- tinuous tone was produced by a series of small hammers which struck rapidly re- peated blows on the strings. Invented by (!aldara in 1870. It was re-invented in 1893 by Hlavac of St. Petersburg, and exhibited at the Columbian Exposition, where it attracted great attention. Melos (Gr. ). Melody. Used by Wagner as a name for the recitative in his later works. Mime (Fr. ) [inavie). The same. Men. (It.). Abbreviation for Meno, less ; as, Meno mosso, slower, less motion. Menestral (Fr. ). Minstrel ; Troubadour. Menetrier (Fr. ) [iiieh-neh' -tree-eh). A fiddler. Mehul, E. N. (n/nv-ool). Composer; France. B. 1763; d. 1817. Mendelssohn, J. L. Felix B. Composer, pianist ; Germany. B. 1809 ; d. 1847. Mente (It. ) (w£'«-/('/;). Mind. Alia ment#, improvised. Menuet (Fr. ) {tne-iioo-e/i) , Menuett (Ger.), Minuetto (It.). Minuet; a slow, stately dance in | time, retained as one of the members of the sonata, quartet, symphc/ny, etc. , until Beethoven changed it into the scherzo. Mescolanza (It.) (^nies - co - lanl^- sa). A medley. Messa di voce (It.) [fiiessa-dee-vo-chefi). Swelling and diminishing on a sustained sound; literally, "massing of the voice." Mestizia (It.) [iiu's-tit'-sia), con. With sad- ness. Mesto (It.) [tnehs-to). Gloomy; mournful. Mestoso, Mestamente. Mournfully ; sadly. Mesure (Fr. ) [me/i-soor). Measure. A la mesure, in time. Metal Pipes. Organ-pipes made of tin, zinc, etc. Metallo(It. ). Metal; a metallic quality of tone. Bel metallo di voce, fine, " ring- ing" quality of voice. Method, Methode (Fr.) {meh-tode), Metodo (It.), (i) System of teaching. (2) Man- ner of using the voice, or of performing on an instrument. Metre or Meter [Gr. , nietron, a measure]. Properly belongs to poetry, from whence it is transferred to music. In poetry it has two meanings: (l) As applied to a group of syllables ; (2) as applied to the number of these groups in a Hne. English prosody recognizes four groups of syllables, called feet: (l) The Iambus, consisting of a short or unaccented syllable followed by a long or accented syllable, as, be-fore ; (2) the Trochee, which is just the reverse, as, mu-sic ; (3) the Anapest, two short followed by a long, as,re-pro-duce ; (4) the Dactyl, which is just the reverse, as, fear-fully. As ap- plied to lines (verses). Long Meter signifies four iambic feet in every line ; Common Meter (also called Ballad Meter) an alternation of four and three iambic feet ; Short Meter, two lines of three feet, one of four, and one of three in every stanza. Trochaic, Anapestic, and Dactyllic Meters are indicated by figures giving the numbf^y of syllables in each line, as 8, 6, 8, 6, etc It is important to the musician to become thoroughly familiar with prosody, lest he fall into the too common error of setting short syllables to the accented beats of the measure, or the reverse. Ba B. Minter, Sophie. Pianist 1848. r/lercadante, S. [mehr-ka-dan' -teh). Com poser; Italy. B. 1795 ; d. 1870. METRONOME 60 MODE Metronome [Gr., tnetron, measure; nomas, rulej. A mechanical device for determin- ing the time- value of the beat The one in ordinary use is attributed to Maelzel, whose name it bears. It consists of a pendulum with two bobs, one of which is movable, driven by clockwork ; back of the movable bob is a graduated scale. It is used as follows: If the metronomic indica- tion at the beginning of a piece of music in \ time is I — lOO (^-note equal to lOo), the movable bob is slid along the rod until it is opposite the figures loo, the pendulum is set in motion, and one swing — indicated by a sharp click — is allowed to every beat. Mettez (Fr.) {i/iel-teh). Put; in organ music used in the sense of "draw" or "add" any stop or stops. Mezzo or Mezza (It.) {med-zo). Half. Mezzo Aria. A style of singing in which the distinctness of recitative is aimed at ; also called Aria parlante, " speaking aria." Mezzo Forte. Half loud. Mezzo Piano. Half soft. Mezzo Soprano. The female voice between the alto and soprano. Mezzo Tenore. A tenor with range of bari- tone. Mezzo Voce. Half voice. Mi (It.) [iiiee). The name of E in French, Italian, and Spanish. Mi contra fa (mi against fa), the interval from F to Btj ; the tritone ; three whole tones. Middle C. The C half way between the fifth line of the bass staff and first line of the treble staff; the C always indicated by the C Militairemente (Fr.) {7?iee-lee-tehr-mong), Militarmente (It.) {mee-lee-tar-me7i-teh). Military style. Military Band. Consists of (i) brass instru- ments only ; (2) saxophones ; (3) brass instruments and clarionets ; (4) brass, wood, and saxophones. Minaccivole (It. ) [inin - nat - chee'- vo - leh), Minnacivolmente 'yiiiin-nat-chee-vol-men' - te/i), Minnacciando (jtiin-nat-chee-an' -do), Minnacciosamente {inin - nat - chee-o-sa- nien'- te/i), Minnaccioso [niin- nat - chee- o^-so). Menacing; threatening. Mineur (Fr.) (vtee-noor). Minor. Minim. A half-note. Merkel, Gustav. Organist, composer; Ger- many. B. 1827 ; ci. 1885. Merz, Carl (wfT/.?). Composer, writer ; Ger- many. B. 1834; d. 1S93. Meyer, Leopold von. Pianist ; Austria. B. " 1814; d. 1883. Minnesanger (Ger.). German name foi Troubadour ; literally, love-singer. Minor (Lat.). Lesser. Minor Chord. The third above the root minor. Minor Interval. One half-tone less than major. Minor Scale. The third degree, a minor third above the key-note. Minstrel. See Troubadour. Minstrel has been adopted as the name of the imitation Ethiopians who sing songs su]iposed to be illustrative of the manners and customs of the plantation negroes in the days of slavery. Minuet. See Menuet. Mise de voix (Fr.) {tneese de z'o-a). See A/c'ssa di voce. Mise en scene (Fr. ) [meese otig scayne). The "getting up;" putting on the stage of a play, opera, etc. Misteriosamente. Mysteriously. Misterioso (It.). Mysterious. Misurato (It.) {inee-soo-rah'-to'). Measured; in strict time. Mit (Ger.). With. Mit Begleitung [l>e-gky'-toonk). With ac- companiment. Mixed Cadence. A close, consisting of sub- dominant, dominant, and tonic chords, so called because it includes the characteristic chords of both the plagal and authentic cadences, viz. : subdominant and dominant. Mixed Chorus, ) Male and female voices Mixed Voices. J together. Mixolydian. See Mode. Mixture. An organ-stop with from three tc six small ]:)ipes to each note, tuned to certain of the overtones of the fundamental (diapason) used in full organ only. Mobile (It.) {iiio'-bee-lelt). With motion; mobile. Mode [Lat., wipo'z/j, manner, way]. (i) A scale in Greek and ecclesiastical music. (2) In modern music used only in conjunction with the terms major and minor, as Major Mode, Minor Mode. Greek Modes ; the scale system of the Greeks is not yet quite satisfactorily made out. According to Chappel, who is considered the best authority, the succession of whole and half tones was the same in all the modes, their only difference being in pitch. He gives Meyerbeer, G. Composer; Germany. B. 1791 ; d. 1S64. Mills, S. B. Composer, pianist ; England. B. 1839; d. 1898. Mohr, Hermann. Composer, conductor ; Ger- many. B. 1830; d. I^ MODERATAMENTE 61 MORDENT the following as the initial notes of the principal modes : Dorian (the standard mode) D, Phrygian E. Lydian F^J, Mixo- lydian G. Those modes the initial notes of which are below the Dorian weie dis- tinguished by the prefix hypo, beneath, as Hypolydian C#, Hypophrygian 15, Hypo- dorian A. The succession of sounds was like that of the natural scale of A minor. Church (or ecclesiastical), or Gregorian, or Ambrosian modes were derived from tlie Greek modes, but discarded the chromatic sounds. Thus the Dorian and Plirygian were the same, that is, had the same initial sounds, but the Lydian began on ¥ instead of F#. There are other diH'erences between the Greek and the Church modes, viz. : The first four are called authentic ; those the initial notes of which are below the Dorian are called plagal ; each plagal mode is con- sidered as the relative of the authentic mode, beginning a 4th above it. The final of a plagal is always made on the initial note of its related authentic mode. If the interpretation of the Greek modes is to be trusted, the church modes seem to have arisen from a misunderstanding of the Greek modes. Moderatamente (jiiod-e-rah - tali - men'-teh). Moderately. Moderatissimo {niode-rah-tis'-see-nio). Very moderate. Moderato (It.) [niod-c-rah' -to). Moderate. Moderazione (It.) [nto - deh- rat-se -o'-neli), con. Witli moderation. Modificazione ( It. ) i ino-dee-fee-cat-se-o'-neli). Modification ; light and shade. Modinha (Port.) [iito-deen'-ya). Portuguese love-song. Modo (It.). Mode; style. Modulation. (i) Gradation of sound in intensity. (2) Change of key or tonality. Diatonic modulation moves from one key to another by means of chords from related keys ; chromatic modulation, by means of chords from non-related keys; enharmonic modulation, by substituting # for |2, or tlie reverse. A passing or transient modulation is one followed by a quick return to the original key.; the signature is not changed in a modulation of this kind. A final mod- ulation is one in which the new key is retained for some time, or permanently ; it is generally indicated by a change of signa- ture following a double bar. Modus (Lat.). Mode; scale. Moll (Ger.) [Lat., mollis, soft]. Minor. Molique, B. {tno-leek). Composer, violinist ; Bavaria. B. 1803 ; d. 1869. Molloy, J. L. Composer; Ireland. B. 1837; d. 1909. Monteverde, C. {inon-teh-ver' -deli). Com- poser; Italy. B. 1568; d 16^3. Moll-Akkord. Minor chord. Moll-Tonart. Minor key or mode. MoU-Tonleiter. Minor scale ; literally, tone-ladder. Molle (Lat.). Soft; medieval name for BJZ, Bn being called B durum (hard). Tlie German words for minor and major [1110//, dur) are derived from these terms, also the French and Itahan names for the flat sign, viz., French, beinol ; Italian, bei)iolle. Mollemente (It.) \^mol-leh-iiien-teh). Softly; sweetly. Molto (It.). Very much. Di molto, ex- ceedingly ; as Allegro di molto, exceed- ingly rapid. Monferina (It.) {mon-feh-ree' -nah). Italian peasant dance in \ time. Monochord [Gr. , tiionos, one; chorda, string]. An instrument consisting of a single string stretched over a sound board, on which is a graduated scale giving the proportionate divisions of the string required for the production of perfect intervals. A movable bridge is placed at the points indi- cated on the scale. The Monochord was formerly used as a means for training the ear. It is now used only for acoustic experiments. Monody. (l) A song for a single voice unaccompanied. (2) In modern usage it denotes a composition in which the melody is all-important, the remaining parts simply accompaniment ; called also Homophony and Monophony, — the antithesis of Po- lyphony. Monotone. Recitative on a single sound. Montre (Fr.) {nioiigtr). Lit., displayed. The open diapason, so called because the pipes are generally placed in the front of the case and ornamented. Morceau (Fr.) (jnor-so'). A "morsel;" a short piece ; an extract. Mordent, Mordente (It.), Beisser (Ger.). A sign /yV indicating a single rapid stroke of the auxiliary note below the princi- pal followed by a return to the principal. Thus — Plaved. V /i p » » vT ' ' ' When the sign is used without the dash through it, thus /VV it is called an Inverted Mordent, or Pralitriller, and con- Morgan, G. \V. Organist; England. B. 1823; d. 1895. Moscheles, Ignaz {^inosh'-e-lehs). Composer, pianist; Bohemia, Germany. B. 1794; d. 1870. MORENDO 62 MUTIG sists of the principal and the auxiliary note above. Thus — /W P laved. The Mordent proper is not used in modern music, and the word Mordent is now by common usage applied to the inverted Mor- dent, or Pralltriller. Morendo (It.) [from tnorire, to die]. Dying away ; gradually growing softer and slower. Morisca (It.). Morris dance. Mormorando, Mormorevole, Mormorosa (It.). Murmuring. Morris Dance. A rustic dance of Moorish origin. Mosso (It.). Moved. Piu mosso, faster. Meno mosso, slower. Mostra (It.). A direct /\\^ , generally used in manuscript music to indicate an unfinished measure at the end of a brace. Moteggiando (It.) {mo-ted-jan'-do). Banter- ing ; jocose. Motett, Motetto (It.). A vocal composition to sacred words, written in strict contra- puntal style. The madrigal differs only in being set to secular words. Many modern compositions to sacred words (not metric) are called motetts, but would more properly be called anthems. Motif (Fr.), Motivo (It.), Motiv (Ger.). Motive. (l) A short, marked musical phrase. (2) A theme for development. See Leitmotiv. Motion, Moto (It.). Conjunct Motion, movement by degrees. Disjunct Motion, movement by skips. Direct, Similar, or Parallel Motion, when two parts ascend or descend together. Contrary Motion, when two parts move in opposite directions. Oblique Motion, when one part is station- ary while the other moves. Mouth. The opening in the front of an organ flue-pipe. Mouth-organ. The harmonica ; Pandean pipes. Mouth-piece. In brass instruments the cup- shaped part applied to the lips ; in oboe, clarionet, etc., the part held between the lips. \Yx.,eitdwiichure ; It., itiiboccatura ; Ger., Mundstiick.'\ Movement, Mouvement (Fr.) [vior'e-mong). (I ) Tempo. (2) One of the members of a Moszkowski, M. {mosh-kow'-skee). Com- poser, pianist ; Poland. B. 1854. Mozart, Leopold {nio'-tsart). Violinist; Austria. B. 1719; d. 1787. Mozart, Wolfgang A. (son of L.). Com- poser, pianist; Austria. B. 1756; d. 1791. sonata, symphony, etc. (3) The motion of a part or parts. Movimento (It.). Movement ; tempo. Dop- pio movimento, double movement ; when a change of time signature from ^ to ^ occurs, and it is desired to preserve tlie same rate of movement, or tempo, /'. t\, the quarter-note beat becomes the half-note beat. Munter (Ger.). Lively; brisk; allegro. Murky. An old name for a piece of harpsi- chord music with a bass of broken octaves. Musars. Troubadour ballad singers. Musette (Fr.). (i) A bagpipe. (2) An old dance. (3) In the suite the second part or "trio" of the gavotte, etc., is frequently so called, and is written in imitation of bagpipe music. (4) A soft reed-stop in the organ. Music, Musica (Lat. and It.), Musique (Fr. ), Musik (Ger.) [from Gr., i/ionsi/:t\ from ntousa, muse]. Originally any art over which the Muses presided, afterward restricted to the art that uses sound as its material. Music Box. An instrument in which steel tongues are viljrated by means of pins set in a revolving cylinder. Musical Glasses. An instrument consisting of a number of goblets, tuned to the notes of the scale, vibrated by passing a wetted finger around the edge. Musician. (i) One who makes a livelihood by playing, singing, or teaching music. (2) A member of a regimental or naval band. (3) A composer of music. "Musician" is a very elastic term ; it includes every grade from the drummer and fifer to Mozart. Musikant (Ger.). A vagabond musician. Musiker, Musikus (Ger.). A musician. (Generally used in a derogatory sense.) Mutation Stop. Any organ-stop not tuned to the diapason or any of its octaves, as the tierce, quint, twelfth, larigot, etc. Stops of this kind (also mi.xtures, cornets, sesqui- alteras) are used for the purpose of "filling up" the volume of tone and giving it greater brilliancy. Mute [It., sordino; Fr. , sourdine: Ger., Ddvipfe7-\. A small contrivance of wood or metal placed on the bridge of the violin, etc., to deaden the sound ; a cone or cylinder of pasteboard, leather, or wood plnced in the bell of a brass instrument for the same purpose. Mutig (Ger.) {moo-tig). Bold; spirited; vivace. Mozart, W. A. (son of preceding). Com- poser, pianist. B, 179I ; d- 1844. Murska, lima de. Soprano; Croatia. B. 1835; d. 1889. Mysleweczek, f. {i>iis'-leh-veh-chek']. Com- poser; Bohemia. B. 1737 > d. 17S1. NACAIRE 63 NINETEENTH N Nacaire (Fr.) [nah-kehr'). A large drum. Nacchera (It.) {iiak-keli'-rah^. Military drum. Nach (Ger.). After; according to; resem- bling. Nach Belieben. At pleasure ; ad libitum. Nach und nach. By degrees ; pocoa poco. Nachahmung. Imitation. Nachdruck. Emphasis. Nachlassend. Retarding. Nachsatz. Closing theme ; coda. Nachspiel. Postlude. Nachthorn (Ger.). Night-horn. An organ - stop; large-scale closed pipes, generally 8- foot tone. Na'if (Fr.), masc. [nah-if), fem. Naive [jtah- eve). Simple; natural; unaffected. Naiv (Ger. ) (ytia/i-if). "See iVaif. Naivement (Fr. ) [na-eve-mong). Artless. Naivete (Fr.) (tia-eve-tefi) . Simplicity. Naker. A drum. (Obsolete.) Narrante (It.) [nai--ran-teh). Narrating. A style of singing in which especial atten- tion IS given to distinctness of enunciation, rather than to musical effect. Nasard, Nazard, or Nassat. An organ- stop tuned a twelfth above the diapason. Nason Flute. A soft, closed stop, 4-foot pitch. Natural. A sign J3 which restores a letter to its place in the natural scale. In the ancient system of music the only changeable note in the scale was B. The sign for that sound was [2, the old form of the letter; it signi- fied the sound we call B Hat and was called B rotundum, /. e., round B. When it was to be raised a half tone a line was drawn downward at the right side, thus jj, and it was called B quadratum, i. e., square B. In our modern music these have been retained as the signs for flat and natural. Natural Horn or Trumpet. Those with- out valves or slides. The sounds produced are called natural harmonics, and are the same as may be produced by touching lightly a vibrating string at any point that will cause it to divide into equal parts, as 2, 3, 4, etc. Nageli, J. G. {nay' -ge - lee). Composer, writer ; "Switzerland. B. 1768 ; d. 1836. Naumann, Emil {now-matin). Composer, writer ; Germany. B. 1827 ; d. 1888. Neefe, Ch G. [ueh'-fe/i). Organist, com- poser; Saxony. B. 1748 ; d. 1798. Neruda, J. B. G. (neh-roo' -da) . Composer, violinist; Bohemia. B. 1707; d. 1780. Natural Major Scale. The scale of C major. Natural Minor Scale, .\-minor; also any minor scale with unchanged 6th and 7th. Natural Pitch. The sounds produced by flute, clarionet, etc., without overblowing. The flute, oboe, and bassoon overblow at the octave above their fundamental. The clarionet at the 12th. Naturale (It.) [na/i-too-ra/i'-h-Ji), Naturel (Fr.) [nah too-rel'). Natural; unaffected. Neapolitan Sixth. A name given to a chord consisting of the subdominant with minor 3d and minor 6th, as F, AjZ, DjZ ; used in both major and minor keys. Neben (Ger.) [uth'-ben). Subordinate ; ac- cessory. Neben-Dominant (Ger.). The dominant of the dominant. Neben - Gedanken (Ger.). Accessory themes. Nebensatz (Ger.). An auxiliary theme in sonata, etc. Nebenwerk. The second manual of the organ. Neck [Ger., Hals; Fr., mancke (mongsh)"|. The " handle " of violin, guitar, etc.; on its top is the fingerboard ; at its end, the peg-box. Negli (It.) {nehl-yee'), Nei, Nel, Nell, Nella, Nelle, Nello. In the manner of. Negligente (It.) {neg-lee-gen'-teh). Careles.s. Negligentimente (It.) (jieg-lee-gen-te-inen- teh). Carelessly. Negligenza [neg-lee-gent-sa), con. With care- lessness. Nel battere (It.) (Imt-fe/i-reh). At the beat. Nel stilo antico. In the antique style. Nenia or Naenia (Lat.). .\ funeral dirge. Nettamente (It.) {uctt-a-men-teh). Neatly; clearly. Netto (It.). Neat ; exact. Neuma, Neumes. Signs used in medieval notation. Nineteenth. An organ-stop ; two octaves and a fifth above the diapason. Neruda, Wilhelmina (Norman). Violinist; Austria ; B. 1840. Neukomm, S. Chev. {tioy'-koni). Com- poser, pianist ; Austria. B. 1778; d. 1858. Nicode, J. L. {nee - ko - day). Composer; Polish Silesia. B. 1853. Nicolai, Otto (nee-ko-lie). Composer, organ- ist ; Germany. B. 1810; d. 1849. NINTH 64 NOVELETTE Ninth. An interval one degree beyond the octave, being tiie second removed an octave ; it may, like the second, be minor, major, or augmented. The minor and major ninths are essential dissonances, that is, sounds derived from the fundamenial ; with the augmented ninth the lower sound is really the ninth, thus, G, B, D, F, A or AJ2, are overtones of G, but C, Dq arise from B, Dti, FJj, A, C, chord of ninth. A chord consist- ing of root major 3, per. 5, minor 7, and major or minor ninth may have either major or minor nintli in major keys, but only the minor ninth in minor keys Nobile (It.) {no-bee-leli). Noble; grand. Nobilita (It.) {jio-bet-' -lee-la), con. With nobility. Nobilmente (It.) [jio-bil-vien-teh). Nobly. Noch (Ger. ). Still ; yet ; as, noch schneller, still faster. Nocturne (Fr.) {tioc-tcorn), Notturno (It.), Nachtstiick or Nokturne (Ger.) [710k- loor' -iieli). Literally, night-piece ; a quiet, sentimental composition, usually in Lyric form, but under the title Notturno im- portant compositions for several instruments or full orchestra have been written con- taining several movements. Nocturns. Night services in the R. C. Church, at which the psalms are chanted in portions, also called nocturns. Node. A line or point of rest in a vibrating body. A node may be produced in a vibrat- ing string by touching it lightly. (C/i under Natural Horn.) The sounds thus produced, called harmonics, are often used on instru- ments of the violin family and on the harp. Noel (Fr.) («o-if/), Nowell (Eng.). "Good news;" "Gospel." Christmas eve songs or carols. Noire (Fr.) (no-ar). Black; quarter note. Nonet [^It , noneflo : Ger., Aw/^//]. A com- position for nine voices or instruments. Nonuplet. A group of nine notes to be played in the time of six or eight of the same value. Normal Pitch. The pitch of a sound, gen- erally A or C, adopted as a standard. This standard for the sound A, second space, has varied from 404 vibrations per second in 1699 to 455 in 1859. By almost uni- versal consent the modern French pitch is now adopted, viz., A ^ 435 vibrations per second. Nicolini, E. i^nik-o-lee'-nee'). Tenor; France. B. 1S34; d. 1S98. Niedermayer, L. Composer; France. B. 1802 ; d. 1861. Nilsson, Christine. Soprano; Sweden. B. 183 1. Notation. The various signs used to repre- sent music to the eye, as staff', clefs, notes, rests, etc. The earliest attempts at the representation of musical sounds of which we have any knowledge were made by the Greeks, who used the letters of their alpha- bet, modified in various ways to represent the series of sounds they employed. Their series of sounds is supposed to have begun on the note A, first space in the bass clef. From this system music has retained the name of A for this sound. The next development was the adoption of a series of signs called neumae. These signs, although curiously complicated, were yet veiy defective in ]>recision, being inferior to the letters as indications of pitch. The great want, both of the letter system and the neumae, was that neither gave any indi- cation of the duration of the sounds. The next step was the adoption of the staff". At first use was made only of the spaces between the lines, and, as notes had not yet been invented, the syllables were written in the spaces ; this gave exactness to the relative pitch of the sounds but no indica- tion of their duration. The next step was to use the lines only, indicating the sounds by small square notes called points. The letter names of the lines, of which eight was the number, were indicated by Greek letters placed at the beginning. This, though an improvement on the plan of dislocating the syllables, was still wanting in that no dura- tion was indicated. This desideratum was secured by the invention of the notes, attributed to Franco of Cologne. Invention was now on the right track. The expression of pitch and relative duration were now determined with exactness. The system of notation now in use is substantially the same, modified and improved to meet the requirements of modern musical complexity. Note. A sign which, by its form, indicates the relative duration of a sound, and by its position on the staff the pitch of a sound. Notenfresser (Ger. ). " Note devourer." A humorous title for a ready sight reader ; gen- erally implies one whose playing is more notes than music. Nourri (Fr.) {nour-ree). Nourished; tin son notirri, a well-sustained sound. Gener- ally applied to vocal sounds. Novelette. A name invented by Schumann and given by him to a set of pieces with- out formal construction, with numerous con- Nohl, Carl F. L. Author ; Germany. B. 1831 ; d. 1885. Nottebohm, M. G. {not'-teh-bome'). Com- po-ier, writer; Germany. B. 1817 ; d. 1882. Nourrit, \.o\\\'i{noor-ree). Tenor; I'rance. B. .1780; d. 1831. NOVEMOLE 65 OCTET stantly changing themes, giving expres- sion to a very wide range of emotions. Novemole (Ger.) {no-vehino'-Uh']. Nonu- plet. Nuance (Fr. ) [noo-on^s). Shading; the variations in force, quahty, and tempo, by means of which artistic expression is given to music. Number, (i) A movement of a symphony or sonata . (2) A solo, chorus, or other separate part of an opera or oratorio, etc. (3) A given piece on a concert pro- gramme. (4) The " opus" or place in the list of an author's works as to order of composition. Nunsfiddle [Ger., Nonnen-Geige\. Called also Tromba Marina. An instrument with a distant resemblance to a double bass, fur- Nourrit, Adolphe (son of L.) [noor-ree). Tenor ; France. B. 1802 ; d. 1839. Novello, Vincent. Composer, organist ; England. B. 1781 ; d. 1861. Novello, Clara A. (daughter of V.). So- prano; England. B. 1818. nished with one string and a peculiarly con- structed bridge. The harm-). Work; opus. Offen (Ger.). Open. Offertory, Offertorio (It.), Offertoire (Fr.) {of-fcr-hvar), Offertorium (Ger. and Lat. ). (i) The collection of the alms of the congregation during the communion service. (2) The anthem or motet sung by the choir at this time. (3) A piece of organ music performed during this time. Ohne (Ger.) {o'-neh). Without, as ohne Fed., without pedal. Olio [Sp. , olio, from Lat., olla, pot. A mixture of meat, vegetables, etc., stewed to- gether]. Hence, a medley of various airs ; a potpourri. Olivettes (Fr.) {o-lee-vei). Dance after the olive harvest. Omnes or Omnia (Lat.). All. Same as Tutti. Omnitonic, Omnitonique (Fr.). All sound- ing, i.e., chromatic ; applied to brass instru- ments. Ondeggiamento (It.) {on-ded-ja-men'-to), Ondeggiante (It.) \oii-didjan'-teIi), On- dulation (Fr. ) {o)i-doo-lali-siong), Ondule (Fr. ) [on-doo-leh) , Ondulieren (Ger.) {oti- doo-lee'-ren'). Waving, wavy ; undulating; tremolo. Ongarese (It.) (pn-gah-reh'-seh'). Hun- garian. Open Diapason. See Diapason. Open Harmony. An equidistant arrange- ment of the notes of the chords. Open Notes. (l) The sounds produced by the strings of a violin, etc., when not pressed by the finger. (2) The natural sounds of horn, trumpet, etc., i.e., without valves. Open Pipe. An organ-pipe without stopper. Open Score. One in which each voice or instrument has a separate staff assigned to it. Open Strings. See Open Azotes (l). Oesten, Theodor. Composer, pianist ; Ger- many. B. 1813 ; d. 1870. Offenbach, Jacques. Composer, conductor, violoncellist; Germany. B. 1819; d. 1880. Opera (It.) [from Lat., opus, work]. A combination of music and drama in which the music is not merely an incidental, but the predominant element. The opera originated in an attempt to revive what was supposed to be the manner in which the classic Greek drama was performed. The efforts of the group of musical enthusiasts who made this attempt culminated in the production of " Euridice," in 1600, the first Italian opera ever performed in public. The ground being broken, new cultivators soon appeared, and the new plant grew rapidly. Peri, the composer of " Euridice," was succeeded first by Gagliano, then by Monteverde, — one of the great names in music. In his hands the opera developed with extraordinary rapidity. Before the close of the 17th century a host of opera- writers appeared, led by Scarlatti. The next important development in the form of opera was made by Lulli, the court-musician of Louis XIV. No very striking advance was now made until Handel appeared. He did little in the way of developing the form, but infused so much genius into the received form that it gave it a new life. In this respect Handel resembled Mozart, who, at a later stage of the development of the opera, was quite satisfied to take the then received form, which his genius sufficed to make immortal. The first decided depart- ure from the traditional form was made by Gluck, whose theoiy of dramatic music is strongly akin to the modern theory of Wag- ner. The opera since Mozart has grown with so much luxuriance, in such a diversity of forms, that even a slight sketch of it would be impossible in our limits. Ap- pended will be found the names of the principal varieties. Opera Buffa. Comic opera. (Fr. , Opera Boiiffe. ) Opera Comique (Fr.). Comedy (not comic) opera. Opera drammatica (It.). Romantic opera. In modern German usage the term " Musik- drama" has been adopted to distinguish the modern from the old form of opera. Opera Seria. Grand opera ; serious opera ; tragic opera. Operetta (It.). An opera with spoken dia- logue. Ophicleide, Oficleide (It.) [from Gr. , ophis, snake, and kh'is, key. Lit., " keyed snake," in allusion to its contorted shape]. A large brass instrument of the bugle fam- ily, i. e., with keys, now little used. The Onslow, G. Composer; France. B. 1784; d. 1852. Osborne, G. A. Composer, pianist ; Ireland. B. 1806; d. 1893. OPPURE 67 OSTINATO best example of its use by a great composer will be found in Mendelssohn's " Midsum- mer Nigiit's Dream " music. Oppure (It.) l^op-poo'-reh). See Ossia. Opus (Lat.). Work; used by composers to indicate the order in which their works were written. Oratorio (It.) [from Lat., orator/ us, pertain- ing or belonging to prayer ; a place for prayer]. A composition consisting of solos and concerted pieces for voices, the theme of which is taken from the Bible or from sacred history. The name arose from the fact that St. Philip Neri gave discourses intermingled with music in his oratory al)out the middle of the l6th century. The term Oratorio is also used for secular works written on the same plan, such as Haydn's " Seasons," and Bruch's "Odysseus," but is manifestly inappropriate. The oratorio is descended from those middle-age dramatic performances founded on biblical or moral themes, known as mysteries, moralities, or miracle plays. It took its rise about the same time as the opera, from which it differs chiefly in that it affords an oppor- tunity for the highest developments of the contrapuntal art, whereas the opera is essentially monodic. The oratorio has not gone through the manifold changes and diversities that have marked the develop- ment of the opera, nor has it attracted any- thing like the number of composers that have devoted themselves to the opera. The first writer of any prominence in this field was Carissimi. He was followed by A. Scarlatti ; then Handel appeared and stamped for all time the form of the oratorio. His great contemporary. Bach, equaled, if he did not surpass him, but in a different style. Handel has had but two successors worthy to be named with him, — Haydn and Mendelssohn, each of whom has stamped a new character on the oratorio without descending from the high plane on which this class of composition should stand. The taste for the oratorio seems to be on the wane, as no composer of any mark has of late years devoted his attention to it. Orchestra, Orchestre (Fr.), Orchester (Ger.) [from Gr. , orchester, a dancer]. Originally the place where the dancing took place in the Greek theatre, (i) The place where the instrumentalists are placed. (2) The company of instrumentalists. (3) The collection of instruments used at any performance. See Instrument. Orchestrate. To write music for the orchestra. Osgood, Emma A. Soprano; U. S. A. B. 1849. Otto, Ernst J. Composer; Germany. B. 1804; d. 1877. Orchestration. The art of writing for the orchestra. Orchestrion. A mechanical organ designed to imitate, by means of various stops, the instruments of the orchestra. Ordinario (It.) {or-dee-nah'-ree-o^. Usual; ordinary ; as tempo ordinario, the usual time, used in the sense of moderate. Organ, Organo (It.), Orgue (Fr.), Orgel (Ger.) \{xo'ca.(jx.,orgation, tool, implement, instrument]. An instrument consisting of a large number of pipes grouped according to their pitch and quality of tone into "stops." A large bellows supplies the compressed air or "wind" to the various air-tight boxes called sound-boards, on which the pipes are placed. By means of a key mechanism the "wind" is allowed to enter the pipes corresponding to any given pitch at will. The set or sets of pipes it is desired to sound are controlled by means of " registers " which, when drawn, allow the "wind" to enter the pipes of the "stop," the name of which is marked on the knob of the register. Organs are built with from one to four, and even more, "manuals," or keyboards, placed one above the other. Three manuals is the usual number. The lowest is called the " choir organ," the middle the "great organ," the upper the " swell organ." When a fourth manual is added it is called the ".solo manual," a fifth the " echo organ ; " there is also a key- board for the feet called the "pedal organ." Organ Point, Point d'orgue (Fr. ), Orgel- punkt (Ger.). A succession of hannonies belonging to the key, written over a pro- longed holding of the dominant or tonic, or both ; an organ point is generally at the bass. Organetto (It.). Small organ; bird-organ. Organum (Lat.), Organon (Gr. ). An early attempt at part-writing in which the parts moved in fourths or fifths with each other. Orguinette. A small mechanical reed-organ. Orpharion. A lute with wire strings. Osservanza (It.) [as - ser - van' - tsa) , con. With care ; with exactness. Ossia (It.) {os'-see-a). Or else; otherwise; as ossia piu facile, or else more easily. Ostinato (It.) {os- tee-na'-to). Obstinate. Basso ostinato is a name given to a fre- quently repeated bass with a constantly varied counterpoint, called also ground bass ; frequently used by the old composers as the foundation for the passacaglia. Otto, Otto (brother of E.). Composer; basso; Germany. B. 1806; d. 1842. Oublicheff, Alex, von [oo'-blee-chef). Writer; Germany. B. 1795 ; d. 1856. OTEZ 68 PARALLEL MOTION Otez (Fr.) {o-teh). Take off; a direction in organ music to push in a given register. Ottavino (It.) {ot-ta-vee-no). Tiie piccolo. Ottavo (It.). See Octave. Ottetto (It.). See Octet. Ou (Fr. ) {po). See Ossia. Ouvert (Fr.) {oo-vehr'). Open. See Open Notes. A livre ouvert, literally, " at open book; " at sight. Overblow. To blow a wind instrument in such a manner as to make it sound any of its harmonics. In the organ a pipe is over- blown when the air-pressure is too great, causing it to sound its octave or twelfth. Overspun. Said of strings covered with a wrapping of thin wire. Ouseley, Rev. F. A. G. England. B. 1825. Organist, writer ; Overstring. Arranging the stringing of a piano in such a way that one set crosses the rest diagonally. Overtone. The sounds produced by the division of a vibrating body into equal parts. Overture, Overtura (It.), Ouverture iFr.), Ouverture ((Jer.). A musical jirelude to an opera or oratorio. Independent compo- sitions are also written under the name of concert overtures, generally with some de- scriptive title. In its highest form the over- ture is developed in the sonata form without repeating the first part. Many overtures are nothing but a medley of airs in various tempos. Ovvero. See Ossia. P. Abbreviation for piano. Soft (positive degree). PP. Abbreviation for piu piano. Softer (comparative degree). PPP. Abbreviation for pianissimo. Softest (superlative degree). P. F. Abbreviation for pianoforte (when capital letters are used), p. f. Abbrevia- tion for poco forte, a little loud ; or piu forte, louder. In French organ music P. signifies posatif, i. e, choir-organ. Padouana (It.) {pah-doo-ah'-nali).^ Padu- ana, Padovana, Padovane (Fr.) (/a//- (to-van). See Pavan. P'Ecin (Gr.). A song of triumph, originally \\\ praise of Apollo. Paired Notes. A succession of thirds, sixths or eightns on the piano. Palco (It.). The stage of a theatre. Pallet. The valve that controls the admis- sion of " wind " to the pipes of the organ, harmonium, etc. Pachmann, Vladimir de. Pianist ; Russia. B. 1848. Pacini, G. [pah- c/iee' - ttee). Composer; Italy. B. 1796; d. 1867. Paderewski { pah-droof -skee or pah-dref- skee). Pianist; Poland. B. Nov. 6, 1S59. Paganini, N. [pah-gah-nee^-nee). Violinist ; Italy. B. 1784 ; d. 1840. Paine, J. K. Composer, organist ; U. S. A. B. 1839; d. 1906. Paisiello, G. [pah-e-se-el'-ld). Composer; Italy. B. 1741 ; d. 1816. Pallettes (Fr.). The white keys of the piano, etc. The black keys are Q.2W&A feintes (faints). Pandean Pipes or Pan's Pipes. The syrinx ; a series of small pipes made from reeds, sounded by blowing across the open top. An instrument of unknown antiquity and universal use. The ancient Peruvians carved them out of stone. The Fijians and the South American Indians make them with a double set of pipes — one set open, the other closed at one end, thus producing oc- tave successions. Pantalon (Fr. ). One of the numbers in a set of quadrilles. The old set of tiuadrilles consisted of five or six numbers called: (l) pantalon ; (2) ete ; (3) poule ; (4) pastour- elle ; (5) finale. If there were six, the other was called trenis. Parallel Keys. The major and minor scales beginning on the same keynote. Parallel Motion. When two parts er voices ascend or descend together. Paladilhe, Emile [pah-iak-deel). Composer; France. B. 1844. Palestrina, G. P. da [pah-les -tree'-tiali'). Composer; Italy. B. 1515; d. 1594. Palmer, H. R. Composer; U. S. A. B. 1834; d. 1907. Panofka, H. Composer, violinist ; Breslau. B. 1807 ; d. 1887. Panseron, A. [pan-seh-rcng). Composer, vocalist; France. B. 1796; d. 1859. Pape, Wm. B. [pah' - pek). Composer, pianist; U. S. A. B. 1850. PARAPHRASE 69 PAVANA Paraphrase. An elaborate arrangement of a piece of music for tlae piano, originally written for the voice, or for some other in- strument. An orchestral paraphrase is a like arrangement of a vocal or pianoforte com- position. Parlando, Parlante (It.) {par-Ian' -do, par- Ian' -teh). Declaiming; singing in recita- tive style; playing in imitation of vocal recitative. Part, (i) The series of sounds allotted to a single voice or instrument, or a ^roup of voices or instruments of identical kind in a musical composition. (2) One of the coun- terpoints of a polyphonic composition for piano or organ, as a three- or four-part fugue. (3) One of the divisions of an extended form as indicated by double bars. Part- Song. A composition for equal or mixed voices, unaccompanied, consisting of a melody to which the other parts are sub- ordinated, in this respect differing from the glee and madrigal, which are contrapuntal, i.e., all the parts are of equal importance. Part-\A^riting. Counterpoint. Partial Tones. See Overtone. Partita (It.) {par-tee' -tali). See Suite. Partition (Fr. ) {par-tee' -syong), Partitur (Ger.) {par-tee-totn-'), Partitura (It.) {par- tee-too' -rail), Partizione (It.) {par-teetz- eo'-neh). [From It., pai-tire, to divide.] In allusion to the division by bars of the page; in English "scoring;" an orches- tral or vocal score. Paspy [from Fr. , passepied'\, Passamezzo (It.) {passa-med'-so). A dance resem- bling the minuet, but more rapid in its movement. Passacaglio (It.) {pa^-sa-cal'-yo), Passa- caglia, {pas-sa-cal'-ya), Passecaille (Fr. ) {pass-ca-ee). Passe-rue (Fr.) {pass-roo), Passa-calle (Sp.) {pas-sa-cal'-leh), Gas- senhauer (Ger.) {gas-sen-koiv-er). Liter- ally, "running the street." An old dance in triple time, generally written on a ground bass. Passage, (i) A musical phrase. (2) The figure of a melodic sequence. (3) A bril- liant run or arpeggio. Passaggio (It.) {pas-sad' -jeo). Passage. Paradies, Maria T. von. Pianist ; Austria. B. 1759; d. 1824. Parepa, Rosa. Soprano; Scotland. B. 1836; d. 1874. Parker, J. C. D. Organist, composer; U. S. A. B. 1828. Parry, C. Hubert H. Composer; England. B. 1848. Parsons, A. R. Composer, pianist ; U.S.A. B. 1847. Passing Note. An ornamental melodic note foreign to the harmony ; when these notes fall on the beat or the accent they are called changing notes. Passione (It.). Passion-music; a musical setting of the closing scenes in the life of the Saviour in the form of an oratorio, originally with dramatic action. The Ober- ammergau passion-play is a survival of this custom. Passione (It.) {pas-se-o' -iieh), Passionato (It.) {nah-to), Passionatamente (It.), Passione (Fr.) {pas-si-o'-nc/i), con. With passion ; intensity ; impassioned ; with intense passion. Pasticcio (It.) {pas - tit'-che-o). Pastiche (Fr. ) (pas-tish). A " composition " made up of airs, etc., borrowed from different sources. Pastoral, Pastorale (It ) {pas-to-rah'-leli). (l) A rustic melody in \ time. (2) Used to designate an extended composition in- tended to portray the scenes and emotions of rustic life, as pastoral symphony, pastoral sonata. Pastorella (It.) {pas-to-rel'-lali), Pastorelle (Fr.) {pas-to-rei). A little pastoral. Pastourelle. A figure in the quadrille. See Panialon. Pateticamente (It.) {pa-teh - tee-cah-men' - teh), Patetico (It.) {pa-teh' -tee-co), Pa- thetiquement (Fr. ) {pa-teh - teek-niong ), Pathetique (Fr.) {pa-teh-teek]. Pathetic; pathetically. Patimento (It.) {pah-tee-men-to). Suffering. Con espressione di patimento, with an expression of suffering. Patouille (Fr. ) {pah-too-ee). Claquebois; xylophone. Pauke (Ger.) { poiv- keh), pi., Pauken. Kettle-drum. Pausa (It.) {pa7v-sa). Pause (Fr.) {paius). A rest or pause ; a bar's rest. Pavan. A stately dance in \ time. The name is derived either from pavo, a pea- cock, in allusion to its stately character, or from pavana, the abbreviated form of Pado- vana, the Latin name of Padua, where the dance is said to have originated. Pavana (It.), Pavane (Fr.). Pavan. Pasdeloup, J. E. {pah-de-loo). Conductor; France. B. 1819 ; d. 1887. Pasta, G. Soprano; Italy. B. 1798; d. 1865. Patti, Adelina. Soprano ; Spain. B. 1843. Patti, Carlotta (sister of A.). Soprano; Italy. B. 1840; d. 1889. Pauer, Ernst {power). Composer, pianist, writer; Austria. B. 1826; d. 1905. PA\'ENTATO 70 PEZZI 1)1 BRAVURA Paventato (It.) {pa-ven-tah'-to), Paventoso \pu-ven-to-so) [from ha.\.. , pavidus, fearing]. Timid; with fear ; timidly. Pavilion (Fr. ) [pa-z'ee-yon^). The bell of a horn, clarionet, etc. Pavilion chinois [shee - no-a). A staff of small bells. Flute a pavilion, an organ- stop with "bell-mouthed ' pipes. Pedal, abbreviated Pad. [from Lat.. pes, a foot], (i) Any mechanism controlled by the foot ; in the piano, the contrivance for raising the dampers ; also that for shifting the action (una-corda). In square and up- right pianos, the soft pedal, when depressed, interposes small strips of soft leather be- tween the hanmiers and strings. The sos- tenuto pedal is a contrivance by means of which one or more sounds in the lower register of the piano may be prolonged at will. In the organ, the keyboard for the feet, the levers for opening and closing the swell (swell pedal) and for operating various groups of stops (combination pedals). Pedal Check. A mechanism in the organ, controlled by a hand-knob, which prevents the movement of the pedals. Crescendo Pedal, a mechanism in the organ by means of which the full power may be put on or off. Balancing Swell Pedal is one that remains in whatever position it may be when the foot leaves it. Pedal Harp. The mechanical contrivances by means of which certain strings are tight- ened or slackened to change the key, as FC- ped., Biz-ped., etc. Pedal Pipes. The organ-pipes sounded by the pedal keyboard. Pedal Point or Organ Point. See Organ Point. Pedale (Fr.). Pedal. Pedale doppio (It.) [pek-da/i'-lrh dop'-yo). Pedal in octaves ; organ music. Pedalflvigel (Ger.). A grand piano with pedal keyboard. Peg. The wooden or metal pins around which one end of the strings of the violin, etc., are wound, by turning which the pitch of the strings is raised or lowered ; in the pianoforte they are generally called pins. Pensieroso (It. ) {pen-see-eh-ro' -so). Pensive ; thoughtful. Pease, Alfred H. Composer, pianist ; U.S. A. B. 1842 ; d. 1882. Pepusch, J. C. Composer ; Germany. B. 1667 ; d. 1752. Perabo, Ernst. Pianist, composer ; Germany. B. 1845. Pergolesi, G. B. {peIu--go-leh'-see). Italy. B. 1710; d. 1736. Pentatone. An interval of hve whole tones ; augmented 6th. Pentatonic Scale. See Scale. Per (It.) ipekr). For, or by; as, Per il violino, for the violin. Percussion Stop. A hammer which, strik- ing the reed of a harmonium or organ-pipe, causes it to vibrate promptly when the key is depressed. Percussive Instruments. Drums, cymbals, triangles, etc. Perdendo (It.) [pehr-den'-do), Perdendosi {^pehr-den-do' -see) [from perdere, to lose]. Gradually dying away, both in speed and power. (Abbr., Perd. or Perden.) Perfect Cadence. See Cadence. Perfect Concord. Root, minor or major 3d, and perfect 5th. Perfect Consonances. See Interval. Perigourdine (Fr. ) {peh - ree - goor - deen) , Perijourdine (pe/i-ree- z/ioor-deen). An old French dancing-song in ^ time. Period, Periode (Fr.) {peh-ree-ode), Periodo (It.) [pe/i-ree-o-do). A complete musical sentence, generally eight measures. Perle (Fr.) {per-le/t), Perlend (Ger.). " Pearled," like a string of pearls. A meta- phorical expression for a clear, delicate execution ; also a direction that the passage is to be played in a " pearly " manner. Pesante (It.) ( peh - san'- teh ). Heavy ; weighty. Petite (P"r.) (peh-teet). Small; little. Petite Flute. The piccolo. Petite mesure a deux temps. \ time. Petite Pedale. Soft pedal in organ music. Petites Notes. Grace notes. Petto (It.). Chest. Peu a peu (Fr ). (This sound cannot be reproduced in English ; it resembles 00, but is not so broad.) Little by little; by degrees. Pezzi (It.) {pet-see). Pieces. Pezzi concertanti. (i) Concerted pieces. (2) A " number" of an opera, concert, etc. Pezzi di bravura {bra-voo-ra). Showy, brilliant pieces. Perkins, Chas. C. Author, etc.: first presi- dent of 15oston Handel and Haydn Society ; U. S. A. B. 1823 ; d. 1886. Perkins, J. E. B. Vocalist ; U. S. A. B. 1845 ; d. 1875. Peschka-Leutner, Minna [pesh'-ka-loit'- ncr). Soprano; Austria. B. 1839; d. 1890. Petersilea, Carlyle. Pianist ; U. S. A. B. 1848; d. 1903. PEZZO 71 PIENO-PIENA Pezzo (It.) {pet'-so). A piece; phrase. Beethoven uses the following sentence as a direction in one of his pianolbrte sonatas : " Questo pezzo si deve trattare con piu gran delicatezza," — Every phrase must be treated with the greatest delicacy. Pfeife(Ger.) {pfei-feh). Pipe; fife. Phantasie (Ger. ). See Fantasia. Phantasieren (Ger.) [fan-ta-see'-ren). To improvise. Phantasiestiick. A piece devoid of form. Phrase. Technically, an incomplete musical sentence. Phrasing. The art of dividing a melody into groups of connected sounds so as to bring out its greatest musical effect, including also the placing of accent — cres. and de- cres., rail, and accel., rubato, etc., — and in pianoforte music, the varieties of touch. In vocal music, it refers chiefly to the breathing places ; in violin music, to the bowing. Phrygian Mode. One of the Greek scales, generally supposed to be E — E. In the ecclesiastical scales, the octave scale from ^ ZSl Phrygian Cadence. i ^ § ^^ ^ Physharmonica. (i) The predecessor of the melodeon. (2) A free reed-stop in the organ. Piacemento (It.) {pe-aht-chee-inen'-to). See Piacere. Piacere, a (It.) { pe- aht- chee' - reh). At pleasure, /. e., the tempo at the will of the performer. Place vole (It. ) { pe - aht - cheh' - vo - leh ) . Smoothly ; quietly. Piacevolezza (It.) {peaht-cheh-vo-let'-za^, con. With smoothness. Piacevolmente (It.) {pe-aht-cheh-vol-men^- tek). Smoothly. Pianette (Fr.), Pianino (It.) {pee-ah-nee- Ho). A small piano ; upright piano. Piangendo (It.) {pee-an-Jen^-do), Piange- vole {pee - an - jeh'- vo-/e/i), Piangevol- mente {pee-an-jeh-vol-men' -teJi). "Weep- ing;" plaintively wailing. Piatti, A. ( pee'-at-tee). Composer, 'cellist; Italy. B. 18.2 2 ; d. i 01 Piano (It.) [pee-an'-no). Soft. (Abbrevia' tion. P.; pianissimo, PP. ) Pianoforte (It.) {for' - tch'). In common usage, piano, without the forte. An instru- ment strung with steel wire (formerly brass wire was largely used), provided with a keyboard ; the depression of the keys causes the hammers to strike the strings. The name pianoforte was given to it be- cause the volume of sound was under the control of the performer. Three forms of pianoforte are made : The grand piano [in Er., piano d qtieue, lit., "piano with a tail ; " Ger., fliigel, in allusion to its wing shape] ; the square, and the upright. The pianoforte is descended from the dulcimer in the same sense that the harpsichord is descended from the psalterion. In form the dulcimer and psalterion were identical, diftering only in that the former was played by means of hammers, the latter by means of " plectra."' The adaptation of mechan- ism to control the hammers developed the piano out of the dulcimer, and the adapta- tion of mechanism to control the "plectra " developed the harpsichord out of the psalter- ion. The hammer action was first made practically effective by Cristofori of Padua, in 171 1. About the same time an English monk, "Father Wood," made one in Rome. This instrument came into the possession of the celebrated Fulke Cireville, and became well known as Mr. Greville's pianoforte. In 1717, a German youth of eighteen, named Schroter, invented the pianoforte independently ; his invention was copied by Silberman of Strasburg, who sub- mitted two of bis instruments to Bach, who liked the mechanism but not the tone, pre- ferring that of the clavichord. The growth of the pianoforte has been rapid since the beginning of the present century, and has now reached a point beyond which it hardly seems possible to advance. Piatti (It.) {pe-at'-tee). Cymbals. Pibroch. A sort of fantasia for the bag-pipe of the Scotch Highlanders; supposed to represent the incidents of a fight. Piccolo. A small flute an octave higher than the ordinary flute ; a 2-foot organ-stop. Piccolo-piano. A small upright pianoforte. Picco-pipe. A small instrument resembling a flageolet ; gets its name from an Italian peasant, Picco, who produced astonishing results from it. Piece. A composition; a single instrument, as, " a band of twenty pieces." Piece (Fr.) [pee-ace). A member of a suite, q. V. Pieno-piena (It.) {pe-eh'-no). Full. Piccini, N. (/?V-r//^if^-w^^). Composer; Italy. B. 1728 ; d. 1800. PIETOSO 72 PLECTRUM Pietoso (It.) (^pe-eh-to'-sd), Pietosamente i^pe-eh-to-sa-vien^-teh). Tender; pitiful; tenderly. Pifferaro (It.) [pif-feh-rah-ro). A player on the piffero. Piffero or Piffaro (It.). Old form of the hautboy, still used in Italy. The same form of instrument exists all through Asia, — probably the '■'■ aulos^'' of the Greeks. Pince (Fr.) (/rtwf-j^^''). (i) Pinched. See Pizzicato. (2) A mordent. Pipe. The tubes of wood or metal in the organ. They are classified as follows : — Open pipes, open at the top ; closed or stopped pipes, with a movable plug; flue pipes, those constructed on the principle of the whistle or flageolet ; reed pipes, those in which a beating reed is combined with the pipe. Pipes are also classified by length, the open diapason being the standard. An open pipe must be eight feet long to sound ^^ A closed pipe four feet long gives the same sound ; both are said to have an 8-foot tone. If a pipe has a 4-foot tone, its sound is an octave higher than the diapason ; if a 2-foot tone, it is two octaves above the diapason. Pique (Fr.) [pee-keh'). A manner of bowing the violin, indicated by combined slur and dots : ^^ ~..^ • • • • r r r r Piquieren [Ger.)[ pik-ee'-i-en). To play pique. Piston (Fr.),Ventil (Ger.). Valve; a device used in brass instruments to lengthen the tu!>e, thus depressing the pitch. Pitch. Relative pitch is the interval between a given sound and some other sound. Abso- lute pitch is the number of vibrations per second necessary to produce a given sound. Standard "pitch is the number of vibrations per second adopted as the pitch of a given sound. The standard (now almost uni- versal) is] -JSl = 435- which is known as the French " diapason normal." Between 1699 and 1859 the standard rose from 404 to 455. Pitch Pipe. A wooden pipe used to give the keynote. A small tube containing a free K.-ed is now generally used. Piccini, L. {pit ■ chee' - nee) (son of N.). Composer; Italy. B. 1766 ; d. 1827. Pinsuti, Ciro {pin-soo'-tee, chee-ro). Com- poser; Italy. B. 1829; d. 1888. Plaidy, Louis {play' -dee'). Pianist, writer; Germany. B. 1810; d. 1874. Piu (It.). More; as, Piu forte, louder. Piva (It.) [pee-vah). A bagpipe; also a piece of music in imitation of the bagpipe. Pizzicato (It.) {pits-e-cah'-to), Pince (Fr.), Gekneipt (Ger.). Lit., "pinched." A direction in music for bow instruments to pluck the strings with the finger, as in the guitar. (Abbr. , Pizz.) Placidamente (It.) [plah- chee - JaJi-men'- te/i). Placidly; quietly. 'P\z.c\do{\i.) {plak-chee'-do). Placid; quiet. Plagal Cadence. From subdominant to tonic : r- ^ 9^ t- -<5>- Plagal Scales or Modes. In the ecclesi- astical system, those scales beginning a fourth below the authentic scales, but end- ing on the keynotes of their related authentic scales. They are distinguished by the prefix hypo [Gr., vno, below], as Dorian (authentic) D-D, ending on D ; hypo- Dorian (plagal) A- A, ending on D. Plain Chant. Plain song. Cantus planus, or Cantus choralis (Lat.), the early music of the church, written in the ecclesiastical modes (also called Ambrosian) and Gre- gorian scales. In the 12th century the unrhythmic melodies of the early forms of plain .song were largely superseded by the rhythmic cantus mensurabilis, or measured song, which came into existence upon the invention of notes by Franco of Cologne. Before this invention the musical rhythm depended entirely on the rhythm of the words to which it was sung. Plainte (Fr.). Elegy; lament. Plaisanterie (Fr.) {play-zong-te-ree). A lively fantasia in which various dance-tunes are introduced. Planxties. Laments ; music of Irish harpers to celebrate the departed. Plectrum [Gr., plectron\ A small rod of metal, bone, ivory, etc., or a flat strip of wood or tortoise shell, or a ring with a pro- jecting piece, used to strike the strings of the lyre, Japanese guitar, mandolin, zither, etc. Pleyel, Ignaz J. Composer ; Germany. B. 1757; d. 1831. Pleyel, Marie F. D. M. (wife of above). Pianist; France. B. 1811 ; d. 1875. Pole, Will. Author, theorist ; England. B. 1814 ; d. 1900. poi A PLEIN JEU Plein jeu (Fr.) [plane zhoo). Full power; full organ. Pneuma (Gr.). Breath. See N^euma. Pneumatic Action. A contrivance in large pipe-organs by means of which a small bellows, called pneumatic bellows, is made to do the work of opening the palettes in place of the lingers. Pochettino (It.) {po-ket-tee-no). Very little. Pochetto (It.) (/f-zCY'/^-z't^). A little; (not so much as Poco). Pochissimo (It.) [po - kis - see - ino) . The "least little bit; " as Cres. pochissimo, the least degree louder. Poco (It.). A little; rather; as, Poco lento, rather slow. Poco a poco. By degrees ; as, liall. poco a poco. Poggiato (It.) {pod-je-ah'-to). Dwelt upon ; lit., leaned upon. Poi (It.) [po-ee). Then; afterward. P f. , soft, then loud. Point (Fr.) [po-ang). A dot (Eng.). phrase for imitation. Point d'orgue (Fr. ). Pedal point. Pointe (Fr. ) [po-ang-teh). Dotted. Poitrine (Fr.) {po-a-treen). Chest. Voix de poitrine, chest voice. Polacca. A Polish dance in \ time naise. Polka. A dance in | time, originated among the peasants of Bohemia. Polka Mazurka. A mazurka danced with the polka-step. Polonaise. See Polacca. Polska. Swedish dance in triple time. Polyphonic [from Gr., poliis, many; and phone, a voice]. Music written contra- puntally, as opposed to music written harmonically with a single melody. Polyphony. " Many voices." Counter- point in several parts. Pommer. A large instrument of the hautboy family ; bombard. Pomposamente (It.) [pom-po-sah-men^ -teh). Dignified; majestic. Pomposo (It.). Pompous. Ponderoso (It.). Ponderous; strongly marked. Ponticello (It.) [pon-tee-chel-io). The bridge of the violin, etc. Polko, Elise. Soprano; Germany. B. 1831 ; d. 1899. Ponchielli, A. (pon-kee-ellee). Composer; Italy. B. 1834; d. 1886. Poniatowski, Prince J. M. F. X. J. {pone- ya-tirw^-skee). Composer, tenor ; Italy. B. 1816; d. 1873. 73 POTPOURRI polo- Port de voix (Fr.). (i) Portando la voce. (2) An obsolete grace in harpsichord music. Portamento (It.) [por-tah-men^ -to). Sliding or " carrying " the voice from one sound to another ; also on bow instruments, sliding the finger along the string from one place to another. Portando la voce. Same as Portamento. Portunal Flute. Organ-stop with wooden pipes which "flare," i. e., get wider from the mouth to the top. Portunen (Ger.) {por-too'-tien). The bour- don stop. Posatif(Fr. ) [po-sa-teef). The choir organ. Posato (It.) {po-sah'-to), Posement (Fr. ) [po-seh-moiig). Quiet; sedate; grave. Posaune (Ger.) [po-zo^vti-ek). The trom- bone ; a powerful reed-stop in the organ, of 8-, 16-, or 32-foot pitch. Position. (i) Of chords. The common chord may be written in three positions, called the octave, tierce, and quint. & is: :^ -Ci- tS- -<5>- -6>- '.SL ZSl :S7 I Octave. Tierce. Quint. As given in this example it is called the close position of the chord ; the following example is called the open position : — ^ a. i -32L -ISLL -<9- -S'- -^9- 9fc 3z: 3?: (2) On instruments of the violin and guitar family, " Position" refers to the part of the fingerboard on which the left' hand is placed. Possibile (It.) {pos-see^-bee-le/t). Possible; as, II piu forte possibile, as loud as pos- sible. Postlude, Postludium (Lat.), Nachspiel (Ger.), Cloture (Fr.). The concluding voluntary on the organ ; lit., after-play. Potpourri (Fr.) {po-poor-ee). A number of tunes strung together. Popper, David. Composer, 'cellist; Bo- hemia. B. 1846. Porpora, Niccolo. Composer ; Italy. B. 1686; d. 1767. Potter, Cipriani. Pianist, composer; Eng- land. B. 1792; d. 1871. POULE 74 PSALTERY Poule, la. See Quadrille. Pousse (Fr. ) ^poos-seh\ ' bow. Prachtig (Ger.) [praych-tig). jestic. Pralltriller (Ger.), Push i Up- Grand ; ma- Played. now commonly called the Mordent. The sign for the mordent proper is y\\^ ■ It always means that the auxiliary note is to be below the principal. When the line that crosses the sign was omitted it was called the Inverted Mordent or Pralltriller. The original form of the mordent is never used by modern writers. Precentor. In the English church, the clerical head of the choir; his side of the chancel is called the cantoris side. In the Scotch Presbyterian churcli, the singer who stands in front of the pulpit and "gives out ' ' the psalm tunes. Precipitoso (It.), Precipitate (It.), Pre- cipitazione, con (It.), Precipitamente (It.), Precipite (Fr.). A rapid, precipi- tate, hurried style of execution. Prelude, Preludium ( Lat. ), Vorspiel (Ger.). An introduction; an opening voluntary ; a composition which may or may not be in some regular form. Premier (Fr.) {preh-inee-eh). First. Pre- miere fois, first time. Preparation. The prolongation, in the same voice, of a sound from one chord in which it is a member into a chord in which it is not a member. Prepared Trill. One preceded by a grace- note or turn. Pressante (It.) [pres-saft'-ieh), Pressieren (Ger.) (pres-see^-ren), Pressez (Fr.) [pres- se/i). Pressing on ; hurrying. Prestant (Ger. and Fr.). 4-foot metal open stop. Same as Principal. Prestezza (It.) {pres-tet'-za), con. With rapidity. Prestissimo (It.) {pres-tis' -see-mo), Prestis- simamente (It.) {pres-tis-se-ma-men' -teh). As fast as possible. Presto (It.). Fast. Prelleur, Peter { prel - loor). Composer, organist; England. B. 17 — ; d. 1758. Proch, Heinrich. Composer, violinist ; Ger- many. B. 1809; d. 1878. Proksch, J. {p}-oksk). Teacher; Bohemia. B. 1794; d. 1864. Prick-song. Old name for written music. The first notes used were small, square marks without stems, called pricks, or points. Primary Accent. The first member of the measure. When there are two or more accents in the measure, the first is the primary, the rest are called secondary. Prima donna. First lady; the leading soprano. Prima vista. At first sight. Prima volta. First time ; lit., first turn. Prime. The first note of a scale ; keynote ; the generator of an overtone series ; unison. Primo (masc), Prima (fem.) (It.) [pree-nio, pree->/ia). First. Primo tenore. First tenor. Principal (Eng.). 4-foot open metal stop. Principale (It.) [priii-c/iee-pak-k/i). Princi- pal (Fr.), Prinzipal (Ger.). The open diapason. Probe (Ger.) [pro-l>eh). Rehearsal. Program or Programme. A list of compo- sitions to be performed at a musical enter- tainment. Program-music. Music designed to "tell a story," or illustrate some action or event. Progression. (l) Melodic — from note to note. (2) Harmonic — from chord to chord. Progressive Stop. An organ-stop in which the number of pipes to each key increases as the pitch rises; a variety of mixture-stop. Prontamente (It.) [pi-on - tah - men' - teh), Promptement (Fr. ) { provipt - niong). Promptly ; exactly ; strictly. Pronto (It.). Prompt; strict. Pronunziato (It.) {pro-nuntz-ee-ah' -to) , Pro- nonce (Fr. ) (pro-tiof/g-seli). Pronounced; emphatic. Ben pronunziato (It.), Bien prononce (Fr.), well marked; strongly accented. Prova (It.). Rehearsal. Psaltery, Psalterium (Lat.), Salterio (It.), Psalterion (Fr.), Psalter (Ger.) [from Gr. , psaltein, to harp]. Ancient instru- ment, consisting of a square, oblong, or triangular flat box, with wire strings stretched across it, played by the fingers, each of which is armed with a ring with a short projecting plectrum. The same instrument is called a dulcimer when played by two small hammers, held one in each hand. Prout, E. Theorist, composer ; England. B. 1835; d. 1910. Prudent, E. B. [proo - dong). Composer, pianist; France. B. 1817 ; d. 1863. Prume, F. H. {proom). Violinist, composer; France. B. 1816; d. 1849. PULSATILE 75 QUATRIBLE Pulsatile. Instruments played by drumsticks or by clashing them together ; as drums, cymbals, etc. [From \^zX., pulsare, to beat.] Pulse. A beat. Punkt (Ger. ) {pooiikt). Dot; point. Punta (It.) (/oo«^-^tf/^). The point. Colla punta del-'arco, with the point of the bow. Puntato (It.) ^poon-tah' -to). Pointed; stac- cato. Purfling. The thin strips of wood (a white Puget, Loisa (/ocJ-s/zif//). Composer; Paris. B. 1810; d. 1890. Purcell, Henry. Composer; England. B. 1658; d. 1695. Pyne, J. Kendrick. Tenor ; England. B. 1785; d. 1857. strip between two black) around the border of the back and belly of the violin, etc. Pyramidon. An organ-stop with pipes shaped like an inverted pyramid, closed at top. From its peculiar shape a pipe not three feet long will produce 1 6-foot C. Pyrophone [from Gr., pur, fire, plume, sound]. An instrument the sounds of which are produced by gas jets burning just inside of the lower end of glass tubes open at both ends. Invented by Kastner. Pyne, J. Kendrick, 2d (son of 1st). Com- poser, organist; England. B. 1810; d. 1893. Pyne, J. Kendrick, 3d (son of 2d). Com- poser, organist ; England. B. 1852. Pyne, Louisa F. Soprano ; England. B. 1832. Q Quadrate, B quadratum, i. e., B squared. Old name for BJJt — retained as the sign for Quadratum (Lat.). A breve Q. Quadrible or Quatrible. An ancient species of counterpoint, consisting of a succession of 4ths over a cantus. Quadrille. A " square dance." See Pa/i/a- lon . Quadruple Counterpoint. A four-part counterpoint so constructed that the parts may change places without involving any false progressions. Quadruple croche (Fr.) [crosli). A 64th- j note. Quadruplet. A group of four notes played 1 in the same time of three or six of the same value. Quality of Tone [Ger., Klangfarbe or Tonfcirbe ; Fr., Timbre ; It., 71?nbro]. That which enables us to distinguish between different instruments. The character of a tone quality depends largely upon the presence or absence and relative intensity of its overtones ; thus, the tone of a clario- net differs entirely from that of a violin, although all violins and all clarionets do not sound alike. The differences in tone quality that are found among violins, for example, depend on other factors, as the construction, material, weight of strings, individuality of the performer, and many more. The tone qualities of the voice are dependent largely on the accurate contact of the vocal cords, the size and shape of Quantz, J. J. Composer, flutist ; Germany. B. 1697; "d. 1773. the cavity of the mouth and nostrils, and the management of the breath. Quart. Interval of 4th. [It. and Lat., Quarfa.'^ Quart (Fr.) {karf). Quarter. Quart de soupir {soo-pee). A i6th-rest. Quart de mesure (Fr. ) [tneh-zoor). A 4th- rest. Quartfagott (Ger.). A bassoon a 4th lower than the ordinary instrument. Quartflote (Ger.). A flute a 4th higher than the ordinary instrument. Quarte du ton (Fr.) [/cart doo tong). A 4th of the scale ; subdominant. Quarter Note ,•. Quartet. A composition for four solo per- formers. String Quartet is composed of first and second violins, viola, and violon- cello. Piano Quartet is composed of violin, viola, violoncello, and piano. Vocal Quartet may be either for male or female or mixed voices. Quartett (Ger.) {kvar-tet'), Quatuor (Fr.) (qua-too-or), Quartetto (It.) [qiiar-tet'-to). Quartet in English, sometimes spelled quar- tette. Quartole (Ger.) {kvar-to'-le). Quadruplet. Quasi (It.) [qitah'-see). As if; in the manner of; like; as. Quasi allegro, like allegro ; Quasi sonata, resembling a sonata. Quatre mains (Fr.) {katr t/tang). For four hands. Quatrible. See Quadrible. Quidant, Joseph {kee-dciig). Pianist, com- poser; France. B. 1815 ; d. iSq3. QUATTRO MANI 76 RAUSCHQUINTE Quattro mani (It.) {quat-tro fiian-nee). Four hands. Quatuor. See Quartet. Quaver. An eighth-note. Querflbte (Ger.) {kvehr -Jia'-teh), Flauto traverse (It.). "Cross-flute." The flute played by blowing across it, as distinguished from the old flute, blown at the end. Queue (Fr. ) {koo). Tail-piece of violin; stem of a note. Quickstep. A rapid march, generally in | time. Quinable. An old species of counterpoint, consisting of a succession of fifths above the cantus. Quint, (i) A 5th. (2) An organ-stop a 5th above the diapason. Quint Viola. An organ-stop of the Gamba species a 5th or 12th above the diapason. Quintaton. An organ-stop so voiced that it gives two sounds — the fundamental and the 12th. The pipes are of metal, slender and closed. Quinte (Ger.) {^kvin-teJi). (i) The interval of a 5th. (2) The E-string of the violin. Quintet. A composition for five solo per- formers. The string quintet generally con- sists of first and second violins, first and second violas, and violoncello ; occasionally two violoncellos are used, in which case it is called a Violoncello Quintet to distin- guish it from the former. The Piano Quin- tet consists of a string quartet and the piano. Quintole (Ger.) {kvin-to'-leh). A group of five notes to be played in the time of four of the same value. Quintuor (Fr.) {kang-too-or), Quintetto (It.), Quintett (Ger.) {kvin-tet). Quintet, or quintette. Quintuplet. Quintole. Quire and Quirester. Old English for choir and chorister. Quodlibet (Lat.) {quod- lee' -bet). "What you will." A performance in which every participant sings or plays a different tune ; an impromptu fantasia; a musical jest. R R. Abbreviation for Right. In French organ music, for Recit. (swell manual). Rabbia (It.) [rab'-be-a), con. With fury. Rackett or Rankett. An obsolete instru- ment resembling the double bassoon ; a 16- or l8-foot stop in old organs. Raddolcendo (It.) {rad-dol-cheti'-do), Rad- dolcente [rad-dol-cheti' -teh), Raddolcito (^rad - dot- chee' - to) . Growing gradually softer and sweeter. Radiating Pedals. A fan-shaped arrange- ment of tlie pedal keys of the organ ; the nar- row end of the fan farthest from the organ. Radiating pedals are generally "concave " at the same time, that is, the pedals at the sides are higher than those in the middle. Radical Bass. The root of a chord. Rallentamento (It.) (^ral-len-ta -vien'-td). Slower. Same as Pin lento, or Aleno niosso. Rallentando (It.) {ml len-tan'-dd), Rallen- tato {ral-len-ta/i'-to), Rallentare {ral-leti- o tah'-reh). Gradually slower. Abbreviation for the above. Rail. Note. — Rallentando and Riteiiuto, although both mean to "get slower," differ somewhat in the manner of using them: Rallentando being used at the end of a piece (movement): Ritenuto in the course of a piece, followed by "A Tempo," when the original pace is to be resumed. Ri- tardando is used in the same way as Ritenuto. Abbreviation for both is Rit. Raff, J. J. d. 1882. Composer; Germany. B. \%'ii Rank. A row of organ-pipes belonging to one stop. Mixture-stops are of 2, 3, 4, 5, or 6 ranks, according to the number of pipes that " speak " for each key. Rant. An old dance. In Scotland many dance-tunes are called rants. Ranz des vaches (Fr. ) {roiigs deh 2'as/i). Lit., "row of cows." Tunes played or sung by the Swiss as cattle calls. (In Ger., Kiihreihen. ) As the Alpine horn is a simple tube, the melodies played on it are formed from the natural harmonic notes. When the ranz des vaches are sung, the melodies are varied by adding the characteristic Jodel. Many of these melodies are of great antiquity and exceeding beauty. Rapidamente (It.) {rah -pid - a - men'-teh). Rapidly. Rapidita (It.) {rah-pid'-ee-tah), con. With rapidity. Rapido (It.) {rah'pee-dd). Rapid. Rasgado (Sp.). In guitar-playing, a direc- tion to sweep the strings with the thumb. Rattenuto(It.)(rrt'^ teh-noo' -to),^aX\.^n&wAo (It.) {rat -teh -nen-do). Holding back the movement. Rauschquinte (Ger.) {rozash'-ki'in-teh). A two-raitk mixture-stop. Rjmeau, J. P. {rah-nio). Composer, theo- rist ; France. B. 1683; d. 1764. RAUSCilER 77 REGLE DE L'OCTAVE Rauscher (Ger.) [roiu-sher) [from rauscken, to rustle]. A repeated note on tlie piano. Ravvivando il tempo (It.) [rav-vee-van'- do). Lit., " reviving the time." Resum- ing the original tempo after :i rail, or rit. Re. The second Aretinian syllable ; the note D in French, Italian, and Spanish. In tonic sol-fa spelled Ray. Real Fugue. One in which the subject and answer are identical, as opposed to Tonal Fugue, q. v. Rebab, Rebec, Rebeck, Rebibe, Rebible. One of the precursors of the violin in the middle ages. Recheat. A hunting signal sounded on the horn to recall the hounds. Recht (Ger.). Right. Recitando (It.) {reh-chee-tan' -do), Reci- tante {reh-chee-tan' -teli). In the style of a recitative. Reci''tative (Eng.), Recitatif (Fr. ) {re-cee- ta-teef), Recitativo (It.) {reh-chee-ta-tee'- vd), Recitativ (Ger.) (i-eh-see-ta-tiv'). Declamatory singing, resembling chanting somewhat, tand supposed, when invented in 1600, to be a revival of Greek art. Abbreviation Recit. Recitative Accompaniment. The string band is generally used to accompany Recita- tive. If the accompaniment is at all elabo- rate the freedom of tlie singer is greatly curtailed. Modern writers frequently use the whole resources of the orchestra to accompany Recitative. Recitativo secco. Dry Recitative was accompanied very sparingly with chords. It was customary at one time, during the pauses of the voice, for the violoncello to execute impromptu flourishes. Reciting Note. In Gregorian chant, the dominant, being the note on which the greater part of the reciting is done. Recorder. An obsolete instrument of the flageolet family ; also an old name for the ilute. Redita (It.) [reh-dee^-ta). A repeat. Redowa, Redowak, Redowazka. A Bo- hemian dance in | time. Redundant. Same as Augmented. Ran'degger, A. Composer; Austria. B. 1832. Rappoldi, E. [rap-poF- dee). Composer, violinist; Austria. B. it>39; d. 1903. Rappoldi, Laura K. (his wife). Pianiste ; Austria. B. 1853. Ravenscroft, Thos. Composer; England. B. 1582; d. 1635. Reeves, J. Sims. Tenor; England. B. 1S18. Reed, Zunge (Ger.) (tsoon'-geh), Anche (Fr.) [oush), Ancia (It.) {a7i' -che-a). The technical name for the small thin strip of metal, cane, or wood, the vibration of which causes the sound of a variety of instruments. There are three kinds of reeds: (l) The single beating reed of instruments of the clarionet family ; also of the reed- stops of the organ. (2) The double reed of the hautboy and bassoon family, also of the bagpipe ; these two varieties are never used except in conjunction with a tube or pipe. (^3) The free reed of the cabinet-organ, vocalion, etc. This reed may be used with or without a tube. The effect of the tube when combined with the free reed is analo- gous to that of a resonator, /. e. , the vibra- tion of the contained air is sympathetic, whereas in the other cases the vibration of the reed is controlled by the column of air. Reed Instruments. Those in which the sound is produced by the vibration of a reed in the mouthpiece. Reel. A lively dance, nationalized in Ireland and Scotland ; supposed to be of Danish origin, as the same kind of dance is found there under the name of Hreol. Refrain. Burthen. (i) The chorus at the end of every stanza of some ballads. (2) The drone of a bagpipe. (3) The tune sung as an accompaniment to dancing. Regales de bois (Fr.) (reh-gal de bo-a). See Xylophone. Regals, Rigals, Rigoles. Small, portable organs with one or two sets of pipes, car- ried by a strap round the neck of the player, who worked the bellows with his left hand and manipulated the keyboard with the right. Register. (i) Same as stop, or rank of pipes. (2) The projecting knobs on which the names of the stops are marked. (3) The compass of a voice. (4) One of the divisions of the voice ; as, chest register, head register. Registration. The combinations and suc- cessions of stops used by an organist in the performance of a piece. Regie de I'octave (Fr.) (regl de loc-tav). See Rule of the Octave. Rei''cha, A. J- Composer, theorist ; Bohemia. B. 1770; d. 1836. Reichardt, Alex. Composer, tenor; Ger- many. B. 1825 ; d. 1885. Reichardt, Johann F. Composer, writer; Germany. B. 1752; d. 1814. Reichardt, Louise (daughter of J.). Com- poser; Germany. B. 1778; d. 1826. Reinecke, Carl {rei' - nek-keh\. Composer, pianist; Allona. B. 1S24; d. 191c. RELATIVE CHORD 78 RHYTHM Relative Chord. A chord whose members are found in the scale. Relative Key. One whose tonic chord is one of the common chords found in the scale. Religioso (It.) {reh-lee-jo^-so), Religiosa- mente [reh- lee -jo - sa-men'- teh). In a devotional manner. Relish. An obsolete harpsichord grace. Remote Key. A non-related key. Remplissage (Fr.) {rom-plis-sazh). Filling up. (i) The inner parts. (2) Sometimes used in the same sense as "development" {durchfiihrung) in the sonata or rondo. (3) Non-essential (ripieno) parts. (4) Used in a contemptuous sense of a clumsy, overloaded composition. Rendering. A modern term which is sup- posed to mean more than saying one "played" or "sang." Repeat. A double bar with dots, thus i signifies that the part before the double bar is to be repeated. If the dots are on both sides -4 r- it signifies that the parts be- fore and after the double bar are to be re- peated. Repercussion. The re-entry of subject and answer in a fugue, after an episode. Repetition. (l) The reiteration of a note or chord. (2) A pianoforte action invented by Erard, which admits of the re-striking of a note before the key has risen to its normal position. (3) The re-entry of one of the principal themes of a sonata or rondo. Repetition (Fr.) {rek-peh-tis-yong). A rehearsal. Repetizione (It.) (reh-peh-titz-e-oh^-neh). , Repetition. Replicate. The recurrence of the same letter in an ascending or descending series; the octave repetitions of a given letter. Reply, Repons (Fr.) {i-ehpong), Reponse (Fr. ) [7-eh-pojigs), Report. The " answer " to a fugue subject or theme for imitation. Reprise (Fr.) {rehprees). (l) A repeat. (2) The re-entry of the principal theme in the second part of a sonata; also called R entree (rong-treh). Reinhold, Hugo. Composer; Austria. B. 1854. Reinthaler, C. M. (rein'-tah-ler). Composer, organist; Saxony. B. 1822; d. 1896. Reissiger, C. G. {rice^-see-ger). Composer; Germany. B. 1798; d. 1859. Requiem (Lat.). "Rest." The first word in the mass for the dead, hence called requiem mass. Resin or Rosin. The clarified gum of the pitch pine. Resolution. The movement of a dissonant to a consonant sound. Rests. Signs indicating silence of the same duration as the notes for which they stand. In all varieties of time the whole rest is used to indicate a silence of one measure. - -.rs^ -^ i\ % ^ Whole Half Quarter Eighth Six- Thirty- Sixty- Rest. Rest. Rests. Rest, teenth second fourth Rest. Rest. Rest. Three forms of quarter-rest are found. No. 1 is generally found in music printed from type, Nos. 2 and 3 in engraved music. No. 2 is the most convenient form in MS. In orchestral parts a rest of two measures is indicated thus three four Any number of measure rests may be ex- pressed by combining these three signs, but when the number exceeds six it is generally expressed thus : a heavy di- agonal line with numeral above it. Retardation. The prolonging of a sound which is a member of one chord into a chord in which it is not a member, thus producing a dissonance. See Resolution. Reverie. A sentimental name used by some modern writers for composition of like char- acter, generally in lyric form. Rhapsodie or Rhapsody [from Gr. , rhabdos, a staff]. The Rhapsodists were wandering reciters who carried a long staft. The term is now applied to an irregular, formless composition which " wanders " from one theme, or key, or tempo to another at the will of the composer. Rhythm, (i) The recurrence of accents at equal intervals of time. (2) The repetition of a group of sounds (not necessarily Rellstab, H. F. L. Composer, writer ; Germany. B. 1799; d. i860. Rellstab, J. C. F. (father of H.). Com- poser, writer; Germany. B. 1759 > d. 1813. Remenyi, Ed. {reh' -tnen-yee). Violinist; Hungary. B. 1830 ; d. J898. RICERCATA 79 RITMO A TRK HATTATE melodic) at equal intervals of time. This is an illustration of the first meanin" : ^=fc:: :^^- ?^ This, of the second ; The first may be called the essential rhythm ; it is never destroyed, no matter how much it may be divided by the second or ideal rhythm ; thus the essential rhythm of the following passage is \' 2 3; the ideal rliythm varies with each measure: V 1 /Sv '1—^ • -^ « _• <-# » -0—(2— W^ : ~f~ — ^ — ' — ! — t-r - Rhythm is the first essential of melody ; without it we have only an aimless rising and falling of sounds. The essential rhythm is a fixed quantity which will bear very little tampering with. Witness the generally unsatisfactory effect of those com- positions in which alternate measures of two and three units are used. Its pace may be changed by acceleration or retardation provided the rhythmical unit is maintained. The ideal rhythm, or rhythm of the melo- dy, is, on the other hand, completely under the composer's control, provided that its melodic motives, phrases, etc , may be "measured" by the rhythmical units adopted as the " time signature." Ricercata (It.) {ree-che7--cali'-ta'). A species of fugue very highly elaborated. Rigadoon. A rapid dance of French origin, generally in \ time. Rigore (It.) {ree-go' -reh)^ con, Rigoroso [^1 ee-go-ro'-so). With rigor; exactly; in strict time. Rilasciando (It. ) (7-ee - lah - she - an' - do), Rilasciante {i-ec-lah-she-an' -te). Relaxing the time ; retarding. Rimettendo (It ) {i-ee-tnel-teti'-do). Holding back ; retarding. Rinforzando (It.) {rin-for-tzan' -do) , Rin- forzare [rin-for - tzah'-refi), Rinforzato Rheinberger, J. [rine'-her-ger). Composer, organist: Germany. B. 1859; d. icoi. Ricci, F. {rit'-chee). Composer; Italy. B. 1809; d. 1877. Ricci, Luigi (brother of F.). Composer; Italy. B. 1805; d. 1859. Richards, Brinley. Composer, pianist ; Eng- land. B. 1817; d. 1S85. Richter, E. F. E. Composer, writer ; Ger- many. B, 1808; d. 1879. Richter, Hans. Composer, conductor; Ger- many. B. 1843. ( rin -for - tzah' - to). Lit. , re-enforcing. Placing a strong accent on a note or pas- sage. Ripieno (It.) (ree-pee-elt'-iio). " Filling up." A part that is not essential to the score, added to increase the volume of a tutti. Ripigliare (It.) [ree-peel-yak' -re/i), Ripren- dere [I'ee-pren' -deli-reh). To resume. Ripresa (It.) {ree-prch'-iali), Riprese (Fr. ). A repeat ; the sign j^. Risentito (It.) [ree-sen-tee'-to). With ener- getic expression. Risolutamente (It.) {ree-so-hi-ta-nten'-tc). Resolutely. Risoluto (It.) {rec-so-lu'to). Resolute. Risoluzione (It.) [ree-so-lootze-o-iie/i), con. With resolution. Risvegliato (It.) [ris velil-ya-to). Animated; lively. Ritardando (It.) {ree-tar-dan'-do), Ritar- dato \ree-tar-diih'-to), Ritenuto [ree-ten- 00' -to), Ritenente [rec-ten-en' teh). Hold- ing back ; retarding. Abbreviation Rit. Ritmo (It.). See Rhythm. Ritmo a due battate. Of two measures. Ritmo a tre battate. ' )f three measures. The following passage, which, being written in \ (scherzo) time, looks like a six-bar phrase, is in reality a two-bar phrase, founded on the triple unit : Ritmo a trc baltate. written in \ time; or it may be written in \ time with triplets. This example is analogous to the oft- quoted one in the scherzo of Beethoven's ninth symphony. Riemann, Hugo {ree' - man). Theorist; Germany. B. 1849. Ries, F. {rees). Composer; Germany. B. 1784; d. 1838. 'R\g,h\ii.\,\. (fee-i^ee'-nee). Composer; Italy. B. 1756; d. 1812. Rimbault, Ed. F. Composer, organist, writer; England. B. 1816 ; d. 1876 Rimbault, Stephen F. Composer, organist ; England. B. 1773; d. 1837. Rink, J. C. H. composer, organist ; Ger- many. B. 1 770; d. 1846. RITORNELLA 80 RUSIiX Ritornella (It.) {ree-tor-nel'-la'). Interlude; chorus ; burden ; tutli in the old concertos. Robusto (It.) {ro-biis^-(o). Robust; bold. Roger de Coverly. Old English country dance in | time. Rbhrflote (Ger.) {rare'-Jla-teh). Reed-flute; a flute-stop in the organ. Role (Fr. ) [ro/l). The part in an opera or play assigned to any performer. Roll, Wirbel (Ger.), Rollo (It.), Roule- ment (Fr. ). The tremolo produced on the drum by the rapid alternation of blows with the drumsticks. On the kettle-drum the roll is produced by single alternating blows ; on the side drum, by double alternating blows. Romance. (l) A ballad. (2) An instru- mental piece in lyric form, of romantic character ; often used as the slow movement of a sonata, etc. Romanesca (It.) {ro-via-iies'-ca), Roman- esque (Fr. ) (j-o-inan-esk). Same as Gal- li(nd. Romantic. A vague term for that form of art in which the emotional content is con- sidered as of more importance than the form. The tenn " romantic" is often used as opposed to classic ; but the application of "classic" is as vague as is that of "romantic." The element of time seems to be an essential of classicism, the work of a living author never being considered classic. The term romantic may be defined as roughly dividing the music written on harmonic principles from that written before the principles of harmonic combination and succession were discovered ; but already the romantic school has been sub-divided into what may be called the classic-romantic and the new-romantic ; but since every " new " thing must in time become " o d," this last school must, when its day is past, give place to a newer romanticism. Rondo, Rondeau (Fr.). One of the fonns of composition characterized by the return of the first theme after the presentation of each new theme. The modern rondo par- takes of the character of the sonata form, in that its second theme is repeated in the tonic key, having been first gi\'en in the dominant key. The following schemes exhibit at a glance the usual forms of the rondo : — Major Key. — ITh. II Th. I Th. II III Th. I Th. II Th. I Th. Tonic. Dom. Tonic Subdoni. Rel. mill. Par. mill. Tonic. Tonic. Tonic Minor Key. —ITh. II Th. I Th. II III Th. I Th. II Th. ITh. Tonic. Rel. major. Tonic. Subdoni. of rel. major. Tonic. Tonic, major. Tonic Example of Rondo in Major Key, — last movement of Op. 2, No. 2 (Beethoven). Example of Rondo in Minor Key, — last movement of Sonata Pathetique. Root. The fundamental or generating note of a chord. Rosalia (It.) iros-al-ya). The repetition of a melodic phrase several times, each time one degree higher or lower than the last. It gets its name from an Italian folk-song, " Rosalia Mia Cara," the melody of which is constructed in this way. Although not considered good writing, many examples may be found in the works of the greatest Ritter, A. G. Composer, organist ; Germany. B. 1811; d. 1885. Ritter, Fred. L. Composer, writer; Alsace. B. 1831; d. 1892. Ritter, Fanny Ravmond (wife of Fred.). Writer; U. S. A.' B. 1840. Ritter, Theodore. Composer, pianist ; France. B. 1841 ; d. 1886. Rochlitz, F. J. Composer, critic ; Germany. B. 1769; d. 1842. Rockstro, Will. S. Composer, writer ; Eng- land. 13. 1S30; d. 1S95. Rode, J. P. J. Composer, violinist ; France. B. 1774 . d. 1830. Roeckel, J. A. Tenor; Germany. B. 1783; d. 1870. composers. Three such repetitions are generally considered allowable. In Ger- many the Rosalia has the ludicrous name of ScJiusteiJlt'ck (cobbler's patch), also Vet- ier Michel (Cousin Michel), from its occur- rence in a well-known Volkslied, " Gestern Abend war Vetter Michel da." Rose. The sound-hole in the belly of the guitar, mandolin, etc. Rosin. See Resin. Roeckel, Ed. (son of J. A.). Composer, pianist; France. B. 1816; d. 1876. Roeckel, J. L. (son of J. A ). Composer, pianist: " England. B. 1838. [J. L. Roeckel writes under the pseudonym of Edward Dorn.] Romberg, Andreas. Composer, violinist ; Germany. B. 1767. d. 1821. Romberg, Bernhard. Composer, 'cellist; Germany. B. 1767; d. 1841. Ronconi, Sebastian [ron-ko' -nee^. Baritone ; Italy. B. 1814. Rontgen, Julius. Compo.ser, pianist ; Ger- many. B. 1855. Root, Geo. Y. Composer, writer ; U. S. A. B. 1820; d. 1895. ROTA 81 SALTATO Rota (Lat.). A round. Rote. Hurdy-gurdy ; vielle. Roulade (Fr.) i^roo-lad). A brilliant run; an ornamental flourish. Round. A variety of canon, the imitation being always at the 2>va or unison. Roundel, Round, Roundelay. A dance in which a ring with joined hands was formed. Roundelay also means a poem with a con- stantly reiterated refrain or burden. ^ubaXo [li.) {roo-lxth' -to). Robbed; stolen. The direction Rubato, or Tempo Rubato, indicates a style of performance in which the rhythmic flow is interrupted by dwelling slightly on certain melodic notes and slightly hurrying others. This style of performance is used with great effect in the modern intensely emotional school of music. Rosa, Carl A. N. Violinist, conductor; Ger- many. B. 1842 ; d. 1889. Rosellen, Henri [ro- seF- ien). Pianist; France. B. 181I; d. 1876. Rosenhain, Jacob {ro'-sen-highn). Com- poser, pianist; Germany. B. 1S13; d. 1894. Rosenthal, Moritz [ro'-sen-tal). Pianist; Germany. B. 1862. Rossi, Luigi [ros'-see). Composer; Italy. B. 15—; d. 16-. Rossini, G. A. (ros-see'-nee). Composer, Italy. B. 1792; d. 1868. Rousseau, J. I.ij'oos-so). Composer, writer ; Geneva. B. 1712; d. 1778. Ruhig (Ger.) [j-oo' - ig). Calm; quiet; tranquilly. Rule of the Octave. An old formula for putting chords to the diatonic scale, major or minor. Run. A passage founded on the scale, gener- ally used in vocal music. The run is generally sung to one syllable. Rusticano (It.) [t-zis-tee-cali'-no). Rustically. Rustico (It.) [t-Hs'-tee-co). Rustic; pasto- ral. Rutscher (Ger.) (;w/^-5//-ood-jee-eh'-ree). Violin maker; Italy. B. 16 — ; d. 17 — . Rummel, Franz. Pianist; England. B.1853, d. 1901. S. Abbreviation of Segno (sign) ; Senza (without); Sinistra (left) ; Solo; Subito (quickly). jP A sign used to point out the place from which a repeat is to be made. Al jf?, to the sign ; Dal ^, from the sign. Sabot (Fr.). A "shoe." Part of the mech- anism of the double-action harp, consisting of a revolving disk of brass with two piro- jecting studs ; when the pedal is depressed the string is caught between the studs and drawn tighter, thus raising its pitch. Saccade (Fr.) [sac-cad). A strong pressure of the violin bow on the strings, causing two or three to sound together. Sacchini, A. M. L. (sak-kee'-nee). Corn- poser; Italy. B. 1734; d. 1786. Saint-Saens, Camille {sa7igt-sah-07jg). Com- poser, organist, pianist ; Paris. B. 1S35. Sainton-Dolby, Ch. Helen. Composer, contralto, soprano ; England. B. 1821 ; d. 1885. 6 Sackbut. An old name for a species of the trombone. Sometimes written Sagbut. Sackpfeife (Ger.). Bagpipe. Saite (Ger.) (sy-te/t). A string. Salicional, Salicet, Salcional [from Lat., salix, willow]. A soft, open metal organ- stop. Parlor grand piano- Parlor piece ; salon Salonfliigel (Ger.). forte. Salonstiick (Ger.). music. Saltarello (It.) {sal-tah-7-el'-ld) [from saltare, to leap]. An Italian dance in triple time. Saltato (It.). ".Springing bow" in violin playing. Sainton, P. P. C. [saiigdong) (husband of S. -Dolby). Composer, violinist; France. B..1813; d. 1890. Salaman, Ch. Iv. Composer, pianist ; Eng- land. B. 1S14; d. 1901. Salieri, A. [sal-yeh'-ree). Composer; Italy. B. 1750 ; d. 1825. SALTO 82 SCALE Salto (It.). A skip. A counterpoint that moved by skips was called C. P. di salto ; in Lat., C. P. per salteni. Sambuca. Generally supposed to be an ancient variety of the harp. The Sabeca, mentioned in the Bible (Daniel iii : 5, 7, 10, 15), translated " sackbut " in the English version, is supposed to be the same instrument. The derivation of the word is not known. Sampogna or Zampogna (It.) {sam-pone'- ya). Bagpipe. Sanft (Ger.). Soft. Sans (Fr.). Without. Saraband, Sarabanda (It.), Zarabarda (Sp.), Sarabande (Fr. ). A slow, s*ately dance in \ time, used as the "slow move- ment" in the suite. The Saraband is founded on the following rhythm : — r r r One of the finest examples is the song in " Rinaldo," by Handel, '■^ Lascia ck' io pianga," which is said to have been written first as a Saraband, and afterward adapted to the words. Sarrusophone. A brass wind instrument with a double reed like hautboy. Satz (Ger.). (i) A theme. Hauptsatz, prin- cipal theme ; Seitensatz, secondary theme ; Nebensatz, auxiliary theme; Schluss- Satz, closing theme, or coda. (2) A piece ; composition. Saxhorn. A brass instrument with from three to five cylinders or pistons ; invented by A. Sax. Saxhorns are made in seven different keys. A saxhorn band consists of "high horn" (or cornet), soprano, alto, tenor, baritone, bass (or tuba), double bass (or bombardon). The "high horn," alto, and bass are in eIz, the others in BJ?. Saxophone. Brass instrument with clarionet mouthpiece, invented by A. Sax. Made in seven sizes, corresponding to the sax- horns, except that there are two of each kind, differing by a whole tone in pitch ; Sale, Gasparo da. Violin maker ; Italy. B. 1542; d. 1609. Sankey, Ira D. Vocalist; U. S. A. B. 1840; d. 1908. Santley, Ch. Baritone; England. B. 1834. 3arasate, P. M. M. Y. N. {sah-rah-sah^-teh). Violinist, composer; Spain. B. 1844; d. 1908. Sarti, G. (sar'-tee). Composer, organist; Italy. B. 1729; d. 1802. Salter, Gustav. Composer, pianist ; Austria. B. 1832. Sauret, Emile (j(r7f-ri7ji'). Violinist; France. B. 1852. thus: Sopranino (high saxophone) in F and E|2, soprano in C and B|?, alto in F and EIz, tenor in C and B2, baritone in F and EJZ, bass in C and Bj?. The saxophone is extensively used in France in military bands, but has not as yet found its way into the orchestra, as its tone quality is not of a character to mix well with the rest of the orchestra. Saxtromba. Brass instrument resembling the saxhorn, but differing in tone quality from having a narrower tube. Saxtuba. The bass .saxhorn. Sbalzato (It.) (sbalt-zah'-to). Impetuously; dashing. Scale, (i) A succession of ascending or descending sounds. Major Scale, a series of sounds with a half-tone between 3-4 and 7-8, reckoning upward. Minor Scale, a series of sounds with a half-tone between 2-3 and 5-6 in the natural minor, in the Melodic Minor, 7-8, ascending. The Melodic Minor descends, like the Natural Minor; in the Harmonic Minor there are half-tones between 2-3, 5-6, and 7-8, and a tone and a half between 6 and 7. The Minor Scale sometimes descends with raised 6 and 7. Many examples may be found in Bach's music. Chromatic Scale, one formed wholly of halftones. Pentatonic Scale [Gr., penta, five, tonos, sound], one that omits the 4 and 7. The Pentatonic Scale may be major or minor, thus : -A 7^^ r<-«- =rt: ■^ -s^i?^ rJ?^ i Hungarian Gypsy Scale consists of the following curious succession : — =^^t^ Si :bS: i (2) The series of overtones of a simple tube, such as the horn without valves. (3) In organ-pipes, the proportion between the length and the diameter. (4) In the piano, Sax, Antoine J. With his father, inventor of saxhorns, saxophones, etc. ; France. B. 1814; d. 1894. Sax, Ch. J. (father of A. J.). With his son, inventor of saxhorns, saxophones, etc.; France. B. 1791 ; d. 1865. Scalchi, Sofia {skal'-kee). Alto ; Italy. B. 1850, Scarlat^ti, A. Composer ; Italy. B. 1659; d. 1725. Scarlaf'ti, Dominico (son of A.V Composer, pianist; Italy. B. 1683 ; d. 1757. Scarlat'ti, G. (sonof D.). Composer; Italy. B. 1712; d. 1777. SC EM AN DO 83 SCHOTTISCHE the proportion between the length, weight, and tension of the string, and the pitch of the sound it is meant to give. Piano builders include many other points in the term "scale;" those given are the most important. Scemando (It. ) {shay-man' -do). See Dimin- uendo. Scena (It.) [shay-nah). (l) A scene. (2) A solo for voice in which various dramatic emotions are expressed. Scenario (It.) (shay-nahr'-yo). (i) The plot of a drama. (2) The book of stage directions. Scene. (l) 'it.^ Scena. (2) A division of a dramatic performance. (3) A stage-setting. Schablonenmusik (Ger.). "Pattern" or "stencil" music, i. e., correct, but unin- spired. Schaferlied (Ger.) [shay'-fer-leet'). Shep- herd song ; pastoral. Schaferspiel (Ger.) [s/tay'fer-speel). Pas- toral play. Schallbecken (Ger.). "Sound bowls;" cymbals. Frequently called Becken. Schalmy. See Chalanieau. Scharf (Ger.). Sharp. A mixture-stop. Schaurig (Ger.). Weird; dread-inspiring. Scherz (Ger.) [sherts). Droll; playful. Scherzando (It.) [sker-tzan'-do], Scher- zante (sker-tzan'-teli), Scherzevole [sker- tzeh'-vo-leh), Scherzoso {sker-tzo'-so). All derived from scherzo, and signifying a light, playful style of performance or composition. Scherzhaft (Ger. ). Funny; amusing. Scherzo (It.) (.f/^fr/'-so). A "jest." (i) A piece of music of a sportive, playful charac- ter. (2) A symphony or sonata movement of this character, taking the place of the Schad, Jos. Composer, pianist ; Germany. B. 1812; d. 1879. Scharwenka, Philipp {shar-ven'-ka). Pianist, composer; Polish Prussia. B. 1847. Scharwenka, Xaver. Polish Prussia. B. 1850. Schauroth, Adolphine von {show - rote') . Pianist ; Germany. B. 1814. Schikaneder, J. E. Basso; Germany. B. 1751 ; d. 1812. Schilling, Gustav. Writer; Germany. B. 1805 ; d. 1880. Schindler, Anton {shini'- ler). Germany. B. 1796; d. 1864. Schmidt, Aloys. Composer, pianist ; Ger- many. B. 1789; d. 1866. Schneider, Fr. J. C. Composer, organist, writer; Germany. B. 1786; d. 1853. Schneider, J. G. Composer, organist; Ger- many. B. 1789; d. 1864. minuet. Haydn first changed the character of the minuet, while still retaining its name, by giving it a light, playful character and more rapid tempo. Beethoven discarded the name and adopted that of Scherzo, and still further increased the rapidity of the movement ; all that he retained of the minuet was the \ time. Many composers since Beethoven have made still further departures, Scherzi being now written in | and I time. Schiettamente (It.) {she - et- ta - tnen'- teh). Without ornament. Schietto (It.) {ske-ef -to). Simple ; neat. Schleppend (Ger. ). Draggmg ; retarding. Schluss (Ger. ). End; close. Schliissel (Ger. ). Key; clef. Schlussfall (Ger.). Cadence. Schlussnote (Ger.). Last note. Schluss-Satz (Ger.). Last movement ; last theme ; coda. Schmeichelnd (Ger.). Coaxing ; lusin- gando. Schmelzend (Ger.) {schmel'-tzend). Lit., melting ; niorendo. Schmerz (Ger.) {schtnetts). Pain; sorrow. Schmerzlich (Ger. ). Painful; sorrowful. Schnell (Ger.). Quick. Schneller (Ger.). An inverted mordent (called mordent in modern usage) : /W Written with accent on the first note. Schottische. A dance in | time resembling the polka. Schneider, Wilhelm. Composer, organist; Germany. B. 1783; d. 1843. Schnyder von Wartensee, Xaver. Com- poser, writer; Switzerland. B. 1786; d. 1868. Schoberlechner {sho' -ber-lech-ner). Com- poser, pianist; Austria. B. 1797 ; d. 1843. Schroder-Devrient, Wilhelmina. Soprano; Germany. B. 1804; d. i860. Schubert, Franz Peter. Composer ; Austria. B. 1797; d. 1828. Schuberth, Carl. Composer, 'cellist ; Ger- many. B. 1811 ; d. 1863. Schulhoff, Julius {shool' -hof). Composer, pianist; Bohemia. B. 1825; d. 1898. Schumann, Robt. A. Composer, pianist ; Germany. B. 1810; d. 1S56. Schumann, Clara (Wieck) (wife of Robt.). Pianist; Germany. B. 1S19; d. 1S96. SCHUSTERFLECK 84 SENTITO Schusterfleck (Ger.). See Rosalia. Schwach (Ger.;. Weak, soft. Schwarmer (Ger.). See Kauscher. Schwebung (Ger.) [shveh'-boonk). A beat. (Acoustic,) i. e.. produced by the simulta- neous vibration of two sounds, especially prominent m unisons and octaves when not in tune. Schweigezeichen (Ger.) (schvei-geh tseich- eu). Lit., " silence sign." A rest. ochwellen or Anschwellen (Ger.). To swell the tone, ochweller (Ger. ). The swell organ. Schwellton (Ger.). See Afessa di Voce. Schwellwerk (Ger.). See Schweller. Schwer (Ger.). Heavy; difficult. Schwermiitig (Ger.) (schvehr'-mee-Hg). Sad; pensive. Schwindend (Ger.). See Morendo. SchwungvoU (Ger.) (schvoong'-foll). With elevated passion. Scintillante (It.) {shm-til-lan'-teh), Scintil- lante iFr. ) {sin-tee-yoiig). Scintillating; brilliant ; sparkling. Sciolto (It.) [shol'-lo), Scioltezza {shol- /ei'-za), con, Scioltamente [shol-tah vien'- teJt). Freedom; fluency; with freedom; freely. Score. See Partitur. Scoring. See Instrumentation. Scorrendo (It.) {skor-ren'-do), Scorrevole [skor-reh'-vo-leh). Gliding; glissando. Scotch Snap. A short note followed by a longer one ; thus u i borrowed from Hungarian gypsy music. Scozzese (It.) {skotz-zek'-seh), alia. In Scotch style. Scroll. The head of the violin, etc. Sdegno (It.) {sdehn'-yo'). Scorn; disdain. Sdegnosaments (It.) {sdehtt' -yo - sa ■ men' - tell) Scornfully. Sdegnoso (It.) (sdekn-yo'-so). Scornful. Sdrucciolando (It.) {sdroot - sho- lan'-do'). See Glissando. Se (It.) (.rr/i). As if. Sec (Fr.), S«cco (It.). Dry. See Reci- tative. Schuppai>zigh, Ignaz {shup' - pan - tzigh). Violinist; Austria. B. 1776; d. 1830. Schiitt, Ed. Pianist; Russia. B. 1856. Sec'"'ter, S. Composer, organist ; Germany. B. 1788; d. 1867. Reeling, Hans. Pianist, composer ; Bohemia. B. 1S28; d. 1862. Seguin, A. E. S. Basso ; England. B. 1809; d. 1852. Second. (l) An interval embracing adjacent letters. (2) The lower of two equal voices or instruments. (3) The alto in a vocal quartet or chorus. Seconda Donna. .Second lady ; the next in rank after the prima donna. Secondo (It.) {seh-con' -do). Second; the lower part in a duet for two voices or instru- ments ; the lower part in a four-hand piano- forte composition. Seele (Ger.) {seh'-leh), Ame (Fr.). Soul. The sound-post of the violin. Sag (It.). Abbreviation of Se^ue, ^. 7'., and of Segno. Segno (It.). See abbreviation S. Segue (It.) {sehg' -well). Follows. Segue il coro, the chorus follows. Seguendo (It.) (sehg-7ven'-do), Seguente {sehg-7ven'-teh). Following. Attacca il seguente, attack what follows. Seguidilla (Sp. ) [seh-gwee-deel' -ya). A dance in I time. Sehnsucht (Ger.). Longing. Sehnsiichtig (Ger.). Longingly. Sehr(Ger.). Very. Semi-breve. A whole note. G Semi-chorus, Half the chorus ; a small chorus. Semi-grand. A small (half ) grand pianoforte. Semi-quaver. A sixteenth note. ^ ^ Semi-tone. A half totie. A chromatic semi- tone changes the pitch without changing the letter; as, C — CC; a diatonic semi-tone changes both, as, C — D[?. Semplice (It.) (^sem-plee'-cheJi). Simple. Semplicimente (It.) {se??i-plee-c/iee-men'-tek). Simply ; unaffectedly. Semplicita (It.) {seni-plee'-chee-tah), con. With simpl'city. Sempre (It.) {sem'-preli). Always. Sensibile (It.) (sen-see' -bee-leh). Sensible (Fr.) {song-seebl). Nota sensibile, the leading note. Note sensible, "sensitive" note. Sensibilita (It.) {sen-see-bee' -lee-ta/i), con. With feeling. Sentito (It.) {sen • tec' - to) , Sentimento {sen-tee-nien'-to), con. With feeling; with sentiment. Seguin, Ann Childe (wife of A. E. S.). Soprano; England. B. 18 — ; d. 18S8. Seguin, W. H. (brother of A. E. S.). Bas.so; England. B. 1814 ; d. 1850. Seidl, Anton. Conductor; Hungary. B, 1850; d. 1898. Sembrich, Marzella. Soprano ; Germany. B. 1858. SENZA 85 SICILIANO Senza (It.) {sett-fza). Without. Septet, Septuor. A composition for seven solo voices or instruments. Septole (Ger.). Septuplet ; a group of seven. Se piace (It.) {sfh pe-ah' -cheh). "Please yoursL-l f ' ' Ad libituvi. Sequence, Melodic. The repetition of a melodic plirase at regular intervals. Har- monic Sequence, the repetition of a har- monic progression at regular intervals. Contrapuntal Sequence, a succession of common chords with roots moving in a regular " pattern." :t: •-« H H ±: -1 — ^ Melodic Sequence. Harmonic Sequence. -(S^ _>a &i_ t J=J: =S=-i I f 'f^ that Contrapuntal Sequence. Seraphine. A free-reed instrument preceded the harmonium. Serenade, Serenade (Fr.), Serenata (It.), Standchen (Ger.). I.it., an evening song. The Italian form, Serenata, is also applied to an instrumental symphonic composition, and by Handel to his cantata, " Acis and Galatea." Serene (It.) (j(?-^-;ry^''-«o). Serene; tranquil. Serio (It.) {seh-re-o). Serious. Serioso (It.). Gravely; seriously. Serpent. A nearly obsolete instrument made of wood covered with leather, cup-shaped mouthpiece, finger-holes, and keys. Service. A musical setting of the canticles, etc., of the Episcopal church. Sesqui-altera. A mixture-stop in the organ. In ancient musical nomenclature the follow- ing compounds with Sesqui were used : — Sesqui-nona, i. e., the ratio of 9 to 10 ; minor whole tone. Sesqui-octava, 8 to 9 ; major whole tone. Sesqui-quinta, 5 to 6 ; minor third. Servais, A. Francois [ser-z/ay). Composer, 'cellist; France. B. 1807 ; d. 1866. Servais, Joseph (ser-vay). Composer, 'cellist; France. B. 1850; d. 1885. Seyfried, J. X. Ritter von. Composer; Austria. B. 1776; d. 1841. Sesqui-quarta, 4 to 5 ; major third. Sesqui-tertia, 3 to 4 ; perfect fourth. Sesqui-tone, a minor third. Sestet. See Sextet. Sestetto (It.). See Sextet. Sestole. See Sextuplet. Seule (Fr. ) (sool). Alone. Seventeenth. An organ-stop sounding the octave of the major 3d above the diapason ; called also the tierce. Seventh. An interval including seven letters. Seventh Major, seven letters and eleven half-tones, as C — B. Seventh Minor, seven letters and ten half-tones, as C — Bt?. Diminished Seventh, seven letters and nine half-tones, as C# — Bj?. Severamente (It.) {seh-veh-rah-men' - teh). Severely ; strictly. Severita (It.) {sehver'-eeta), con. With severity ; exactness. Sextet, Sestet, Sestetto (It.), Sextuor (Fr. ). A composition for six solo voices or instruments. Sextuplet. A group of six notes occupying the time of four. Sfogato (It.) {sfo-i;ah' -tc>) [from ^fogare, to evaporate]. A soprano voice of thin, light quality and unusually high range is called a soprano sfogato. Sforzando (It.) {sfortz-an'-dd) or Sforzato, abbreviated Sf. or Sfz. "Forced." A strong accent immediately followed by piano. Shake. See Trill. Sharp. The sign, ft, which raises the pitch of a letter a half tone. Sharp is sometimes used in the sense of augmented, as sharp 6th for augmented 6th ; popular name for the black keys of pianoforte and organ. Sharp Mixture. A mixture with shrill-voiced pipes. Shawm. See Chalameau. Shift. A change in the position of the left hand on the fingerboard of the violin ; each shift is a fourth higher than the preceding one. Si. (i) The note B in French. Italian, and Spanish. (2) The Italian impersonal pro- noun, "one," or "they," as, si piace, " one" pleases, i. e., as you please. Siciliano (It.) {see-cheel-ya^-no), Sicilienne (Fr.) {see-see-lee-en). A pastoral dance in slow ^ time ; slow movements, vocal or instrumental, are frequently called Sicilianas. Sgambati, G. (jgam-bah'-tee). Composer, pianist; Italy. B. 1843. Shakespeare, Wm. Tenor, teacher ; Eng- land. B. 1849. Sherrington, H. Lemmens. Soprano ; Eng- land. B. 1834. SIDE DRUM 86 SMINUENDO Side Drum. See Drum. Siegeslied (Ger.) {see' -gcs-leed). Song of victory. Signs. (Only the most important are here given. Complete information may be obtained by consulting the "Embellish- ments of Music," by Russell.) • ' T ^ # Staccato, Vibrato. Pause. Abbreviation, signi- Spiccato. fyiiig the repetition of tlie preceding figure. Segno. Repeat. Slur, when over or under sounds of diflerent pitch, signifying legato. Tie, when the notes are on the same degree. \ ^ '^ w \ Sharp. Double Flat. Double Natural. Sharp. Flat. Crescendo. Decrescendo. < < < Arpeggio. After Ped. means raise the foot from the pedal. /r^^-. >- A Sforzando. Brace. Trill. Turn. Mordent. 'iva. %va.Ba. v Octave Octave Heel and Toe: higher. lower. Organ music, — when above the notes, ris;ht foot; when below, left foot. Signature, Signatur (Ger.), Time. The signs ^ ^, etc. Key Signature, the sharps or flats marked at the beginning of a part or piece. Simile (It.) [see-viee-leJi). The same; in the same way. Sinfonia (It.\ Sinfonie (Ger), Symphonie (Fr.), Symphony [from Qx.,sun; phoneo, sounding together]. Originally had the same meaning that we attach to interval, i. e., two simultaneous sounds, (i) By the early writers of Italian opera it was used in the modern sense of overture. (2) The introduction to a song is still called the symphony. (3) The adaptation of the large forms of composition (sonata and rondo) to the orchestra. Sherwood. \Vm. H. Composer, pianist ; U. S. A. B. 1854. Silbermann, Gottfried. Pianoforte maker; Germany. B. 1683 ; d. 1753. Silcher, Fred. Composer, writer ; Germany. B. 1789; d. i860. Singer, Otto. Composer, pianist ; Germany. B. 1833; d. 1894. Sivori, E. C. [see' -vo-ree) . Violinist, com- poser; Italy. B. 1815; d. 1S94. Singend or Singbar (Ger.). tabile. Singing ; can- It.) [sin- gliee-otz-an'-do). Singhiozzando Sobbingly. Singspiel (Ger.) {sing-speel'). "Sing-play." Operetta ; an opera without recitatives, the dialogue being spoken. " Der Freischutz," when first produced was of this character, which may be considered as one of Ger- many's contributions to the development of the opera, the Italian operas from the beginning being largely composed of recita- tive. The "Singspiel" form has found its most congenial home and its best exponents in France. Sinistra (It.). Left. Sine, Abbr., Sin. (It.) [see' -no). As far as ; used after D. C., or al j^ ; as al ^, Sin' al fine, go to the sign, then as far as "fine." D. C. sin' al ^f!, from the beginning as far as the sign. Sixteenth Note. > Sixth. An interval including six letters. Sixth Major. Six letters, nine halftones. Sixth Minor. .Six letters, eight half-tones. Augmented Sixth, six letters, ten half- tones. Diminished Sixth, six letters, seven half-tones. Sixty-fourth Note. ^ Slancio (It.) {slan'-che-o), con. With im- ])etuosity. Slargando (It.) {slar-gan'-do). Widening; growing slower. Slargandosi (It. ) {slar-gan-do' -see). Slower. Slentando (It.) {slen-tan' -do). Gradually slower. Slide. (l) The movable tube of the trom- bone. (2) See Portavietito. Slur. ^-^ —--^ Legato sign. In vocal music signifies that all the notes it includes are to be sung to one syllable. Smanioso (It.) [snia-ne-o'-so). Frantic; raging. Smaniante (It.) {sma-ne-an'-teh). Frantic- ally. Sminuendo (It.) {smin-oo-eii'-do), Sminuito {smin-oo-ee'-io), Smorendo [smo-re^i'-do). Same as Diminuendo. Sloper, Lindsay E. H. Composer, pianist ; England. B. 1826; d. 1887. Smart, Sir G. T. Composer, organist ; Eng- land. B. 1776; d. 1867. Smart, Henry (brother of G.). Violinist; England. B. 1778; d. 1823. Smart, Henry (son of H.). Comiioser, organist; England. B. 1813 ; d. 1879. Smetana, Fr. {smeh tah'-nali'). Composer' Bohemia. B. 1824 ; d. 1884. SMORZANDO 87 SONATA DI CHIESA Smorzando (It.) [smor -tzan' - Jo). Lit., " smothering ; " morendo. Snare Drum. See Drum. Soave (It.) {so-a'-veli). Sweet. Soavemente (It. ) {^so - a- veli - men '- teh ) . Sweetly. Sogetto (It.). Subject ; theme of a fugue. Sognando (It.) {sone-yan'-do). Dreaming; dreamily. Sol. The note G in Italian, French, and Spanish ; fifth Aretinian syllable. Solenne (It.) (so-len' -neli). Solemn. Solennemente (It.) {so-len-nek-men'-teh^. Solemnly. Solennita (It.) {so-len' -nee-ta), con. With solemnity. Sol-fa (verb). To sing with the syllables. Solfeggio (It.) [sol- fed-Jo). (i) A vocal exercise. (2) Used by Bach as a name for certain short instrumental pieces. Solmization. A method of learning to sing by the application of syllables to the scale. The earliest invention of this method of fixing the succession of sounds forming the scale in the memory is attributed to Guido of Arezzo {ah-rets-o), who used for this purpose the syllables ut, re, mi, fa, sol, la, having chanced to observe that these syl- lables—the first in the successive lines of a Latin hymn — were sung to six successive notes which formed a hexachord scale : C, D, E, F, G, A. There were seven hexa- chord scales, as follows : First began on G, 1st line bass staff; this was called the hexa- chordum durum (hard hexachord). Second began on C, a 4tli higher. Third began on F, another 4th higher ; in this scale B was flat ; it was called the hexachordum molle (soft hexachord). Fourth, fifth, and sixth were respectively an octave higher than the first, second, and third, and the seventh was two octaves higher than the first. The first note of every scale was called ut (after- ward changed to do), therefore from its inception " do " was ''movable." Various modifications of these syllables have at different times been used for solmization. One extensively used at one time was the practice of using only four of them, viz., mi, fa, sol, la. These were so arranged that mi always fell upon the third note in the tetrachord, for example, the scale of C was solfaed thus : — Tetrachord. Tetrachord. CDEF|GABC sol la mi fa sol la mi fa It was owing to the difficulty and, to ancient ears, harshness of the skip from the Smith, Sidney. Composer, pianist ; Eng- land. B. 1839 ; d. 1889. fa of the lower tetrachord to the mi of the upper that the expression, '-mi contra fa," came to have a proverbial meaning. This interval, called the tritone (three tones), was by the ancient theorists stigmatized as " tritonus diabolus est." New syllables have at different times been proposed ; one scheme of which the syllables were bo, ce, di, ga, lo, ma, ni, was called bocedization ; another with da, me, ni, po, hi, la, be, was called damenization. The only modifica- tions and additions to the syllables that have been permanently adopted are those used by the " Tonic Solfaists," q. v. Solo (It.) (plural. Soli). Alone; a compo- sition in whicli the principal part is taken by one voice or instrument. Solo Parts are those sung or played by single per- formers as distinguished from chorus or tutti passages. Somma (It.). Utmost; as Con somma espressione, with the utmost expression. Sonabile (It.) [so-nah'-bee-hh), Sonante {so- nan' - teh ). Resonant ; sounding ; sonorous. Sonare (It.) (so-nah'-reh). To sound; to play upon. Sonata (It.) [so-nah'-tah). "Sound piece." (I) The highest development of musical form. (2) In modern use, an extended composition with several movements for pianoforte, or pianoforte in conjunction with one other instrument. A composition of this class for more than two instruments is called trio, quartet, etc. ; for full orchestra, a symphony. The "form" of the sonata (see Form) has undergone many modifica- tions since it was first adopted, about the beginning of the 17th century. At first it was applied indifferently to any instrumental piece, such, for example, as were commonly called " airs." Those written for the harp- sichord or for viols were called " sonata da camera. ' ' Those for the organ (or frequently those for harpsichord or viols, if written in grave style), "sonata da chiesa " (church sonata). The distinguishing characteristic of the modern sonata form is the possession of two themes in different keys (see Scheme in article Form). The gradual growth of this binary development may be traced in the works of Kuhnau, Scarlatti, Alberti, Durante, and others. The binary form was first definitely settled by Ph. E. Bach. The only changes made since have been the immense development given to the form by Beethoven, and the adoption of other keys for the second theme. Sonata di chiesa (It.) {key - eh'-sa). A church sonata ; organ sonata. Sodermann, J. A. {sood'-er-man). Com- poser; Sweden. B. 1 83 2; d. 1876. SONATILLA 88 SPANISCHES KREUZ Sonatina (It.) {so-na-til'-la). Sonatina (It.) (so-na-tee' -na). Sonatina (Fr.) {so-na-teen). A short, easy, undeveloped sonata. Song, Gesang, Lied (Ger. ), Chant (Fr.), Canto (It.), (i) Originally a poem. (2) A musical setting of a poem, especially for one voice. (3) Folk-song (Ger. , 1\ilkslied). A simple air containing but one member, the words lyrical or narrative (if the poem is a lengthy narrative it is generally called a ballad). (4) Art songs contain several members, and in many cases, as in the songs of Schubert, F"ranz, Schumann, and others, rise to the highest plane of art expression. The Germans have a word, durchkoinponiert, which is applied to songs every stanza of which has a separate musical setting, so designed as to exalt and empha- size the expression of the words. Songs without words, Lieder ohne Worte (Ger), Chants sans paroles (Fr.). A title invented by Mendelssohn and given by him to a set of pianoforte compositions. Songs for several voices are called part songs, q. v. Sonoramente (It.). Sonorously. Sonore (It.), Sonoro [from Lat. , sonus, sound]. Sonorous ; sounding. Sonorita (It.) {so - no' ■ ire-ta) , con. With resonance. Sopra (It.). On; above; upon. Soprano (It.), Sopran (Ger.), Dessus (Fr. ) [des-soo). The female or boy's voice of the highest range. Soprano Clef. C clef on the 1st line. Soprano Sfogato {sfo - gah'-td). An un- usually high light soprano. Sordamente (It.). Veiled, dampened, muf- fled tone. Sordino (It.) [sor-dee'-no). A mute; small instruments of metal, wood, etc., put on the bridge of the violin, etc., to deaden the tone. Pear- or cylinder-shaped mutes of wood, cardboard, or leather are put in the bell of the horn or trumpet with the same object. The use of sordino is indicated by Con S,, their removal by Senza S. Sordo (It.). Mute; muffled. Clarinetto sordo, muted clarionet. Sortita (It.) {soy-tee' -ta). "Going out." Concluding voluntary ; first appearance of any character in an operatic performance. Sospirando (It.) {sos-pee-ran'-do'), Sospiroso {sos -pee-ro'- so), Sospirante {sos-pee-ran' - tell), Sospirevole {sos -pee - reh' -vo-leh) [from .V(:v/?;y>, a sigh]. Sighing; sobbing; mournful. Sonnleithner, Ch. {son'-light-ner'). Com- poser; Austria. B. 1734; d. 1786. Sostenuto (It.) {sos-teh-noo'-to), Sostenendo {sos - teh - nen'- do ) . Sustained ; without haste. Sotto (It.). Below. Sotto voce, in an undertone. Soubasse (Fr.) {soo-bass'). A 32-foot organ pedal-stop. Soubrette (Fr.) {soo-hret). A waiiingmaid; a minor female role in comic or comedy opera. Sound-board. A thin sheet of spruce-pine, or fir, upon which the bridge that supports the strings of the pianoforte rests. The function of the sound- board is to increase the volume of the tone, which it does by taking up the vibration of the string. There are many unsolved problems in the relation which subsists between the string and the soundboard, as to the manner in which this amplification of the sound takes place. It is impossible to form a concep- tion of the complications in the mode of vibration of the sound-board that must take place when, for example, a full chord is struck. Yet all these complications are not only simultaneous, but they obey the chang- ing conditions of the most rapid execution with such swiftness and certainty that not a note is lost or a tone quality obscured. Sound-box. The body of the violin, guitar, etc. The problems as to the function of the sound-box are even more complicated than those connected with the soundboard, as a sound-box is a combination of a sound- board and an enclosed mass of air the vibrations of which have an important bear- ing on the quality and intensity of the tone. Sound-hole. The orifice or orifices in the upper part, called technically the " belly," of the violin, guitar, etc. In the violin family they are called F-holes, from their resemblance to the letter f. Sound-post. A slender, cylindiical, wooden prop between the belly and the back in instruments of the violin family, placed under the foot of the bridge on the side of the highest string. Sourdine (Fr. ) {soor-deen). .See Sordino. Spaces. The intervals between the lines of the staff or between the leger lines. Spalla (It.). The shoulder. Used in the sentence, Viola da spalla, one of the viols in a " chest." Spanischer Reiter (Ger.). See Spanisc/ies A'reuz. Spanisches Kreuz (Ger.) { spa/i - nish - es kroits). Spanish cross ; German name for double sharp ^ . Sontag, Henrietta G. W. Soprano; Ger- many. Jl 1806; d. 1854. SPARTA 89 STIMMUNGSBILD Sparta (It.) [spar-ta), Spartita {spar' -ti-ta) [from spartire, to divide]. Hence, a score. Spasshaft (Gar.). Jocose; merry; scher- zando. Spezzato (It.) [spets-sa' -to) [from spezzare, io break in pieces] . Divided ; broken. Spianato (It.) {spe-a-nah' - to). Leveled; tranquillo. Spianto (It. ) (spe-an-to). Level; smooth. Spiccato (It.) {spik-kah'-td). Detached; pointed. Spiel (Ger.) {speel). Play. Spielart. Style ; touch. Spielbar. Playable ; well adapted to the instrument. Spieloper. Operetta ; comic opera. Spieltenor. Light tenor ; comic opera tenor. Spinet. The predecessor of the harpsichord, called also couched harp. Spirito (It.) [spee-ree-to), con, Spiritoso {spee-ree-to'-so), Spiritosamente (spee-ree- to-sa-men'-teh). With spirit; spirited; lively ; animated. Spitzfliote, Spindelflote (Ger.). An organ- stop of reed-like quality, 8-, 4-, or 2-foot pitch. Squilla (It.) {squil'-la). Little bell. Squillante (It.) {squil-lan'-teJi). Bell-like ringing. Stabile (It.) (J/rt/^-<5i'- -19- 4 Mediant, i. e.. -<9- o I. Tonic. 2. Mediant, i. e., half-way to dominant. 3. Dominant. 4. Sub-mediant, i. e., half-way to sub-dominant. 5. Sub- dominant. Sub-octave. A coupler on the organ that pulls down the keys an octave below those struck. Sub-principal. Open organ-stop, 32- and l6-foot pitch. Sub-tonic. The leading note, 7th of the scale. Subito (It.) [soo- bee'- to), Subitamente. Quickly. Volti subito, abbreviated V. S., turn over quickly. Subject. The theme of a fugue ; any one of the themes of a sonata, rondo, etc. Subordinate Chords. Those on the 2d, 3d, and 6th of the scale. Suite (Fr.) [siveet). A set or series of move- ments. The suite originally consisted solely of dance tunes to which "airs" or move- ments, designated by the tempo terms, allegro, etc., were added. The classical suite contained : 1st, allemand ; 2d, coranto ; 3d, saraband ; 4th, gigue, preceded by a prelude. Occasionally the gavotte, pavan, loure, minuet, etc. , may be found with or in place of some of the above dances. Ac- cording to the rule of the suite, all the movements had to be in the same key. Suivez (Fr. ) {szuee-vey). Follow; a direc- tion for the accompanist to follow the soloist. Sujet (Fr.) [soo-zhay). Subject. Sullivan, Sir A. S. B. 1842; d. 1900. Suppe, F. von (soop'-peh) Austria. B. 1820; d. 1895. Sussmayer, F. X. Composer; Austria, 1766 ; d. 1803. Composer; England. Composer ; B. Sul, Sull, Sulla (It.). Upon; on; by ; in violin music a passage to be played on a certain string is marked Sul E, or A, or D, or G, as the case may be. Sul ponticello (It.). By the bridge; in violin playing, a direction to play with the bow close to the bridge. Suonata. See Sonata. Superfluous. Same as Augmented. Super-octave, (i) An organ-stop of 2 foot pitch, same as fifteenth. (2) A coupler in the organ that pulls down the keys one octave above those struck. Super-tonic. The 2d degree of the scale. Super-dominant. The 6th degree of the scale. Supplichevole (It.) [siip-plee-kay'-vo-leh), Supplichevolmente (sup - plee - kay - vol- meji'-teh). Pleading; supplicating. Suspension. Tyiilg or prolonging a note from one chord into the following. See Retardation. Siiss (Ger.) [sees). Sweet. Sussurando (It.) [soos-soo-ran'-do). Mur- muring. Sussurante ( It. ) ( soos - soo - ran' - teh ). Whisperingly. SvtgMsito {\i.) [svehl-ya'-to). Brisk; lively. Svelto(It. ) [sveF-fo). Swift; quick; easy. Swell Organ. A part of the organ enclosed within a box provided with shutters, which are opened and closed by a lever, called the swell-pedal, worked by the foot. Symphony. See Sinfonia. Symphonic. In the manner of a symphony. Symphonic Ode. A combination of sym- phony and chorus, as Beethoven's Ninth Symphony, or Mendelssohn's Lobgesang. Symphonic Poem. A modern name for an orchestral composition supposed to illustrate a poem or story. Syncopation. A shifting of the accent, caused by tying a weak beat to a strong beat. Syren. (i) An acoustical apparatus for determining the vibrational rates of sounds. (2) A species of foghorn. Syrinx. See Pandeatt Pipe. Svendsen, J. S. Composer, violinist, con- ductor; Sweden. B. 1840. Svendsen, Oluf Flutist; Sweden. B. 1832 ; d. 1888. Sweelenck [sveh'-link). Composer, organist ; Holland. B. 1562; d. 1621. 92 TASTATUR T. Abbreviation of Tasto, Tenor, Tempo, Tutti, Toe (in organ music). Taballo (It.). Kettle-drum. Tablature (Fr.) {tab-lah-toor), Intavolatura (It. ), Tablatur (Gen). An obsolete system of notation used for the lute principally ; another form was used for the organ, harp- sichord, etc. Table (Fr.) [tahbl). The belly or sound- board. Table Music. (l) Music intended to be sung by several people sitting around a table. (2) Music appropriate for entertain- ment during the pauses in the "serious" work of eating and drinking. Tabor, Tabret, Taboret. A small drum, like a tambourine without the "jingles." It hung in front of the performer, who beat it with one hand and played a "pipe " or flageolet with the other. Tacet (Lat), Tace (It.) {tah'-cheh). Be silent, or "is silent;" signifies that the instrument thus marked is silent during the phrase or movement; as Andante trom- boni tacet, during the "andante" the trombones are silent. Tafelclavier (Ger.). Square pianoforte. Tafelmusik. Table music. Tail, (i) Stem of a note. (2) The piece of wood to which the strings of the violin, etc., are attached at the base of the instru- ment. Taille (Fr.) [tah-ee). The tenor voice or part. Takt (Ger.). Time, as Im Takt, a tempo ; measure, as Ein Takt, one measure (or bar) ; beat, as Auftakt, up beat. Taktmassig. In time. Taktstrich. A bar (line, not measure). Talon (Fr.). The "frog" or heel of the bow. Tambour (Fr.). (i) A drum. (2) A drum- mer. Tambour de basque. Tambourine. Tamboura, Tambura (also Pandora). An Eastern species of the lute. Tambourin (Fr.) {tnvi-boo-rang) . (l) A tabor. (2) A French rustic dance. Tadolini, G. {tah-do-!ei'' -72ee). Composer ; Italy. B. 1793 ; d. 1872. Talexy, A. Uah'-lex-ee'). Composer, pianist ; France. B. 1820; d. 1881. Tamberlik, Enrico. 1820; d. 18S9. Tenor; Italy. B. Tambourine. A small variety of drum con- sisting of a hoop of wood or metal about two inches in depth, with a head of parch- ment. Small circular plates of metal called jingles are inserted in pairs in holes in the hoop, strung loosely on wires. The tam- bourine is held in the left hand and struck with the fingers or palm of the right hand ; used to accompany dancing in Spain, Italy, and southern I*rance ; occasionally used in the orchestra in ballet music. The " roll ' P III The "jingle" f is indicated thus > Tamburo (It.). Drum; side drum. Tamburone (It.) {tani-boo-ro'-neJi). The great drum. Tam-tam. Gong. Tandelnd (Ger.) {tehn-delnd). Playful. Tangent. The brass pin in the action of the clavichord that was forced against the string when the key was struck. Tantino [Ian-tee- >io), very little. Tanto (It.). So much; too much. Allegro non tanto, not so fast; lit., " fast, not too much." Tanz (Ger.) [taiits). Dance. Tanzlieder. Songs to accompany dancing. See Ballad. Tanzstiicke. Dancing pieces. Tanzweisen. Dancing tunes. Tarantella (It.), Tarantelle (Fr.). A rapid dance in ^ time ; the name is derived from tarantula (the poisonous spider). The dance is popularly believed to be a remedy for the bite of this insect. Tardamente. (It.) [tar- dak -men'- teh). Slowly. Tardando (It.) [tar-dan'- do). Slowing; retarding. Tardato (It.) [tar-dah' -to). Made slower. Tardo (It.) [tar' -do). Slow; dragging. Tartini Tone. An undertone produced by the simultaneous vibration of two strings, etc., first observed by Tartini, the violinist. Called also a differential tone. Tastatur (Ger.) [tas-tah-toor). Tastatura (It.) [tas-tah-too'-ra). Keyboard. Tamburini, .\. [lam-boo-ree'-7iee). Baritone; Italy. B. 1800; d. 1876. Tansur, Will. Composer, organist ; Eng- land. B. 1706. d. 1783. Tartini, G. [tar-tee' -nee). Violinist, com- - poser; Italy. B. 1692 ; d. 1770. TASTE 93 TEMPO MARCIA Taste (Ger.) iotas' -ieh). A pianoforte or organ key ; pedal key. Tastenbrett (Ger.), Tastenleiter. Key- board. Tastiera (It.) {tas-tee-eh'-ra'). Eingerboard of violin, guitar, etc. Sulla Tastiera, a direction in violin music to play with the bow near the fingerboard, — the opposite of Sul ponticello, q. v. Tasto (It.) A "touch." (i) A key. (2) A fret. (3) Touch. (4) Fingerboard. The preceding words from Tastalur are all derived from Tasto. Tasto Solo. Literally, "key alone," /. ^., one key or note at a time. A direction in figured bass that the notes are to be played without chords, /. e., unison or octaves. Tattoo or Taptoo. The drumbeat ordering soldiers to retire for the niglit. Technic, Technik (Ger.), Technique (Fr.). The purely mechanical part of playing or singing. Technicon. A mechanism for strengthening the fingers and increasing their flexibility. Techniphone. See Virgil Clavier. Tedesco or Tedesca, alia (It.). In German style. Tema (It.) [teli'-mah). Theme ; subject ; melody. Temperament. The division of the octave. Equal Temperament. The modern sys- tem of tuning divides the octave into twelve equal parts, called semitones. Un- equal Temperament (which was formerly used for all keyed instruments, and retained until quite recently for the organ) tuned the natural notes true, and distributed the superfluous interval among the "black" keys. The discovery of the art of equally tempering the scale lies at the foundation of modern music. Without it, the sudden ex- cursions into remote keys would be impos- sible. Although we have lost something in purity of intonation, the loss is more than made up in the gain of twelve keys, all equally well in tune. Some enthusiasts, generally acousticians, express great dissat- isfaction with our modern scale. A suffi- cient reply is, that the scale that satisfied the ears of, and made possible the music of the great writers from Bach to Beethoven, must of necessity be the best musical scale. Tempestosamente (It.) {tem-pes-to' -sa-7nen' - tch). Impetuously. Tempestoso (It.) {tem-pes-to'-sd). Tempes- tuous. Tempete (Fr.) (tanipeht). Tempest. A French dance — formerly fashionable — re- sembling a quadrille. Taubert, Carl G. W. Composer; CJermany. B. iSii : d. 1891. Slow Tempo (It.). Time. "Tempo" is univer- sally used to signify " rate of movement." Tempo Indications — ^^'■g^' r Andante, 1 nto' Moderate \ Moderate, Adagio. (Commodo. P^ast I ^•'^§'■0' ^^^^\ Presto. Words used to modify the above : Poco, a little. Before a word meaning slinv, signifies an increase of speed, as poco lento, a little slow; before a word meaning fast, it signi- fies a decrease of siieed, as poco allegro, a little fast. Pill, more. Before a word meaning slow, signifies a decrease of speed, as pill lento, slower; before a word mean- ing fast, it signifies an increase of speed, as pill allegro, faster. Assai, very. After a word meaning sloto, decreases the s]>eed, as adagio assai, very slow ; after a word mean- ing fast, increases the speed, as allegro assai. Molto, much ; has the same meaning as assai. The Diminutive Etto. „, f Larghetto, a little faster than Largo. ( Adagietta, a little faster than [Adagio. Fast, Allegretto, a little slower than [Allegro. The Superlative Issimo. {Larghissimo Lentissimo, Adagissimo, As slow as possible. „ , r Allegrissimo, It-. •. , Fast < T> ?• • ' > r ast as possible. ( rrestissnno, J ^ The Diminutive Ino. Slow, Andantino, faster than Andante. Andante means " going " [from andare, to go], therefore Andantino means "going a little." A large number of words are used in conjunction with the tempo indica- tions that refer more to the manner or style of the performance than to the speed, as Appassionata.with passion; Vivace, with life. The majority of these words are preceded by con, with ; as — Con brio, . . . . with vigor, "j AftprworH<5 Con calore, . . . with warmth, ! ^'"^"^ ''"'^'^^ Con fuoco, . . . with fire, | Con moto, etc., with motion, J Con espressione with expression, "I Con dolcezza, . with sweetness, ( Con dolore, . . . with sadness, 1 Con tristezza, . with sorrow, J Tempo commodo. Convenient ; easy move- ment. Tempo di ballo. Dance time. Tempo giusto. Strict ; exact time. Tempo marcia. March time. Tausig, Carl. Composer, pianist ; Poland. B. 1841 ; d. 1S71. nieanmg fast. After words meaning slow. TEMPO ORDINARIO 94 TETRACHORD Tempo ordinario. Ordinary ; usual. Tempo primo. First time, used after a ri- tard. or accel. to indicate a return to the original time. Tempo rubato. See Rubato. Tempo wie vorher (Ger.). Same as Tevipo pruiio. Temps (Fr.) {ta»i). (l) Time. (2) Beat. Temps faible or leve. Weak beat; up beat. Temps fort or frappe. Strong beat; down beat. Tendrement (Fr.) (tondr-riiong). Tenderly. Tenendo il canto (It.). Sustaining the melody. Teneramente (It.) [teJi-neh-ra - vien'-tcli). Tenderly ; delicately. Tenerezza (It.) {teli-iieh-ret'-za), con. With tenderness, delicacy. Tenero (It.) (/if//''-//^'/;-ro). Tender: delicate. Tenor, Tenore (It.), Taille or Tenor (Fr.). (i) The highest natural male voice. (2) In the old system of music, the cantus or plain song. (3) A common name for the viola. The word tenor is supposed to be derived from Lat., teiieo, to hold, as it held the melody. Tenor Clef. C clef on 4th line. Tenor Violin. Viola. Tenore buffo. A comic tenor singer. Tenore di grazia. A "smooth-singing" tenor singer. Tenore leggiero. A light tenor singer. Tenore robusto. A vigorous, strong tenor singer. Tenorino (It.) (ten - o-ree'-no). "Little tenor." Falsetto tenor. Tenorist. A tenor singer; also viola player. Tenoroon. (l) S^ee Oboe di cacda. (2) Any organ-stop of 8 -foot tone that does not go below middle C. Tenuto 1 It.) [tch-noo' -to). Abbreviated Ten. Hold ; a direction to sustain the notes for their full value. Sig „ f. Tepidita (It.) {teh-pee'-dee-ta), con. With indifference. Tepiditamente (It.) [feh-pee-dee-ta-i/ten'-teh'). Coldly ; lukewarmly. Tercet. [Yr.) (tehr-say'). A triplet. Ternary Form. Rondo with three themes. Ternary Measure. Simple triple time. Tertian. A two-rank stop, sounding the ma- jor 3d and 5th in the third octave above the fundamental. Telemann, G. P. (peh'- leh-man). Com- poser, organist ; Germany. B. 1681 ; d. 1767. Terz (Ger.) {terts), (It.) Terza. Third. Terzetto (It.) {tert-sef -to). A vocal trio. Terzflote (Ger.). (i) A flute sounding a 3d above the written notes. (2) An organ stop sounding the major 3d in third octave. Tessitura (It.) (tes-see-tii'-rah). Texture The general range of the voice included in a given song, etc. Testo (It.) {tehs'-to). Text. (i) The " words" of any vocal composition. (2) The theme or subject. Tetrachord [from Gr., tetra, chflrdo)i\ Four strings ; hence, a succession of four sounds. The tetrachord always consists of two whole tones and one half-tone. These intervals may be arranged in three ways. The oldest arrangement, called the Pythagorean tetra- chord, began with the half-tone, thus : — 9fc 1221 It is generally supposed that the original four-string lyre (called the tetrachordon) was tuned to these sounds. The addition of another tetrachord, beginning with the highest note of this one, gives the scale of the heptachord, or seven-string lyre, thus: — "^ ^ e,VfZ -^ -^ 9-- -7:^'^ ^ ,. — — , 11 This is called the scale of conjunct tetra- chords, the A being the note common to both. The addition of a note behna this scale, thus : — gives the original octave scale of the lyre. This scale is the normal Greek scale, called the Dorian. It is doubtless the origin of the modern minor scale. The tetrachord known as Hucbald's had the halftone in the middle, thus : D E F G. The Hexachord scales {q. t'. ) were formed from this tetrachord by adding one letter above and one below, thus : — C D E~F G A. In the modern major scale the half-tone lies between the third and fourth letters of the tetrachord, thus: C D E F, and the scale consists of two of these tetrachords separ- ated by a whole v.jne. Terschak, Ad. Composer, flutist ; Germany. B. 1832; d. 1907, TETRACIIORDAL SYSTEM 95 TIME Tetrachordal System. The original name of the Tonic Sol Fa, q. v.. Theil or Teil (Ger.). A part (portion, not " voice "). Theme, Theme (Fr.) {tehm), Thema (Ger.) {teh-ina). The subject of a fugue ; one of the subjects of a sonata or rondo. The subject of a set of variations. The " can- tus " to which counterpoint is added. Theorbo, Theorbe (Fr.). A large variety of lute. Third. An interval including three letters, and, if major, two whole tones ; if minor, three half-tones ; if diminished, two half- tones : — i -^9- 2i: 'W^r T.iirty-second Note ^ . Th.jrough Bass, Figured Bass, Contin- u;d Bass. A system of musical short- hand originally ; now used as a means of teaching harmony. Threnody [Gr. threnos\. A song of mourn- ing ; dirge. Thumb Position. Violoncello music ; sign 1 , the thumb is laid across the strings, making a temporary bridge. Tibia (Lat.). The "shinbone." Tatin name for the flute, which was originally made from the bone, the name of which it bears. Tibia Utricularis. Bagpipe. Tibicen (Lat.). A flute player. Tie, Fascia (It.), Bindebogen (Ger.), Liai- son (Fr. ). A curved line joining two notes on the same degree. The first note is sounded, the second is " held." In old editions, in place of the tie, it was custom- ary to write a single note on the bar-line, equal in value to the two notes that in mod- ern practice are tied. Thus:^ sign must be repeated for each one, thus :— f 4 -?-^- for f -5^ <9- -< g^5l- Any number of notes may be tied. The Thalberg, S (tal-berg). Composer, pianist; Switzerland. B. l8l2 ; d. 1871. Thayer, A. W. Writer; U. S. A. B. 1817 ; d. 1S97. Thayer, Eugene. Organist, composer; U. 8. A. B. 1838; d. 1889. Thomas, C. Ambroise [tomaJi, am-bro-az). Composer; France. B. 1811; d. 1896. Thomas, Theo. Violini-t, conductor; Ger- many. B. 1835 ; d. 1905. r The first note is struck, but the sound is pro- longed until the time value of all has ex- pired. Tief (Ger.). Deep; low. Tierce, (i) A third. (2) An organ stop. See Terz. Tierce de picardie (Fr.). The major 3d in place of the minor in the final chord of a piece in the minor key. At one time this manner of ending was the rule. Tierce Position. A common chord witb root in bass and third at top. Timbale (Fr.), Timballo (It.). Kettle- drum. Timbre, (Fr.) {tanibr). Quality of tone. In German Klangfarbe, for which Clangliiit has been proposed as an English equivalent. Timbrel. Tambourine. Time. (l) The division of music into por- tions marked by the regular return of an accent. All varieties ot time are founded on two units — the Binary =12, and Ter- nary = 123. Time signatures for the most part are formed from figures written like fractions, the upper figure giving tlie rhythmic units and the number of times the value of the note indicated by the lower figure occurs in the measure. Time is Sim- ple Binary when the upper figure is 2 ; Simple Ternary, when the ujiper figure is 3. Compound times are formed liy adding to- gether two or more of the time units. \Mien tlie number of accents resulting from this coml)ination are C7't«, it is called Compound Common time ; when they are odd, Com- pound Triple time. Simple Duple time is indicated by this sign $. As now used, it always means the value of a whole note in the measure, and is called Alia Capella time. Like all duple times, it must have but one accent in the measure, no matter how the time value of the measure may be divided. The first compound of Duple time, viz., | time, is often marked \\ and is called Common time, under the impression that the sign is the letter C, whereas it is Thome, F. L. J- [toh-meh). Composer; Mauritius. B. 1850; d. 1910. Thunder, Henry. Organist, composer ; Ire- land. B. 1832; d. 1881. Thursby, Emma. Soprano ; U. S. A. B. 1857. Titjens, T. C. J- {tee-tee' -ens). Soprano; Germany. B. "1831 ; d. 1877. TIMIDEZZA 96 TOUCHE the old sign for Imperfect time, viz., a broken circle, and originally meant two beats in the measure, 'i'hree beats was called Perfect time; the sign was ^J- With the exception of the times with 4 for the upper figure, all the compound times are multiples of the ternary unit, as f , 6 6 — K" , g"" , j^ g , etc. , Compound Common ; 4 ' 8 ' 1^6 ' Compound Triple. The accents in compound times are determined by the number of units in the measure. The first is the strongest, third next, the second is weak, the fourth weaker. r r r 4l 12 8 In Compound Triple, the second and third are both weak. Timidezza (It.) {tee - iiiee - del'- za), con. With timidity. Timorosamente (It. ) (tee - mo - ro-sa-tnen'- tcli). Timorously. Timoroso (It.) {tee-iiio-ro'-so). Timorous; hesitating. Timpani (It.) [thii'-pa-iiee'). Kettle-drums. Abbreviated Timp. Timpanista (It.). Player on the kettle- drums. Tirade (Fr.) {tee-rad). A rapid run or scale pas.sage. Tirasse (Fr. ) [tee-rass). A pedal keyboard that " draws down " the manual keys. Tirata (It.) {tee-rah'-tah). See Tirade. Tirato (It.), Tire (Fr.) {tee-rch). " Drawn " bow, ?'. e. , down bow. Toccata (It.) [tok kah'-laJi) [touched, from toccare, \o\.OMc\\\. (l) A prelude or over- ture. (2) A brilliant composition resembling somewhat the modern " Etude " for piano or organ. Toccatina (It.) (tok-kaJi-tee'-nah). A little toccata. Toccato (It.). A bass trumpet part. Todtenmarsch (Ger. ) (tote' -ten marsh). Funeral march. Ton (Ger.), Ton (Fr.). Tone; sound; pitch ; key ; scale. Tonal Fugue. A fugue in which the answer is slightly changed to avoid modulation. Tomaschek, W. Composer, pianist ; Bo- hemia. B. 1774; d. 1850. Tonality. Pertaining to the key. Tonart. Key. Tonbildung. Tone production. Tondichter. Tone poet. Tondichtung. Tone poem. Tone, (i) Sound. (2) Quality of sound. (3) Interval of major second. (4) A Gre- gorian chant. Tongue. (l) See Jieed. (2) (verb) To interrupt the sound of a wind instrument by raising and lowering the tip of the tongue, as in the act of pronouncing the letter T. Double-tonguing is produced by a like action of the tip and the middle of the tongue; Triple-tonguing, by the tip, the middle, and the tip. Tonkunst. Tone art ; music. Tonkiinstler. Composer; artist in tone. Tonic. The keynote of a scale, whether major or minor. Tonic Chord. The common chord of which the tonic is the root. Tonic Section. That part of the sonata or rondo that is the principal key ; the first theme. Tonic Sol Fa. A system of musical notation in which the syllables doh, ray, me, fah, soil, lab, te, with certain modifications, are usetl in place of notes, staff, clefs, and all the ordinary characters of musical notation. The Tonic Sol Fa is based on the assumption, amply proved by experience, that the mental association between a succession of sounds and a succession of syllables helps materially to fix the former in the memory (see Hexachord). The principle of the Tonic Sol Fa system is as old as the time of Guido; the modem development of it originated with Miss Sarah Ann Glover, of Norwich, England, in 1812, and was perfected by the Rev. John Curwen about thirty years later. Tonleiter. Tone ladder ; scale. Tonsetzer. Composer ; tone setter. Tonstiick. Tone piece ; composition. Tonstufe. Tone step ; a degree in the scale. Tostamente ( It. ) ( tos - tah - men'- teli ). ()uickly. Tostissimo (It.) (tos-tis' -see-mo), Tostissa- mamente [tos-tis-saJi-viu/i-men'-te/i). Past as possible. Tosto (It.). Quick. Piu tosto, faster. Touch. (l) The resistance of the keys of the pianoforte or organ. (2) The manner in which a player strikes the keys. Touche (Fr.) (toosh). Digital; key; fret; fingerboard. Tos\.\,¥.V. (tos-tee). Composer; Italy. B. 1846. TOUCHER 97 TRILL Always; as, Transcribed ; Carrying of the Slurred ; legato, uii ; passage ; se- Quietly ; compos- With tranquility. Toucher (Fr.) {too-shar). To "touch play the pianoforte. Toujours (Fr. ) [too-zhoor). Toujours piano, always soft. Tradotto (It.) \trah-dot'-to). arranged. Tragen der Stimme (Ger.). voice. See Portamento. Traine (Fr. ) (tray nay). Trait (Fr.) {tray). A quence. Tranquillamente (It). edly. Tranquillita, con (It.). Tranquillo (It. ). Tranquil; quiet. Transcription. The arrangement of a vocal composition for an instrument, or of a com- position for some instrument for another. Transient Modulation. A short excursion into a non-related key. Transition, (i) An abrupt modulation. (2) The connecting passages between the themes of a rondo or sonata. Transpose. To change the key of a compo- sition to one higher or lower. Transposing Instruments. Instruments whose sounds do not correspond with the written notes; as horns, clarionets, trumpets, etc. Transverse Flute. See Flute. Trascinando (It.) {trah-shee-nan' -do) . Drag- ging ; retarding. Trattenuto (It.) (trat-teh-noo' -to). Held back ; retarded. Trauermarsch (Ger.). Funeral march. Traurig (Ger.) (trou'rig). Mournful; sad. Traversflote (Ger.). See Flute. Tre (It.) {tray). Three. Tre corde. Three strings, used in pianoforte music to signify a release of the una-corda pedal. Treble, (i) The highest part in vocal music for mixed or female voices. (2) The G clef on second line. (3) The first violin in quartet, and the flute, oboe, and clarionet in the orchestra generally. Treibend (Ger.). Hastening; accelerando. Tremando (It.) {treh-man'-do), Tremolan- do (It.) (Jreh-ino-lan'-do , Tremolo (It. ) {treh' -)>io-lo). Abbreviation Trem. 'V\\e. rapid reiteration of a note or chord. In music for string instruments written thus : — 1^ In pianoforte music : — or 1/ ^^"^^ ^^^^ i 1 /\^ ^ <^ lA^ A A W % — % ■ Tremoloso (It.) {Ireh-mo-lo'-so). Tremu- lously. Tremulant, Tremolante (It.), Tremblant (Fr. ) \trom-blont). A mechanism in the organ that causes the sound to waver. Tremulieren (Ger.). To trill or to sing. Vibrato, q. v. Trenchmore. An old English dance in \ time. Trenise (Fr.). A figure in the quadrille. Tres (Fr. ) {tray). Very; as, Tres vite, very fast. Triad. A chord of three sounds ; a common- chord, consisting of root, 3d major or minor, and 5th. If the 5th is diminished, it is called a diminished triad ; if aug- mented, an augmented triad. i - The oldest form of the modern shake was held to be derived from appoggiaturas and their resolutions. Marpurg, Em. Bach, and Tiirk, all claim ihe shake to be a rapid succession of appog- giaturas. (Vorschlage von oben.) There is no doubt, however, that the shake came quite directly from the gruppo, as explained by Caccini (l6oo), and the attempt to square its delivery with the appoggiatura quite overlooked the real character of the embellishment, which dif- fered essentially from the harmonic grace. Until the time of Beethoven, the trill beginning with upper auxiliary note was most generally used. However, the present method of begin- ning with the principal tone was gradually gaining the attention of writers, even Mar- purg sounding a note of warning (1755) against the " vicious innovations" of some who began the pralltriller with the princi- pal tone. The trill is generally finished with a turn. The after-turn is usually written out at the close of the trill, but whether or not this be so, the trill is not complete without this closing beat : — To make the trill symmetrical with an after- turn, an additional tone is inserted, just before the close, otherwise there will be a break between the last and the next to the last beats ; thus : — -^-- This gap between D and B is filled by the insertion of an additional principal tone, which will make the next to the last beat contain three tones (a triplet) ; thus : — =^ This makes a satisfactory close to a trill, the two beats (five notes) making a com- plete turn of quintuplet form. Many writers call this (quintuplet) the turn of the trill, but properly speaking the after-turn of the trill is only the last beat, the triplet preceding being a real part of the trill. From this it will be seen that the beats of a trill may be either twofold or threefold, and the smallest complete trill, according with the modern acceptation of the correct form of the embellishment, would be with two beats, five notes ; thus : — However, in Bach, and even later — in Mozart — trills are sometimes quite consistent with correct performance which have tivo beats of ttvo notes ; thus : — i tr S 4- In more modern music, however, this would scarcely be justified, unless marked with an appoggiatura upon the upper degree (as per rule quoted). The rapidity of a trill is reckoned by the number of beats, not by the number of tones, sounded within a given note's time. The trill upon a long note has no positive number of beats, this being decided, in case there is no particular accompanying figure, by the character of the composition and also measurably by the ability of the inter- preter. The after-turn, however, should always be played in the same time as the trill, regardless of the size of note used for its representation in the notation. If these notes be of regular size, forming part of ike measure, they mill be a guide as to the rapidity of the trill, the after-turn of which will constitute one beat. tr t ^ ^ ' ^ 4 Execution . TRILL 99 TRILL The inverted trill (z. e., beginning with upper tone) completes itself wUkotti the triplet before the cifter-ttirn ; thus : — Inverted : — f ^ Execution : — I Normal : — ^ ±: Execution :- The incomplete trill has no after-turn, being the simple alternation of the principal tone with its auxiliary. When followed by an unaccented note, the trill may be incomplete, but must not end with the auxiliary tone, for all trills must close with the principal tone ; thus : — Execution :- In this case the last beat of the trill con- tains three tones, thus bringing a triplet at the end of the ornament. This is always the case with incomplete trills beginning on principal tone, therefore the smallest possible trill in modern music contains a single beat of three tones, — prin- cipal, auxiliary, principal : — li^l The trill of one beat can only occur on very short notes, as the pralltriller explained in previous paragraph. Execution . I \ — \ — ' ^ — 0-^0 I 1 I I I I I In the old form, beginning on upper auxili- ary, the smallest actual trill possible would be of four notes (two beats), i i i i since the single twofold beat {^ , is but an appoggiatura. Accompanied trills require a strict rhythmic conformity with the accompani- ment. If the trill be accompanied by a single note, the number of beats is somewhat optional, yet they should be in some direct ratio with the rhythm of the piece. In duple or quadruple time, the beats should be two, four, or eight in number, on an eighth or fourth note, while on a dotted note in triple measure three beats will be found symmetrical in effect. If the trill be accompanied by groups of notes, the number of beats must be more strictly determined. Thus, a trilled note, with four accompanying tones, will require either two, four, or eight beats, according to the duration of the note : — 8 Beats:— 4 Beats: — If the trill be accompanied by three notes, there will be either three or six beats. 3 Beats : — Pi ^- *:±jtL -^ r 6 Beats :- When the tempo is very rapid, making it impracticable to play a trill of four beats to the group, and yet too slow for two beats only (practically making the trill, note for note, with the accompanying figure), the trill may TRILL 100 TRILL be made with one threefold beat, followed by a fourfold turn, a.b follows : — - i F 0^» ^— ^ The same arrangement of the trill may be used with two beats, one of three notes and one of two notes, in case of a rapid ac- companiment of three tones, thus : — I ^ N ^ Ifr^Itt S^^Tt Pi The five notes are played as a quintuplet (equal in length), against the triplet in the accompaniment. In the older classics, a trill upon a dotted note is played according to the rule for a turn similarly placed, ?'. e., the last tone falls upon the time of the dot. This is much used in classic cadences, with anticipated final note. If the following note be above the trilled tone, the turn is required, but if it be below, the turn is not necessary, the trill ending with principal tone upon the dot. First: — ty. ^ Execution :- ^-*- ^^ir '^^- Second: — /», In Execution : — While the turn is not essential in the sec- ond example above, yet it could readily be used, and to insure a more accurate en- semble, in case of more than o:ie performer, the phrase would better be closed with a turn after the trill. The more modern method of treatment of trills on dotted notes would be to trill the entire length of the tone (with dot), and consider the short tone following of the same length as the notes of the trill. The same rules, however, regarding the after tone will apply here as in the older rendering. The trill upon a tied note or on a note followed by another on same degree ( with- out trill) requires a single lower auxiliary to form a turn immediately before the second note. This note may be written in, or not, but is always required. Execution : — A brilliant modern device in trilled pas- sages is the gradual quickening of the fre- quency of the beats, from a simple beat to a double, triple, etc. This, with combined crescendo and dimin- uendo, produces an effect somewhat similar to the ancient ribattuta. Some composers have indicated such methods of trilling in full, thus : — tr ^ Execution : — The chain of trills [Ger. , Trillerkettcn: It., catena di trilli'\ is a succession of trilled tones ascending or descending by degrees or by skips. If the notes be very short and in quick succession, not more than the simplest form of threefold beat can be played. tr tr tr tr Execution :- The after-turn need not always be used, if not written in the phrase. This will be decided largely by the rapidity of the passage. More elaborate and less rapid chains of trills require a complete trill upon every tone, and frequently the notes are of sufifi- TKILL loi T^JH- cient length to allow a trill of several beats, thus : — Allegro. tr tr tr A chain of trills without after-tones, as follows, is also authorized by such au- thorities as Tiirk, Bach, etc. or ^ tr i t- Execttiion : — if ^ f * -^-»-^-*-^-»-^^ j s J - This manner of performance gives the accent to the upper auxiliary tone. In extremely rapid tempo, a very effective trill chain may be used with but four tones, beginning upon the upper auxiliary and closing with a twofold after-turn. tr tr tr tr Instead of the following more modern manner : — h 5 This short form has been called the half trill, and is only used with beginning on upper auxiliary tone. Instead of the conventional after-turn of two notes, frequent use is made (especially by modern composers) of an elaborate clos- ing figure as a " tirata " : — tr ^ -)9- -P^ 4^ -^ — - The four notes here will constitute two beats of the same rapidity as the beats of the trill. The various beginnings of a trill may be applied to the modern manner of perform- ance or the older way, i.e., with accent upon the principal tone or the upper auxiliary. In the performance of a classic work the player or singer is allowed the privilege of discrimination in choice, but it may be generally stated that the modern ear will less likely be ofiended by the accenting of the principal tone than of the auxiliary. But if one desires to give an exact classic rendering of Bach, or even so recent a com- poser as Mozart, the embelli.^hmenls throughout must be consistent in their delivery and not mixed, the trills es]:>ecially being made either all of modern or older pattern. In the latter case, the quaintness of some of the ancient embellishments pro- duces very charming effects, and no amount of objecting criticism can avail against the performance as a true classic rendering. In modern music especially there will be found various approaches to the trill, thus, each indicating the same eflect : — Written. Jbr ^v^= f\Y^tr ^^^ Exectition. Wagner i^Musikalische Ornamentik) gives a strong and rapid introductory beat to longer trills, which may olten be used with good effect; thus: — This immediately throws the accent of the trill upon the upper auxiliary, although it begins with the principal tone, thus seem- ingly fulfilling the requirements of both the older and the modern rules. Ludwig Klee also uses this form of the introductory beat, but with the difference that the first beat forms a triplet : — ^^^3 ^5 This ingenious delivery of the trill is not frequently seen, but will certainly bear care- ful study, and is especially helpful in cases of doubt as to which of the methods of delivery to use (the old or modern). In the case of tied notes, when the second note is a shorter one and not to be trilled, TRI.''.L lOJi TRII.L the former way of delivery used no after- turn, and consequently the only proper beginning of the trill was on the principal tone, as the trill from the upper auxiliary made a weak close. There were many similar disadvantages attending the old manner of trilling, yet withal much of artistic force often follows its use. The rules given should be carefully applied in all cases of doubt, when the composer has not indicated by a small note the tone upon which the trill enters. It will be v/ell for the student to bear in mind that the greater weight of opinion among classic reviewers and editors rests with the older method of trill delivery (from upper tone), and most editions of Bee- thoven, Mozart, Haydn, etc., having anno- tations, give this manner of performance as correct. It is to be remarked, however, that modern performers (virtuosi), who really create the style and through whom we expect the better elements of traditions to be conserved, do not, as a rule, testify in their performances to the absolute truth of this manner of trilling. More modern composers (Chopin, Schu- mann, etc. ) have so positively written their trills, with the accent upon the principal tone, as to have cultivated almost beyond recall, even in the greater virtuosi, the feel- ing for such a manner of performance rather than with the accented upper auxil- iary. Examples.— The Trill, ^ b tr '^ — — f^ ^'Vr-f--- •f- —7— h-f-^^^ ^ — 1 \tr-^ h 1 — *^ Written. ^— ( Mozart. ) Exeaition. — -H- — 1 — H ^-1 — lL.j^ » * ' 1 . 1 — JFn'tten r-^ e Adagio. (Vritten. tr (Haydn.) 4*- fr^ *i i I • tr f\ # f=f=i^^ H ^i^^^t^Bii^^^^:^^^^^^^^ ^^^Mr^ Execution.' TRILL 103 TRILL Written. e tr /Allegro, tr^ Written, g Allegro, tr fi • tr ■4- tr ^^•-^ ^^ ^ =^ H-?-*- -*-^-l- --^ ■^ — 0-\- -I — I- ■ :^ Execution. From above (inverted) , in strictly classic readings. Written. tr % -0 0- - 4 0- -4 4- *-' ( Mozart. ) Execution. Written. % ;iEE tr tr # — *- A f • J ^ t-^ ^ ^• * 0-^ (Bach.) ,, u Exectttion. TRILL 104 TRILL Written, d «« tr tr :!2= teE^EEsE -# — • ^-^0- # M (Haydn.) Execution. P^^BE^: =:> i=rt 0—^—0- ^=1 -^ *-!■ P— i/- I 1- Written. e J^ tr :^ — ^- =^f H-^ 1- :^ * (Handel.) Execution. -^ Written. f % tr ^^*^ft JP^S^ -'7^^—^—^ -^ Execution. \^^S^m-'~m^*^^g I I il l i n I I I I I i 1 With Appoggiatura or slurred note. Written. :b._L'i-«£ -' *" 1 I 1 [ _i ^^-0 * ^ E H — y- l^-M. -8^- t— i I I Hi I I JMliii^ ^- ( Bach.) Execution. Haydn. ) -its-* I ^ Unusual prefixes and closes. (Double After-beat, etc.) Written. tr tr ■a^ ^ tr -JJ (2- -6^ Trebelli, Lelia {treh-bel'-lee). B. 1838; d. 1893. Alto ; France. Trois (Fr.) [tro-a). Three. Trois temps. Triple time. Troll [from Ger., trollen, to roll about]. (l) (verb) To sing a catch or round. (2) (noun) A catch or round. Tromba (It.). Trumpet; a brass instru- ment of piercing, brilliant tone quality. Tromba marina (It.). See Nontiengeige. Trombetta (It.). A small trumpet. Trombone, Posaune (Ger.). (i) A brass instrument with a sliding tube, by means of which the pitch may be varied. Three trombones are used in the modern orches- tra, viz. , alto, tenor, and bass. A smaller trombone formerly used was called the Des- cant Trombone. (2) A reed stop of 8-, 16-, or 32-foot pitch in the organ. Trommel (Ger.). Drum. Trompe (Fr.). Hunting horn. Trompe de beam. Jews-harp. Trompette (Fr.). Trumpet. Troppo (It.). Too much. Allegro non troppo, "Allegro," not too much. Tschaikowsky, P. I. {chi-kow' -skee) . poser; Poland. B. 1840 ; d. 1893. Com- TROUBADOUR 107 TURN Troubadour, Trouvere (Fr. ), Trovatore (It.). The poet musicians of the eleventh century, in southern France, Italy, and Spain. The troubadours originated in Provenge. P>om thence their "gentle art," or "gay science," as it was called, spread over Europe. Troveur, Trouverre (Fr.). A writer of romances, fabliaux, etc.; also a troubadour. Triibe (Ger.) {Jree'-beh). Gloomy; dismal. Trumpet. See Trotnba. Tuba (Lat.). (l) Trumpet. (2) A bass instrument of the saxhorn family, frequently used .with, or in place of, the bass trom- bone. Tuba tnirabiles (Lat.). Tuba" wonderful." A reed-stop in the organ with heavy wind pressure, 8- or 16-foot tone. Tumultuoso (It.) {too-mul-too-o'-so). Agi- tated ; tumultuous. Tune, (i) Air ; melody. (2) Just intona- tion. Tuner. One who adjusts the sounds of an instrument to the standard and relative pitch. Tuono (It.), (i) Sound. (2) Mode. Turca, alia (It.). In the Turkish manner. Turkish Music or Jannisary Music. Drums, cymbals, gongs, etc., to produce noise. Turn. (Abridged from Russell's "Embellish- ments of Music") The Turn partakes in its delivery some- what of the character of the composition in which it appears, and should be played (or sung), according to Louis Koehler, broad in slow tempo, light and flowing in brighter movements, and always legato. It may be broadly divided into four classes : — I. The symbol oc placed over the note I (» ), or the note preceded by the embel- lishment written in full. Written : — Execution : — Tuckerman, S. P. Composer, organist ; U. S. A. B. 1819 ; d. 1890. 2. A turn between two notes on differ- ent degrees (or four small notes between). _^ J JVritten . fj Execution : — % A-=^^^ Adagio. -i— r— ^ Ih-t ' ^ -1-1 i Moderato. Allegro. 5 ;^P^ -^J^Xi fjt- 3. A turn between two notes of similar pitch. «\9 Written : — Execution :■ W=zfl Adagio. i^^ Moderato. 4. The turn after a dotted note. The delivery of this turn is the same as the third class in its effect, since the dot is sim- ply another way of writing a second similar note. fiV Written : — ^ An exception to this fourth rule is made if the dotted note with turn directly pre- cedes a close (possibly forming part of the cadence) and is followed by two notes of equal value leading up or down to the clos- ing notes of the phrase. Turini, Fr. (too-ree' -nee). Composer; Bo- hemia. B. 1590 ; d. 1656. TUTTA 108 VALUE Tutta (It.). All. Con tutta forza. With full power. Tutti (It.) {too-tee). In scores, a notification to all the performers and singers to take part. Tuyau (Fr.) Pipe. Tuyau d' orgue. Organ pipe. Tuyau a anche. Reed pipe. Tuyau a bouche. Flue pipe. Twelfth. An organ stop sounding the 1 2th above the diapason. Tympani. See Timpani. Tyrolienne (Fr.) (tee-rol-yeii). (i) ATyrolese song for dancing. (2) Tyrolese song with jodel. u U. C. Abbreviation of Una corda, one string. Uebergang (Ger. ) (e' -ber-gangk). Passage; transition ; modulation. Uebung (Ger.) (i?'-/^0(?«/^). Exercise; study; practice. Uguale (It.) (po-g"Mah'-leh). Equal. Ugualmente (It.) {00 - gwahl-ijien' - teJi). Equally ; evenly. Umfang (Ger.) (oom-fangk). Compass. Umore (It.) {po-mo'-reh), con. With humor. Umstimmung {^Ger. ){oom-stim-tnoo>ik). The change of the pitch of a brass instrument by the addition or change of "crooks;" the change of the pitch of kettle-drums. Un (It.) {ooti), Una [oo'-naJi), Uno {oo'-no). One ; as, Una voce, one voice. Un or Une (Fr.) [png.^ ooii). One. Unda maris (Lat.). "Wave of the sea." The vox celestis, an organ stop, 8-foot pitch, with a tremulous tone. Unessential Dissonances. Those that oc- cur by suspension, the essential dissonances being the 7th and 9th, and, according to some authorities, the ilth and 13th over the dominant. Ulrich, Hugo. Composer; Silesia. B. 1827; d. 1872. Unessential Notes. notes. Ungarisch (Ger. ). Ungeduldig (Ger.). Ungestiim (Ger.). Unison. Sounds Passing and changing Hungarian. Impatiently. Impetuous ; con impeto. consisting of the same number of vibrations per second. Tlie term "unison passage" is applied to vocal or instrumental parts in the octave also. Unisono (It.) [oo-nee-so-no). Unison. Unisson (Fr. ) [oo-nis-so/ig). Unison. Un poco (It.). A little. Un pochino (It.) {po-kee'-no), Un pochet- tino i^po-ket-tee'-tto). A very little. Unruhig (Ger.) (oon-roo' -ig\ Restless. Unschuldig (Ger.) [oon-shool-dig). Inno- cent. Up-bow. In violin playing the motion of the bow from the point to the nut. The sign is V ; the down-bow 1_| . Ut (Fr.) {oot). The note C ; the first of the Aretinian syllables, changed in Italy to do, a better vowel sound for solfeggio. Ut (Lat.). As; like. Ut supra, as before. Urspruch, Anton. 1850; d. 1907. Pianist, composer. B. V. Abbreviation of Violino, Voce, Volta. V-cello. Abbreviation of Violoncello. Via. Abbreviation of Viola. Va (It.). Go ; as, Va crescendo, go on get- ting louder. Vacillando (It.) [yat-chil-lan'-do). "Vacil- lating." A direction to play without strict regard to time. Vago (It.). Vague; dreamy. Valce (It.) {val-cheK\, Valse (Fr.) {vals). Waltz ; a dance of German origin in \ time. Vaccaj, N. [vak-ka/d-ee). Composer; Italy. B. 1790; d. 1848. Valse a deux temps (Fr.) {doo fomp). A species of waltz with two steps to each measure. Value. The value of a note or rest is its rela- tive duration, the standard being the whole note or rest, which may be divided into half, quarter, eighth, sixteenth, thirty-second notes, etc. The value of a note is increased one-half by placing a dot after it ; a second dot adds to its value an amount equal to half that of the first. The absolute value of a note depends upon the tempo, i. e. , rate of movement of the piece in which it occurs. Verdi, G. B. 1S13; {vehr'-dee). d. I901. Composer; Italy. VALVE 109 VIOL Valve. See Piston. Variante (Fr) [vuk-i-ee-otigt). A variant; other reading. Variations, Variationen (Ger. ) [fah-ree-a- tse-o'-nen), Variazioni (It.) [va-ree-cit-zee- o'-nee). Melodic, rhythmic, and harmonic modifications of a simple theme, each one more elaborate than the last. Varie (Fr.) (i>ah-ree), Variato (It.) [t'ar- ya'-td). Varied; with variations. Varsovienne (Fr.) [var-so-vee-eji), Varso- vianna (It.) \z>ar-so-vee-an'-7ia). A dance in \ time resembling the mazuika, invented in France. Vaudeville (Fr.) {vode-veel^. A light oper- etta consisting of dialogue interspersed with songs ; the name is said to come from V^au-x de Vire in Normandy. Veemente (It.) {vek-eh-men' -teh). Vehe- ment ; forceful. Veemenza (It.) (z'eh-eh-nien'- tzii), con. With vehemence. Velato (It.) (zieh-la¥-to). Voce velato, a veiled voice, /. e. , lacking in clearness and resonance. Vellutata (It.) {vel-loo-tah' -tah). Velvety; smooth. Veloce (It.) (I'eh-lo'-cheh). Rapid; swift. Velocissimamente (It.) (z — -«>- -6^ ■i9- The C and G strings are covered with wire. Violonar (Fr.). Double bass. Violonaro (Fr. ). See Octo Bass. Violone (It.). The double bass, q. v. Virgil Clavier. A soundless keyboard for practice. Virginal. A small instrument of the harpsi- chord family. Vivier, E. L. (vee-vee-eJi). Horn player; Corsica. B. 1821. Vogl, Heinrich Tenor; Bavaria. B. 1845 ; d. 1900. Vogl, Iheresa (wife of II.). Soprano. B. 1846. Virtuoso (masc.) (It.) {vir-too-o'-so), Virtu- osa (fem.) (T.nr-too-o'-sah). An eminent skilled singer or player. The word was formerly used in the same sense as " ama- teur." Virtuos (Ger.), Virtuosin (fem.) (Ger. j, Virtuose (Fr.). Virtuoso. Vista (It.). Sight. A prima vista, at first sight. Vistamente (It.) {vis-tah-tneii'-teh), Vita- mente (It.) [vee-tah-inen' -teh), Vive (Fr.) (7W7') , Vivente (It. ) ( vee - ven' - teh ) , Vivido (It.) [vee^-vee-iio), Vivezza [vee- 7>et-za) , con. Lively ; briskly ; with anima- tion ; vividly. Vivace (It.) (vee-vaJi'-cheh'), Vivacemente {vee-vah - cheh - men' - teh), Vivacita \vee- vah'-ckee-ta/i), con, Vivacezza (jiee-vah- chet'-zah). Lively; rapid; with anima- tion ; with vivacity. Vivacissimo (z'ee-vah-chis'- see-mo). Very lively and fast. Vivo (It.) (I'ee-vo). Alive; brisk. Vocal. Belonging to the voice ; music meant to be sung or well designed for singing. Vocalion. A variety of reed organ in which the quality and power of the tone is much modified by resonators. Vocalise (Fr.) {z'o-cal-ees), Vocalizzi (It.) {vo-cah-lit'-zee). Vocal exercises. Vocalization. (l) The manner of singing. (2) The singing of studies — solfeggio — to one or more vowel sounds. Voce (It.) {vo-cheli). The voice. Voice. (l) The sound produced by the • human organs of speech. (2) A part in a polyphonic composition. There are three well-marked varieties of the ' male and female voice. Male voices are divided into bass, baritone, and tenor; the analogues in the female voice are alto, mezzo-soprano, and soprano. Voicing. Regulating the quality and power of the tone of organ-pipes. Voix (Fr. ) (iio-a). Voice. Voix celeste (Fr.). Vo.x angelica. Volante (It.) (7','-/(?«'-/^//). "Flying." The rapid, light execution of a series of notes. Volkslied (Ger.) {folks - leed). Popular song. Voll (Ger.) {foil). Full. Volonte (Fr.) [vo-lon-teh), A volonte. At will ; a piacere. Volta (It.). Turn. Una volta, first turn or first time. Vogl, J. M. Baritone. B. 1768; d. 1840. Volckmar, Wil. {folk'- mar). Composer, organist; Germany. B. 1812; d. 1887. Volkmann, F. R. {folk' -man). Composer; Bohemia. B. 1815 ; d. 1S83. VOLTI 111 WIND BAND Volti (It.) {vol-tee) (verb). Turn. Volti subito, abbreviated V. S., turn over (the page) rapidly. Voluntary. An organ .solo before, during, or after church service, frequently extempo- rary. Vordersatz (Ger. ) (^for'-der-sots). Princi- pal theme; sonata. Vorspiel (Ger. ) (yiT-j/^^-/). Prelude; over- ture ; introduction. Vogler, Abbe G. J. Composer, organist, writer; Germany. B. 1749; d. 1814. Vox (Lat.). Voice. Vox celestis, Vox angelica. See Unda maris. Vox humana. An organ-stop imitating the human voice. (Fr., V'oix humane). Vuide (Fr.) {i>oo-eed), Vuoto (It.) {voo-o-to). Open. Corde vuide, Corda vuide, open string, /. e., a string of instruments of violin family sounded without being touched by the finger. Voss, Carl. Pianist; Poland. B. 1815; d. 1882. w ■Waits, Waytes, Waightes. Watchmen who "piped the hours" at night on a species of hautboy called a wait, or shawm. In modern times "Christmas waits" are parties of singers who go from house to house collecting pennies on Christmas Eve. Waldflote ((ler.) [volt -Jiay - teh). Forest flute ; a 4-foot open organ-stop. Wald- quinte is a 12th with the same tone quality. Waldhorn (Ger.). Forest horn; hunting horn ; the French horn without valves. Waltz. See Valse. Walze (Ger.) [vol'-tseJi). A run, alternately ascending and descending; a "roller." Wankend (Ger.). Hesitating. Warme(Ger. ) (j'ekr'-meh). Ardor; warmth. Wehmut (Ger.) (yeh'-moot). Sadness. ■Wehmiitig (Ger.). Sad; melancholy. Welch (Ger.). Weak; soft; minor. Weinend (Ger.). Weeping; lamenting. Wachtel, Theodor. Tenor ; Germany. B. 1823; d. 1895. Wagenseil, G. C. [vah'-gen-sile). Com- poser, pianist. Austria. B. 1715 ; d. 1777. Wagner, W. Richard. Composer ; Ger- many. B. 1813 ; d. 1883. Wagner, Johanna (niece of R.). Soprano; Germany. B. 1828; d. 1894. Wallace, Wm. V. Composer, pianist ; Ire- land. B. 1814; d. 1865. Warren, S. P. Composer, organist, pianist; Canada. B. 184I. Webbe, Sam. Composer, organist ; Minorca. B. 1740 : d. 1816. Webbe, Sam (son of first). Composer, organist; England. B. 1770 ; d. 1843. Weber, Aloysia [veh-her). Soprano; Ger- many. B. 1750 ; d. 1839. Weber, Carl M. von. Composer; Germany. B. 1786; d. 1826. Weber, Gottfried. Theorist ; Germany. B. 1779; d, 1839. Well-tempered (Wohltemperiertes) Cla- vier (Ger.). A title given by Bach to a set of preludes and fiigues in all the keys. See Ternperanieitt. Wenig (Ger.). Little; un poco. Whistle. A small flue-pipe or flageolet ; the first step in advance of the pandean pipe, /. nento). Elisa e Claudio. Meyerbeer. Les Huguenots. L' Africaine. L'Etoile du Nord (Star of the North). Le Prophete. Dinorah. Robert le Diable. Monteverdi, Arianna. Monteverdi was the second in the succession of opera composers, and the father of the Italian school of opera. Mozart. Don Giovanni, or II Dissoluto Punito. Le Nozze di Figaro [leh not-zeh dee fig' - ah-ro) (The Marriage of Figaro). Idomeneo {e-do-meh-neh' -o). Die Entfiihrung aus dem Serail {dee ent- feer-unk ous dehtn seh-rakl) (The Escape from the Seraglio). Cosi fan Tutti (German title, Weiber- treue). II Flauto Magico (German title, Zauber- flote). Mozart was the author of a large number of operas and operettas, but this list includes all that are now per- formed. Nicolai. The Merry Wives of Windsor. The Templar. Offenbach. Bar be Bleue. La Belle Helene. Genevieve de Brabant. Grande Duchesse de Gerolstein. Perichole. And about seventy others. The above list gives the titles of those that were most popular — a popularity that is now rapidly on the wane, and deservedly so. Pacini, G. Medea. Saffo. Paisiello. La Molinara. Paladilhe. Suzanne. Piccinni. Dido. Atys. Pepusch. Beggar's Opera. Libretto by the poet Gay, written as a travesty of the Italian opera of the 1 8th century. Ponchielli. La Ciioconda {jo-con' -dah). Marion Delorme. Promessi Sposi ( promes-see spo-see) . Planquette. Les Cloches de Corneville (Chimes of Normandy). Ricci. Crispino e la Comare {cris-pee' -no eh lah co-mah'-reK) (The Cobbler and the Fairy) . Rossini. Barbier de Seville. Cenerentola {cheh-neh-ren' -to-laK) (Cin- derella). La Gazza Ladra {gatza lah-drd) (Maid and Magpie). Guillaume Tell. Semiramide {seh-mee-rah' -mee-deli). Of ■ his large number of operas these are the only ones that have kept the stage ; especially is this true of William Tell, Barber of Seville, and Semiramide. Rousseau. Le Devin du Village (The Village Priest). Rubinstein. The Demon. Nero. Tower of Babel. Paradise Lost. Salieri. Tarare {tah-rah' -reK). Saint-Saens. Samson and Delilah. Etienne Marcel. Schubert. Rosamund. Teufelslustschloss (Devil's Country Seat). Alfonso and Estrella. Fierabras {fee-eh-rah-bras). In addition to these, Schubert left many operas in a partly finished state. Schumann. Genoveva {gek-no-veh-vah). Spohr. Faust. Jessonda. Zemira ed Azor. Spontini. Olympia. Vestale. Fernando Cortez. Sullivan, A. S. Mikado. Pinafore. Patience. Pirates of Penzance. Sorcerer. lolanthe. 1-: Suppe, F. von. Fatinitza. Boccaccio {buk-katch' -ee-o). Thalberg. Christina! t> ., ^ ., T-, • , > Both failures. Monnda J Thomas, Ambroise. Mignoii. Hamlet. Francesca de' Rimini {franches'-ka deh ret' -mee-nee). Tschaikowsky. Mazeppa. Maid of Orleans. Verdi. Ernani. Rigoletto. Trovatore {tro-vah-to'-7-e}i). Un Ballo in Maschera {nias-keh' -rah) (Masked Ball). Don Carlos. Sicilian Vespers. Aida {ah-ee'-dali). Otello. Falstaff. Wagner. Rienzi [ree-eut'-see] (The Last of the Tribunes). Der fliegende (Jlee' -gen-deh) Hollander (Flying Dutchman). Wagner [continued). Tannhauser und der Sangerkrieg auf der Wartburg (The Singers' Contest on the Wartburg). Lohengrin. The Nibelungen [nee' -beh-lung-eti) Ring Series : Part L Das Rheingold. Part H. Die Walkure [val-kee-reh). Part HL Siegfried. Part IV. Die Gotterdammerung. Tristan und Isolde. Die Meistersinger von Niimberg. Parsifal, ein Biihnenweihfestspiel (Stage- consecrating I'estival-play). Wallace. Maritana. Lurline. Weber. Der Freischiitz [dare frigh-sheetz). Euryanthe [n-ree-an'-tke). Oberon. Several fragments of other operas, and pianoforte scores of two — Silvana and Abu Hassan — are in existence. Winter. Maria von Montalban. Das unterbrochene Opferfest (Interrupted Sacrifice). APPENDIX, ADDITIONAL PROPER NAMES. Adamowski.Timothee {a-dam-ov-skee). Vio- linisl; Poland. B. 1858. AUegri, Giegario [al-leh-gree^. Composer; Italy. 13. 1584 ; d. l6t>2. Allitsen, Frances [allU-sen). Composer ; England. Arenski, A. S. [ah-i-en-skee). Composer; Russia. B. 1862 ; d. 1906. Badarczewska, Thekla {ba-dark-zef-ska). Composer; Poland. B. 1838; d. 1862. Banister, H. C. Pedagog; England. B. 1831; d. 1S97. Bantock, Granville. Composer ; England. B. 1868. Beach, Mrs. H. H. A. (Amy M. Cheney). Composer ; U. S. A. B. 1867. Buxtehude, Dietrich (Jnix-teh-hov-daJi). Organist; Denmark. B. 1639; d. 1707. Calve, Emma (rrt/-fM). Soprano; France. B. 1S64 (?). Campanari, Giuseppe [lam-pa-ndh-ree). Baritone ; Italy. B. 1S60. Caruso, Enrico (en-ree-ko ca-roo-so). Tenor ; Italy. B. 1873. Cavalieri, Emilio del [cah-r'ah-lee-eh-ree). Composer; Italy. B. 1550; d. 1599. Chabrier, Alexis E. [sha-bree-eh). Composer; France. B. 1842. Charpentier, Gustave {s/ujf-pon-tu-e/i). Com- poser; France. B. 1S60. Coleridge-Taylor, Samuel. Anglo-African compciser; England. B. 1875. Cornelius, Peter. Composer ; Germany. B. 1824. Czibulka, Alphons [chee-bid-ka^. Composer; Hungary. B. 1844; d. 1S94. Damrosch, Frank. German-American Tea- cher ; Germany. B. 1859. Debussy, Achille Claude [dek-bous-see). Composer; France. B. 1862. Delius, Frederick. Composer ; England. B. 1S63. Denza, Luigi [dent-sa). Composer; Italy. B. 1S46. Deppe, Ludwig {dep-pak). Pedagog; Ger- many. B. 1828 ; d. 1890. Dunstable, John of. Composer ; England. B. 1380 (?); d. 1453. Elgar, Sir Edward William. Composer ; England. B. 1857. Elman, Mischa. Violinist ; Russia. B. 1891. Engelmann, Hans. Composer ; Germany. B. 1872. Fielitz, Alex. von. Composer ; Germany. B. 1S60. Franck, Cesar. Composer; Belgium. B. 1822 ; d. 1890. Gabrilowitsch, Ossip [ga-bree-io-vltch). Pianist; Russia. B. 1878. Gadski, Johanna E. A. [gddskee). Soprano; Germany. B. 1871. Geibel, Adam. Composer ; Germany, B. 1855- German, Edward. Composer ; England. B. 1862. Glazounow, Alexander [gla-zov-nov). Com- poser ; Russia. B. 1805. Godowski, Leopold [go-ddzv-skee). Pianist and composer. B. 1870. Guido d'Arezzo [gwee-dod'ak- i-itz-sd). Theorist; Italy. B. 995 (?) ; d. I050 (?). Hadley, Henry K. Composer ; U. S. A, B. 1871. Herbert, Victor. Composer ; Ireland. B. 1859- Holbrook, Joseph C. Composer; England. B. 1878. Holmes, Augusta Mary. Composer; France. B. 1847; tl- 1903- Humperdinck, Engelbert [/niinper-dink). Composer; Germany. B. 1854. Kubelik, Johann [koo-beh-lik). Violinist; Bohemia. B. 1880. Lack, Theodore. Composer ; France. B. 1846. Lehmann, Lilli [iek-nian). Soprano; Ger- many. B. 1848. Lehmann, Liza. Composer ; England. B. 1S58. Lemare, Edwin H. Organist ; England. B. 1865. Leoncavallo, Ruggiero {^leh-on-ca-vallo). Composer; Italy. B. 1858. Mascagni, YxgXto {mas-can-yee^. Composer; Italy. B. 18D3. Melba, Nellie. Soprano; Australia. B. 1859- Nevin, Ethelbert. Composer; U.S.A. B. 1862 ; d. 1901. 123 124 APPENDIX {Coiitimied). Nikisch, Arthur. Conductor ; Hungary. B. 1855. Norris, Homer A. Composer ; U. S. A. B. i860. Perosi, Don Lorenzo (peh-ro-see'). Com- poser; Italy. B. 1872. Powell, Maud. Violinist; U. S. A. B. 1S68. Puccini, Giacomo {^piit-chee-nee jah-co-mo). Composer ; Italy. B. 1858. Rachmaninoff, Sergei. Composer ; Russia. B. 1873. Reger, Max {reh-gekr). Composer; Ger- many. B. 1873. Rimski-Korsakoff, Nikolas A. [rititskee-kdr- sa-koff). Composer; Russia. B. 1844. Safonoff, Wassili. Conductor; Russia. B. 1852. Sauer, Emil. Pianist; Germany. B. 1862. Schradieck, Henry {shrah-deek). Violinist; Germany. B. 1846. Schumann-Heink, Ernestine. Contralto ; Germany. B. 1861. Schytte, Ludwig T. {skit-ieh). Pianist and composer; Denmark. li. 1850. Scriabine, Alexander [skree -a-bee-ne/i). Pianist; Russia. B. 1872. Sgambati, Giovanni [ss^am-bdh-tee). Pianist ; B. 1843. Sibelius, Jean {see-bee -lee-us). Composer; Finland. B. 1865. Binding, Christian. Composer ; Norway. B. 1S56. Smith, Wilson G. Composer; U. S. A. B. 1855- Sousa, John Philip. Composer ; U. S. A. B. 1854. Strauss, Richard [straws). Composer; Ger- many. B. 1S64. Szumowska, Antoinette (Szumowska-Adam- owski) i^skoo-z/ior-ska). Pianist; Poland. B. 1868. Tetrazzini, Luisa [/e-trakf-zee-ttee). Soprano; Italy. B. 1874. Van der Stucken, Frank. Composer ; U. S. A. B. 183S. -.Ifiilt™^^^ 25 CENTS WILL INCREASE TO sS cpm^c ^' ^^ PENALTY °AY AND TO $.00 ON TH °--'''^''°''''''" OVERDUE. ~"^ SEVENTH DAY aucTIbImt NOV 1 5 197] LD2I-ioom-7,>39(402s) ML109.C55 C037042629 U.C. BERKELEY LIBRARIES CD37D^^b2^ DATE DUE Music Library University of California at Berkeley nniniiiiiiiiniii