....I lit! «ini<»ll^i'iinillHim"--- .r^.K»M^MU^f'*^.'^^y^. • 3r/ mE^-^ft"^2Sx|0| • • ■ Y / W^sM^^^^S^fjl ': '■■^A/fij^-^mjm^H'i • W ^^^^■W ^66: THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES f VI leaamg room Otuy cx_-«^i-'«-*«'7^^ v ^(7 'f'^^mii^'9^ ^r ^ SIXTEENTH EDITION Thoroughly Revised, and Augmented by an Appendix of 700 Additional Words and Phrases DICTIONARY OF MUSICAL TERMS Containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and -phrases used in the art and science of music, carefully defined, and with the accent of the foreign words marked; preceded by rules for the pronunciation of Italian, German and French. WITH A SUPPLEMENT CONTAINING An English-Italian Vocabulary for Composers COMPILED AND EDITED ^^ BY Dr. th. baker NEW YORK: G. SCHIRMER Copyright, 1895, by G. Schirmer, Music Library Ml BIT PREFACE. IZ^C It is the aim of this Dictionary of Musical Terms to furnish an accurate and concise explanation of any technical word or phrase which the student is apt to meet with. The English vocabulary will be found practically exhaustive. Want of space forbade making the foreign vocabulary equally so ; but the editor has endeavored to preserve a proper balance by giving any term, appearing in either German, French, or Italian, in each of those languages, thus maintaining a con- sistent polyglot character so far as necessary limitations permitted. The scope of the work, which is rather a dictionary than a lexicon, rendered the editor's task more that of a compiler than of an original investigator. Most of the material here presented has been gleaned from numerous standard works of reference, such as those of Grove (Dictionar)'), Riemann (Musik-Lexikon), Gevaert (Instrumentation), Weitzmann (History of Pianoforte-Playing), Stainer and Barrett, Ambros (Geschichte der Musik), Paul (Handlexikon), Soullier (Dictionnaire), Helmholtz (Tonempfindungen), Niecks, The Century Dictionarj-, many English, German, French, and Italian periodicals and musical journals, etc., etc. Literal quotations are duly credited to their sources ; condensations and adaptations, how- ever, are, for obvious reasons, not so credited, and must, therefore, be included under this general acknowledgment. The information so gathered has been care- fully sifted, and supplemented by the personal researches of over ten years. Due credit should be given to Dr. William Mason for suggesting the Supple- ment, containing an "English-Italian Vocabulary for Composers", to which Dr. Mason also contributed valued additions. HINTS ON PRONUNCIATION.* ITALIAN. Vowels : General rule : The vowels are very open, and never to be pronounced as impure vowels or diphthongs ; they are long in accented syllables which they terminate, — short in unaccented syllables, or in accented ones ending with a consonant, a like ah or ah (never a) ; e.g. amare [pron. ah-mah'-reh]. e " ay in bay (without the vanish i)\ e in bed ; a in bare (before r). i " ^-^ in beet; / in bit ; i before a vowel, like;' (consonant). o " aw, or oh (without the vanish u) ; 6 in ^'"pinion. u " 00 m. boot ; ti in bull. Consonants : - 5- -^ • General rule : Even the hard con- sonants are somewhat softer than in English ; the soft consonants are very delicate. b, d, f, 1, m, n, p, qu, s, t, v, as in English. C like k, before a, o, u, or another consonant except c, as below. C " ch \n chair before e or i ; cc like i-ch before e or i. g '' g hard before a, o, u, or another ' consonant ; except before / (pro- nounce gl like /-)' [consonant], e.g. siigli, [pron. sool'-ye]), and M (pronounce gn like n in canon [kan'-yon]). g " s in azure (or a very soft j) be- fore e or i. h is mute. j like y in you. r, pronounce with a roll (tip of tongue against hard palate). Where a doubled consonant oc- curs, the first syllable is dwelt upon ; e.g. in et:co [pronounce ek' - ko, not ek' • o] . — Accented syllables take a less explosive stress ♦These "hints" .ire offered as an aid for tyros, and not in the least as an exhaustive set of rules. than in English, being prolonged and dwelt upon rather than forci- bly marked. sc like sh, before e and i. z " ds (very soft ts). GERMAN. Vowels : The simple vowels as in Italian J y like German z or ti. Modified vowels : a like a in bare, but broader ; e in bed. o has no English equivalent ; long o can be pronounced by forming the lips to say oh, and then saying a (as in bay) with the lips in the first position ; short 0, by saying e (as in bed) mstead of (7. [N.B. — Long is the French eu (in Jen)]. ii has no English equivalent ; pro- nounce long u by forming the lips to say oo (as in boot), and then saying ee (beet) with the lips in the first position ; short «, by saying / (as in bit) instead of ee. [N.B. — Long u is the French u.] Diphthongs : ai and ei like long i in bite. ae like a. au " 07U in brow. eu and au like oi (more exactly ah^ti, closely drawn together). Consonants : f, h, k, 1, m, n, p, t, as in English. b and d, beginning a word or syllable, as in English ; ending a word or syllable, like / and / respec- tively. C like I: before a, o, and u; like Is before e, i, and a. g usually hard, but like z in azure in words from the French and Italian in which g is so sounded ; — ang, eng, ing, ong and ung terminate, at the end of a word, with a /--sound (e.g. Be'-bun^). VI HINTS ON PRONUNCIATION. j like v (consonant). qu " kv. r eith-er with a roll, or a harsh breath- ing. 8 beginning a word or syllable, and before a vowel, like z (soft) ; ending a word or syllable, like sharp s ; before / and /, begin- ning a word, usually like sh (e.g. stiitnm, pron. shtiim [« as in bull]) ; otherwise as in Eng- lish. V like/. W " f (but softer, between v and tc). X " /Jj (also when beginning a word). z " is. Compound consoiaants : ch is a sibillant without an English equivalent ; when beginning a syllable, or after e, i, a, o, ii, ai, ei, ae, en, and «■«, it is soft (set the tongue as if to pronounce d, and breathe an h through it ; e.g. Strich, pron. shtrld-h) ; after a, o. It, and au, it Is hard (a guttural h). chs like X. sch " sh. sp and st, see s, above. th like /. Accented syllables have a forcible stress, as in English. In com- pound words there is always a secondary accent("), sometimes a tertiary one('"). depending on the number of separate words enter- ing into the composition of the compound word ; e.g. Z-vi'schen- akls"'musik'\ Bo' genham" inerkla- vier'". The principal accent is regularly marked (') in this work. FRENCH. Vowels : a as in Italian, but shorter, often ap- proaching English a. a like ah. e " « in but ; ^--final is almost silent in polysyllabic words. 6 " ay in bay. fe " ^ in there. e ' ' German a, and always long. i or i like ee in beet ; short i as in English. o as in Italian. u like the German ii. Diphthongs : ai like ni in fair; but before i-final, or //, is pronounced as a diphthong {ah^e, drawn closely together). ai and ei like /. eu, ei and oeu like German o. oi like oh-dh' (drawn closely together). ou and ou like oo in boot. eau like 6 long, without the vanish u. Modified by a following n, vi, nd, til or ;/// at the end of a syllable, the vowels and diphthongs are nasal (exception, — verbal ending of 3rd pers. plural). Consonants as in English, with the following exceptions : C like s in song before e, /, ^, /, and /. ch " sh. g " z in azure before e, /, <*, c, and i. gn as in Italian. h is mute ; the treatment of initial h cannot be explained here. j like z in azure. II after i is usually sounded like Eng- lish / (consonant), and frequent- ly prolongs the i {ec') ; e.g. irar-ailler [tr£lh-v2.h-yay'], tran- qiiille [trihngkee'y]. n nasal, see above ; otherwise as in English. [The nasal effect is accurately obtained by sounding n (or 711) together zviih (instead of after) the preceding vowel ; but the sound of e is changed to ah, i to d (in bat), and u to eu.^ m, nasal in certain situations. r with a roll. S-final is silent. t-final is silent. er, et, es, est, ez, as final syllables, are pronounced like /. Accentuation. The strong English stress on some one syllable of a polysyllabic word is wanting in Erench ; the general rule is slightly to accent the last syllable. A DICTIONARY OF MUSICAL TERMS. A— ABBREVIATIONS. A. A. I. (Ger. A; Fr. and It. la.) The sixth tone in the typical diatonic scale of C-major. The tone a' (see Pitchy absolute) is that sounded by the oboe or other fixed-tone instr. (pfte., organ) to give the pitch for the other instr. s of the orchestra or military band. — 2. In mus. theory, capital A often designates the .-i-major triad, small a the rt-minor triad. — 3. In scores, the capitals, or doubled letters (A a— Z z), are often set at the head of main divisions or at any critical point to facilitate repetition at rehearsal. — 4. As an Italian (or French) preposition, a (or a) signifies to, at, for, by, in, etc. — 5. Ajf, a(?, a tj, see Sharp, Flat, Natural.— t. At the head of Gregorian antiphones, etc., A means that the first mode is to be employed. — 7. In this Dictionary-, an -a appended to an Italian word signifies, that in the feminine form a is substituted for the masculine termination 0. Ab (Ger.) Off (organ-music). Ab'acus harmon'icus (Lat.) i. A dia- gram of the notes, virith their names. — 2. The structure and disposition of the digitals and pedals of a mus. instr. Abandon (Fr.) Unrestrained abandon- ment to natural emotion ; avec a., same as con abbandono. Abbandonatamen'te ) (It.) In an im- Abbando'no, con \ passioned style, as if carried away by emotion ; — subordi- nation of rhythm and tempo tc expres- sion. Abbassamen'to (It., abbr. abb.) " Low- ering " ; indicates in pfte. -playing that one hand is to play below the other ; opp. to alzanien'lo...A. di ma' no, sink- ing of the hand in beating time ; A. di vo'ce, diminution (in volume) of the voice. Falling of the the down-beat. Embellishment, grace ; A. See A. Abb. Abbassamento Accekf Accelerando Ace. I Accom. >• Accompaniment Accomp. J Accrcs. Accrascendo Adg". or Ad". J^.dagio Ad lib. Ad libitum Aevia Alleluia Affett. Affettuoso Affrett. Affrettando Ag°. or Agit". Agitato All". Allegro A|}ftr[ Allegretto Al seg. Al segno Alz. Alzamento And"". Andantino And". Andante Anim". Animato Arc. CoU'arco,or Arcato Ard. Ardito Arp". Arpeggio At. I A tern. V A tempo A temp. ) Abbattimen'to (It.) hand in beating time Abbellimen'to) (It.) Abbellitu'ra { ornament, from abbelli're, to embellish. Ab'betoat (Ger.) With Jinal accent. Abbreviation. (Ger. Abbreviatur' , Ab'- kiirzung; Fr. abre'viation; It. abbrevia- iii'ra.) [In this Dictionary, any key- word recurring in the article which it heads will be represented by its initial letter or letters ; for instance, Abbassa- mento above by A. Also, various other abbreviations are used, such as abbr. for abbreviation, instr. for instrument, mus. for musical,///^, for pianoforte, oJ>p. for opposed, etc. J I. The commonest abbreviations of musical technical terms are the following : Aug. By augmentation B. See B. B. C. Basso continuo B. G. Basso generale, or Bassu* generalis Bl. Blasinstrumcnte Br. Bratschen Brill. Bnllante C. SeeC. C. a. CoU'arco Cad. Cadenza Cah. Cahier Cal. Calando ABBREVIATIONS. Calm, Calmato Cant. Canto Cantab. Cantabile C. b. Contrabasso C. B. Col basso Cb. Contrabasse C. D. Colla destra 'Cello. Violoncello Cemb. Cembalo Ch. Choir-organ Chal. Chalumeau C. 1". Canto primo C. L. Col legno Clar. Clarinet Clar". Clarino Clar"". Clarinetto Col c. Col canto ^°"'°"-}Coll'ottava C ova ) Con espr. Con espressione Cont. Contano Cor. Cornet or Corno Co. So. Come sopra C. P. Colla parte Cres. I r, J >l \ Crescendo Cresc. I C. S. Colla sinistra C. S., or Co. So. Come sopra C'°. Concerto C. voc. Colla voce D. See D. Dal S. Dal segno D. C. Da capo Dec. Decani Dccresc. Decrescendo Delic. Delicatamente Dest. Destra Diap. Diapason(s) Dim. By diminution, or Diminuendo Div. Divisi Dol._ Dolce Dolcis. Dolcissimo Dopp. Ped. Doppio pedale D. S. Dal segno Energ. Energicamente Espr., or Espress. Espressivo Exp., or Expr. Orgue expres- slf {b) F. See F. /y or for. Forte Fag. Fagotto Falset. Falsetto //^ '^'' /// Fortissimo Fl. Flauto Flag. Flageolet F. Org. i ^"" "■■S^" fi Forte piano Fz., or Forz. Forzando G. See G. Ged. Gedampft G. O. I Great organ G. Org. f Grand-orgue Grand. Grandioso Graz. Grazioso Gt. Great organ Haiiptw. Hauptwerk Haut. Hautboy H. C. Haute-contre Hlzbl., or Hzbl. Holzblaser Hptw., or H. W. Hauptwerk Hr., or Hrn. Horner Intro. Introduction Inv. Inversion K. F. Kleine FlOte L. See L. Leg. Legato Legg. Leggero, Leggiero L. H. Left hand, liuke Hand Lo. Loco Luo. Luogo Lusing. Lusingando M. See M. Maest". Maestoso Magg. Maggiore Man. Manual Man. 1+2. Couple Ch. to Gt. Mane. Mancando Marc. Marcato M. D. Mano destra, or main droite Men. Meno Mez. Mezzo «;/" Mezzo forte «»/z Mezzo forzando M. G. Main gauche M . M. Maelzel's metronome Mod., or Modt". Moderato Mor. Morendo m/> Mezzo piano M.S. Manuscript, or Mano sinistra Mus. B., or Mus. Bac. Musicae baccalaureus Mus. D., or Mus. Doc. Musicae doctor M. V. Mezza voce Ob. Oboe Obbl. Obbligato Oberst. Oberstimme Oberw., or Obw. Oberwerk Oh. Ped. Ohne Pedal O. M. Obermanual Op. Opus Opp. Oppure Org. Organ Ott., Ova., or 8va Ottava O. \V. Oberwerk P. See P. Ped. Pedal Perd. PerdendosI />_f pill forte P F I p£. ■ V Pianoforte Piang. Piangendo Pianiss. Pianissimo Pizz. Pizzicato pmo.y //, ///, //// Pianis- simo Prin. Principal Raddol. Raddolcendo Rail. Rallentando Recit. Recitative r/y r/Zy riti/. Rinforzando R. H. Right hand, or rechte Hand Rip. Ripieno Ritard. Ritardando Rit., Riten. Ritenuto S. .SeeS. Salic. Saliclonal Scherz. Scherzando Seg. Segue Sem. or Semp. Sempre V, s/Zy s// Sforzaudo Sim. Simile Sin. Sinistra Sinf. Sinfonia S. int. Senza interruzione Smorz. Smorzando Sos., Sost. Sostenuto Sp. Spitze S. P. Senza pedale Spir. Spirituoso S. S., or S. Sord. Senza sordini S. T. Senza tempo Stacc. Staccato. St. D., or St. Diap. Stopped di.ipason Stent. Stentando Str. Streichinstrumente String. Stringendo Sw. Swell-organ Sym. Symphony T. See T. T. C. Tre corde Temp. Tempo Tempo I. Tempo primo Ten. Tenuto Timb. Timbales '\}^^- \ Timpani T. P. Tempo primo Tr. Trillo, Trumpet Tratt. Trattenuto Trem. Tremolando, Tremulant Tromb. Trombe, Tromboni Tromp. Trompete T. S. Tasto solo U. C. Unis. Una corda Unisono V. See V. Va. Viola Var. Variation Vc, Velio., VUo. Violoncello Viol., VI.. Vno. Violino Viv. Vivace V. S. Volti subito Vv., Vni. Violini Abbreviations by Numerals. 1. or I. Prima volta 2. or II. Seconda volta (7) (5) etc. See Harmonium- music Man. I. (z.) Great (Choir-)or- gan T h-liSS Triple timej «J *? [ time 4tette. Quartette 5tette. Quintette Also compare art. Nutiterals. For single figures over groups of notes, compare (2) Couplet, (3) Triplet, (4) Quadruplet, {^) Quintuplet, (6) Sextuplet, (7) Septuplet, (8) Octuplet, (9) Nonuplet, (10) Decuplet, etc. ABBREVIATIONS. 2. Abbreviations in manuscript or printed music by means of conventional signs. 6 4 8 lo etc. (compare J?esi), (A) Of rests; (B) Of notes: (a) Of single notes. (Triplets.) (b) Of doubled notes (see Tremolo). [Note to (b). When the abbreviation consists of two consecutive notes, the sum of the notes in the solution is equal to only one of them, unless specially marked.] -9-. ^ .^= ?=:: «=^=«=;^= -) — ^ i grr~a^i ~ar ii= =s=^=^ i-it --r E^^^ 4 ABC, MUSIKALISCHES— ABGEBROCHENE KADENZ. (c) Of figures and phrases. f- l i ^ - ^ $ ^ =itJ=i S=PS=533=5= I r ^ f - ^£5g==^ ^r r r-y 5£ P j=i=^ i ^r-n :sc==S= 5= l_uj-i^-^i-s^ 1 (ft) J * — ^-3 w ty simile [ .r jf^;, A), or by an interruption of the natural rhythmical flow (syncopation), whereby the natural a. is thrown back to an otherwise less accented or non-accented beat. —4. See Accent us. — 5. An obso- lete harpsichord-grace resembling the appoggiatura ; ^ or or written : JL — played : Accen'tor. The leading singer in a choir or vocal performance. Accentuie'ren (Ger.) To accent... ^^- centuie/ter Dunh'i^ang, a passing-note or -chord on a strong beat. Accen'tus (Lat.) In the R. C. Church, that part of the service which is chanted or intoned at the altar by the officiating priest and his assistants ; opp. to Coi- centus, the part taken by the choir, Accen'tus ecclesias'tici (Lat.) The musical inflections observed in intoning the gospels, epistles, etc., correspond- ing to a certain extent with the punctua- tion. There are 7 accents : (i) accentus iinmuta'hilis, the voice neither rising nor falling ; (2) a. me'dius, falling a third ; (3) a. gra'vis, falling a fourth ; (4) a. acu'tus, first falling a third, then rising to the reciting-note ; (5) a. mode- ra'tus, first rising a second, then fall- ing to the reciting-note ; (6) a. inter- rogali'vus, at a question, first falling a second, then rising to the reciting-note ; (7) a. fina'lis, falling at the end of a sentence by a fourth, by a diatonic pas- sage through the intervening tones. Accessis'ten (Ger.) Unpaid choir- singers, supernumeraries. Accessory note. In a trill, the higher auxiliary. Acciacca'to,-a (It.) Vehemently. Acciaccatur' (Ger.) In organ-playing, the doubling by the left hand of the ^ chord on the dominant, its resolution to the dominant chord being effected by the right hand alone. Acciaccatu'ra (It.) i. (Ger. Zusam'- menschlag ; Vr. fine/ /touffe.) A grace on keyboard instr.s, the semitone below a melody-note or chord-note being struck with the latter, but instantly released : written : played : X S n 4 - I / f^rz: — ^^ -1 -1 — g3^ 1 1 p_a 1 2. Same as short appoggiatura. — 3 (in Ger. usage). Same as Acciaccatur. Accident (Fr.) Accidental. Accidental. (Ger. zu'fdlliges Verse'- tzungszeichen ; Fr. accident, or signe accidentel ; It. acciden'te.) A chro- matic sign not found in the signature, set before a note in the midst of a com- position. (See Chromatic Signs.) Accolade (Fr.) Brace. Accompaniment (Ger. Beglei'tung ; Fr. accoiupagneinent ; It. accoinpagna- men'io.) The accessory part or parts attending the voices or instr.s bearing the principal part or parts in a musical composition. Its intention may be to enhance the general effect, or to steady the soloists either as regards rhythm or pitch. Either one or more instr.s, or a vocal chorus, may carry outanrtcr. — An ace. is ad li'bitm/i when the piece can be performed without it, and obbliga'to when of vital importance to the latter. — Ace. of the scale, the harmonies as- signed to the successive tones of the ascending or descending diatonic scale. — Additional accompaniments, parts added to a composition by some other than its original author. Accompanist. (Ger. Bcglei'ter ; Fr. accompagnatcur m., -trice f . ; It. ac- cotnpagnato'rem.., -tri'ce f.) One who executes an accomp. Accompany. (Ger. beglei'ien ; Fr. ac- compagncr ; It. acco>npagna're.) To , perform an accompaniment. Accoppia'to (It., "coupled.") Tied... Accoppiamen' to, pedale di, see Pedal, sustaining. Accord (Fr ) i. A chord. — A. a I'ouvert, chord produced by sweeping only open strings. . ..4. fonda/nental, or 7iaturcl, fundamental chord. ...4. par fait (or triade harinonique), common chord, triad. ..^. plaqtiS, a solid chord (not arpeggio'd). . .^. renversJ, inverted chord. — 2. Tune (i.e. the state of being in tune). . .^tre d' accord, to be in tune. — 3. Accords (pi., poetical). Strains, harmonies.-- -4. Accordatura. ACCORDABLE— ACOUSTICS. Accordable (Fr.) Tunable, that may be tuned. Accordamen'to (It.) Accordance ; con- sonance. Accord'ance. An English equivalent iox Accordaturd ; used in Grove, vol. IV, p. i^lb, 1.9-10, and foot-note. Accordan'do (It.) Accordant, in tune, tuned together ; applied also to comic scenes in which the tuning of an instr. or instr. s is imitated by the orchestra. Accordant (Fr.) Consonant. Accorda're (It.) To tune, tune to- gether. Accordato'io (It.) Tuning-key, tuning- hammer. Accordatu'ra (It.; see Accordance.) The series of tones according to which a stringed instr. is tuned ; \.\\\xs g-d^-a^- e" is the a. of the violin. Accorder (Fr.) To tune. . . S^accordcr, to tune together, get the pitch (as an orchestra). Accordeur (Fr.) i. Tuner. — 2. The monochord. — 3. A small instr. contain- ing 12 steel tuning-forks set on a sound- board and yielding the X2 tones of the equally tempered scale. Accor'dion. (Ger. Accor'deon, Akkor'- dion, Zieh' harmoiiika ; Fr. accordcon; It. accor'deon.) A free-reed instr. in- vented by Damian, of Vienna, in 1829. The elongated body serves as a bellows, which can be drawn out or pushed to- gether at will ; the bellows is closed at either end by a keyboard, that for the right hand having a diatonic (or incom- plete chromatic) scale, while that for the left has 2 or more keys for harmonic bass tones. There are two sets of reeds, one sounding when the bellows is opening, by suction, the other when it is closing. (Compare Concertina.) Accor'do (It.) I. A chord. ..^. con'- sono (dis'sono), a consonant (dissonant) chord. — 2. An instr. formerly used in Italy, resembling the bass viol, having from 12 to 15 strings, and played with a bow in such a way that several strings were caused to vibrate at once ; em- ployed where powerful harmonies were required. (Also called the inodern lyre, and Barbary lyre.) Accordoir (Fr.) Tuning-hammer, tun- ing-key ; (org.) tuning-cone or -horn. Accoupler (Fr.) To couple. . . Tirant a a., coupler. . .Accouplez, " couple, " (i.e. " draw coupler "). Accrescen'do (It.) Same as Crescendo. Accrescimen'to (It.) Augmentation (of a fugal theme)... Pun' to d'accr.,Ao\. of prolongation (^'.). Accresciu'to (It.) Augmented. Aceta'bulum. Latin name for an an- cient Gk. instr., of percussion. The acetabula were earthen or metallic ves- sels struck with sticks, like a carillon, or clashed together, like cymbals. Acht (Ger.) Eight . . . Acht'fiissig, 8-foot . . .Acht'stimmig, in or for 8 parts, 8-part. Ach'tel, Ach'telnote (Ger.) An eighth- note. . .Ach'tclpause, eighth-rest. Ac'ocotl. A wind-instr. of the Mexican aborigines, consisting of a thin tube 8 or lo feet long made of the dried stalk of the plant acocoll, and played by in- haling the air through it. (Also called Clarin.) Acoustic color. The timbre (character or quality) of a mus. tone. Acoustics. (Ger. Aku'stik ; Fr. acaus- tiquc ; It. acu'stica.) The science of the properties and relations of sounds. §1. Musical acoustics, the science of mus. tones, distinguishes between tones and noises. A tone of sustained and equal pitch is generated by regular and constant vibrations of the air, these being generated by similar vibrations in the tone-producing body ; whereas a noise is caused by irregular and fluctu- ating vibrations. Briefly, " the sen- sation caused by a tone is produced by rapid periodic movements ; that caused by a noise, by imperiodic movements " (IIklmholtz). But a sonorousor tone- producing body vibrates not only as a whole, but in its various fractional parts as well. Take a pfte. -string, for in- stance ; when struck by the hammer it vibrates, not simply as a whole in its entire length, but each half, each i, \, \ etc., of the string vibrates by itself, as it were (comp. N'odc), and produces a tone of a pitch corresponding to its own length ; the T-string thus produces, be- sides the fundamental tone or generator, C, its octave (T {_\ of string), its twelfth^ \), fifteenth f' (\), seventeenth e^ {\), nineteenth g^ (|), etc. The points of rest in the string (or other tone-producing body) where such vibrating portions ACOUSTICS. meet, are called 7!odcs, or nodal points ; the tones produced by the vibrating di- visions are called harmonics, or over- tones ; and the entire series, including the generator, are called partial tones. being considered parts of the composite tone (clang) named after the generator. The series of partial tones may be given in notes as follows, numbered consecutively from C upward • ^ ^i^=^Bi :?= ^ :(?)« — — F — ( 1 I -fi^ 2 C: I 3 -V- 5 6 -III (= major triad). lo II 12 13 14 15 16 (Notes marked * are only approximately correct.) The intensity of the harmonics ordin- arily decreases rapidly as their pitch becomes higher. §2. The harmonics are important in many ways. (a) Their presence in varying degrees of intensity produces the timbre peculiar to the several instr.s; thus the tone of the stopped diapason (organ), in which they are weak, is soft and "hollow"; the tone of an old violin, in which the lower harmonics are well-developed and evenly balanced, is mellow, round, and sonorous; that of the trumpet, in which the high dissonant harmonics also make themselves felt, is ringing, "metallic," and brilliant. (Compare Scale.). — {b) On bowed instr.s they yield an additional and highly characteristic register (see Ilar- vionic 2). — (f) On wind-instr.s, from which they are obtained by varying the intensity and direction of the air-cur- rent, they are indispensable for extend- ing and completing the natural scale ; thus tlie bugle and French horn, which yield but one fundamental tone (without keys or valves), depend entirely on the harmonics for the production of their scale ; the flute depends upon overblow- ing, which produces the harmonics of Its tube, for its upper register; etc., etc. — ((/) Musical theory owes highly important discoveries to the investiga- tion of the harmonics, of which discov- erie« practical music in turn reaps the benefit (improved construction of many instr.s). (Comp. Scale.) ^3. By sounding two tones together, various phenomena are produced, {a) 2 tones of nearly the same pitch produce beats. E. g. if the one makes 442 vibra- tions per second and the other 440, the "^ * difference, 2, represents the number of beats per second, a beat being the pul- .sation or throb caused by the coinci- dence of, and consequent momentary increase of the intensity in, the sound- waves of the two tones ; this coinci- dence recurring regularly at every 221st vibration of the first tone and 220th vibration of the second. — {li) As soon as the number of beats per second amounts to about 32, the ear no longer distinguishes them as separate throbs, and they unite to form a very low tone (32 v. = C2), called a combinational, summational, or resultatit tone; in fact, the various combinations of interfering vibrations produce, in their different combination, a series of harmonics, the lowest and chief among which is always the generator of the series to which the two original tones belong. Thus, accord- ing to Tartini, the interval ^-c' produces the following series of resultant tones : x-^- f^ ^^^ 8 etc. xr I 2 3 t" 56 Ts 9 10 • — (c) In the series of partials given in §1, those belonging to the major scale of the generator C are written as half- notes ; the consonance of the major triad is derivable from and based upon the principal partial tones. In like manner, the consonance of the minor triad is derived from a reverse series of hnver partials, the existence of which is proved by the phenomena of sympa- thetic vibration and of the resultant tones. In this series of lower partials (undertones), * * * 3 II 12 13 14 15 16 -«p (minor triad ; c = phonic root [see Phone^. ACT— iEOLIAN ATTACHMENT. the numerals also represent the relative length of the strings necessary to yield the several tones ; while in the series of higher partials (overtones) the string- lengths are represented by the simple fractions formed by the numerals. — (d) From the relative number and import- ance intensity) of the first 6 p.irtials in either series, it follows, that the only consonant chords are the major and minor triads, and that the only conso- nant intervals are such as are derived from these chords or their inversions ; the addition of any further tone, cither found in or foreign to the series of par- tials, produces a dissonance. Act. (Ger. Akt, Aitf'zug ; Fr. acte ; It. at'to.) One of the principal divi- sions of a dramatical performance. Acte de cadence (Fr.) A progression in one of the parts, particularly the bass, which forces the others to join either in forming a cadence, or in avoid- ing one apparently imminent. Actin'ophone. An apparatus for the production of sound by actinic rays. Action. (Ger. Alccha'nik ; Fr. mi'ca- niqiie ; It. mecca'nica.) In keyboard instr.s, the mechanism directly actuated by the player's finger, or set in motion by the organ-pedals. — In the harp, the action (pedals) does not directly produce the sound, but effects a change of key by shortening the strings, whereby chro- matic alterations of a semitone or a whole tone result. (See Pianoforte, Organ ^) Act-tune. Music performed between the acts of a drama ; an entr'acte. Acu'ta (Lat., "sharp, shrill.") In the organ, a mixture-stop having 3 to 5 ranks of from if to i foot, usually in- cluding a Third ; its compass is higher than that of the ordinary Mixture. Acu'tae cla'ves (Lat. ; also acuta loca, acultS voces.) Literally, acute keys (pitch, voices) ; the tones from a to g^ inclusive ; so termed by Guidod'Arezzo. Acute. (Ger. scharf, hoch ; Fr. aigu ; It, acit'to.) High in pitch, sharp, shrill ; said of tones ; opp. to grave. Acutez'za (It.) Acuteness ; sharpness (of pitch). Acu'tus (Lat.) See Accentus eccl., 4. Adagiet'to (It.) i. A movement slightly faster than adagio. — 2. A short Adagio. Ada'gio (It., " slow, leisurely.") A slow movement (comp. Tempo-marks). . .A, assa'i, A. mol'to, very slow...^. non tan' to, non molto, not too slow. . .Adagio adagio, very slow . . . Superlative adagis- simo. Adaptation. Same as Arrangement. Ada'sio (It.) Same as Adagio. Added sixth. See Sixth. Addita'to (It.) Provided with a finger- ing, fingered. Addition. Obsolete term for the dot Additional accompaniments. See Ac' companiment . . .Ad- ditional keys, those above /^ I Addolora'to (It.) Plaintive ; in a style expressive of grief. Adi'aphon. See Ga'belklavier. Adi'aphonon. A keyboard instr. in- vented by Schuster of Vienna in 1820. Adira'to (It.) Angry, wrathful. Ad'junct. Closely related, as one key or scale to another. . .A. note, an au.xiliary note, unaccented, and unessential to the harmony. Ad'juvant. The cantor's assistant, as- sistant teacher. A'dler (Ger.) An obsolete organ-stop. Ad li'bitum (Lat., "at pleasure," "at will.") A direction signifying ( i ) that the performer is free in choice of expression or tempo ; (2) that any vocal or instru- mental part so marked is not absolutely essential to a complete performance of a piece. . . Caden'za ad lib. thus means, that a given cadenza may be performed or not, or another substituted, at the executant's discretion. Ad lon'gam (Lat., " with the long.") A term applied to certain ancient church- music written entirely in equal notes, generally the longest in use. Adornamen'to (It.) A grace. Adquis'ta or adsum'ta (vox) (I>at., "the added tone.") The lowest tone of the scale, the Proslambanom'enos. iE'erophon. See Harmonium. iEolharmon'ica. See Seraphine. iEolian attachment. An attachment to a pfte. for directing a current of air against the strings, reinforcing their vi- bration and thus prolonging and sus- taining the tones. . .yEoli an harp or lyre. (Ger. A'olshar/e, Wind'-, Wet'- lO MOLINA— AGGIUSTATAMENTE. ter- or Gci'sierharfe ; Fr. harpe Mi- enne, harpe d'Eole ; It. ar'pad' E'olo.') A stringed instr. sounded by the wind. It consists of a narrow, oblong wooden resonance-box, across the low bridges at either end of which are stretched gut Strings in any desired number and of different thickness and tension, but all producing the same fundamental tone. When adjusted in an appropriate aper- ture, like a window through which the air passes freely, the latter causes the strings to vibrate and to produce, if the tension be properly adjusted (rather slack than otherwise), full chords com posed of the harmonics of the funda- mental tone common to all the strings ; and rising, according to the force of the wind, from pure, dreamy, deliciously vague harmonies to a plaintive wail or a thrilling forte .. .Aiolian mode, see Greek music. .. /Eoliari piano ^ see Aolsklavier. Molina. I. A small instr. consisting of a graduated series of free reeds set in a metal plate and blown by the mouth ; invented by the Messrs. Wheatstone in 1829. As the first practical attempt to use free reeds in this way, it may be re- garded as the precursor of the accordion and melodion. The Germans, how- ever, claim the invention for Eschen- bach, of Hamburg, about 1 800. — 2. An organ -stop constructed on the same principle as the above, without (or with very short) pipe-bodies, and of very soft tone. .ffiolo'dicon. A keyboard instr. em- bodying the principle of the ^-Eolina, and the direct precursor cf the harmo- nium. (Also yEolodion, Klaviioli'uc, etc.)... A further modification was the yEolo7nclo'dicon, invented by Prof. Hoffmann of Warsaw about 1825, in which short brass tubes were added to the reeds. .^olopan'talon. An ^Eolomelodicon combined with a pfte., constructed about 1830 by Dlugosz of Warsaw. Aequal' (Ger.) Formerly, an independ- ent 8-foot organ-stop {Aequal' stim/ne) ; still used as prefix to names of organ- stops, indicating that they belong to the standard 8-foot registers; as Aequal'- prinzipaly etc. ^quiso'nus (Lat. ; Ger. aquison'.) Uni- son (of either primes or octaves). ^quiva'gans(Lat.) Denotes simultan- eous syncopation, or "deviation from the natural order " of the measure, ia all the parts. AEVIA. A frequent abbr. of Alleluia in M.S. music of the middle ages. Affa'bile (It.) Sweetly and gracefully, gently. Affanna'to (It.) Uneasily, distressfully. Affannosamen'te (It.) Anxiously, rest- lessly . . .Affanno' so, anxious, restless. Affet'to (It.) Emotion, passion, tender- ness. ..Con a., ox affetiuosainen' te , affet- tiio'so, with emotion or feeling, very expressively. (Compare Innig.) Affezio'ne, coa (It.) In a style express- ive of tender emotion. Affilar' (or filarO il tuo'no (It.) In the Italian school of singing, to produce a long-sustained and uniform tone ; near- ly the same as metier la voce, messa di voce, except that with these a crescendo or decrescendo is usually to be combined. Affinity (Fr.) Affinity, relationship. Afflit'to (It.) Melancholy, s^A...Affli- do'ne, con, sorrowfully, mournfully. Affrettan'do (It.) Hurrying {stringendo) . . . Affretto'so, hurried (//« mosso). After-beat. (From Ger. Nach'schlag; Fr. note de comple'ment, terminaison.) An ending added to a trill, comprising 2 notes, the lower auxiliary and the main note ; compare Trill. After-note. I. Occasional for unac- cented appoggiaiura. — 2. The unac- cented note of a pair. After-striking. (Ger. N'ach' schlagen!) The reverse of anticipation by the bass ; e.g. -I i f ± I ?== ->=>- etc. i=£ jt=^i X:- (Compare Anticipation^ Agen'de (Ger., from Lat. agen'da.) Bre- viary, more especially of the Ger. Re- formed Church, containing in regular order the formularies, prayers, respons- es, collects, etc., employed in religious exercises. Agevolez'- Aggiustataraen'te (It.) Strictly in time Age'vole (It.) Easy, light. za, con, easily, lightly. AGGRAVER LA FUGUE— ALLEGRETTO. II Aggraver la fugue (Fr.) To aug- ment the theme of a fugue. Agiatamen'te (It.) Easily, indolently. Agilita' (It.) [Agility, sprightliness, vi- Agilit^ (Fr-) ) vacity ; con a., in a light and lively style. Agilmen'te (It.) Nimbly, lightly, vi- vaciously. Agitamea'to (It.) Agitation., .^^//a- tamen'te, conagitazio'jte, excitedly, agi- tatedly. . .Agita'to, agitated ; a. conpas- sio'ne, passionately agitated. . .^^tVa- zio'ne, agitation. Ag'nus De'i (Lat., " Lamb of God.") Closing movement of the mus. Mass. Ago'ge (Gk.) The order, with refer- ence to pitch, in which the tones of a melody succeed each other.. .A. 7hyth'- tnica, their succession with reference to accent and rhythm ; tempo. Ago'gik (Ger.) Theory of the tempo rubato.. .Ago'gisch, relating to such de- viations from the tempo.. .Ago'gischer Accent' (Riemann), a sign(A)over a note indicating the slight prolongation of its value required, in certain rhythms, to mark the culminating point of the measure-motive. Agraffe'. In thepfte., a small metallic support of the string, between bridge and pin, serving to check vibration m that part. Agr^mens (Fr., pi.) Harpsichdfd- graces, Aigu, aigue (Fr.) Acute ; also used substantively, e. g. passer de faigu au grave. Air. (Ger. Melodie^^ Wei'se, Sing'weise ; Fr. air, tue'lodie ; It, a'ria.) I. A rhythmical melodious series of single tones in a metrical (symmetrical) group- ing easily recognizable by the ear ; a tune or melody. — 2. The highest part in a harmonized composition. . .Nation- al air, a melody become thoroughly popular through long usage and pecu- liar fitness, recognized as a national emblem, and performed at public festi- vals, etc. Air (Fr.) Air, melody, tune ; also song, as Airs a boire, drinking-songs. . .Also, instrumental melody, as air de violon, de fldte ; air de ballet, de danse, etc.. . Also, aria ; air d^tach^, any single aria taken from an opera. Als (Ger. ) AiJ. —A 'isis, A x . Ajout6,-e (Fr.) Added. (See Ligne, Six- te.)...Ajoutez, "add" (organ-mus.) { abbr. ajout. Ajuster (Fr.) See Accorder. Akkord' (Ger.) i. KzVoxA.. .Akkorc^. passage, arpeggio. . . A kkord'zithe ', the autoharp. — 2. A set of severa' instr.s of one family, but different In size, as made from the 15th to the 1 8th century (comp. Engl, chest or consort of viols). (Also Stimm'werk) Akkor'dieren (Ger.) i. To tune an instr.,w;th reference to the harmony of its principal chords. — 2. To get the pitch (said of the orchestra). Akroama'tisch (Ger.) Pleasing to the ear ; said of music depending more up- on outward effect than on depth. Akt (Ger.) Act. Aku'stik (Ger.) Acoustics ; aku'slisch, acoustic. Al (It.) To the, up to the, at the, in the, etc. Alargando (It.) Properly allargando. Alber'tischer Bass (Ger.) Alberti bass. (See Bass.) Alcu'no (It.) Some, certain. Alexandre organ. See American or. ^an. Al'iquot (Lat.) Forming an exact mea^ sure of something ; a factor, or even dWxsor.. .A'liqtiotjlugel (Ger.) A grand piano, invented by Julius Bluth- ner of Leipzig, the tone of which is reinforced and enriched by an addition- al sympathetic string stretched over, and tuned in the higher octave to, each unison. These added strings are not struck by the hammers, and are called A'liquotsaiteii. ..A'liquottheorie, theory of overtones produced by the vibration of strings or of wind-instr.s. Such overtones or harmonics are called A'li' quottone. Air, al'la (It.) To the, at the, in the ; in the style of. Allabre've (Ger.) See ^ //a 3r^z/^, under Breve. . .Allabre'vetakt, alia breve time. Allargan'do (It.) Same as Largando. Allegramen'te (It.) Nimbly, lightly, vivaciously. Allegretti'no (It.) A short Allegretto ; aLso, a niovement slower than alle- gretto. J^llegret'to (It., abbr. a//***.) Dimin. 12 ALLEGREZZA— ALPHABETICAL NOTATION. of allegro ; moderately fast, lively ; faster than andante, slower than allegro. Allegrez'za (It.) Liveliness, vivacity. Allegris'simo (It.) Superl. of allegro ; extremely rapid, as quick as possible ; ■=^presto assai. ^Alle'gro (It., abbr. c//».) Lively, brisk, rapid. Used substantively to designate any rapid movement slower than pre- sto. ...^. assa'i, a. di viol' to, very fast (usually faster than the foregoing move- ment). ../f. di bravu'ra, a technically difficult piece or passage to be executed swiftly and boldly. . .A. gin's to, a move- ment the rapidity of which is conformed to the subject.. . A. risolii' to, rapidly and energetically; etc., etc. Allein' (Ger.) Alone. Allelu'ia (Ilebr.) Lit. "Praise ye the Lord," an exclamation closing various Psalms, or introduced in their midst. Taken, by the early Christian Church, from the ancient Hebrew ritual, it de- veloped into the long jubilations (see Jubilatio) of the early middle ages (on the vowels AEVIA), to the melodies of which were set, after the adoption of the cantus planus, special words. (Also, HalUlu'jah.) Allemande (Fr.; It. alleynan'da) i. A Ger. dance in 3-4 time, like the Ldndhr. — 2. A lively Ger. dance in 2-4 time. — 3. A movement in the Suite, either the first or immediately following the prelude, in 4-4 time and moderate tempo (andaniino), commenc- ing with a short note in the auftakt. — 4. A figure in dancing. Allentamen'to (It.) Same as Rallen- tando. (Also allcntan'do, allenta'to.) Arie Sai'ten (Ger.) Same as Tutte corde. All'gemeiner Bass (Ger.) Thorough- bass. (Now General' bass.) Allmah'lich (Ger.) Gradually, by de- grees. (Also allmdh'lig, allmd'lig.) Allonger I'archet (Fr.) To prolong (the stroke of) the bow. Allo'ra (It.) Then. Almain'', Almand', Almayne'. Same as A llejfiande. Arpenhorn, Alp'horn (Ger.) The alp-horn, an instr. made of strips or staves of wood firmly bound together to form a conical tube from 3 to 8 feet long, the bell slightly curved upward, and with a cupped mouthpiece of hard wood. The scale of the tube is nar- row, and the tones produced are its natural harmonics. The alpine herds- men use this horn to play the J\a}iz des vaches and other simple melodies. Alphabetical notation. Any method of writing music which uses the letters of the alphabet. — The earliest known method was the ancient Greek, which employed two parallel series of letters, one for vocal and the other for instru- mental music, the letters being various- ly inverted, accented, or mutilated to indicate the several octaves and chro- matic tones. This method was retained, at least by theorists, down to the 10th century (see N'eutnes), when the begin- nings of a new method appeared, em- ploying the first 7 letters of the Latin alphabet A B C D E F G for the major diatonic scale now represented hyCDEFGAB, and repeating the same series for the higher octaves. These Latin letters were at first used for instrumental notation (psaltery or rotta, later the organ). Their significa- tion was soon altered, however, to con- form to that of the earlier Greek sys- tem {minor), the series then agreeing with our present one ; the Greek F {Gamma, G) was added as the lowest tone, and the octaves above V were written ABCDEFG abcdefg aahhccdd ^^ffgg etc. (or ^ jj ^ ^ etc.) ; though sometimes, instead of small letters, the capitals ran on {IIIKLMNOP), in which latter system A was equivalent to our modern C, as at first. Arbitrary innovations led to great confusion in the alphabetical notation, which was in reality rendered superfluous, as a me- thod of writing music, by Guido d'Arez- zo's invention or systematization (about 1026) of line-notation (see A'otation). When letters were used, without staff- lines, instead of neumes, they were often written above the words in this wise ; E EE E E / /DD C /D / F /." / / /^ f I Qui tol - lis pec - ca - ta i.e., in notes ; I^ -^ -^Yf^^^'^ i" ■g j ^ ; Qui tol lis pec ca ' i» ALT— AMBROSIAN CHANT. 13 ascending or descending as the voice was to rise or fall. — Our present theo- retical division of the octave is first found fully developed in the works of Praetorius (i6ig) ; side by side with which the old method of writing music {A—G, a-g etc.) still occurred, until the various systems of tablature were given up (comp. Tablature). — Letters are no longer used in practical mus. notation, except by Tonic Sol-fa, in which, how- ever, they represent no fixed pitch, as formerly, but are mere abbreviations of the movable solmisation-syllables. In modern theory, letters are variously em- ployed (comp. Filch, absolute). Alt (Ger.) Alto (voice or part). ..In compound words, the alto instr. of any family, as Alt'geige, A It' horn, Alt'- klarinette, Alt' oboe, Alfviole, etc. — (Engl.) Hence, the same employment in English usage [alt-clarinet, alt- horn]... Notes "in alt" are those of the next octave {g^ — •/') above /'* ; notes in the octave above -: this are said to be " in altis- -I . » simo . Altera're (It.) To alter, change. Altera'tio (Lat.) See Notation, §3. Alteration, i. Same as A Her alio. — 2. Chromatic alteration of the pitch of a note. Altera'to (It.), Alt6r6 (Fr.) Chromatic- ally altered. Alterez'za (It.) Pride, loftiness. — C071 a., in a lofty and dignified style. Alternamen'te (It.) Alternatively. . . Alternan'do, alternating. Alternati'vo (It.) See Trio 2. Alt-horn. (Fr. saxhorn alto; Ger. Alf- korn.) One of the Saxhorns. Altieramen'te (It.) In a lofty and ma- jestic style. Alti natura'li (Lat.) Natural (male) altos, or counter-tenors. (See Alto.) Altis'simo (It.) Highest. (See Alt.) Alti'sta (It.) An alto or contralto singer. Alt'klausel (Ger.) The leading of the alto part in a perfect close. Alto. I. (Fr. haute -contr e ; Ger. Alt, Alt' stimme ; It, al'to.) The deeper of the two main divisions of women's or boys' voices, the contralto ; (in Germany a distinction is sometimes made be- tween Alt and Kon'traalt, the latter term being reserved for the lower alto voice). Ordinary compass from g to c^ which, in voices of unusual fi^^' range, may be extended -J- down to d and up to y^, or even higher. — 2. A high head- voice in men (It. al'ti nalwa'li) for- merly cultivated for the performance of church-music (in England for secu- lar music as well, e. g. glees), but now generally superseded by the female alto or high tenor. — 3. (Ger. Bra'tsche, Alf- viole; Fr. alto, quinte, basse de violon; It. al'to, vio'la.) The tenor violin, or viola. Al'to,-a (It.) octave higher. High. . . (7/Az'7vz alia, an . .Alta vio'la, tenor violin. .Alto bas'so, an obsolete variety of dulcimer, consisting of a square wooden box set on legs and strung with gut. It was generally employed to accompany simple melodies played by the performer on a flageolet held in his right hand, the left striking the strings. Alto-clef. See Clef. Alt'posaune (Ger.) Alto trombone. Artro,-a (It.) Other. . .Altra vol'ta, " encore ! " Alt'schliissel (Ger.) Alto-clef. Alt'viole (Ger.) Viola. Alzamen'to (It.) A raising or lifting (opp. to Abbassainento). Abbrev. Ah. Ama'bile (It.) Sweet, tender. Amare'vole (It.) Bitterly, mournfully. (Sometimes written mistakenly lor Atno- re'vole, lovingly.). . .Atnarez'za, bitter- ness, sadness ; con a., grievingly. Amateur (Fr.) A " lover" of art, who. while possessing an understanding for and a certain knowledge of it, does not pursue it as a profession. Am'bitus (Lat.) Compass. Ambrosian chant. The style of church- music introduced by St. Ambrose (d. 397) from the Eastern Church, and established by him in the cathedral at Milan, towards the end of the 4th cen- tury. It was based on the 4 authentic modes d e f g a b c^ d^ e f g a b c^ d^ e^ f g a b c^ d ^1 ■' gabc^ d^ e^ P g^ and was thus essentially diatonic, al- though embellished with occasional chromatic graces ; it was probably rhythmical, in contrast to the later de- 14 AMBROSIAN HYMN— ANESIS. velopment of Plain Chant. Nothing positive is known about these melodies, except that St. Ambrose introduced the antiphonal songs and hallelujahs of the Eastern Church, and himself composed numerous hymns. (Comp. Gregor'^n Chant.) Ambrosian hymn {hvm'nus Ambrosia' - nus). The " Te deum laudamus,"of which St. Ambrose is the reputed author. Ame (Fr.) Soundpost. American organ. See Reed-organ. Amo're (It.) Love. . . Ct>« a.., with de- votion, fondly, devotedly ; tenderly. . . Amore'vole, amorevolmen'te, lovingly, fondly, etc. . .Amorosamcn' le, amorous- ly, lovingly, fondly. . .Amoro'so, amor- ous, loving. A'morschall, A'morsklang (Cer.) A French horn with valves, invented by Kolbel, of St. Petersburg (1760); its tone was lacking in purity, and the valve-mechanism did not quite do away with "stopping." Am'phibrach. A metrical foot of 3 syllables (^ — v-) ; opp. to ampkim'ucer. Also amphibra'chys. Am'phichord. See Lira barberina, Araphim'acer. A metrical foot of 3 syllables ( — ^ — ); ot^^.Xo am'p/iibrack. [Also amphi macrus^ Ampho'ter (Ger.) Amphoteric ; said of a series of tones "common to two" registers of the same voice. Amplitude of vibration. See Vibration. Amts'pfeiffer (Ger.) See Stadtpfeiffer. Amusement (Fr.) See Divertissement. An (Ger.) On ; add (i.e. draw). Anacru'sis (Gk.; i^cx. Anakru'sis [Anf- iakt~\ ; Fr. anacrouse.) An up-beat beginning a verse, containing i or 2 unaccented syllables ; hence transferred to musical rhythms, for which, in Eng- lish us,-ige, the term auftakt is often met with. Analytical programs are an English invention ; analyses of the mus. form of compositions on the concert-pro- gram, with quotations from the music, date from 1845 (Ella, matine'es of Mus. Union). The most ambitious attempts of this kind are probably H. v. Wolzo- gen's " Fuhrer" (Guides) "through" Wagner's mus. dramas. An'apest. A metrical foot of 3 syllables, the first 2 short, the last long (- i^); the reverse of the Dactyl. Anche (Fr.) Reed (of any instr.). . .,4. libre, free reed...yt'« d'ancke, reed- stop. An'che (It.) Also, too, likewise ; even. An'cia (It.) Reed. Anco'ra (It.) Again, also, yet, still, even. . .Ancor'piit mos'so, still faster. An'dacht (Ger.) Devotion. . .An'ddchlig, or 7nit Andacht, devotionally (It. de- vo'to, con devozio'ne). Andamen'to (It.) i. Movement, rate of speed. — 2. A passage, especially an episode in a fugue. — 3. Specifically, an extended fugal theme, usually consist- ing of two distinct and contrasting members. (See Soggetto.) Andan'te (It., lit. "going, moving.") A tempo-mark indicating, in modern usage, a moderately slow movement, between Adagio and Allegretto ; often modified by qualifying words, as A. maesto'so, A. sostetiu'to, a stately and tranquil movement; A. con moto, A. un poco alhgretto, a comparatively ani- mated movement; A. can ta' bile, a smoothly flowing and melodious move- ment ; etc. — In earlier usage often em- ployed in its more literal sense, as A. allegro, "moving rapidly;" me' no andante ("less moving "), slower. Andantemen'te (It.) Flowingly, unin- terruptedly. Andanti'no (It.) Dimin. of Andante ; strictly, slo7ih-r than andante, but often used in the reverse sense. Anda're (It.) To move on. . .A. dirit'to, go straight on ; a. in tempo, keep to the tempo. An'derungsabsatz (Ger.) Half-cadence, ending on the dominant triad. Anem'ochord. (Fr. an/mocorde.) A keyboard wind-instr. with strings, in- vented by J. J. Schnell, of Paris, in 1789, as an attempt to imitate the tone of the -Folian harp by means of small bellows forcing a current of air against the strings : a pneumatic harpsichord. — The piano ^olienne of Henri Hers (1S51) was a similar instr. — (Also Anim'ocorde.) Ane'sis (Gk.) The passage from a high tone to one lower in pitch; also, the tun- ing of strings to a lower pitch. — Opp. to epit'asis. [SXAINER AND BARRETT.] ANFANG— ANTHEM. I? Fom A. An'fang (Ger.) Beg-inning same as Da capo. An'geben (Ger.) To sound, to strike. . . Den Ton a., to give the pitch (as for an orchestra). Angelic hymn. The hymn sung by the angels upon the announcement of Christ's birth ; sung in both the East- ern and Western Churches, extended in the latter to the " Gloria in excelsis ; " also in the Anglican and Episcopal Churches, as a song of thanksgiving after communion. Ange'Hca (Lat., " angelic") See Vox a. Angelique'. (Fr. ang^lique.) A key- board instr. having 17 strings tuned in chromatic order ; inv. early in the 17th century. — Also, a kind of guitar. Angelophone. An earlier name for the harmonium or parlor-organ. An'gemessen (Ger.) Suitable, appro- priate. Anglaise (Fr.) The English country- dance {conO-t'c/ansf), of lively character, sometimes in 2-4, at others in 3-4 or 3-8 time. It closely resembles the Ecossaise, and most probably took its origin from the older form of the French Rigaudon. [Grove.] Angosciosamen'te ) (It.) Expressive of Angoscio'so j anguish, agony. AngstTich (Ger.) Fearfully (It. timida- men' te, wrongly tramiJamente). -^ An'hang (Ger.) Appendix ; coda, co- jj\ detta. \' ' A'nima (It.) i. Spirit; con a., with k. spirit, animation. — 2. Soundpost. f. :^Animan'do (It.) With growing aniina- ^'^' tion ; \i\e\\er . . .Aniina'lo, in an ani- mated, spirited style. Animocor'de (It.) See Anemochord. Animo'so (It.) Animated, spirited. . . A nimosis'simo, animosissi>?iamett' le , with the utmost animation, spirit, bold- ness. An'mut(h) (Ger.) Grace, sweetness, charm, svLA-viiy.. .An'ntut{h)ig, grace- fully, etc. Anom'aly. The slight deviation from the exact pitch caused by tempering intervals on fixed-tone instr.s ; -hence, an anomalous chord is one containing an interval rendered, by tempering, ex- tremely sharp or flat. Anonuer (Fr.) To perform in a hesitat- ing, stumbling manner ; to read music haltingly. An'satz (Ger.) i. Lip, embouchure (in playing wind-instr.s). — 2. The method of attacking a vocal phrase. An'schlag (Ger.) I. Touch (on a key- board instr.)— 2. A kind of double ap- poggiatura : written : played : An'schwellen (Ger.) To increase in loudness, swell. Ansiosamen'te (It.) In a style expres- sive of anxiety or hesitation. An'sprache (Ger.) The _" speaking" of an organ-pipe, wind-instr., string, etc. . .An'sprechen, to speak. An'stimmen (Ger.) To intone, strike up. Answer. (Lat. co'mes ; Ger. Gefahr'te, Ant'ivort ; Fr. reponse, r^plique ; It. ripo'sta, consegtien' te.) In a fugue, the taking-up of the subject, proposed by the first part, by the second part, at a different pitch. (See Antecedent.) Antece'dent, (Ger. FUh'rer; Fr. theme ; It. anteceden'te, propo'sta, gui'da.) The theme or subject of a fugue or canon, as proposed by the first part. — Also, any theme or motive proposed for imitation, or imitated later. Antelu'dium (Lat.) Prelude, introduc- tion. Anthem. A piece of sacred music usual- ly founded on biblical words, with or without instrumental accomp., and of various forms : — (i) Anthetns for double choir, the choirs frequently answering each other. . .(2) Fullantheyns, consist- ing wholly of chorus, accompanied or not . . .(3) Full anthems ivithverses, certain parts of which are sung by solo voices, although beginning and close are cho- ruses ( Tutti), and the chorus predomi- nates throughout. . .(4) Verse anthems, in which the verses (soli, duets, trios, quartets) predominate over the cho- ruses. . .(5) Solo anthems, in which a solo part predominates, though the chorus always concludes them... (6) Instrumental anthems, those accom- panied by instr.s other than the organ ; — formerly so called. — The anthem, an integral part of the Anglican church- service, is essentially an English pro- i6 ANTViOi-OGIUM— APOLLO. duct, a motet developed on the lines of vocal variety and instrumental accomp. , approximating to the Ger. Kanlatc. Antholo'gium (Lat.) The book or col- lection of the hymns, etc., of the East- ern Church. Antibac'chius {Antihacchy). A metrical foot of 3 syllables, 2 long and i short, with the ictus on the first (—■ — w). Anticipation, (Ger. Antizipation\ Var- ans' nahme ; Fr. anticipation ; It. anticipazio'ne.) The advancing of one or more of the parts constituting a harmony before the rest, which part or parts would, if all the parts pro- gressed simultaneously, enter later : ^5^ T W. Anti'co (It.) Antique, ancient. . .^//"aw- tico, in the ancient style. Antienne (Fr.) Antiphon. An'tiphon, or An'tiphone. (Gk. anfi'- phona, anti'phonon ; Ger. Antiphonie' ; Fr. antienne ; It. anti'fona.) Origin- ally, a responsive system of singing by two choirs (or a divided choir), one of the earliest features in the Catholic ser- vice of song ; hence applied to respon- sive or alternate singing, chanting, or intonation in general, as practised in the Greek, Roman, Anghcan, and Lutheran churches. . .Also, "a short sentence, generally from Holy Scrip- ture, sung before and after the Psalms for the day, or the Canticles, selected for its appropriateness to the church season in which it is sung " [Stainer AND Barrett], Antiph'onal. i. A book or collection of antiphons or anthems. — 2. (adj.) In the style of an antiphon, responsive, alternating. Antiph'onary. (Lat. antiphona'rium ; Ger. Antiphonar' ; Fr. antiphonaire ; It. antifona'rio.) Properly, a collec- tion of antiphons, but extended to in- clude the responsories, etc., sung at ecclesiastical celebrations. — The origi- nal collections embraced all the anti- phonal songs both in the mass and the offices of the Latin Church ; but now, by long-established custom, a separate book called the Gradual contains the liturgical antiphons (those proper to the mass) ; whereas the responsories of the office, formerly relegated to the Re- sponsorial, now form the Antiphonary, together with the antiphons proper (i.e. the antiphons associated with th« psalms of the office). (Also Aniiph'. onal, Antiph'oner.) Antiph'onel. The planchette-mechan- ism devised by Alexandre Debain, of Paris, when attached to a pfte. , organ, or harmonium ; hence Antiphonel-har- monium, Orgue-aniiphonel, etc. Anti'phonon (Gk.) Antiphon, anthem. Antiph'ony. Responsive singing by two choirs (or divided choir) of alternate verses of a psalm or anthem ; opp. to responsorial singing, and also to hovio- phony (see Homopkonic l). An'tispast. A metrical foot of four syllables, the first and last being short and the two in the middle long {- ^). Antis'trophe. See Strophe. Ant'wort (Ger.) Answer. An'wachsend (Ger.) Same as crescendo. Aoli'ne, etc. (Ger.) See y^olina. A'olsharfe (Ger.) yEolian harp. A'olsklavier (Ger.) "/Eolian pfte. ;" a keyboard instr. invented about 1825 by Schortmann of liuttelstedt, resembling the Physharmonica, but having, as tone-producing bodies, wooden wands instead of steel bars. Aper'to (It., "open.") " Take the loud pedal" (in pfte. -music). — Clear, dis- tinct ; broad, ample ; Allegro aperto, an allegro with broad, clear phrasing. Aper'tus (Lat.) Open ; said of organ- pipes. Ap'felregal (Ger.) An obsolete reed- stop in the organ, the narrow pipes of which were furnished at the top with hollow perforated globes or buttons (hence also called Knopf regal). Aplomb (Fr.) Coolness, self-possession, steadiness. Apoggiatura, Apogiatura. Occasion- al spellings of Appoggiatiira (Fr. ap- pogiature). Apollo. (Fr. Apollon.) A large lute APOLLO-LYRA— APPOGGIA rGRA. • / (or theorbo) having 20 single strings, invented in 1678 by Prompt of Paris. Apollo-Lyra. See Psalmnielodicon. Apollotiicon. An instr. finished in 1817 by Flight and Robson of London. It was a combined organ and orchestrion, containing about 1900 pipes in 45 stops, with 5 manuals played on by different performers, and kettledrums operated by a special mechanism, so that a full orchestral effect was obtain- able ; it was likewise provided with various barrels actuated by machinery, for the automatic performance of sever- al extended compositions. It was taken to pieces in 1840. Apollonion, An instr. consisting of a pfte. with double keyboard, combined with an organ flue-work containing pipes of 2, 4, and 8-foot pitch, together with an automatic player the size of a boy ; inv. by J. H. Voller of Angers- bach early in the 19th century. Apos'trophe ('). Often employed as a breathing-mark. Apo'tome (Gk.) In the Pythagorean system, the chromatic semitone — 2048: 2187 ; the //ww(z, or diatonic semitone, therefore being 243:256 (|4| X %\\\ =: f = the greater whole tone). This chromatic semitone (obtained by sub- tracting 2 whole tones 8:9 from a per- fect fourth 3:4) was therefore a wider interval than the diatonic ; whereas our diatonic semitone is wider than the chromatic. (1^ Appassiona'to,-a (It.) Impassioned, with passion. . . Appassionamen' to, pas- sion, ardor, deep emotion. . ..-^//a.rj/o'- natamen'ie, passionately, ardently. Appel (Fr.), Appell' (Ger.) Assembly ; signal to troops to fall in. Appena'to (It.) Distressed ; in a style expressive of distress or suffering. Applica'tio (It.) Fingering. Applikatur' (Ger.) Fingering (usually Fing'ersatz). Appoggian'do (It., "leaning on, sup- ported.") Said of a tone (note) gliding over to the next without a break, as in appoggiaturas and the portamento. (Also Appoggia' to.) Q Appoggiatu'ra (It.; Fr. appogiature; Ger. Vor'schlag, N'ach'schlag.') i. The accented appoggia tura (Ger. Voi-sc/tlag) is a grace-note preceding its main note (melody-note), and taking the accent and part of the time-value of the latter, (a) The long appoggiatura, now obso- lete, often occurs in earlier music ; it was, in point of fact, a suspension written as a small note in order to evade, as it were, the rule against the entrance of unprepared dissonances. The dura- tion of the small note properly corre- sponds to its time-value if written as a large note ; e. g. written : _| .> , ^ . ^ performed etc. i§^^^E^as?£S though cases may occur in which the appoggiatura takes more than its ap- parent value : written performed ; or (ace. to Turk): -^^m (b) The short appoggiatura is properly written as a small eighth-note or i6th- note with a slanting stroke through the hook ; the general rule for its execution is, to perform it very swiftly, giving it the accent of its principal note, and a portion of the latter's time-value differ- ing according to the speed of the move- ment somewhat as follows : written : Adagio. Andante. Allegro. Presto. R 3 \ -i Jf 3 % ^^ U: '* m H»=S =t=t 1^^ performed : > > (c) The double appoggiatura contains 2 or more small grace-notes (commonly written as i6th-notes) before a principal note ; it is performed rapidly, its dura- tion subtracted from the time-value of the principal note, with the accent on the first small note (compare Anschlag, Slide). — 2. The unaccented appoggia- tura (Ger. NachschlagYxs a rapid single or double grace-noteyt'/Zf'Tc/w^'- a princi* pal note, from the time-value of whici I8 APPRESTARE— ARIOSO. its duration must be subtracted, and with which it is connected by a slur : written : Appresta're (It.) To set up and finish an instr. Appretie'ren (Cer.) Same as Appi-e- stare.. .Apprelttr' , the proper adjust- ment of the parts of an instr. Aquivo'ken (Ger. , pi.) Meistersinger melodies bearing like names. Arabesque. (Ger. Arabes'ke.) i. An occasional title for pfte. -pieces re- sembling a rondo in form. — 2. Arabes- ken (Ger. pi.) Ornamental passages accompanying or varying a theme. Arbi'trio (It.) Free will, absolute power; asuoa.,at pleasure (equiv. to apiacerc). Arca'to (It.) Bowed, played with the bow. Archeggia're (It.) To play with the bow. Archet (Fr.) Bow. Ar'chi-[ar'ke](Lat.), and Ar'ci-[ar'-tche] (It.) (Engl. Arch-, Ger. Erz-^^ A prefix signifying "chief, preeminent." formerly applied to names of instr. s in the sense of " largest " (of the family in question), and to official titles in the sense of "head." — E. g., Archchanter (Fr. archichantri), precentor; Arch- lute (It. arciliu'to, Fr. archiluth, Ger. Erz'laute), a variety of the bass lute ; Arcicetn'balo (It.; Fr. archicembalo, Ger. Archicym'bal), a keyboard stringed instr. inv. by Niccolo Vincentino (i6th century), with 6 keyboards, and keys and strings for all the tones of the three ancient Greek modes (diatonic, chro- matic, and enharmonic); Arcivio'la Ji lira (It.), same as Lirone. Ar'chi (It., pi. of Arco.) Bows; gli archi, "the bows," i. e. bow-instr.s in the orchestra ; Engl, equivalent, "the strings." ^Ar'co (It ) Bow ; a pun'ta d'arco, or colla piinia dell'arco, with the point of the bow ; colVarco, with the bow, i. e. resume the bow after a pizzicato pas- sage. . .Arco in gitt, down-bow ; a, in stt, up-bow. Arden'te (It.) Ardent, fiery, passionate. Arditez'za, con (It.) Boldly, spirited- ly. . .Ardi'to, bold, spirited. Aretin'ian syllables. (Ger. arcti'nische Sil'bcn.) The syllables ut, re, mi, fa, sol, la, first used as solmisation-sylla- bles by Guido d'Arezzo. A'ria (It.; Ger. A'rie.) Primarily, an air, or rhythmic melody. — As a technical term, an aria is an extended lyrical vocal solo in various forms, with in- strumental accompaniment. With the rise of homophonic music in the opera and oratorio, the aria developed, from a mere plain-song melody with basso continuo, into the aria gran'de (the grand or da-capo aria in 3 divisions preceded by an instrumental ritornello containing the principal melody ; divi- sion I being an elaborate development of a theme with frequent repetitions of the words ; II, a more tranquil and richly harmonized section ; followed by III, the repetition da capo of I, with still more florid ornamentation); the aria di bravu'ra, (similar to the fore- going, but overloaded with difficult passages and coloraturas for showing off the singer's skill); the aria da chic', sa (church-aria, differing from the sa- cred song chiefly in its greater breadth, and in being accompanied by full or- chestra); and the aria da cancer' to (concert-aria, differing from the others, which are portions of operas, oratorios etc., in being an independent composi- tion intended for the concert-hall).— The modern aria is freer in form than the aria grande of the i8th century, the ritornello often being omitted, greater variety given to the da capo, and the thematic construction made to follow the sense of the words, so that it sometimes assumes the form of a rondo, or consists of 2 slow divisions separated by an allegro movement. . .^/r /a par- Ian' /e (also ario'so), a vocal style com- bining the melody of an aria with the distinct enunciation of a recitative, the vowels being " thrown forward." — Smaller arias, nearly in song-form and with slighter accompaniments, are called ariettas or cavatinas. Ariet'ta (It.) A small aria. (See Aria^ Ariette (Fr.) Same as aria grande, the original signification being completely reversed. Ario'so (It.) In vocal music, a style in- termediate between aria and recitative Csee Aria parlante); also, a short melo- ARMER LA CLEF— ASPIRATION. 19 Q dious strain interrupting or terminating a recitative. — Also signifies an effective dramatic style suitable for the aria grande.— \n instrumental music, same as caitiabile. Armer la clef (Fr.) See Chf. Arm'geige (Ger.) Viola da braccio. Armoni'a (It.) Harmony . .y^rw^w/rt fitHita're, military band. Armo'nica (It.) i. Harmonic. — 2. Har- monica. Armonie (Fr. ) Probably same as J^ie/lc. Armoniosamen'te (It.) Harmoniously; arinonio'so, harmonious. Armure (Fr.) i Mechanism, action. — 2- Key-signature. Ar'pa (It.) Harp. . . A. dop'pia, see Spiizharfe. Arpanet'ta, Arpanel'la (It.) A small harp. (See Spilzharje.) Arpege (Fr.) Arpeggio. . . Arpegenieti/, pfciying arpeggio, breaking a chord. . . Afpe'ge)-, to arpeggio. Arpeggian'do (It.) Playing arpeggio, in harp-style, or in broken chords ; from arpeggia'n, to play on the harp. . . Arpeggia'lo, (a) arpeggiated, arpeg- gio'd ; (b) as a noun, same as Arpeggio. Arpeggiatu'ra (It.) A series of arpeg- gios. Arpeg'gio (It,, pi. arpcg'gi, Engl. pi. arpeg'gios.) [Lit." harping."] Flaying the tones of a chord in rapid and even succession ; playing broken chords. Hence, a chord so played, or broken ; or spread chord, or chord - The modern sign for the a. ^ calls for |^=Jg=z the follow- 1^—

i'za.) Agreement or resemblance in sound. A'them (Ger.) 'Bv^nth... .A'iketnlos, breathless(ly). Attac'ca (It.) Attack or begin what fol- lows without pausing, or with a very short pause ; a. su'bito (or attaca'te suhiio), attack immediately. Attacca're (It.), Attaquer (Fr.) To attack, or begin, at once. Attac'co (It.), Attaque (Fr.) A mo- tive in fugal imitation ; formerly, a very short fugue-theme. Attache du cordier (Fr.) Loop. Attack. The act or style of beginning a phrase, passage, or piece ; said both of vocalists or instrumentalists, either in solo or ensemble. Attendant keys of a given key are its relative major or minor, together with the keys of the dominant and subdomi- nant and their relative major or minor keys. (Comp. Phone, §4.) At'tO (It.) Act of a drama. Atto're, (Attri'ce) (It.) Actor (act- ress). Au (Fr.) To the, in the, etc. Aubade (Fr.) i. Morning-music, gen- erally addressed to some particular per- son ; opp. to Serenade; — specifically, a morning-concert by a military band.— 2. Occasional title for short instrumental pieces in lyric style. — 3. A calli- thumpian concert (ironical). Audace (Fr.) Audacious, bold. Auf'fassung (Ger.) Reading or con- ception (of a work). Auf'fiihrung (Ger.) Performance. Auf'geregt (Ger.) Agitated(ly), excit- ed(ly). Auf'geweckt (Ger.) Lively, animat- ed(ly), brisk(ly). Auf'halten (Ger.) To suspend. . .^fc/'- haliung, suspension (usually Vof'halt), Auflosen (Ger.) To resolve. . .^w/'- Idstmg, resolution ; also, the breaking of a chord ; also, the solution of an enigmatical canon.. .Anflosungszeiy chen, the natural (U). Auf satz (Ger.) Tube (of a reed-pipe i» the organ). Auf'schlag (Ger.) Up-beat. . .yi«/'- scklagende Zung'e, beating reed. Auf'schnitt (Ger.) Mouth (of an organ- pipe). Auf'strich (Ger.) Up-bow. Auf takt (Ger.) Up-beat, anacrusis ; a fractional measure beginning a move- ment, piece, or theme (in this sense often used by English writers without capital \auftaki\}. Auf'tritt (Ger.) Scene. Auf'zug (Ger., lit. " raising [of the cur- tain]".) An act of a drama. • Augmentation. (Ger. Vergrd'sserung, Verliing'erung^ I. Doubling or in- creasing the time-value of the notes of a theme or motive in imitative counter- point. — 2. See Notation, §3. — Aug- mented intervals, see Interval. Augmenter (Fr.) To increase (in loud- ness) ; en aiigmenta nt :=CTescendo. Aule'tes (Gk.) Flute-player. . .^«/i?j, flute. Aumentan'do (It.) Crescendo. . .Au. menta'io, augmented. Aus'arbeitung (Ger.) Working-out, development. Aus'druck (Ger.) Expression. . .^w/- driicksvoll, expressively. Aus'fiihrung (Ger.) Execution, perform- ance ; exposition. Aus'halten (Ger.) To sustain; sustain ! . .Aus' haltung, sustaining... .<4 «j-'>4a/- timgszeichen, see Fermate. Aus'losung (Ger.) Hopper, grasshopper, escapement. Au'ssere Stim'men (Ger.) Outer parts. Au'sserst (Ger.) Extreme(ly). Aus'stattung (Ger.) Mounting (of an opera, etc.) Aus'weichung (Ger.) Modulation, transition. Authentic. (Ger. authen' tisch ; Fr. authentique ; It. auten'tico.) Within the compass of an octave above the keynote. . .^?^. cadence, mode, see Ca- AUTO-HARP— BAGPIPE. 21 dence. Mode. . .Au. melody, one whose range extends through or nearly through the octave-scale above its tonic or final ; opp. to plagal. . .An. fart of the scale, that lying between a given keynote and its higher dominant, the part bet\\-een the keynote and lower dominant being called plagal. Auto-harp. (Ger. Akkord'zillier.) A zither without fingerboard or accom- paniment-strings, all the strings being plucked or swept by the plectrum and stopped by a series of from 4 to 8 com- pound dampers (called "manuals" or " pedals "), each of which when pressed down damps all the strings except those forming one particular chord ; the plec- trum, rasping across all the strings, sounds this cord as an arpeggio ; the melody is brought out by special stress on the highest (or any other) tone of the chord. Au'tophon. A form of barrel-organ, the tunes played being determined by fierforations in a sheet of mill-board heavy pasteboard] cut to correspond with the desired notes. (Knight.) Auxiliary note. (Ger. Hilfs'note.) A note not essential to the harmony or melody ; particularly, a grace-note or added note a second above or below a given melody-note. . ..4 «x///(/;^ scales, those of attendant keys. A've Mari'a (Lat.) "Hail, Mary!"; the salutation of the angel Gabriel at the annunciation ; followed by the words of Elizabeth to Mary (Luke I, 42), it has been a favorite subject of sacred composition since the 7th cen- tury ; concluded by a hymn of praise or prayer to the Virgin. A've ma'ris stel'la (Lat., "hail, star of ocean ! ") Hymn of the Roman Catholic Church. Avec (Fr.) With. Avici'nium (Lat.) An organ-stop imi- tating the warbling of birds. Avoided cadence. See Cadence. Azio'ne sa'cra (It., "sacred drama" ; equiv. to the Spanish "auto sacra- mentale ".) An oratorio or passion. B. B. (Ger. /// Fr. and It. si>) The 7th tone and degree in the typical diatonic scale of C-major. . .B cancella'tuin, the sharp (jj), formed originally by crossing or cancelling the sign \) for B rotun'- dii/n. . .B quadra'ium, Bfl. . .B \s also an abbr. for Bass or Basso {c. B.=col Basso ; B. C.= basso continuo). Baboracka, Baborak. Bohemian danc- es with changing rhythms. Bac'chius (Bacc/iv). A metrical foot containing i short and 2 long syllables, with the ictus on the first long one Baccioco'lo (It.) A Tuscan instr. of the guitar family. Bachelor of Music. (Lat. baccalau'reus fHu'sicic.) The lower of the 2 musical degrees, Doctor of Music being the higher. Back. (Ger. Boden; Fr. das; It. schiena.) The lower side of the body of a violin, etc. ; opp. to Belly. Back-block. Same as Wrest-block. Backfall, i. An obsolete melodic or- nament in lute or harpischord-music ; written : :or — m — ; played : (Also comp. Grace.) — 2. A double lever in the organ -action, working be- tween a sticker and a pull-down. Backturn. See Turn. Badinage (Fr.) Good-humored raillery, banter. Bagana. The Abyssinian lyre, having 10 strings tuned to 5 tones and their octaves. Bagatelle (Fr.) A trifie. Bagpipe(s), (Ger. Du'delsack, Sack'- pfeife; ¥r. corjiei?nise; li. cornaniu'sa.) A very ancient wind-instr. of Eastern origin, known to the Greeks and Ro- mans, in great vogue throughout Europe during the middle ages, and still popu- lar in many countries, especially Great Britain. It consists of a leathern bag, filled with wind either from the mouth or from a small bellows worked by the player's arm, and of pipes inserted in and receiving wind from the bag. The commonest form has 4 pipes ; 3 drones (single-reed pipes tuned to a funda- mental tone, its fifth and its octave, and sounding on continuously), and I mel- ody-pipe, the chanter (a sort of shawm or double-reed pipe with from 6 to 8 finger-holes ; compass approximately : 22 BAGUETTE— BANDOLA. Praetorius enumerates several sizes used in the 17th centuiy ; the *' Grosser Bock" (drone in contra-G^or great C), " Schaperpfcif" (drones in D^ and /'), " Ilu/nviek/ien" (drones / '-f ')• ^'''•J "/);/,/,7"(.'>b-^'b-^-t7)- Baguette (Fr.) Drumstick ; fiddlestick. Baisser (Fr.) To lower(as a tone by a V,). Bajadere. See Bayadere. Balala'ika (also Balaleika, Balale'iga). A rude stringed instr. of the guitar family, having 2. 3, or 4 strings tuned in minor. It is of Russo-Tartar origin, and now most often met with among the Gypsies. Balancement (Fr.) See Behung. Balance-rail. A strip of wood running transversely beneath the middle of the piano-keys, which are balanced upon it.. .Balance swell-pedal, see Pedal. Balg (Ger.) Bellows. . .Bal'ge>t/reler (" bellows-treader "), calcant, a man employed to tread or stand on the old- fashioned German organ-bellows to fill them with wind. . .Balg' l-lavis, see Clavis. . . Balg'ioerk, bellows. Barken (Ger.) i. Bass-bar.— 2. The thick line connecting the stems of grouped hooked notes, substituted for the hooks. Ballabi'le (It.) A composition intended for a dance -accomp. ; any piece of dance- music. Ballad. (Ger. and Fr. Balla'de ; It. balla'ta.) Originally, a song intended for a dance-accomp. ; hence, the air of such a song. In modern usage, it is a simple narrative poem, a mi.xture of the epic and lyric, generally meant to be sung. — .A.S a purely musical term, it was originally applied to a short, simple vocal melody, set to one or more stan- zas, and with a slight instrumental accomp. — In an extended application, it includes instrumental melodies of a similar character ; also compositions for single instr. s, for orchestra, etc., sup- posed to embody the idea of a narrative. Balla'denmassig(Ger.) In ballad-style. Ballad-opera. An opera chiefly com- posed of ballads and folk-songs (e. g. Gay's "Beggar's Opera"). Balla'ta (It.) A ^allad. . .A ballata, in ballad-style. Balleri'na (It.) A female ballet-dancer. Bal'let. (Ger. Ballett' ; Fr. ballet: It.. hal'lo, ballet' (0.) I. A spectacular dance, often one introduced in an opera or other stage-piece. — 2. An independent pantomimic representation, accompan- ied by music and dances setting forth the thread of the story. — 3. A compo- sition of a light character, but somewhat in the madrigal style, frequently with a "fa la" burden which could be both sung and danced to ; these pieces were commonly called " Fa las " [Grovp:]. — 4. The corps of ballet-dancers {corps de ballet). Ballet'to (It.) I. Ballet.— 2. Title em- ployed by Bach for an Allegretto in common time. Bal'lo (It.) A dance; a ballet ... ^a//« ingle' si, English dances ; balli ungar/ si, Hungarian dances. . .Daballo, in dance- style, light and spirited. Ballon'chio (It.) See Paspy. (Origin- ally, a round dance of the Italian peasantry.) Ballonza're (It.) To dance wildly and recklessly, regardless of rule. Band. I. An orchestra. — 2 (most com- monly). A company of musicians play- ing martial music (brass-band, military band). — 3. A company of musicians, or section of the orchestra, playing instr. s belonging to the same family or class (brass-band, string-band, wood-band, wind-band). . .The 24 fiddlers of Charles II. were called "the king's private band." Band (Ger.) A volume. Ban'da (It.) The brass wind-instr.s, and the instr.s of percussion, in the Italian opera-orchestra. — Also, an or- chestra appearing on the stage. Bandalore, Bandelore. See Bandore. Bar'de(Ger. ; usually Musik'- or Musi- ka>i'tenba>ide.) A company of strolling musicians. — (Fr.) In earlier usage, the 24 violins at the royal court (" lagrande bande "). Band-master. The conductor of a mili- tary hand. . .Bandsman, a member of such a band. Bando'la (Span. ; alsoBandolon, Bandora, Bandura.) Instr.s of the lute family, with a greater or smaller number of steel or gut strings, and played with a. plectrum ; like the Pandora, Pandura, Pandurina, Mandora, Mandola, Man- doer, Mandiira, Alandiirchen, all es- sentially identical with the Mandolin BANDONION— BARRA. 23 still in vogue (see Mandolin and Lute). [RiEMANN.] (Also comp. Cither.) Bando'nion. A kind of Concertina with square ends (keyboards), inv. by C. F. Uhlig of Chemnitz, about 1830, and since then much improved and enlarged. It takes its name from Heinrich ISand of Crefeld, a dealer in the instr. — Comp. art. Harmonicum. Bandore. See Bandola and Cither. Bandur'ria (Span.) A variety of guitar having wire strings instead of gut. Banger. The banjo. ("The Negroe- Banger " [Adair].) Bania, Banja (African.) Parent instr. of the Banjo. (?) Banjo. A variety of guitar ; its body is formed by a circular hoop, over the npper side of which is stretched parch- ment or skin ; it has a long neck with or without frets, and from 5 to 9 strings, the melody-string, which is the shortest and played with the thumb of the right hand, lying outside of and next to the lowest bass string. The other strings are plucked or struck with the right hand, and all are stopped with the left. It is variously tuned, the 5-stringed banjo often as follows : 93? Ban'kelsanger (Ger. ; ' ' bench-singers, " from their mounting on benches, the better to gain a hearing.) Strolling singers of a low class, who frequent fairs and other places of public resort, and recount, partly singing and partly speaking, romantic tales taken from history or adventure, stirring events of the day, etc., usually explanatory of a picture which they display. Bar. (Ger. Takt'strich ; Yx. barre ; It. li'nea, bar'ra, sbar'ra.) i. A vertical line dividing measures on the staff, and indicating that the strong beat falls on the note immediately following. — 2. Hence, the popular name for ' 'measure". . . . Bar-line, a barbarism evoked by the familiar use of bar for measure. Bar (Ger.) Compare Strophe 3. Bar'baro (It.) Equiv. to Feroce. Bar'biton, Bar'bitos. An ancient Greek variety of the lyre. Barcarole'. (Ger. ditto ; Fr. barcarolle ; It. barcaro'la, barcariio'la, "boatman's song.") I. A gondoliera (song of the Venetian gondoliers). — 2. A vocal or instrumental solo, or concerted piece, in imitation of the Venetian boat-songs, and in 6-8 time (though Chopin's for pfte. is in 12-8 time). Bard. A poet and singer among the ancient Celtic nations ; one who com- posed and sang, generally to the harp, verses celebrating heroic achievements. ..In earlier Scotch usage, a vagabond minstrel. Bardiet', Bardit' (Ger.) [A word coined by Klopstock, who derived it from the " barditus" (for baritus, a battle-song) of Tacitus, whence the erroneous as- sumption that the ancient Germans had bards.] A bardic song. Bardo'ne. i (It.) A barytone 2. — 3 (Ger.) Occasional spelling for Bourdon (organ-stop); also Barduen. Bare fifth. See N'aked. Ba'rem (Ger.) Obs. name for the very soft-toned organ-stop Still'gedackt or Musicir'gedackt. Bargaret, Barginet. Same as Bergeret. Baribas'so (It.) A low barytone voice, a bass-bar)'tone. Bariolage (Fr.) A medley.— A caden- za, or series of cadenzas, whose appear- ance forms a design upon the music- paper, a "waistcoat pattern," as it is called by performers. [Stainer AiND Barrett.] Bariteno're (It.) A low tenor voice, a tenor-barytone (second tenor) Ba'riton (Ger.), Bariton (Fr.), Bari'- tono(It.) Barytone. [An attempt has been made to confine the spelling bari- tone to instruments, and barytone to the voice ; the idea is not yet generally accepted.] Baroc'co {lt.\C'Qr. barock' ;7r. baroque.) Eccentric, odd, strange, whimsical. Barox'yton (Gk., "the deep and high- toned.") A brass wind-in- str. of broad , scale, inv. , If- m i in 1853 by Cerveny of Koniggratz; compass from contra-Z* to tz' : Swa Bar'pfeife (Ger., also Blir'pipe, Barpyp; Dutch Baar'pyp.) A reed-stop in old organs, with pipes nearly closed by caps of a peculiar shape, and emitting a humming, "growling" tone. Barquarde (Fr.) Obs. for Barcarolle. Bar'ra (It.) A bar (not measure). BARRE— BASSE. Barre (Fr.) A bar (not measure); also barre de mesure. — Certain abbrevia- tions are also termed bams.— A\?,o, the low bridge of some stringed instr.s. . . B. d'harmonie, bass-bar.. .B. de Tt'pJti- tiott, a dotted double-bar, indicating a repeat. Barr6 (Fr.) In lute- or guitar-playing, the stopping of several or all the strings by laying the left-hand forefinger across them, the next fret then acting as a ca- potasto or temporary nut to raise their pitch ... 6'/'««c/ barr^, a stop of more than 3 strings. . .C-barr^, see Tranche. Barrel-organ. (Ger. Drehorgel, Leier- kasten; Fr. ovgue a cylindre {not/}, orgue de Barbarie ; It. orgajiet' to.) An instr. (often portable) consisting of a case containing pipes, a bellows, and a cylinder (the barrel) turned by a crank and studded with pins or pegs ; when the cylinder revolves, the pins open valves communicating with the bellows, ■which is worked by the same motion, and wind is thus admitted to the pipes. It generally plays a melody with an harmonic accomp. Larger forms (see Orchestrion) are used in dance-halls, restaurants, or even in churches. — In another variety, hammers striking wire strings (as in the pfte.) are similarly actuated by the revolving cylinder (//- ano-organ, handle-piano). Bart (Ger.) Ear (of organ-pipe). Also Fliigel. Barytone, i. {Gqv. Ba'ryton, Ba'riton ; Fr. baryto}i; It. bari'tono.) The male voice intermediate between bass and tenor, and in quality partaking more or less of the characteristics of both ; thus the Germans distinguish between a i9(;j/- bariton and a Tenor'bariton, and the French had (in earlier usage) basse-tail- le, seconde taille, and tenor concordant. — Its mean a^ compass is from G to /' : ^^- -Hence, a singer having a barytone voice.— 2. A bow-instr. (It. vio'la di bardo'ne or bordone) resembling the viola da gamba, in great favor during the 1 8th century, but now obsolete ; it had 6 or 7 gut strings, stopped by the left hand, above the fingerboard, and a widely varj'ing number of brass or steel strings (from 9 to 24) below it, which acted as sympathetic strings, though sometimes plucked with the left thumb. The upper strings were tuned B E A d f be\ It dates from the 1 7th century. — 3. The euphonium. — 4. Prefixed to instr.-names, barytone dcnoteis the pitch of an instr. intermediate between bass and tenor (or alto); e. g. barytone clannQt.. .Ba>y tone-clef, the (obsolete) /"-clef on the 3rd line. Ba'rytonhorn (Ger.) The euphonium... Ba'rytonschliissel, barytone-clef. . . Ba'' ryionstimnie, barytone voice or part. Bas-dessus (Fr.) Mezzo-soprano. Base. Old spelling of Bass. Bas'kische Trom'rael (Ger.) Tambour- ine. Bass. (Ger. Bass ; Fr. basse ; It. bas'. so.) I. The lowest tone in a chord, or lowest part in a composition. — 2. The lowest male voice ; ordinary compass (or ^'): from F to c' g P L) m. m extreme compass = from C to £•' : — 3. A prefix indicating the lowest in various families of instr.s, as bass trom- bone. — 4. (Ger.) {a) Abbr. for Kontra- bass (double-bass). .. ((5) In earlier usage, a bow-instr. intermediate in size between the 'cello and double-bass, having from 5 to 6 strings., .(t) As a suffi.x to the name of an organ-pipe, bass denotes that it belongs on the pedal ; e. g. Gcmshornbass. — Albertibass, a bass in brok- rv. mm * _ >» en chords like ^' -o 1 f ~ * 1 fj the following: •■ "" &*■■'" . . . Continued or figured bass, bass notes provided with figures indicat- ing the chords to be performed above the notes {Basso contifiuo). ..Bunda- fnentalbass,seeB!/ndamental.. . Ground bass, a continually repeated bass phrase of 4 or 8 measures (basso ostinato)... Murky bass, see Murky. . . Supposed bass, a bass tone other than the root of a chord... Thorough-bass, see that word. Bass-bar. (Ger.Bal'ken; Fr. barre d'har^ nionie, ressort.) In violins and the like, a long narrow strip of wood glued to the inner surface of the belly parallel with and just beneath the G-string, put in to strengthen the belly and equalize the vibration. [The violin-maker Held, of Beuel, Germany, gives the bass-bar a slight diagonal inclination, in accord- ance with a suggestion by Ole Bull.] Bass-clef, /'-clef on the 4th line. (See Clef.) Basse (Fr.) Bass. — (Also applied to the BASSET-HORN— BATON. 25 thick lower strings of an instr., as les basses (Tun piano). . . B. c haniante , the high "singing" (i. e. flexible) bass voice ; a barytone. . . B. chiffn'e, fig- ured bass. ..A continue, basso con- tinuo. . . B. confrainte, basso ostinato. . . B.-contre, a deep bass voice. . . B. de cornet, old term for the serpent, as the natural bass for the cornet family. . . B. de cremone (cremorne, cromorne), the bassoon, or its precursor.. .B. de fliite traversiere, b. (T haulbois, same as pre- ceding. . . B. d' harmonie , the ophi- cleide. . .B. de viole, see Barytone 2. . . B.de violon, b. double, double-bass... B. figure'e, figurate bass. . . B. fonda- mentale, {a) root of a cord, {b) a gener- ator (see Fundamental bass).. .B. guer- ricre, a species of bass clarinet. . . Basse- orgue, an instr. inv. by Sautermuiter of Lyons, in 1812. ..^9. re'citante, see B. chantante...Basse-taille, barytone voice. Bas'set-horn, (Ger. Basselfhom ; Fr. cor de basset ; It. cor'no di basset' to.) An alto or tenor clarinet in F, no longer in use ; „^:|t It has a compass from -^ — TT w^ single Ftoc^: L-^^= reed, and a wooden tube bent at the mouthpiece and bell. Timbre mellow, though of a sombre quality, like the bass clarinet, especially in the lower register. Bassett' (Ger., also Basset'l, Bass'l.) I. Old term for the 'cello. — 2. As a prefix to the names of other instr.s, same as Tenor. — 3. A 4-foot flute- stop on the organ-pedal. Basset'to (It.) i. A small bass viol with three strings (obs.) — 2. When the bass rests, the lowest harmonic part.— 3. Tenor violin (rarely). — 4. An 8 or 16-foot reed-stop in the organ. Bass'flote (Ger. "bass flute.") See Flotenbass.) Bass'geige (Ger.) Familiar term for the 'cello; gro'sseBassgeige, the double-bass. Bass'horn (Ger.) See Appendix. Bass'klausel (Ger.) The cadence-like leading of the bass at a close, from dominant to tonic. Bass'Iade (Ger.) See Windlade. Bas'so (It.) I. Bass, either as the fundamental harmonic part, a bass voice, or a bass singer.— 2. A bass instr., more especially the double-bass. — B. buffo, see Buffo. . . B. cantan'te, (.a) a vocal bass ; (6) comp. Basse chan- tante (opp. to basso prof on' do).. .B. con- cetian'te, the principal bass, as an ac- comp. to soli and recitatives. . . B. con- ti'nuo (or continua'to), a continuous bass provided with figures indicating the chords to be played above it ; also, thorough-bass. . . B. figura'to, (a) basso continuo ; {b) a figurate bass part. . . B. fondamenta'le, fundamental bass... B. numera'to, figured bass. ...5. obbli- ga'to, an indispensable bass part or accomp. ..i9. ostina'to, ground bass... B. prof on' do, a deep, heavy ha.ss...B. ripie'no, see Ripieno. Basson (Fr.) Bassoon...^, quinte, a tenor bassoon a fifth higher in pitch than the ordinary one ; compass : w ^ which is written : w t^^ w ^ ^ 1— : Bassoon'. (Ger. Fagott' ; Fr. basson ; It. figot'lo.) A wood-wind instr. of the oboe family, serving as bass for the wood-wind. The tube is doubled upon itself, forming 2 parallel air-chambers ; the long, curving mouth-piece is of metal, with a double reed ; compass from Bi'y to c'^, on newer instr.s to e"\), and e.xtended by vir- tuosi to e" or even/"^: The unwieldy length of the parent- instr., the bombardo, led in 1539 to the idea of bending the tube back upon itself, and from the faggot-like appear- ance of the new instr. its Italian name is derived. The tone is far softer and mellower than that of the bombardo, and its expression is entirely under the filayer's control. Bass'pommer (Ger.) See Bomhart. Bass'posaune (Ger.) A bass trombone. (See Trombone.) Bass'schliissel (Ger.) Bass-clef. Bass'stimme (Ger.) Bass voice. Bass'tuba (Ger.) See Tuba. Bass viol. See Viol. Ba'thyphon (Gk.; "the deep-toned.") A wood-wind instr. inv. in 1829 by Wieprecht (or Skorra ?) of . . ^. ^jF — Berlin, having a clarinet <^ 7 ^ mouthpiece, and a compass Jf- from contra-Z) to small ^ : Zva. used for a short time in military bands. Ba'ton. I. (Fr. baton de vicsure ; Ger. Taktstock, Taktstab, Taktierstock, etc.} 26 BATON— BEC. It. bacchct'ta [di diretto're].) The staff or wand with which the conductor of a musical performance beats the time. — 2. A rest of 2 measures. Baton (Fr.) A thick vertical stroke traversing i or more spaces of the staff, and indicating, according to the number so traversed, a rest for an equal number of measures : ... replaced m 3 — z::rz — 1 ■ r modern us- =E: Z|„r: age by signs like: (see Measure-rest, \i\-\Aq.x Resi). . .Bdton de meswe, a Baton \. . .B. de jrprise, a repeat. Battante (Fr.) Beating. Battement (Fr.) i. An obsolete grace, consisting of a short trill preceding the principal tone and beginning on the au.xiliarya semitone below it. It had no sign, being always written out in small notes : played : — 2. A Beat 4. Bat'tere (It.) Down-beat. Batterie(Fr.) i. A general term for brok- en-chord figures on stringed instr.s; e.g. distinguished from the arpeggio (ace. to Rousseau) by being played staccato instead of legato. — 2. Striking instead of plucking the strings of a guitar. — 3. A roll on a side-drum. — 4. The percus- sion-group in the orchestra. Battery. An efifect in harpsichord -music; written : =/5z= played : Battiraen'to (It.) Battement. Battu'ta(It.) I. Abeat. — 2. A measure or bar (Jnitluta taken in the narrower sense of "down-beat"; sqq Bit'mo di due battute). — 3. In medieval counter- point, the forbidden progression from a tenth on the up-beat to an octave on the down-beat, between 2 outer parts ; e. g. A battuta, " in time," is a direction for the parts accompanying a vocal melody to keep strict time (opp. to colla parte), conveying a hint to the singer that his delivery should not be too free. 1 Bau (Ger.) Structure, construction. Bau'erlein (Ger.) Baiumjlote. Bau'ernflote,-pfeife (Ger.; "rustic flute"; \.aX. ti'biarures'tris.) A pedal- register not uncommon in old organs, consisting of stopped pipes of i or 2-foot pitch. Baxoncil'lo (Span.) i. An organ-stop like the open diapason. — 2. A small bassoon. Bayadere', Bayadeer'. East-Indian dancing-girl. Ba'yla, Ba'yle (Span.) A dance ; bayle has the more comprehensive significa- tion. bb (Ger.) Double-flat (see Doppel-b). B cancella'tum, B du'rum. See B. Bear'beiten (Ger.) To revise, work over, adapt, arrange, rearrange, touch up . . . Bear'beitung, an adaptation or re- vision, a working-over. Bearing-notes, Bearings. The tones first carefully tuned by the tuner of a pfte. or organ, serving to regulate its entire compass by. Beat. I. (Ger.; Takt'schlag, Takt'teil; Fr. battemott de viesiire, temps ; It. bat- tti'ta.) The motion of the hand or foot in marking time (the equal divisions of the measure). — 2. A division of a mea- sure so marked. — 3. In a trill, a pulsation embracing 2 consecutive tones. — 4. In acoustics, see Acoustics, §3. — 5. An old grace, consisting of a short trill befort the principal note ; written : played : = or z** 6 ,0-^ -r-f-r-r- it. or Beating. Same as Beat 4. Bebisa'tion. Compare Solmisation. Be'bung (Ger.; Fr. balancement ; trc'moio.) I. A rapid pulsation tremulous effect, either vocal or instru- mental, given to a sustained tone for the sake of expression. — 2. Specifically, an effect obtained on the clavichord by holding down a key after striking it, and balancing the finger upon it in such a way as to produce a prolonged, tremulous tone. (On modern piano- fortes having the Erard action, a sus- tained tone can be produced in a some- what similar manner.) Bee (Fr., "beak.") A mouthpiece (of a flageolet, clarinet). BECARRE— BERGKREYEN. 37 B^carre (Fr.) The natural (Q). Bec'co (It.) Same as Bee. . .Becco po- lac'co, a large species of bagpipe. Bech'er (Ger., " beaker, cup.") i. The bell (of various wind-instr.s ; also Schall'trichter). — 2. The tube (of a reed- pipe in the organ; also Aufsatz, Sc ha II' decker). Beck'en (Ger.) Cymbals. Bedeckt' (Ger.) Stopped, as strings ; opp. to leer, open. Bedon (Fr.) Old name for drum. . .Be- don de Bisraye, a tambourine. Bee moll. (Obs., from Lat. B f/io//e, soft B.) Bemol, Bemol. Beffroi (Fr.) Gong (tam-tam). . .Also, an alarm-bell, a tocsin. Befil'zen (Ger.) To felt (put felt on pfte. -hammers). . .Befil'ziutg, felting. Begei'sterung (Ger.) Enthusiasm, spirit. Beglei'ten (Ger.) To accompany. . . Begleil' stimmcn, Beglei'tung, accompa- niment ; accompanying parts subordi- nate to a principal melody. Pei'sser (Ger.) A mordent. Bei'tone (Ger.) Harmonic overtones or undertones.. .Also, auxiliary tones. Bekie'len (Ger.) To furnish with quills, as the jacks 01 r harpsichord. Beklemmt' (Ger., properly beklom'men.) Anxious, oppressed [Beethoven]. Bele'bend (Ger.) Ravvivando. Bele'dern (Ger.) To cover with leather. . . .Bele'derung, formerly, the leather, now, the felt, used in covering pfte.- hammers. . . Also, the strips of leather covering the treble hammers. Belegt' (Ger.) Hoarse, not clear ; veiled (of the voice). Bell. I. (Ger. Glock'e ; Fr. cloche ; It. campa'na.) A hollow metallic instr. of percussion, set in vibration by a swing- ing clapper hung within, or by hammers actuated from without. — 2. (Ger., Schall' trichter; Fr. pavilion; It. pavi- glio'ne.) The flaring end of various wind-instr.s. Bell-diapason. An organ-stop, usually of 8-foot pitch, with open bell-mouthed pipes. Bellez'za (It.) Beauty, grace. Bell-gamba. An organ-stop having conical pipes surmounted by a bell ; also called cone-gamba. Bell-harp. An old variety of harp with 8 or more steel strings and enclosed in a wooden box, which the player swung to and fro like a bell while twanging the strings with the thumbs of both hands inserted through holes in the cover. Bellicosamen'te (It.) In a bellicose, martial, warlike siylt.. .Bellicoso, mar- tial, warlike. Bell-met'ronome. A metronome with a bell-attachment which can be set so as to strike with every second, third, fourth, or sixth beat of the pendulum. Bello'nion. An instr. consisting of 24 trumpets and 2 drums played by a me- chanism ; inv. in 1812 at Dresden. Bell open diapason. Same as Bell-dia- pason. Bellows. {Ger. Balg; Fr. soiifflet ; It. soffiet'to.) The mechanical contrivance for gathering and propelling the wind supplying the pipes or reeds of the organ, harmonium, concertina, bagpipe, and the like. See Organ. Bell-piano. See Glockenspiel {2). Belly. I. (Ger. Deck'e ; Fr. table ; It. ta'vola, pan'cia.) The face (upper side) of the resonance-box of the violin etc. — 2. (Ger. Resonanz'boden ; Fr. reson- natice, table d' har?nonie ; It. ta'vola a)')Ho' nica.) Soundboard of the pfte. Bemol. B-flat. Bemol (Fr.), BemolTe (It.) The flat {r)).. .Be'nioliser {hemollizza're), to flat (set a flat before a note). Ben, Be'ne (It.) Well; as ben vtarcato, well marked ; a bene placito, at pleasure, ad libitum; ben ritmato, see Bien rytkm// ben tenicto, well sustained or held. Benedic'tus. See Mass. Bequa'dro (It.) The natural (i;|). Berceuse (Fr.) A cradle-song, lullaby / hence, a piece of instrumental music imitating the effect of a lullaby. Ber'gamask. (Fr. bergamasque; It. bergama'sca.) A clownish dance in de- risive imitation of the rustics of Ber- gamasca in Northern Italy. (Also ber- gomask, burgomask.) Bergeret'. A pastoral or rustic song or dance. (Also bargaret, bargeret.) Bergk'reyen, Berg'reihen (Ger.) "Dance-tunes from the mountains;" the title of various collections of dance- music. 28 BES— BIT. Bes (Ger.) B double-flat ; generally called H>. Besai'ten (Ger.) To string, put strings on. Bestiramt' (Ger.) With decision, energy. Beto'nen (Ger.) To accent, emphasize. ..Betonf , accented... Belo'nung, accent, stress, emphasis. Bet'tlerleier (Ger.) Hurdy-gurdy. . . Beftle7-oper, Beggar's Opera. Bewe'gen (Ger.) To move, stir, agitate. . .Bt'wt'gi, moved ; con ??ioto. . .Bcive'- gnng, movement, agitation (comp. Mo- tion)... Be we' giingsart, see Alovement I, 2, 3- Bezif'fern (Ger.) To figure (as a bass). ...Bezif'/ert, figured. . .Bezif'/enuig, figuring. Bezug' (Ger.) All the strings of, or a set of strings for, any stringed instr. Bian'ca (It., " white.") A half-note. . . Voce bianca, see Voce. Bibi (Fr.) A pianette. Bibrev'is (Lat.) See PyiThic. Bi'chord. i. Having 2 strings. — 2. The technical term for an instr. having a pair of strings, tuned in unison, for each tone (as the mandolin, lute, and certain pftes). Bici'nium (Lat.) A 2-part composition, especially a vocal one. Bi'fara (also biffara, bi'fra, piffara, piffero). An organ-stop, the pipes of which are either double-mouthed or paired ; the two members of each pair being tuned at slightly different pitches, the interference of the sound-waves produces a gentle tremolo. (Also Ce- lestina, Unda maris, etc.) Bifari'a. Title of a Presto in 3-mea- sure rhythm, in an Invention or Suite ascribed to J. S. Bach. Biju'ga(Lat.) The " 2-necked " cither. Bimol'le (It.) Same as Bemolle. Bi'na. See Vina. Bi'nary. Dual ; \.^o-'^ar\.. .. Binary form , a form of movement founded on 2 prin- cipal themes (comp. Sonata), or divided into 2 distinct or contrasted sections.. . Binary measure, that of common time, the first of every 2 members taking the accent ; i. e. the regular and equal alter- nation of the down-beat and up-beat. Bind. I. Properly, a tie (a curved line connecting 2 notes of like pitch, or enharmonically changed ; written by Sterndale Ben- nett in bracket-form : ? ^ and by Morley in 1597 thus : to distinguish it from the Slur). — 2. The brace binding together the several staves of a score. Bin'debogen (Ger.) A slur, or a tie. Bin'den (Ger.) To bind, tie ; to con- nect, play or sing smoothly and con- nectedly (legato). . . Gebun'den, bound, tied ; legato. . . Gebun'dener Stil, strict style of composition, in which disso- nances are prepared (tied over). . . Also see Gebunden. Bin'dung (Ger.) A ligature, bind, tie, or slur ; hence, a suspension or synco- pation ; also, the legato. . .Bi n'dungs- zcichen, a sign used to express any of the above. Biqua'dro (It.) Same as Bequadro. Birn, Bir'ne (Ger.) Socket. Bis (Lat., "twice".) i. Signifies that a measure, passage, or section is to be re- peated ; often written over or under a slur embracing the music to be repeated. — 2. Used by the French as an excla- mation of applause (" again !"), like the French word " encore " in English usage. (See Bissare.) — 3. The second part, or a continuation, of a scene on the stage ; e. g., let-''; 16'" and lei"*" then mean the third and fourth parts, respectively, of such a scene. Bis'chero (It.) Peg (tuning-peg) of a violin, lute, etc. Biscro'ma (It.), Biscrome (Fr.) A i6th-note. Bisdiapa'son. The interval of a fif- teenth, or double-octave. Biso'gna (It.) " Is necessary," "must"; as si bisogna da capo al segno, must be repeated from the beginning to the sign. Bisqua'dro (It.) Same as Bequadro. Bissa're (It.), Bisser (Fr.) To encore. Bissex (Lat., " twice six" ; Ger. Zwolf- saiter.) A kind of guitar having 12 strings, of which the 6 highest ones could be stopped on a fretted finger- board ; compass 35 octaves ; invented 1770. Bis unca (Lat., "twice hooked.") A sixteenth-note. Bit. A short additional piece of tube used to lengthen a crook in the cornet ii BIZZARRAMENTE— BOMBARD. 99 pistons, etc., for slightly modifying the pitch. Bizzarramen'te (It.) Bizarrely, whim- sically, fantastically. . .^/ssarr/'rt, a freak, whim, fancy, extravagance... Bizzar'rOy-a, bizarre, fantastic, etc. Blanche (Fr., "white".) A half-note. Bla'ser (Ger., "blower.") A player on any wind-instr. Blas'instrument (or Bla' seinsirument) (Ger.) Wind-instrument... .5 /a'j-c' bellows. Blatt (Ger.) Reed (of a wind-instr.; also Rohr'hlatt).. .Dop'pelblatl, double reed. Blech'instrument (Ger.) Brass instru- ment, metal wind-instr. Blind (Ger.) " Blind". . .Blinde Pfeife, dummy pipe {ovga.n)... Blinder Doppel- triller, a simulated p^ (^ or imperfect double ri5=^^^^ etc. trill ; e. g. rg ** m — : Bloch'flote, Block'flote (Ger.) i. A small kind oi Jfii/e a bcc, in vogue in the i6th century. — 2. An organ-stop having pyramid-shaped flue-pipes of 2, 4, 8, or 16-foot pitch, and sometimes stopped. Block. In violins, etc., the blocks are small pieces of wood within the body, glued vertically to the ribs between belly and back to strengthen the instr. Blower. (Ger. Bal'gentreter, Kalkant' ; Fr. souffleitr ; It. iiraman'iici.) A person working the bellows of an organ. B molle. See B. Boat-song. i. A song intended to be sung in a boat, especially in time with the oars. — 2 A vocal or instrumental composition imitative of i. {Barcarole, Go?idoliera.) Bob. A term in change-ringing applied to the various sets of changes which may be rung on 6 bells (bob minor), 8 bells (bob major), 10 bells (bob royal), or 12 bells (bob ma.ximus). Bobisa'tion. A collective term for the various methods proposed, during the 16th and 17th centuries, for naming the tones of the scale by syllables. (See Solmisaiion.) Boca! (Fr.) Mouthpiece of the horn, trombone, serpent, etc. — Also, the crook of the bassoon. Boc'ca (It.) '^loMXh....Con boccachiu'sa, with closed mouth (comp. Brumm- stimmen).. .Bocca riden'te, "smiling mouth," the position necessary for the production of beautiful tones. Bocchi'no (It.) Mouthpiece of a wind- instr. Bocedisa'tion. See Solmisation. Bock (Ger.; s\so pol'niscker Bock, Gross- Bock.) The bagpipe. Bocks'triller (Ger., "goafs-trill"; Fr. chevrotement ; It. iril'lo capri'no.) A trill like a goat's bleat ; the repeated interruption of one tone instead of the alternation of two. Bo'den (Ger.) Back (of violin, etc.) Body. I. (Ger. Cor' pus, SchalV hasten; Fr. coffre, corps ; It. cor'po.) The re- sonance-box of a stringed instr. — 2. That part of a wind-instr. remaining after removing the mouthpiece, crooks, and bell. — 3. The tube of an organ- pipe above its mouth. — 4. A tone is said to have "body" when it is full and sonorous ; the resonance of a tone is also called the body. Boehm Flute. See flute. Bo'gen (Ger.) i. A bow. — 2, A slur or tie {Hal' tebogen, Lega'tobogen, Bin'- debogen). . .Bo'genfliigel, piano-violia {Bo'gen ham merkla vier , Bo'gen kla vier). .. .Bo'genfukntng, see Bowing I... Bo'genstrich, stroke of the bow. Bois (Fr.) Wood. . .Zt-j ^f/j (pi.), wood- wind. Boite (Fr.) Box ; swell-box {boite d'ex- pression). . . Ouvrez la boite, or boite ou- verte, open swell ; fermez la boite, close swell. Bole'ro (Span.) i. A Spanish national dance in 3-4 time and lively tempo (al- legretto), in which the dancer accom- panies his steps with castanets ; also called Cachucha. The c a stanet-rh ythm runs as follows :• alternating with the melo- dy-rhythm : — 2. A composition in the style of a bolero. Bora'Tjard. (Ger. Bom' hart, Bom'mert, Porn'mer; Yx.bombarde; It. bombar'do.) A wind-instr. of the oboe family, with a wooden tube and double reed ; proper- ly, the bass instr. of the shawms, though sometimes made as a smaller instr. The unwieldy length of the larger sizes led to the invention of the bas. 30 BOMBARDE— BOYAU. soon, which is a bombard with the tube doubled upon itself, and thus shortened by half. The bombardo' ne or contia- bombard (Ger. Bass' bomhari) was the deepest, followed by the bass bombard {Boinhart), the tenor or basset-bombard {Basse tt' bom hart), and the alto or bo/)i- ba r'do pic'colo. Bombarde (Fr.) i. Bombard. — 2. Po- saune 2. Bombar'don. i. A large instr. of the trumpet family, used as a bass in mili- tary music, and belonging, in its mod- ern forms, to the saxhorn group ; the usual sizes are in Br^, F, C, and contra- B[) ; but the bombardon proper, old model, is in F, having 3 valves and a com- pass from contra-/' to d^ : It is non-transposing. — 2. i^ The bass of the sa.xhorns. — 3. A deep-toned reed- stop in the organ. Bora'bo (It.) A figure in repeated notes. Bom'byx (Gk.) An ancient Greek wind- instr., presumably with a reed. Bon (Fr.) Good.. .Bon temps de la mesure, strong beat. Bonang. A Javanese instr. consisting of gongs mounted on a frame. Bones. A set of 4 pieces of bone, wood, or ivory, held pairwise between the fingers, and used to mark time as a rat- tling accompaniment to a dance, song, or instrumental performance. Book. I. (Ger. Heft : Fr. cakier; It. li'bre.) A part of a series of songs, ex- ercises, etc., under a separate paper cover. — 2. The words (libretto) of an opera, oratorio, etc. Boot. The foot of a reed-pipe (organ). Bordun' (Ger.) Bourdon. (The 2 free strings on either side of the fingerboard of the hurdy-gurdy, that kept up a con- tinual humming, were called Bordune; borduntis occurs as the name of the bass strings stretched beside the finger- board of the ancient viella.) Bouche (Fr.) Mouth; a bouche femi^e, with closed mouth (comp. Brumm- stimmen). Bouch6(e) (Fr.) Muted (of wind-instr.s) ; stopped (of organ-pipes). Bouffe (Fr.) Same as Buffo.. .Opera bouffe, comic opera. Bourdon. (Fr.) i. A drone bass. — 2. An organ-stop of 16 or 32-foot pitch. having stopped wooden pipes, some- times with metallic tops ; tone usually hollow or " fluty," i.e. deficient in har- monics. The French also have open bourdons of 8 and 4-foot pitch {bour- dons de liuit, de quatre ouverts). — 3. In French usage, the lowest string of the 'cello and double-bass ; — also, a great bell, as the bourdon of Notre- Dame. . .Faux-bourdon, see Faburden. Bourr^e (Fr.) i. A dance of either French or Spanish origin, from Au- vergne or Biscaya, in rapid tempo, con- sisting of 2 parts of 8 measures each and in 4-4 or 2-4 time. — 2. A move- ment in the earlier Suites, in alia breve time. Boutade (Fr.) i. A short ballet per- formed, as it were, impromptu. — 2. An instrumental impromptu or fantasia, — 3. An old French spectacular dance. Bow. (Ger. Bo' gen; Fr. archet; It. ar'eo.) An implement originally curved out- ward, though now slightly inward, consisting of an elastic wooden rod (the slick), and of from 175 to 250 horse- hairs [Grove] (the hair) attached to the bent faint or head, and drawn into proper tension by the sliding tnit, which is actuated by the screw, (Schuster & Otto, Markneukirchen, have recently [1893] manufactured bows with fine gut threads in lieu of hairs.) After rubbing the hair with rosin, the bow is drawn across the strings (of the violin, bow-zither, etc.), setting them in vibra- tion ; the vibration is communicated to the resonance-box, which latter reinfor- ces the weak tone of the strings. . .Bow- arm ox -hand, the right arm or hand.. . Boiu-guitar (It. c hi tar' r a coll' arco), a species of violin with a guitar-shaped body. . . Bow-clavier, Bozv-harpsichord, see Piajio-violin. . .Bow-instrument, one played with the aid of a bow, as the violin or ho'^-z\\X\^x.. .Bow-zither , see Zither. Bov7 {verb.) i. To execute with a bow. —2. To mark (a passage or piece) with signs indicating the bowing. Bowing. I. (Ger. Bo'genfiihrung.') The art of handling the bow ; the style or method of a player, — "his bowing as shown in his management of the bow." — 2. (Ger. Strich'art.) The method of, and signs for, executing any given passage; "the bowing of the passage." Boyau (Fr.) Gut ; hence, gut string. BOZZETTO— BRIO. 31 Bozzetto (It.) Sketch. B quadra'tum, B qua'drum. See^. Braban^onne. The Belgian national hymn. Brac'cio (It.) The arm. . . Viola da braccio, see Viola. Brace. I. (Ger. Klam'mer ; Fr. ac- colade ; It. grap'pa.) A bracket con- necting the heads of 2 or more staves. — 2. One of the leathern slides on the cords of a side-drum. Branle, Bransle (Fr.) A brangle or brawl ; an old French dance in 4-4 time, in which several persons joined hands and took the lead in turn. Branle was the generic name of all dances in which, like the Cotillon or Grossvatcr, one or two dancers led the rest, who imitated all the evolutions of their leaders. (Also B?-anlle.) Brass-band. See Band 2 ; distinguished from full military band by omission of reed-instr.s. . .Brass-wind, collective term for the players on metal wind- instr.s in an orchestra. Bra'tsche (Ger.) The tenor violin (comp. Viola). Bra'vo (It., masc. adj., pi. bravi ; fern. brava, pi. brave.) Used as an inter- jection, signifying "well done!" and the like ; superlative bravissi>no,-a, etc. Bravour' (Ger.) See Bravura. . .Bra- vour'arie, aria di bravura. . .Brazwur'- s/iick, a vocal or instrumental piece of a brilliant and florid character. Bravoure (Fr.) See Bravura. . . VaLte dc bravoure, an instrumental waltz of a brilliant, showy character. Bravu'ra (It.) Boldness, spirit, dash, brilliancy. .. .(4 'r/a di bravura, a vocal solo consisting of difficult runs and pas- sages, designed to show off the singer's voice or skill. . . Con bravura^ with boldness, etc. Brawl. See Branle. Break. i. The point at which one register of a voice or instr. passes over into another ; in the voice, the junction of the head- and chest-registers ; in the clarinet, between the notes : .. .Breaking of voice, see Mutation. —2. A false or imperfect tone produced by incorrect lipping of a horn or trum- pet ; or by some difficulty with the reed of the clarinet (the "goose"); or, in singing, by some defect in the vocal '^— g^- organs. — 3. In an organ-stop, when playing up the scale, the sudden return (caused by an incomplete number of pipes) to the lower octave ; also, in com- pound stops, any point in their scale where the relative pitch of the pipes is changed. Breakdown. A negro dance (U. S.) of a noisy, lively character. Breathing-mark. A sign set above a vocal part to show that the singer may (or must) take breath at that place ; written variously (', *, \' , V, //). Breit (Ger.) Broad, stately, slow. Brett'geige (Ger.; also Sack'geige, Spilt' - violgeige, Stock'geige, Ta'schengeige.) A kit. Breve, i. (Lat. and Ger. Brev'is ; Fr. breve ; It. bre've.) A note equivalent to 2 whole notes or semibreves ; the long- est employed in modern ^j^ ^ j , ;^:::p music. Itis written thus : — 2. In medieval music, a note having \ or \ the time-value of the Icnga (comp. Mensurable music). . .Alia breve (It.), (a) originally, a time of 4 minims (= I breve) to the measure ; time-signature C|Z). later Cp ! this is 2-r or great alia breve time, (b) Now, 4-4 time with 2 beats instead of 4 to the measure, and in quicker tempo ; time-signature (|> ; also called alia cappella; — opp. to Tempo or dinar io I. Brev'is (Lat.) A breve. Bridge. (Ger. Steg ; Fr. chevalet; It. ponticel'lo.) I. In bow-instr.s, a thin, arching piece of wood set upright on the belly to raise and stretch the strings above the resonance-bo.x, and to com- municate to it their vibrations, which the bridge also cuts off from the rear ends of the strings. — 2. In the pfte. and other stringed instr.s, a strip or rail of wood or metal over which the strings are stretched. Brief. Obsolete for Breve. Brillant,-e (Fr.), Brillan'te (It.) Bril- liant, showy, sparkling. BrilTenbasse (Ger.) "Spectacle-basses," familiar term for the abbreviated nota- tion of alternating . eighth-notes or i6th- ^'^^ notes, e. g. ''^~ Brin'disi (It.) Drinking-song, some- times in style oi Jodler. Bri^) (It.) Vivacity, spirit, fire..,C?« ^J r * :^ 32 BRISE— BURLESQUE. with fire and vivacity, Broken (as chords), brio, or brio' so, spiritedly. Bris6,-e (Fr.) CadcHie bris/r, a grace consisting of a short trill beginning on the higher aux- iliary note : -7- Broderies (Kr., pi.) Ornaments, embel- lishments. Broken cadence. See Cadence.. .Brok- en chords, chords the tones of which are sounded in succession instead of together (see A rpeggio). . . Broken music, music for the harp, guitar, and other instr.s on which the chords are generally ^■"Pcggio'd or broken. . . Broken octai'es, series of octaves in which the higher tones alternate with the lower, thus : HJ p P p B rotun'dum. See B. Brumm'eisen(Ger.) Ajew's-harp (usu- ally Maul' trommel). Brum'mer (Ger.) Drone. Brumm'stimmen (Ger.) " Humming voices " ; production of tone without words, through the nose, with closed mouth {a boc'ca ckiu'sa) ; a not infre- quent effect in male quartets, especially as an accomp. to a solo part. Brumm'ton (Ger.) Drone. Bruscamen'te (It.) "Brusquely" or forcibly accented. Brust (Ger.) Breast; c\\tsi.. .Brust'- stimme, chest-voice. . .Brust' ton, chest- tone. . .Brust'werk, (usually) the pipes of the swell-organ or choir-organ as set up together in the middle of the instr. Bu'ca (It.) Sound-hole of lute, mando- lin, etc. Bucci'na (Lat.) Either a curved trumpet, originally the horn of an ox ; or a straight trumpet {tuba), the prototype of the trombone or posaune. Bucco'lico,-a (It.), Bucolique (Fr.) Bucolic, pastoral, rustic. Biich'se ((]er.) Boot (of a small reed- pipe in the organ) ; also Hose. Buch'stabentonschrift (Ger.) Alpha- betical notation. Buffa're (It.) To play the wag or buf- foon, to jest, trifle. Buffet (Fr.) Organ-case, or case of any partial organ . . . Buffet d' argues, a small organ complete, its case and all within. Buffo, -a (It.) Comic, humorous ; hence Buffo, Buffo-singer, the comic actor in an opera ; a comic singer.. .Aria buffa, comic air or aria. . . Opera huffa, comic opera. . . Buffone, comic opera-singer. Buffone'sco,-a (It.) Droll, ludicrous.. . Buffonescamen'te, drolly, etc. Bugle, Bugle-horn. (Ger.) Bu'gelhorn, Flu'gelhorn ; Fr. bugle; It. h-om'ba.) I. A wind-instr. of brass or copper, with cupped mouthpiece, used for in- fantry calls and signals, having 7 har- monic tones : m$ =t: a compass of over 2 octaves : i^^ and made in various pitches {B\), C, E^). — 2. The key-bugle {Ketit bugle. Regent's btigle) (Ger. Biigelhorn mit Klappen; Fr. bugle a, cles) ; it has 6 keys and ^ ^ ; inv. by Halli- day in 1815. — 3. Valve-bugle (see Saxhorn). Biih'nenweihfestspiel (Ger.) "Stage- consecrating festival play ; " the epithet bestowed by Wagner on Parsifal, his last musical drama. Bund ((ier.) A space between frets, on a fretted fingerboard. \^Bund is used as effectively synonymous with/;c/y e. g.. Bund I. means ist f?-et, the string being stopped on the fret by pressure in the space just behind it.].. .Bundfrei (" unfretted," i. e. not spaced off by 2 or more frets or tangents), a term desig- nating a clavichord in which each key had its own string ; opp. to gebunden. Buonaccor'do (It.) A small spinet with narrow keys, for children. Buo'no,-a[boo-o'no] (It.) (^ooA.. .Buona nota, an accented note (one on a strong beat) ; btion gttsto, good taste. . . Buo- namen'te, well, accurately. Burden, i. A refrain or chorus recur- ring after each stanza of a song. — 2. The drone of the bagpipe. — 3. The bass part. Bur'la (It.) A joke, ]est.. .Burlan' do, joking, jesting, rom'pmg.. .Burle'sca, a h\ir\Gsqne.. . .Burle' SCO, -a, burlesque, farcical, comic. . .Burlescamen'te, in bur- lesque style. Burlesque, ilt. burle'sca.) A dramatic BURLETTA— CADENCE. 3$ extravaganza, or farcical travesty of some serious drama or subject, with more or less music. Burlet'ta (It.) A comical operetta or musical farce. Busain {Bitsaun, Buzain). A reed-stop in the organ, generally of i6-foot tone, and on the pedal. Button. I. A small round disk of leath- er screwed on the tapped wire of a tracker to keep it in place. — 2. A key of the accordion, etc. — 3. The round knob at the base of the violin, etc. Bux'eatib'ia, Bux'us(Lat.) An ancient oox-wood flute with 3 finger-holes, re- sembling the Phrygian flute. c. C. I. (Ger. C; Fr. ut ; It. do.) The first tone, 1st degree, or key-note of the typical diatonic scale of C-major. (Com- pare Alphabetical notation, and Sol- misation.). . . Q - on the pfte.- — keyboard; Ten- '^ or Cxs, small c. — 2. Abbr. for Capo (D. C.=da capo); Cantus, Canto (c. f. = cantus firmus or canto fermo); Col (c. B.=col basso, c. 8va = coU'ottava); C.-B. (Cb.) = con- irabbasso. Cabalet'ta (It.) A song in rondo-form, with variations, often having a triplet accomp. imitating the hoofbeats of a cantering horse. Cabinet d'orgue (Fr.) Organ-case. Cabinet organ. See Rced-organ. Cabinet pianoforte. An old style of upright pfte.; a grand pfte. set on end. Cabis'cola (Lat.) Precentor of a choir. Cac'cia (It.) The chase ; a hunt. .. .4 //a £., in the hunting style (i. e. accompan- ied by horns). Middle note ton.). . . -A- le-C, the m Cachee (Fr.) Hidden, concealed, cov- ered ; said of fifths and octaves. Cachu'cha (Sp.) A dance similar to the Bolero. Cacoph'ony. (Fr. cacopkonie ; It. caco- foni'a.) Discord ; harsh or discordant music. Cadence. (Ger. Kadenz' ; Fr. cadence; It. caden'za.) I. See Cadenza. — 2. The measure or pulsation of a rhythmical movement. — 3. {a) In general, the closing strains of a melody or harmon- ic movement, {b) Specifically, an har- monic formula (i. e. succession of chords) leading to a momentary or complete musical repose ; the close or ending of a phrase, section, or movement.. .Amen c, popular term for plagal c, to which the word amen is often sung. . .Authen- tic c, see Perfectc. .Avoided, Broken, Deceptive, or False c, see Interrupted c. . Complete c, a perfect c. . .Ha-lf -ca- de nee (half -close), or Imperfect c, the chord of the tonic followed by that of the dovainsint. . .Interrupted c, an unexpected progression avoiding some regular ca.dence.. .Irregular c, an in- terrupted c. .Medial c, in ancient church-music, one in which the mediant was peculiarly prominent. . .Alixed c, that formed by the succession of the subdominant, dominant, and tonic chords, it thus being a " mi.xture" of the authentic and plagal cadences. . . Perfect c., the dominant triad or chord of the 7th followed by the tonic chord ; the authentic cadence of the ecclesias- tical modes. . . Plagal c, that formed by the chord of the subdominant followed by the tonic chord ; opp. to authentic c. . . Surprise c, an interrupted c. . .Radical c, a close, either partial or complete, formed with two fundamental chords. . . Whole c, a perfect c. — A few examples are given below : Authentic. Plagal. Interrupted. Mixed. ^ i i :^ i:^ izr =2S: ^ 22= ^ ^ "gy' -2:sz Cadence (Fr.) i. A cadence 2 and 3. — 2. A trill (as c. brillante, c. perh'e). — C. hris/e, see Bris^e. . . C. ivite'e, avoided cadence. . . C. imparfaite (or sur la domi- nante), half-cadence. . . C. interroinpue. interrupted cadence. . . C. irr^guKire^ half-cadence. . . C. parfaite (or sur la tonique), perfect cadence. . .C. plagale, plagal cadence. . . C. pleitie, (a) a trilJ preceded by the higher auxiliary as a 34 CADENT— CANON. longf appoggfiatura ; {l>) the profession from a dissonant chord to a consonant one. . . C. ronipttf, broken cadence. Cadent. An obsolete grace (see Grace). Cadenz (Ger.) See Kadenz. Caden'za. i. A brilliant passage in a vocal solo, usually at its conclusion, having the effect of an extemporiza- tion, but commonly prepared before- hand. As an interpolation on the singer's part, such c. s are no longer in vogue. — 2. An elaborate and florid pas- sage or fantasia introduced in, and in- terrupting, the closing cadence of the first or last movement of a concerto ; the orchestral accomp. generally pauses after a hold on the * chord of the tonic, leaving the field clear for the perform- ance, by the solo instr., of the cadenza. This is either a more or less original effort of the soloist, or a supplementary passage written out by the composer himself or some other musician. Such cadenzas are for the most part built up of themes or reminiscences from the work to which they are appended, and are always calculated to display the soloist's proficiency in the most brilliant light. Caden'za (It.) A cadence.. . C. fin'ta or d'ingan'no, a deceptive cadence. . . C. Jioritu'ra, an ornamented cadence. Caesura. See Cestira, Caisse (Fr.) A drum...C. plate, the shallower side-drum. . . C. roulanle, drum with wooden cylinder, that of the ordinary caisse being of copper. . . Grosse c, bass drum (also Gros-tambour). Calamel'lus. See Calamus. Ca'lamus (Lat.) A reed-flute or reed- pipe (chalumeau ; shawm). . . C.pastora'- lis, or tibia' lis, a very ancient wood- wind instr., a reed with 3 or 4 finger- holes. Calan'do (It.) Decreasing. An expres- sion-mark denoting a decrease in loud- ness, usually coupled with a slackening of the tempo. Calandro'ne (It.) A small variety of chalumeau or clarinet, a favorite among the Italian peasantry. Calascio'ne (It.) A variety of lute or guitar with fretted fingerboard, and 2 gut strings, tuned a fifth apart and twanged with a plectrum ; found in lower Italy. Cala'ta (It.) A lively Italian dance in 2-4 time. Calcan'do (It.) Hastening the tempo. Calichon (Fr.) Calascione. Calisonci'no (It.) Calascione. Call. A signal given by the fife, bugle or drum, calling soldiers to some spe- cial duty. Calli'ope (also Kalli'ope). A steam- organ ; a species of pipe-organ having a harsh tone produced by steam under pressure instead of wind. Callithum'pian concert. (Ger. Katz'- enmusik ; Fr. charivari; It. chias'so, scampaiia'ta.) A boisterous serenade given to some person who has become an object of popular hostility or ridi- cule ; characterized by the blowing of horns, beating on tin pans, derisive cries, groans, hoots, cat-calls, etc. Cal'ma (It.) Calm, tranquillity. .. Gr/- man'do, calm, growing quieter. .. Ca/- ma'to, calmed, tranquilized. Calo're (It.) Warmth, passion ; con c, with warmth, etc. . .Caloro' so, warmly, passionately. Cambia're (It.) To alter, change... Nota camhia'ta, changing-note. Ca'mera (It.) Chamber, room. . .Mu'sica die, chamber-music ... .S^wa/a di c, chamber-sonata.. .Alia c, in the style of chamber-music. Camminan'do (It.) "Walking," mov- ing, flowing. (See Andante.) Campa'na(It.) A bell ; in eccles. usage, a church-bell.. .Campanerio,-a, a small bell.. .Campanelli' no, a very small bell. . . Campani'sta, a bell-ringer. Campanet'ta (It.) See Glockenspiel. Campanology. Theory of the con- struction and use of bells. Canarder (Fr.) To produce a " couac " on the clarinet or oboe. Qa.na.T\Q {Canaries, Canary ; It. Cana'rio). A lively dance of French or English origin, the melody being in 6-8 or 4-4 time and having 2 phrases. Cancel. Sec A^atural i. Cancrizans (Lat.) Retrogressive. (It. cancrizzamen' te , cancrizzan'te.) Can'^na (It.) A reed or pipe.. .Canne d'a'nima, flue-pipes ; canne a lin'gua, reed-pipes. Canon. (Ger. Ka'non ; Fr. canon ; It. ca'none.) I- The strictest form of CANONE— CANTICLE. 35 mus. imitation, in which two or more parts take up in succession exactly the same subject. — The part taking the lead is called the antecedent, and the following part the consequent. Canons are now usually written out in full, but during the high tide of medieval counter- point it was customary to write only the antecedent, and to mark the successive entrances of the other parts by signs or merely by mysterious superscriptions {enigmatical canons)', the superscription was then called the canon (i. e. rule, di- rection), while the composition was called the f'i'ga or consegiien'za. — Ac- cording to the interval from the ante- cedent at which the consequent enters, the canon is called a C. in tntison (the consequent taking the very same notes as the antecedent, but of course enter- ing later) ; C. at the octave (the conse- quent entering an octave above or be- low) ; C. at the fifth, fourth, ttc. The c. could also be varied, like the fugue, by the diminution or augmentation of the theme, by inversion or retrogression, etc. (Comp. Fi(gue.) When the parts entered at the time-interval of a minim one after the other, the canon was called a ftiga ad mininiam. — 2. Ancient Greek name for the Monochord. Ca'none (It.) A canon.. .C. aper'to, an " open" canon, i. e. one written out in full. . . C. cancrizzan'te, canon by retro- gression. . . C. chin' so, a " close " canon, in which only the leading partis written ou4 in full ; an enigmatical canon.. . C. enigma' tico, enigmatical canon (see Cation). . . C. in/mi' to or perpe'tno, an infinite canon ; one which, without a specially added close, can be sung on for ever. . . C. sciol'to, a canon in free imitation. Canonical hours. The 7 canonical hours of the R. C. Church are the established times for daily prayer ; called matins (incl. uoctu7-ns z.nA lauds), prime, terce, sext, tiones, vespers, aiid complin. Those from prime to nones are named after the hours of the day, prime (the first hour) being at or about 6 A. M., terce (the third) at 9, sext (the sixth) at noon, and nones (the ninth) at 3 P.M. Cano'nici. See Harmonici. Canonic imitation, strict imitation of one part by another (see Canon). Canta'bile (It.; In a singing or \' ul style. Where a passage is so marked, the leading melody should stand out well from the accomp., and the general effect should be free and flowing. Cantamen'to (It.) Same as Cantilena, Canto. Cantan'do (It.) See Cantabile. Cantan'te (It.) A singer ; also, singing, gay. Canta're (It.) To sing.. . C. a a'ria, to sing with more or less improvisation. . . C, a orec'chio, to sing by ear. . . C. di tnanie'ra or maniera'ta, to sing in a florid or ornamental style. Canta'ta (It.) Originally, a vocal piece, as opp. to an instrumental one, or sonata. But cantata has come, like sonata, to mean a definite form of com- position, with the difference, that all earlier forms once called cantate must still be taken into account in defining the word cantata, whereas no one would now think of calling a short and simple prelude a sonata. — In modern usage, a cantata is a more or less ex- tended vocal work with instrumental accomp., consisting of chorus and solos, recitative, duets, etc.; distinguished from the oratorio and opera by the ex- clusion of scenic effects and the epic and dramatic element ; though the lat- ter can, of course, not be entirely ex- cluded, as even the purest lyrical emotion may often be intensified to dramatic pathos. —In the sacred cantata this form of composition finds its finest and most unequivocal expression. Cantatii'la, Cantati'na (It.) A short cantata. (Fr. cantatille.) Cantato're (It.) A male singer ; Canta- tri'ce, a female singer. Cantato'rium (Lat.) A music-book, book of song ; a service-book of the R. C. Church containing the music of the Antiphonary and Gradual. Canterellan'do (It.) Singing softly ; trilling, warbling ; from canterella' re , to hum, etc. Can'ticle (Lat. can' ticum ; Ger. Lob'ge- sang ; Fr. cantique ; It. can' tico.) I. One of the non-metrical hymns of praise and jubilation in the Bible. — 2. A sacred chant based on or similar to I. — The Evangelical c2s\\S.c\g.s {Cantica majora) of both the Catholic and An- glican church are taken from the Gos- pels, and embrace the Magnificat (" Magnificat anima mea"), the Bene- dictus (" Benedictus dominus deus Is- 36 CANTICO— CAPRICCIETTO. rael "), and the Nunc dimittis (" Nunc dimittis servum tuum"). — The 7 Cantica minora are taken from various parts of the Old Testament. Can'tico (It.) See Canlicnm. Can'ticum (Lat.) i. In the ancient Roman drama, any passage sung by the actors. — 2. A canticle. — Can'tica gra'dutim, the Gradual... Canticurn Can- tico'rum, Solomon's Song. Cantile'na (It., "a little song"; Ger. Cantih-ne ; Fr. cantilhie.) I. In me- dieval music, a solfeggio ; also, a can- tus firmus as used in church-music. — 2. Formerly, the higher or solo part of a madrigal ; also, a small cantata or short vocal solo. — In modern usage, a ballad or light popular song ; also, in instrumental music, a flowing melodious phrase of a vocal character ; often used to define a smooth and voice-like ren- dering of slow melodic passages. Cantilenac'cia (It.) A vile song. Cantilena're(It.) To singinalov(rvoice. Cantilla'tio (Lat.) See Intonation i. Canti'no (It.) Same as Chanterelle. Can'tio (Lat.) A song, an air. Cantique (Fr.) A canticle ; also, a choral, or hymn-tune. Can'to (It.) I. The soprano ; the high- est vocal or instrumental part. . . Col c. same as colla parte. — 2. See Cantino. — 3. A melody, song, chant. — C, a cap- pella, same as Cappella, a.. .C. Ambro- sia' no, Ambrosian chant. ..C. armo'nico, a part-song. . . C. avma'tico, a melody in chromatic style. . . C. fer'mo, see Cantus firmus.. .C. figura'to, figurate melody. . . C. Gregoria' no ^ Gregorian chant. . . C. pla'no, plain chant. . . C. pri'mo, first soprano. . . C. recitati'vo, recitative or declamatory singing. . . C. ripie'no, see Ripieno. . . C. secon'do, sec- ond soprano. Can'tor i. (Lat.) A singer, a precentor. . . C. chora'lis, chorus-master. — 2. (Ger.) See A'antor {on p. 238). Canto're (It.) A singer ; a chorister. Canto'ris (Lat., " of the cantor.") Term designating the side of a cathedral choir on which the precentor (cantor) sits, i. e., on the left or north side of a person facing the altar ; opp. to the deca'ni ("of the dean") side. Can'tus (Lat.) A song, a melody. . . C. corona' tMs, see C. fractus. . . C. du'rus. see Dur. . . C. ecclesiasticus, (a) church- music in general ; {b) plain song ; {c) the musical rendering of a liturgy, opp. to merely reading it . . . C. figura'lis, mensurable music. . . C. figiira'tiis, a melody with a florid or figurate contra- puntal accomp. . . C. fir'mus, a fixed or given melody ; {a) plain song ; {b) in modern counterpoint, a given melody, usually in imitation of a, to which other parts are to be set according to rule. . . C. frac'tus, a broken melody; a term applied to a tune which proceeded either by perfect or imperfect conso- nances. When accomp. by a faux bour- don, it was called Canttis corona'tus. [Stainer and Barrett.].. .C. Grego- ria'nus, Gregorian chant. . . C. mensura- bilis, see Notation, §3 . ..C. mol'lis, see A/oll. . . C. natura'lis, see Mutation. . . C. pla'?ius, plain song. Canun', See Kanun. Canzo'ne (It., also Canzo'na.) Origi- nally, a folk-song (Fr. chanson) ; later, a secular part-song in popular style, hence the Canzo'ni Napolita'ni, Sici- lia'ni, etc. ; many such songs closely re- semble the madrigal. The name was sometimes applied to instrumental pieces in madrigal style. — Canzonac'cia, a vulgar song. . . Canzonci'na, Canzonet- ta, a little song, a canzonet. . . Canzonie'- re, a collection of lyric poems or songs. Canzonet(te). A little air or song ; a short part-song ; a madrigal. Capel'le (Ger.) See K. Ca'po (It.) The head, beginning.. .Da capo, from the beginning. . . Capolavoro, master-work. . . Capo-orchestra, conduc- tor. Capodastre (Fr.) See Capotasio. Capota'sto (It.; also capo di iasto, " head of the fingerboard.") I. The nut of stringed instr.s having a fingerboard. — 2. A piece of wood or ivory which can be fastened across a fretted fingerboard, like that of the guitar, to raise the pitch of all the strings at once. — Sometimes written, in Engl, usage, Capo d'astro. Cappel'la (It, " chapel.") i. A choir. — 2. An orchestra. (Incorrectly writ- ten f(7/('//(i'.). . .A cappella, vocal chorus without instrumental accomp.. .Alia c, (a) same as a cappella; (b) see Alla- breve. . . Da c, in church-style, \. e. is a solemn and devotional manner. Capricciet'to (It.) A little capriccio. CAPRICCIO— CAVATINA. 37 Capric'cio (It.) Title frequently given to instrumental pieces of free, uncon- ventional form, and distinguished by originality in harmony and rhythm. (Compare Scherzo. ) . . .A capriccio, at pleasure, ad X\h\X.ViVC\. ..Capricciosajnen' te , capriciously, fantastically... 6'i:7/;-/m(?'.f(', capricious, fantastic ; a capriccio. Caprice (Fr.) Capriccio. Carat'tere (It.) Character, dignity ; style, quality. Caressant (Fr.) \ Carezzan'do (It.) [Caressingly, sooth- Carezze'vole (It.) ) '°^ ^' Carica'to (It.) Overloaded as to graces, chromatics, peculiarities of instrumen- tation, or other means of mus. e.\pres- sion. Carillon (Fr.) i. A set of bells differing from those of a chime in being fixed, and in their greater number ; played either by hand (on a keyboard) or machinery (on the principle of the cylinder in the barrel-organ). — 2. A bell-piano, with pfte. -keyboard, and bells instead of strings. — 3. A melody to be played on l. — 4. An instrumental piece imitating the peculiar character of carillon-music. — 5. The "clashing" (ringing all at once) of several large bells. — 6. See Glockenspiel. — 7. A mi.x- ture-stop yielding the 3rd, 5th, and Sth partials of the fundamental represented by the digital pressed (c' — g'^-e^-c^). Carillonneur (Fr.) A performer on the carillon. Carita' (It.) Lit. " charity." Same as Affetto. Carmagnole (Fr.) A dance and song in great vogue during the Reign of Terror ; it dates from the taking (1792) of Carmagnola, a town in Piedmont, though the connection between the town and the air is not clearly established. Carol. I. A circle-dance (obs.) — 2. A joyous song or ballad, particularly one celebrating Christmas. Caro'la (It.) A circle-dance similar to the carmagnole. Carrie (Fr.) A breve. Cartelle (Fr.) A large leaf (for writing) of prepared ass's-skin, on which the lines of the staff are traced to jot down notes while composing, the notes being afterwards erased with a sponge. All cartellfs come from Rome or Naples. [Rousseau.] Ca'rynx (Gk.) An ancient Greek trumpet. Cas'sa (It.) A bass drum. (Also cassa gran'de.). . .C. arinonica, body (of violin, etc.) Cassation' (Ger.) See A'. Castanets. (It. castagnet'te; Fr. casta- gnettes; Ger. A'astagnetten; from Span. castaiietas.) A pair of small concave pieces of hard wood or ivory, each hav- ing a projection on one side, by means of which they are fastened together with a cord long enough also to pass over the performer's thumb, or thumb and forefinger. Generally used (espe- cially in Spain) by dancers as a dance- accomp. They yield no mus. tone, but merely a hollow click or rattle. Castra'to (It.) A eunuch (adult male singer with soprano or alto voice). Catalectic. Lacking part of the last foot ; e. g. the second of the following lines is catalectic : Lives of great men all remind us We can make our lives sublime. (_^ |__ I-- l-w II _^ 1-^ |_^|_ A) Catch. Originally, an unaccomp. round for 3 or more voices, written as a con- tinuous melody, and not in score ; the " catch "was for each succeeding singer to take up or catch his part at the right time. Later, a new element was intro- duced, and words were selected in such sequence that it was possible, either by mispronunciation or by interweaving the words and phrases apportioned to the different voices, to produce the most ludicrous and comical effects. Cate'na di tril'li (It.) A chain of trills. Catgut. Popular term for Gn(strings{<\.\.) C atlings. Lute-strings of the smallest size. Catti'vo (It., "bad.") Cattivo tempo, the weak beat. Cau'da (Lat., "tail.") The stem of a note. Cavallet'to (It., "little horse.") i. A bridge (usually ponticello). — 2. The break in the voice. Cavalquet (Fr.) A piece played by a cavalry trumpeter-corps when approach- ing or marching through a town. Cava'ta (It.) I. Production of tone. — 2. Cavatina. Cavati'na (It.) i. A short song of any description. — 2. A vocal air, shorter and simpler than the aria, and in one division, without Da capo. — 3. Title 38 C BARRE— CHAMBER-MUSIC. given by Beethoven to the 2nd move- ment of his B\) Quartet. C barr6 (Fr.) The "barred C" (([j), indicating alia breve time. C-clef. See Clef. Cebell. A theme for variation on the lute or violin, in 4-4 time and 4-measure phrases, characterized by the alternation of very high and low notes in the suc- cessive strains. (Obs.) C^ciuum (Fr.) A free-reed keyboard instr. inv. by Quantin de Crousard, ex- hibited at Paris in 1867. It has the shape and nearly the size of the 'cello, and is held in the same way. The keys are pressed by the left hand, while the right operates the bellows by means of a handle like a bow. Compass about 5 octaves ; tone sweet and sonorous. C^dez (Fr.) Go slower ; 7-allentate. C^lamustel (Fr.) A kind of reed-organ having fundamental stops similar to those of the harmonium, and various additional effects, such as bells, harp, echo, thunder, dove- and cuckoo-notes, etc. Ce'lere (It.) Rapid, %^\it.. .Celerita' , celerity, rapidity ; con ceUritcl, with celerity, etc. Celeste (Fr., " celestial, divine ".) /c« c, pcdale c, organ-stops producing a sweet, veiled tone ; Pcdale c. is also a pedal-mechanism on the pfte. for ob- taining a sweet, veiled tone.. . I'oix c, the organ-stop %'ox angelica. 'Cello,-i. Abbr. of Violoncello, -i. Cembal d'amour (Fr.) A species of clavichord, twice as long as the ordi- nary instr.s, the strings of which were struck in the middle by the tangents, the vibration of both sections q/ the string thus yielding a double volume of tone ; inv. by G. Silbermann, ist half of 1 8th century. Cembalist, (It. cembali's/a.) A player on the cembalo (either harpsichord or pfte.) Cem'balo (It.) i. Originally, a dul- cimer ; a general name for various instr.s having several wire strings struck by hammers.— 2. A harpsichord. — 3. A pranoforte. . .A cembalo, for harpsichord (or pfte.).. . Tutio il cembalo, see I'litte corde. . . Cembalo onnicor'do, a keyboard stringed mstr. inv. by Nigetti about 1650 ; also called Proteus. Cembanel'la, Cennamel'la (It.) A pipe or flute. Cen'to (It.), Centon (Fr.) i. The anti- phonaryof Pope Gregory the Great. — 2. (Also cento' ne, "a patchwork".) A medley of extracts from the works of one composer, worked up into an opera or similar composition. {Pasticcio.) Hence the verb centoniza're (Fr. centoniser), meaning " to put together." Cercar' la no'ta (It.) To seek the note ; i. e. to sing in the same breath the tone belonging to the next syllable like a light grace-note, before its proper time of entrance, in portamento style ; e.g. written : sung : ^^ f EM^3 Cervalet', Cervelat'. Species of clari- net with bassoon-like tone (obs.) Ces (Ger.) Q\).. .Ces'cs, q>b. Cesu'ra, Caesu'ra. A term in prosody sometimes usetl in music to designate the dividing line between two melodic and rhythmic phrases within a period ; called mascidine ox feminine according as it occurs after a strong or a wectk beat. Ce'tera or Ce'tra (It.) A cither... C. tede'sca,'' German cither," aio-stringed instr. of the lute class. Chaconne', Chacone'. (It.ciacco'na; Span, chaco'na ; Fr. chaconne.') I. Originally, a Spanish or Moorish (pos- sibly Italian) dance or sarabande. — 2. An instrumental composition consisting of a series of variations, above a ground bass not over 8 measures in length, in 3-4 time and slow tempo. (See Passa- caglia.) Chair-organ. Variant of Choir-organ. Chalameau. Variant of Chalumeau. Chalil. Ancient Hebrew instr., either t flute (flageolet) or reed-pipe. Chalumeau (Fr. ; Engl, chalameau; Ger. Chaliimau, Chalamaus ; It. scia* lumh, salmb.^ I. See Shawm, Clari- net. — 2. The "chalumeau" register is the lowest register of the clarinet and basset-horn ; as a direction in clarinet-playing, chalumeau signifies "play an octave lower." — 3. (In French usage.) The chanter of the bag- pipe ; also, occasional for Pan's-pipe. Chamber-music. Vocal or instrumental CHAMBER-ORGAN— CHARACTER. 39 music suitable for performance in a room or small hall ; opp. to concert- music, church-music, operatic music, etc. ; ordinarily applied to quartets and similar concerted pieces for solo instr.s. Chamber-organ. A cabinet organ. Change. I. In harmony, see Modula- tion. — 2. In the voice, see Alutation. — 3. Any melodic phrase or figure executed on a chime of bells. Changer de jeu (Fr.) To change the stops of an organ, etc. Change-ringing. The art and practice of ringing a peal of bells in varying and systematic order. Changing-chord. A chord containing a number of tones (" changing-notes") dissonant to the bass, and entering on the strong beat. . . Changing-note. (Ger. Wech'stluote, Durch'gangstoii, durch'- gehende Note ; Fr. ?tote d'appogiatiire ; It. 7iota cambia'ta!) A dissonant note (tone) entering on the strong beat and generally progressing by a step to a consonance within the same chord ; sometimes by a skip to a chord-note or note belonging to another chord. — A passing-note differs from a changing- note by entering on a weak beat. ^\y Chanson (Fr.) A song ; originally, a ballad-like song ; now rather a vocal solo (Z/t\/) with pfte.-accomp.. . C/z(7«- sonnette, a short chanson. {Canzonet.) Chansonnier (Fr.) i. A composer of songs. — 2. A book or collection of songs. Chant. I. A Gregorian melody repeated with the several verses of a prose text, a number of syllables being in- toned on each reciting-note ; its 5 divisions are : (i) the intonation; (2) the first dominant, or reciting-note ; (3) the mediation ; (4) the second domi- nant or reciting-note ; (5) the cadence. — 2. A melody similar in style to the above, and non-rhythmical ; a tone ; called cantus firiniis in contrapuntal composition. — 3. The so-called An- glican chant, that employed in chanting the canticles and Psalms ; it consists of 7 measures, harmonized, the lime-value of the single note constituting the first and fourth measures being expanded or contracted to fit the words, whereas the others are sung in strict time. It has 2 divisions of 3 and 4 measures respect- ively, each commencing on a reciting- note and endins with a cadence : the first cadence is called the ntediation, and the arrangement of the words to the music is called pointing. Any short piece of like character is also called a chant. . . Double chant, one twice as long as the usual chant, having 14 measures, 4 reciting-notes, and 4 cadences.. . Change- able chant, one that can be sung either in major or w\x\or. . .Free chant, one having but 2 chords to each half-verse, for the declamatory singing of the can- ticles, etc. Chant (Fr.) Song; singing; melody, tune ; voice (i. e. vocal part in contra- distinction to the accomp.). . . Ch. com- pose', plain song. . . Ch. d'/glise (or gregorien), Gregorian chant. ..C7<. en ison, or ch. /gal, a chant sung on only 2 tones, thus having but one interval.. . Ch. figure', figurate counterpoint.. . C//. royal, modQ {ton) in which the prayer for the sovereign is chanted. . . Ch. sur le livre, an extemporized counterpoint sung by one body of singers to the plain-song melody (a cantus /irmus) sung by the others. Chanter. The melody-pipe of the bag- pipe. Chanter (Fr.) To sing. ..C//. a livre ouvert, to sing at sight. Chanterelle (Fr.) The highest string of an instr. belonging to the violin or lute family, especially the E-string of the violin ; the soprano string. Chanteur (Fr.) A male singer.. .Chan^ tcuse, a female singer. Chantonner (Fr.) Same as Canterellare. Chantre (Fr.) Leader of a choir... Grand c/?., precentor, z^^ntox.. . Second ch., choir-singer, chorister, choir-boy. Chapeau (Fr.) A tie •^ (usually liai» son).. .Ch. chinois, a crescent. Chapel. A company of musicians at- tached to the establishment of any dis* tinguished personage. (See Kapelle.) Character, individual, of the several keys. — Theoretically, each major or minor key is precisely like every other major or minor key, the intervals in all being precisely similar. Practically, there subsist recognized differences, due (i) to the system of equal tempera- ment as applied to instruments with keyboard or frets, and (2) to a more or less perceptible tendency towards " forc- ing up " the sharp keys (thus lending them a brighter and intenser character), and towards "letting down " or relax- 40 CHARACTERISTIC PIECE— CHIESA. ing the flat keys (rendering them darker or, as it were, lending tiiem a minor character). Theoreticians seem dis- posed to deny in toto the possibility of characteristic diflerences ; while many highly cultivated practical musicians (not to speak of cesthetic enthusiasts of all stripes) are equally positive that such differences exist. Characteristic piece. A character- piece ; one depicting a definite mood, impression, scene, or event. . . Character- istic tone, (i) the leading-tone ; (2) that tone in any key which specially distin- guishes it from nearly related keys, as /'"jj in the key of G, distinguishing it from (T-major. Characters. See Signs. Charak'terstimme (Ger.) Solo-stop (or- gan).. . Charak'tcr stuck, a characteristic piece. Charivari (Fr.) A callithumpian con- cert. Chasse, a la (Fr.) Alia caccia. Chef d'attaque (Fr.) The leader of an orchestra, or of any division of a chorus. . . Chef d'orchestre, conductor of an orchestra. . . Ch. du chant, see Rcpetitor. Chelys (Gk., "tortoise.") i. The lyre of Mercury, fabled to have been a tor- toise-shell with strings stretched over its hollow. — 2. Name for both the bass viol and division viol in the i6th and 17th centuries. Cheng. The Chinese mouth-organ, the wind-chest of which is formed by a gourd into which the air is blown through a curving tube, and bears on its upper side from 12 to 24 free-reed pipes. Its introduction into Europe led to the invention of the accordion and harmonium. Chest of viols. A set of viols, i. e. 2 trebles, 2 tenors, and 2 basses, which formed the nucleus of the 17th century orchestra. (Also Consort of viols.) Chest-register. The lower register of the male or female voice, the tones of which produce sympathetic vibration in the chest. . . Chest-tone, chest-voice, a vocal tone possessing the quality of the chest-register ; opp. to Head-register, head-tone. Chevalet (Fr.) Bridge. Cheville (Fr.) Vtg.. .Cheviller, peg- box. Chevrotement (Fr.) See Bockstriller. . . Chcvrolcr, to execute a chevrotement. Chiari'na (It.) A clarion. Chia'ro,-a (It.) Clear, pure. . . C/^/rtra- tncn'te, clearly, limpidly, distinctly. . . Chiarez'za, clearness, etc. Chia've (It.) i. A clef. — 2. Key of an instr. — 3. Tuning-key. Chiavet'te, or Chiavi trasporta'ti (It.," transposed clefs.") A system of transposing clefs, freely used in the i6th century. As it was then a rule, but seldom infringed, that no vocal part should overstep the limits of the 5-line staff, and the modern system of chro- matic transposition being undeveloped, composers often employed, in the nota- tion of the various parts, clefs differing from those customarily used for the several voices, these unusual clefs indi- cating to the practised singers a trans- position of their respective parts to a higher or lower pitch : I. High chiavette. Discant. Alto. Tenor. Bass. 2. Ordinary clefs. s Pt r- 43:: :}nt= m 3. Low chiavette. W n ^g^ e P ^B^ The high chiavette had the effect of transposing the parts (and consequently the entire composition) into a key a major or minor third higher, i. e. their effect was equivalent to writing jy^fz/j or 4 sharps in a signature headed by the ordinary clef ; the lo7u chiavette had a precisely opposite effect, as if j sharps or 4 flats had been written after the ordinary clef. — Though not recog- nized as such, this system was tanta- mount to a pretty free use of the trans- posing scales. Chi'ca. An old Spanish dance, modifi- cations of which are the Fandango, Chaconne, Cachucha, Bolero, and pos- sibly the English Jig. Chie'sa (It.) Church. . . Concer'to da ch., a sacred concert. . . Sonata da ch., a sacred sonata. ../)« chiesa, for the church, in church-style. CHIFFRE— CHORD. 41 Chiffre (Fr.) A figure, as in thorough- bass. Chifonie (Fr.) Old name of the hurdy- gurdy. Chikara. A Hindu violin having 4 or 5 horsehair strings. Chime, i. A set of from 5 to 12 bells tuned to the tones of the scale, and em- ployed in playing the chimes by swing- ing either the bells themselves, or clap- pers hung within them. — 2. A set of bells and strikers (hammers) in a mus- ical box, organ, etc. (See Carillon.) Chiming-machine. A revolving drum with pins so set as to pull the ropes of a chime of bells and ring the chime mechanically. Chirogym'nast. An apparatus for exercising the hands of players on the pfte. or organ, consisting of a set of rings attached by springs to a cross-bar. Chi'roplast. (Ger. Hand'leiter, i. e. hand-guide.) An apparatus inv. by Logier about 18 14, consisting of 2 smooth wooden rails attached in front of and parallel with the pfte. -keyboard, and a pair of open gloves, the whole serving to hold both hands in the proper position for playing, by hindering the wrist from sinking and obliging the fingers to strike vertically. Simplified later by Kalkbrenner. — Termed by Liszt ■' ass's guide " {guide-dne) for the French "hand-guide" {gtiide-viain). Chitar'ra(It.) A guitar.— The Italian guitar, like the English cither, was strung with wire instead of gut strings. . . Ch. colTarco, a bow-guitar. . . Chitar- ri'na, a small Neapolitan guitar. . . Chi- tarro'ne, " great guitar ; " a kind of theorbo differing from the arciliuto in having a longer neck, a wider space be- tween the 2 sets of pegs, and a smaller body. It had 20 wire strings, 12 being over the fingerboard. (See Lute.) Chiu'so,-a (It.) Closed ; hidden. . . Ca'- none chitiso, see Canone. . . Con bocca ckiusa, with closed mouth (comp. Brummstitnmen). ChcBur (Fr. \ch like k.']) Choir, chorus. . .A grand chceur, for full chorus. Choice-note. An alternative note written above or below another in a vocal part, which the singer may take in preference if he choose. Choir. (Ger. Chor; Fr. chceur; It. co'ro}) I. A company of singers, especially in a church ; hence, the part of the church which they occupy. — 2. A choral soci- ety. — 3. (In the Anglican Church.) A body of officials whose function is the performance of the daily choral service, sitting divided on the decani and ca7i- toris sides of the chancel. — 4. A sub- division of a chorus, e. g. the 1st and 2nd choirs (coro privio e secondo) in 8- part music. — 5. Same as j^^wt/ 3. Choir-organ. (See Organ.). . .Choir- pitch, (see Chorion). Chor (Ger.) i. Chorus ; choir. — 2. On the pfte., a unison (the 2 or 3 strings belonging to one tone). — 3. On the organ, those pipes belonging to a mix- ture which are sounded by one key. — 4. A combination of instr.s of the same family, but different pitch, e. g. Trom- pctenchor. Chora'gus, Chore'gus(Gk.) The lead- er or superintendent of the ancient dramatic chorus. Hence, in Oxford (England), the title of a functionary who has charge of the mus. services in church. Cho'ral {adj^ Relating or pertainingto a chorus or vocal concerted music. . . Choral notes, see N^ote. . .Choral service, a church-service consisting chiefly of music by the choir. Cho'ral {noun.) 1. (Ger. Choral'; Fr, cantique, plain-chant; It. can'tico, can- zo'ne sa'cra.) A hymn-tune of the early German Protestant Church ; also, a hymn-tune similar in style to the above. (Sometimes spelled Chorale.) — 2. (In the R. C. Church.) Any part of the service sung by the choir. Chora'leon. See yEolovtelodico7i. Chora'liter (Lat.) i In the style of a Choral'niassig(Ger.) ) choral. Choral'note (Ger.) A choral note. Chor'buch (Ger.) See Fart-book 2, Chord. I. (Ger. Akkord' ; Fr. accord; It. acco?-'do.) In a general sense, the har- mony of 2 or more tones of different pitch produced simultaneously. — As a technical term, a combination of from 3 to 5 different tones, formed by erect- ing, upon a fundamental tone or root, an ascending series of diatonic thirds. A 3-tone chord is called a triad, a 4- tone chord a chord of the yth, and a 5-tone chord a chord of the qth. The term chord is often applied specifically to the triads, as major chord, minor 42 CHORD. chord, fundamental chord ,&\x,. — A View of the fundamental diatonic chords fol- lows, with the ordinary figuring in thorough-bass and theory : Triads in Major. *C: I II III IV V ^ T 1 — I II III IV V VI vii° Triads in Minor. sP 33 *i P M c. \ ii" III' IV V VI vii" Chords of the Seventh in Major. 7 7 I^^^M^i It TI7 Illj IV7 V7 VI7 VII^ Chords of the Seventh in Minor. VI7 VII? Chords of the Ninth : in major: 9 7 s 3 in minor : 9 7 etc. When the root of a chord is the low^cst tone, the chord is- said to be in the fundamental pflsitiott; when some other tone is the lowest, the chord is inverted. Each triad has 2 inversions, and each chord of the 7th has 3. The inversions are limited neither to the given number of tones, nor to any particular order of the intervals above the bass ; e. g. a chord of the sixth may be written :J ^UJ=I ^ .etc. w. 4= i C: I I III II that is, it remains a chord of the sixth so long as the third of the triad remains the loiuest tone, above which the (octave of the) root forms the interval of a sixth. The Arabic numerals over the bass form what is called thorough- bass figuring ; each figure marks the interval of some tone above the bass (or lowest tone), the order of the figures depending, not upon the order of the notes, but upon the width of the inter- vals, the widest interval always being written at the top. The simple figures invariably call for the diatonic intervals as established by the key-signature. O calls for tasto solo (see Tasto) ; 2 or | or 4, for the chord of the second (in full, chord of the second, fourth and si.xth) ; 3 or I or 6, {a) for the simple triad, (/') s 3 alone over the first bass note signifies that the soprano takes the third of the root ; i or 4 calls for the chord of the third and fourth (and sixth) ; 5, for the fifth in the soprano; \, for the simple triad ; 6, for the chord of the sixth ; 4, for the chord of the fourth and sixth ; ^ , or B , for that of the fifth and sixth ; 7 (b), for the chord of the seventh ; 8, for the octave in the soprano, s, for the 99 ^ . simple triad ; 9, (7 or «, according as the fifth or seventh is dropped), for the chord of the ninth. ^^ y } % were for- merly used to show that the tenth and octave, eleventh and ninth, etc. of the bass note were to be taken instead of the third and prime, fourth and second, etc. Where there is a choice, the simpler figuring is preferable, unless some interval is chromatically altered. A if, b> h' >< . or bi? alone over a bass note signifies that the third \n the chord is correspondingly altered chromatic- ally. A crossed figure (^, ^, ^, etc.) indicates that the interval is sharped. A dash (-) after a figure prolongs the tone into the next chord. — The Roman numerals under the bass form no part of the thorough-bass figuring ; they in- dicate on what degree of the scale the given chord (i. e. the root of the chord) has its seat, the key or scale itself being marked by a capital letter for major and a small letter for minor. A large numeral indicates a triad with major third ; a small numeral, a triad with minor third ; with an accent (III'), the augmented fifth ; with a cipher (vii°), the diminished fifth ; with a 7 (V7), the chord of the seventh. [This is the system generally accepted ; its prime defect (clumsiness in following chro- CHORDA— CHROMATIC. 43 matic alterations, and consequent in- ability to cope with the exigencies of free tonality) is felt by all theorists ; Ja- dassohn solves the problem empirically by stretching his highly elas- tic theory of altered chords to the utmost ; — e. g. he writes «^ C: IV (=y^-(7r>-<'///V^ c, that in which 2 parts are so written as to be capable of mutual inversion by an interval (octave, tenth, etc.) determined beforehand... Quadruple c, that written in 4 mutually exchangeable or invertible parts. . . Sin- gle c, that in which the parts are not in- tended to be mutually invertible... Strict c, that in which the entrance oi (most) unprepared dissonances is for- bidden. [The correctness of this defi- nition largely depends upon what is meant by " preparation". The disso- nant intervals included in the chord of Sa COUNTRY-DANCE— CROOK. the dimin. 7th — dimin. 7th and 5th, augm. 2nd and 4th — and also the dom- inant 7th, are now allowed to enter freely even in "strict" counterpoint; and preparation is often effected by a tone in a different part and octave from the one in which the following disso- nance enters.]. . . Triple c, counterpoint in 3 mutually invertible parts. . . Two- fart, Three-pait, Fot4r-pari coztnicr- point, that in which 2, 3, or 4 parts are employed. Country-dance. A dance in which the partners form two opposing lines, which advance and retreat, the couples also dancing down the lines and re- turning to their places. The time varies, some tunes being in 2-4, others in 3-4 time ; the essential thing is, for the strains to be in phrases of 4 or 8 measures, to accompany the several evolutions. Coup d'archet (Fr.) A stroke of the bow. . . Coup de {/a} gloite, see Kehl- schlag. . . Coup de langue, a thrust or stroke of the tongue, tonguing ; double coup de langue, double-tonguing. Couper le sujet (Fr.) To cut or cur- tail the subject. Coupler. (Ger. Koppel; Fr. copula- It. unione.) See Organ. Couplet. I. Two successive lines form- ing a pair, generally rhymed. — 2. In triple times, 2 equal notes occupying the time of 3 such notes in the regular rhythm ; thus : Cou'rant {Koo'-I. (Fr. courante; It. corren'te!) An old French dance in 3-2 time ; hence, the instrumental piece called courante, forming a part of the Suite, in which it follows the Alle- mande. Though the time-signature calls for 3-2 time, measures in 6-4 time often occur, especially at the close ; the tempo is moderately rapid, and dotted rhythms abound. — The Italian corrente is quite different from the above, its chief feature being swift passages of equal notes, whence the name corrente ("running"). The tempo is rapid; time 3-8 or 3-4. Couronne (Fr.) A hold (^). Course. A group or set of strings tuned in unison. Covered. See Octave Covered strings. Strings of silk, wire, cr gut, covered by l-JUl ^■ a machine with spiral turns of fine sil- ver or copper wire, the process being termed " string-spinning." Crackle. In lute-playing, to play the chords brokenly {en battej-ie) instead of simultaneously. Cracovienne (Fr.) A Polish dance for a large company ; hence, the music or an imitation of the music employed, which is in duple time with frequent syncopations (rhythm Also A'rakoTviak, cracoviak. Cre'do. The third main division of the Mass. Crem'balum (Lat.) Jew's-harp. Cremo'na. i. A name ordinarily ap- plied to any old Italian violin made by the Amatis, Stradivarius, or Guarneri- us, at Cremona. — 2. See Kru?iunhorn. Crescen'do (It.) Swelling, increasing in loudness. . . Cr. -pedal, see Pedal. Crescen'dozug (Ger.) i. Crescendo- pedal. — 2. A kind of organ-swell with shutters, a contrivance inv. by Abbe \'ogler. Crescent; also Chinese crescent, or pavilion. (Ger. Halb'mond; Fr. chapcau chinois ; It. cappel'lo cliine'se.) An instr. of Turkish origin used in military music, consisting of several crescent-shaped brass plates hung around a staff and surmounted by a cap or pavilion ; around the plates little bells are hung, which are jingled in time with the music. Cre'ticus (Lat.) A metrical foot con- sisting of a short syllable between 2 long ones ( — •_' — ). Cri'brum (Lat.) Soundboard (organ). Croche (Fr.) An eighth-note. . . Croches liees, ei ghth-n otes having the hooks joined (,^"J^|). Crochet (Fr.) The stroke of abbrevia- tion across the / ^\ stems of notes \^ )' Croche'ta(Lat.) A crotchet, or quarter- note (J). Croisement (Fr.) Crossing (of parts). Cro'ma (It.) An eighth-note. Croma'tico (It.) Chromatic. Cromor'na. {Fr.cromome.) S^eA'rumm- horn. Crook. I. (Ger. Bo'gen, Stinim'bogen; \^k CROQUE-NOTE— CZARDAS. 53 Fr. corps de rechange, ton; It. pezzo di reserva.) A supplementary tube, which can be rapidly fitted to the main tube (or body) of a horn or trumpet, for the purpose of lowering the pitch. Each crook is named after the fundamental tone to which it lowers the pitch of the tube ; e. g. the Z?-crook of an instr. in £^. — 2. The S-shaped tube forming the mouthpiece of a bassoon, and con- taining the reed. — 3. In the old harp- action, a crotchet engaging a string and raising its pitch by a semitone. Croque-note (Fr.) A player of facile execution, but little taste and judgment. Cross-relation. See False relation. Cro'talum (Lat.) A kind of clapper used by the ancient Greeks to mark the time of a dance. Crotchet. I. A quarter-note ; cr. -rest, a quarter-rest. — 2. See Crook 3. Cro'wrd ; also Croud, Crouth. (Welsh crwth; Lat. chrot'ta.) An ancient bow-instr., apparently of Welsh or Irish origin, and regarded as the oldest European instr. of the class ; still found early in the igth century among the peasantry of Wales, Ireland and Rrit- any. Its body was square, and termin- ated, instead of by a neck, by 2 parallel arms connected at the end by a cross- bar, the centre of which supported the end of the narrow fingerboard ; it had originally 3, in modern times 6, strings, 4 lying over the unfretted fingerboard and 2 beside it. The strings passed over a bridge, which rested on the belly between 2 sound-holes ; the ac- cordatura [Grove] was as follows : I _J_ J I -^-^ ' beside over fingerboard. fingerb. Crucifixus (Lat.) Part of the Credo. Crush-note. An acciaccatura. Crwth. See Crowd. C-Schlussel (Ger.) C-clef. Cue. A phrase, from a vocal or instru- mental part, occurring near the end of a long pause in another part, and inserted in small notes in the latter to serve as a guide in timing its re-entrance. Cuivre (Fr., " copper.") Brass; les cuivres (pi.), the brass-wind. .. /^a/rif cuivrer, to obtain a metallic, ringing tone by half-stopping the bell of the French horn with the right hand. Cum sancto spi'ritu (Lat.) Part of the Gloria. Cu'po (It.) Dark, deep, obscure ; re- served. Curran'to. See Coiirant. Cushion-dance. A Scotch and English round dance, in triple time, and per- formed in single file ; each dancer in turn drops a cushion before one of the opposite sex, at a regularly recurring strain of the music, whereupon the two kneel and kiss each other, after which the dance proceeds as before. Cus'tos (Lat.) A direct. Cuvette (Fr.) Pedestal (of a harp). Cyclical forms. (Ger. cyclische For- me)!.) Forms of composition embrac- ing a cycle or series of movements, such as the old suite or partita, or the sonata, symphony, and concerto. Cylin'der (Ger.) Valve (in horns, etc.; usually Ventil). Cymbale (Fr.) i. Cymbal. — 2. A steel rod bent to a triangle, and bearing a number of rings, which are struck by a steel wand, the cymbale itself being dangled on a cord. Cymbals, i. (Ger. Beck' en; Fr. cym- bales ; It. piat'ti, cinel'li.) A pair of concave plates of brass or bronze, varying in size from finger-cymbals something over an inch in diameter to the large orchestral cymbals, which have broad, flat rims, and holes toward the middle for the insertion of the straps by which they are held ; used in orchestral music to mark time strongly, or to produce peculiar — often weird and thrilling — effects. One of the cymbals is often attached on top of the bass drum, so that one player can manipulate both drum and cymbals. — 2. In the organ, a mixture-stop of very high pitch. — 3. See Cymbale 2. Cym'balum (Lat.) i. Cymbal. — 2. A small drum of the medieval monks ; several such drums were tuned to form a scale of an octave, and played like a Glockenspiel. Cym'bel. See Cymbal. V Czakan (Bohemian.) A flute of cane or bamboo. y Czardas (Hung.; pron. tckar'dask.) A national Hungarian dance, distin. 54 CZIMBAL— DECISO. guished by its passionate character and changing tempo. Czimbal (Hung.) A dulcimer. Czimken (Pol.) A dance similar to the country-dance. [Stainer and Bar- rett.] D. D. I. (Ger. D; Fr, rd ; It. ;v.) The 2nd tone and degree in the typical dia- tonic scale of C-major. (Comp. Alpha- betical notation, and Sol/Jtisation.) — 2. Abbr. of Da (D. C.=da capo), and Dal (D. S. = dal segno). Da (It) By, for, from, oL.. Da ca'po, (a) from the beginning ; {b) as an ex- clamation, " encore ! ".. .D. C. alji'ne, (repeat) from the beginning to the end (i. e. to the word Fine, or to a hold ■O). . .D.C. al se'gno, (repeat) from the be- ginning to the sign (#, 0, O). . .D.C. al segno, poi {se'gue) la coda, (repeat) from the beginning to the sign, then (follows) the coda. . .D. C. dal segno, re- peat from the sign. ..Z>. C sen'zare'- plica (ox senza ripetizio'ne), play through from thebeginning without noticing the repeats. . . Da eseguir'si, to be executed. ..Da tirar'si ("for drawing out"), means "with slide"; as tromba da tirarsi, slide-trumpet. D'accord (Fr.) In tune. Dach (Ger., "roof.") The belly of a violin (usually Decke). . . Dach' schweller, see Crescendozug 2. Dac'tyl(e). (Lat. dac'tylus, a finger.) A metrical foot of 3 syllables arranged like the finger-joints, one long and two short, with the ictus on the first Dactyl'ion. An apparatus inv. by Henri Herz in 1835, consisting of 10 rings hanging over the keyboard and at- tached to steel springs ; used by pianists for finger-gymnastics. Daddy-mammy. A familiar name for the roll on the side-drum. Da'gli, dai, dal, dall', dal'Ia, dal'le, dal'lo (It.) To the, by the, for the, from the, etc. Dal se'gno (It.) See Segno. Damenisa'tion. (See Solmisation.) Graun's system of sol-faing with the syllables da, me, fii, po, tu, la, be, which are not (like do, re, mi, etc.) at- tached to special scale-degrees, but sim- ply repeated over and over in the above order, whatever maybe the notes sung. Damper, i. (Ger. Ddm'pfer ; Fr. itouf- foir ; li. sordi'no.) A mechanical de- vice for checking the vibration of a pfte. -string (see /'za«()/^r/^). . .Damper- pedal, the right or loud pedal of the pfte. — 2. The mute of a brass instr., e. g. a horn. Dam'pfer (Ger.) A damper or mute. . . Ddm'pfiing ("damping"), the damp- ing-mechanism of the pfte. Dance. (Ger. Tatiz ; Fr. danse ; It. dan'za.) A succession of rhythmical steps, skips, or leaps, accompanied by varying movements of the body, and generally timed by music (in primitive nations, simply by beating on a drum or the like). Darm'saite (Ger.) Gut string. Dash. I. A staccato-mark (J or I*). — 2. In thorough-bass, a stroke through a figure, indicating the raising of the in- terval by a semitone (2 4', etc.) — 3. Same as Coitlef 2. Dasian'-Notie'rung (Ger.) Hucbald's system of noting a scale oif 18 tones by twisting and turning the letter F into 14 different positions and shapes, with 4 additional signs. Dau'men (Ger.) Thumb.. .Dau'menauf- satz, thumb-positions (in 'cello-playing). Dead-march. A funeral march. De'bile, De'bole (It.) Feeble, weak. Debut (Fr.) A first appearance. . .Dcbu- iant{e), a male (female) performer or singer appearing for the first time. Dec'achord. (Fr. d/cacorde.) i. A 10- stringed instr., an ancient species of harp or lyre. — 2. An obsolete French instr. of the guitar kind, having 10 strings. Dec'ad(e). See Duodene. Deca'ni. Comp. Cantoris. De'cem(Ger.) ?iQe Decima 2. D^chant (Fr.) Discant. Decide (Fr.) See Deciso. De'cima (Lat. and It.) i. The interval of a tenth. — 2. An organ-stop pitched a tenth higher than the 8-foot stops ; also called Tenth, or Double tierce. De'cime. See Dezime. Decimo'le (Ger.) See Decuplet. Deci'so (It.) Decided, energetic, with decision. DECKE— DERIVE. 55 Deck'e (Ger.) Belly (of the violin, etc.) ; belly or soundboard (of the pfte.) Declaman'do (It.) "Declaiming"; in declamatory style. Declamation. In vocal music, the cor- rect enunciation of the words, especially in recitative and dramatic music. (Comp. Deklamation.) Decompose (Fr.) Unconnected. D6compter (Fr.) To sing with a porta- mento. D6couplez (Fr.) In organ-music, " un- couple," "coupler off." Decrescen'do (It) Growing softer; diminishing in f^rce Sign zr==- Dec'uplet. A group of lo equal notes executed in the time proper to S notes of like value, or to 4 notes of the next highest value ; marked by a slur over or under which a figure 10 is set. (Also Decimole, Dezimole.) Deduc'tio (Lat.) i. The ascending series of syllables or tones in the hexa- chords of Guido d'Arezzo. — 2. Ace. to later theoreticians, the resolution of a dissonance to a consonance. Defective. Same as Diminished. Deficien'do (It.) Dying away. De'gli (It.) Of the ; than the. Degree. (Ger. Stti'fe, Ton' shife ; Fr. degre ; It. gra'do.) I. One of the S consecutive tones in a major or minor diatonic scale. Degrees are counted from below upward, the key-note being the first degree. — 2. A line or space of the staff. — 3. A step. (The prevailing confusion of the terms degree and step might be obviated by applying degree only to the tones, and step only to pro- gression between conjunct tones, of the scale ; the expressions whole step, half- step, and step and a half, are quite super- fluous.) ... ^ra/t'-c/i'^ri?^, a degree of a scale.. . Staff-degree, a degree on the staff. Deh'nen (Ger.) To expand, extend ; to T^rolong. . .Deh'nung, expansion, ex- tension, prolongation ; Deh'nungs- strich, in vocal music, a line of contin- uation after a syllable, indicating that it is to be sung to all notes over the line ; dots are sometimes used instead... Gedehnt' , extended, prolonged ; hence, slow, stately. Dei (It.) Of the ; than the. Deklamation' (Ger.) Musico-poetical scansion. — " In vocal composition, the transformation of the poetic rhythm (metre) into a musical one ; a song is badly deklamiert' when an unaccented syllable receives a strong musical accent or a long note ; or when an accented syllable, or a word rendered prominent by the sense, receives a sub- ordinate position in the melody on a weak beat or in short notes." [Riemann.] Del, deir, delTa, del'le, del'lo (It.) Of the ; than the. Delassement (Fr.) A piece or perform- ance of a light and trifling character. Deliberamen'te (It.) Deliberately... Delibera'to, deliberate. Delicatamen'te, con delicatez'za (It.) V>^X\c7i.l(t\\ . . .Delica'to, delicate; in a delicate, refined style. D61i6 (Fr.) N'on legato ; leggero. Deli'rio (It.) Frenzy ; con d., with fren- zied passion. Delivery. Style (method and manner of singing) ; restrictedly, the enunciation of a singer. D^manch€, D^manchement (Fr.) "Off the neck " ; the thumb-positions in 'cello-playing.. .De'mancher, to quit the neck of the 'cello. Demande (Fr.) "Question," i. e. the subject of a fugue. (Usually sujet.) Demi (Fr., "half".) Demi-bdton, 2- measure resl. . .Demi-cadence, \\a.\i-C3i- dence. . .De/ni-croc/ie, a l6th-note... A demi-jeii (a direction found mostly in reed-organ or harmonium-music), with half the power of theinstr., mezzo forte. . .Demi-mesure, half-measure. . .Demi- pause, half-rest. .Demi-quart de soupir, a 32nd-rest . . . Demi-soupir, an eigh- teenth rest. . . Demi-temps, a half-beat . . . Demi-ton, a semitone. Demiquaver. A i6th-note. . .Demise- miquaver, a -^zxid-xvoio.. . .Demi tone, rare for Semitone. Demoiselle (Fr.) Tracker. Dependent chord, harmony, triad. One which is dissonant, requiring reso- lution to a consonant one ; opp. to In- dependent. Depress. Tolower(asby aj^ or \)o)... De- pression, chromatic lowering of a tone. Derivative, i. Sa.meas derivative chord, i. e. the inversion of a fundamental chord. — 2. The root of a chord. D6riv6(e) (Fr., "derived, derivative".) Accord de'rive', inverted chord (also simply de'riv/, an inversion) . . . Mesure 56 DES— DIAPASON. d/riv/f, any measure indicated by 2 figures (2-4, 3-8, etc.) as being derived from, i. e. a fractional part of, a whole note. Des (Ger.) Db • . . Des'es, D^\y. Des'cant. See Di scant. Descend. To pass from a higher to a lower pitch. . .Descent, descending pro- gression. Deside'rio (It.) Desire, longing. . . Coni d., in a style expressive of longing, yearning. D^sinvolture, avec (Fr.) See Disin- volto. Dessin (Fr.) The design, plan, or struc- ture of a composition. Dessus (Fr.) i. Soprano or treble, i. e. the highest vocal part. — 2. Earlier name for the violin (dessus de viole). De'sto (It.) Sprightly. De'stra (It.) Right. . .J/a'wc? destm, right hand (also destra mano, coUa de- strd) ; a direction in pfte.-plapng, sig- nifying that the passage is to be played with the right hand. (Abbr. ;;/. d., or d. m.) D6tach6 (Fr.) In violin-playing, de- tached, i. e. playing successive notes with alternate down-bow and up-bow, but not staccato . . . Grand de'tachJ, a whole (stroke of the) bow to each note. Determina'to(It.) Determined, resolute. Detonation' (Ger.), D^tonnation (Fr.) False intonation, singing out of tune. . . Detonieren {detonner), to sing false ; especially, to flat (gradually lower the pitch) in a cappella singing. Det'to (It.) Aforesaid ; the same. Deutsch (Ger.) G&rmz.xi . . . Dcu' tsche Flote^ the orchestral flute . . . Deu'tscher Bass, an obsolete kind of double-bass, having from 5 to 6 g^t strings. . .Deu- tsche Talnilatur' , see Tablature. . . Deutsche Tiin'ze, German dances, i. e. the old-fashioned slow waltzes. Deux (Fr.) Two.... 4 deux mains, for 2 hands. . .Z'd'«jf-iV'j^z/, a sharp. Di6ser (Fr.) To sharp.. .Dihe, a sharp. Dies irae (Lat., "day of wrath".) The sequence of the Missa pro defunctis ; it now forms the 2nd division of the Requiem. Di'esis (Gk.) i. The Pythagorean semitone (later Limma), which is the difference between a fourth and 2 greater whole tones, = 256:243. — 2. In modern theory, the difference between an octave and 3 major thirds, the mod- ern enhar?nonic diesis (128: 1 25). Diezeug'menor (Gk.) Disjoined (see Greek 7niisic, §l). Difference-tone. See Acoustics. Differen'tia (Lat.) The differen'tice tono'rum in the medieval Gregorian chants were the different forms of the cadences or tropes to the Seculo'rum a' men, according to the tone to which transition was to be effected. (Also distinctio.') Diffi'cile (It.), Diffici'le (Fr.) Difficult. Dig'ital. A key on the keyboard of the pfte., organ, etc.; opp. to pedal {Jin- ger-key opp. to /w/-key). Digito'rium. A small portable appara- tus for exercising the fingers, resem- bling a diminutive piano in shape, and having 5 keys set on strong springs ; sometimes called Dumb piano. Di gra'do (It.) (Progression) by de- grees, step-wise. Diiamb', Diiam'bus. A double iam- bus ; a metrical foot consisting of 2 short and 2 long syllables in alternation Dilettart'. {It.dilettan'te) An amateur. Diligen'za (It.) Diligence, care. Dilu'dium (Lat.) An interlude, espe- cially that between the separate lines of chorals. Diluen'do (It.) Decreasing in loudness, dying away. Dim'eter. i. Consisting of 2 measures ; divisible into 2 feet. — 2. A verse or period consisting of two feet. Diminished. (Ger. verklei'nert; Fr. di- mimte'ie) ; It. diminu'to.) Dim. inter- val, a perfect or minor interval con- tracted by a chromatic semitone. . .Dim. chord, a chord, the highest and lowest tones of which form a dimin. interval. . .Dim. subject or theme, one repeate«> 58 DIMINUENDO— DISSONANCE. or imitated in diminution. . .Dim. triad, a root with minor third and dimin. fifth. Diminuen'do (It) Diminishing in loud- ness. . .Dim. pedal, see Pedal. Diminuer (Fr.) To diminish (in loud- ness). . .Iin diniinuant beaticoup,':=d\- minuendo molto. Diminution. (Ger. Verklei'nerung ; Fr. diminution ; It. diminuzio'ne.^ I. The repetition or imitation of a theme in notes of smaller time-value (J^, )^, or }{ that of the original). — 2. See iVota- tion, §2. Dioxia (Gk.) Less common term for Diapcnte. Dip. The vertical fall of a digital or pedal when depressed to the full extent ; also key- fa II. Dipho'nium (Lat.) A composition for 2 voices. Diphtho'nia. A vocal anomaly produced by inflammatory nodules seated on the vocal cords, which on closure of the latter divide the glottis into an anterior and a posterior half, so that 2 tones are sounded on singing, instead of one. Diplas'ic. Two-fold...Z). foot or rhythm, that in which the thesis has twice the length of the arsis. Dip'ody. A group of 2 similar metrical feet, or double foot, especially when constituting a single measure. Direct. i. (Ger. and Lat. Cus'tos ; Fr. guidon ; It. gui'da, tno'stra.) The sign /w or v' set at the end of a staff to show the position of the first note on the ne.xt staff. (N. B. The Germans often use it as a mere mark of continu- ation equivalent to "etc.", without reference to the pitch of any note.) — 2 See Motion and Turn. Directeur (Fr.) Conductor, director Dirge. A funeral hymn, or similar music. Dirigent' (Ger.) Conductor, director. Diriger (Fr.), Dirigie'ren (Ger.) To direct, conduct. Dirit'to,-a (It.) Direct, straight. . .^//a dirit'ta, in direct motion. Dis (Ger.) DJf. . .Disis, D x . Dis'cant. i. (Lat. discan'tus ; Ger. Diskant'; Fr. dcchant.) The first at- tempts at polyphony with contrary mo- tion in the parts, beginning in the 1 2th century ; opp. to the organum, in which parallel motion was the rule. — 2. (Fr. dessits.) Treble or soprano voice ; the highest part in part-music. Discord, i. A dissonance. — 2. Cacx)- phony. Discre'to (It.) Discreet ; comparatively snhdn&d. ..Discrezio'ne, discretion; con discrezione, with discretion or due re- serve ; with judicious subordination to a leading part or parts. Disdiapa'son (Gk., Lat.) In medieval music, the interval of a double octave. Dis'dis (Ger.) D x (usually Disis). Disinvol'to (It.) Free, easy, graceful. . . Con disinvoltu'ra, with ease, grace ; Dis'is (Ger.) Dx. [flowingly. Disjunct', (^x. disjoint, -e.) See Motion, Tetrachord {disjoined). Diskant' (Ger.) i. Discant, treble. — Diskant' geige, the violin (tlie treble instr. of its class). . .Diskantist' , treble singer. . .Diskant' register, Diskant'- stimme, in the organ, a half-stop (also Hal'bestimme). . .Diskant' schlussel, so- prano-clef. Dispar'te, in (It.) Aside. Dispera'to (It.) Desperate, hopeless. . . DispL'razio'ne, con, in a style expres- sive of desperation or despair. Dispersed. See Harmony. Dispon'dee, Disponde'us. A double spondee ; a compound metrical foot containing 2 spondees. Disposition' (Ger.) The D. of an organ is properly the preliminary estimate of its cost, fixing the varieties of stops, number of manuals, etc.; but also signifies a concise description of the working parts of a finished organ, especially an enumeration of the stops, couplers, combination-stops, etc. Disposition (Fr.) Gift, talent, genius. Dis'sonance. (Ger. Dissonanz' ; Fr. dissonance; It. dissonan'za.) i. In theory, the simultaneous sounding of tones so remotely related that their combination produces beats. — 2. In practice, a combination of 2 or more tones requiring resolution ; opp. to Consonance . . .Dissonant, consisting of tones forming a dissonance 2 ; opp. to consonant . . .Dissonant interval, 2 tones forming a dissonance. The dissonant intervals are the seconds and their in- versions, the sevenths, also all dimin- ished and augmented intervals... /?/*« DISSONARE— DOH. 59 sonant chord, a chord containing one or more diss, intervals. Dissona're (It.) To be dissonant, to form a dissonance. Distance. Interval. [Seldom used.] Distan'za (It.) An interval ; distance... In distanza, at a distance, marking music to be performed as if far away. Dis'tich. A group of 2 lines or verses ; usually called couplet in modern rhym- ing versification. Distinc'tio(Lat.) i. In Gregorian music, the pauses or breaks dividing vocal melodies into convenient phrases. — 2. See Differentia. Distin'to (It.) Distinct, clear... Z>/- j-/z«^(7Wi'«''/^, distinctly. Distona're (It.) To sing or play out of tune ; also stonare. Dit'al. A key which, on pressure with the finger or thumb, raises the pitch of a guitar-string or lute-string by a semi- tone ,' opp. to pedal. . .Dital harp, a chromatic lute shaped like a guitar, having from 12 to 18 strings, each con- trolled by a dital to raise its pitch by a semitone; inv. by Light in 1798, and later improved by him. (Comp. Klavier- Harfe.) Diteggiatu'ra (It.) Fingering. Dith'yramb, Dithyram'bus. A form of Greek lyric composition, originally a hymn in praise of Dionysus ; later greatly modified. Its leading char- acteristics were a lofty enthusiasm, frequently degenerating into bacchantic wildness (whence the adj. dithyratn'bic), and the irregular form of its strophes, no two of which were identical. Di'to (It.) Finger. Ditone. (Lat. di' tonus; Fr. diton.) A Pythagorean major third of 2 greater whole tones (81:64); wider by a comma than a true major third (5 : 4). Ditro'chee, Ditrochae'us. A compound metrical foot consisting of 2 trochees ( ^«; w — w) ; also Dichoree. Ditty. A short, simple song. Divertimen'to (It.) 1 j, a short poem Divertissement (Fr.) \ set to music, and interspersed with songs and dances, for some special occasion. — 2. Light and easy pieces of instrumental music, such as variations, potpourris, etc. — 3. An instrumental composition in 6 or 7 movements, similar to a serenade or cassation. — 4. An entr'acte in an opera, or between compositions of consider- able length, in the form of a short ballet or other entertainment. — 5. Epi- sode in a fugue ; development of a principal theme. Divide. To play divisions. Divi'si (It.) Divided. A direction in scores signifying that 2 parts appearing on one and the same staff are not to be played as double-stops, but by the division into two bodies of the instr.s playing from that staff. The return to the unison is marked by the direction a due, (or by tinis., or a 2). Division. A " dividing-up " of a mel- odic series of tones, vocaL or instru- mental, into a rapid coloratura pas- sage ; if for voice, the passage was to be sung in one breath. (Obsolete.)- . . To run a division, to execute such a ■passagQ. . .Division-viol, the Viola da ganiha. Division-mark. A slur connecting a group of notes, and provided with a figure indicating their number, show- ing that their rhythm differs from the ruling rhythm of the piece ; as for a quintuplet, triplet, etc. Divo'to, Divotamen'te. See Devoto. Dixi^me (Fr.) The interval of a tenth. Do. The Italian name for C; supposed to have been introduced by Bononcini in 1673. It is now also generally adopted in France instead of the Aretinian Ut. Do. In solmisation, the usual syllable- name for the 1st degree of the scale. — • In the yfxd'(/-Z?c7 method of instruction, Do\^ the name for all notes bearing the letter-name C, whether key-notes or not. — In the movable-Do method, Do is always the key-note, whatever key is sung in or modulation reached. — In the Tonic Sol-fa system, spelled Doh. Doch'mius. A metrical foot consisting of 5 syllables (-' -^ ^ — ). Doctor of Music. S^e Bachelor. Dodecachor'don (Gk.) i. See Bissex. — 2. A treatise by Glareanus (1547) on the theory of the 12 keys or modes. Dode'cupla di cro'me (It.) 12-8 time: di semicroine, 12-16 time. Dodec'uplet. A group of 12 equal notes to be performed in the time of 8 in the regular rhythm. Doh. See Do. 6o DOI— DOT. Do'i (It.) Same as Due. Doigt (Fr.) Finger ... Z^f?/]^//, fingered. . . Doigt J, or doiglcr, fingering ; doig- i^s fourchus, cross-fingerings. Dorcan. See Dulcia'na. Dol'ce (It.) I. Sweet, soft, suave ; dol- cenien'te, sweetly, softly. — 2. A sweet- toned organ-stop. Dolcez'za (It.) Sweetness, softness ; co)i ./., softly, gently. Dolcian' (Cer.), Dolcia'na, Dolcia'no (It.) I. A species of bassoon in vogue during the i6th and 17th centuries. — 2. In the organ, a reed-stop of 8 or 16- foot pitch ; 2l fagotto. Dolcia'to (It.) See Raddolciato. Dolcis'simo (It.) Very sweetly, softly. . . Also, a very soft-toned 8-foot flute- stop in the organ. Dolen'do, Dolen'te (It.) Do'eful, plaint- ive, sad . . . Dolcntemen' te, dolefully, etc. Dolo're (It.) Pain, grief ; con dolort\ in a style expressive of pain or grief ; pathetically (also dolor osamcn' te, dolo- ro' so). Dolz'flote (Ger.; Fr. flute douce; It. fla'uto dol'ce.) I. An obsolete trans- verse flute, having a half-plug within the embouchure. — 2. In the organ, an open flute-stop of rather narrow scale and 8-foot pitch. Dom'chor (Ger.) Cathedral-choir. Dom'inant. i. (Ger., Fr., and It. Dotninan'te.) The fifth tone in the major or minor scale . . .D. chord, {a) the dominant triad ; (/') the dom. chord of the 7th. . .D. section, of a movement, a section written in the key of the domi- nant, lying between and contrasting with two others in the key of the tonic. . .D. i>iad, that having the dominant as root. — 2. i'he reciting-tone in the Gre- gorian modes. Dona nobis pacem. See Mass. Doodlesack. See Ger. Dudelsack. Do'po (It.) After. Dop'pel- (Ger.) Double ... Z>^/>V-^, Dop'pelhe, the double-flat. . .i^c/'/"^/- Hatt, double reed. . .Dop'pelchor, double chorus. . . Dop'pelfagott. double-bassoon. ..Dop'pelflote (Duiflote), (It. fla'uto dop'pio), an organ-register of 8- foot stopped pipes, each pipe having 2 mouths, 2 windways, etc., one on either side (behind and in front) like the Bi- fara, but at exactly the same height, so that the tone does not beat, but is merely reinforced . . . Dop'pelfliigel, see \'is-a-vis...Dop'pelfuge, a double fugue or canon . . . Dop'pelgeige, viola d'amore. . . Dop'pelgriff, double-stop (on the vio- lin), paired notes (on keyboard-instr.s ; e. g. thirds, sixths, and octaves). . . Dop'peloktave, double octave ... Z>. movimen'to, twice as fast.../?. f7o'te, d. valo're, twice as slow (absolute time-value of notes is doubled). . .Z'./tv/rf'/t? (in organ- playing), the pedal-part in octaves. . . Doppio signifies, with names of instr.s, larger in size and consequently deeper in tone. Do'rian or Dor'ic mode. See Mode. Dot. (Ger. Funkt; Yx. point ; It. pun'- to.) I. A dot set after a note prolongs its time-value by half (^- = ;=/ ^) ; a second dot or third dot prolongs the time-value of the dot immediately pre- ceding it by half (^... =i cJ J w • ). (The dot after a.note upon a line is pre- ferably written above the line when the next note is higher, below the line when it is lower : HB: =1= :^- I&ZI •) The dot of prolongation was formerly often set in the next measure, quite away from the note ; e. g. X X r which we now write : ::^aKi :stdz ^ *=^=Jt — 2. A dot set over or under a note in- dicates that it is to be executed staccato: (J T) ; a slur connecting several such dots calls for the mezzo-staccato. (Some- times, especially in earlier authors, the staccato-dot calls rather for a sforzando than a stacato ) — 3. In old music, sev- eral dots set above a note indicate that it is to be subdivided into so many short notes ( p ~ CllP ' "°^ ^^^'^ °^^'' ^ tremolo-sisfn in violin-music to mark DOUBLE— DRAMMA. 6i the exact subdivision of 8 the large note (^ = E M.m *-m m-tnt- ). — 4. Two or four dots set in the spaces of the staff, before or after a double-bar, form a Repeat. Double. I. A variation. — 2. A repetition of words in a song. — 3. In organ-play- ing, a 16-foot stop (as accompanying or doubling the 8-foot stops in the lower octave). — 4. In the opera, etc., a sub- stitute singer. — 5. (Also G)-anihire.) In change-ringing, changes on 5 bells. — 6. As an adjective with names of mus. instr.s, double signifies "producing a tone an octave lower " ; e. g. doitble- bassoo7t, double-bourdon, etc. — 7. The verb double signifies, to add (to any tone or tones of a melody or harmony) the higher or lower octave. Double (Fr.) i (pi. doubles). .See Variation. — 2. The alternativo in a minuet, when merely a variation of the principal theme and retaining the harmonic basis of the latter. — 3. As an adjective, double ; as dottble-barre, double-bar ; d. coup de langue., double- tonguing ; double-croc he, a i6th-note ; etc. . .Double - corde, double-stop. . . Double-main, an octave-coupler (organ). ..Double-octave, double octave, ./^c//- ble-touche, a mechanism in the keyboard of harmoniums, etc., for adjusting the key-fall at 2 different levels, with corre- sponding differences in the degree of loudness of tone produced ... 79(?«^/t'- iriple, 3-2 time. Double (Fr.) A turn. Double-bar. (Ger. Dop'peltakistrich, Schluss' striche; Fr. double-barre; It. dop'pio bar'ra.) i. The two thick vertical strokes drawn across the staff to mark the end of a division, (repeat), movement, or entire piece. — 2. Two thin vertical lines (bars) dividing one section of a move- ment from the next section: Double-bass. (Ger. Kon'trabass; Fr. contre-basse; violonar; It. contrabbas'- so!) The largest and deepest-toned instr. of the violin family (with the ex- ception of the rare contrabbasso doppio and the Ociobass), with either 3 strings {Gi-D-A being the Italian, Ai-D-G the English accordatura), or 4 strings (tuned Ei-Ai-D-G). Compas_s: (I) (2) w. -^ but writ- ten : IX=- (the German tuning). Double-stop. (Ger. Dop'pelgriff; Fr. double-corde; It. dop'pia ferma'ta.) In violin-playing, to stop 2 strings to- gether, thus obtaining 2-part harmony. Double-tongue. (Ger. Dop' pehunge ; Fr. double coup de laugue.) In play- ing the flute, and certain brass instr.s, applying the tongue in rapid alterna- tion to the upper front teeth and the hard palate, to obtain a clear-cut and brilliant staccato. (Also Double-tong- uing.) A step peculiar to the Double-trouble. "breakdown." Doublette (Fr.) A 2-foot organ-stop, octave of the principal. Doublophone. A combined Euphoni- um and Valve-trombone, with one com- mon mouthpiece ; a valve operated by the left thumb throws the current of air from the mouthpiece into the tube of either instr. at will. Inv. by Fon- taine Besson of Paris in i8gi. Doublure (Fr.) See Double 4 (Engl.) Doucement. (Fr.) Gently, softly... Doux, douce, soft, gentle, sweet. Douzi^me (Fr.) The interval of a twelfth, Down-beat. i. The downward stroke of the hand in beating time, which marks the primary or first accent in each measure. — 2. Ilence, the accent itself (thesis, strong beat). Down-bow. (Ger. Herunterstrich; Fr. tirez; It. arco in giii.) In violin-play- ing, the downward stroke of the bow from nut to point ; on the 'cello and double-bass, the stroke from nut to point ; usual sign f^. Doxology (Gk.) A psalm or hymn of praise to God ; especially the Greater /^.(Gloria in excelsis Deo), and the Lesser Z>. (Gloria Patri, etc.) Drag. I. A rallenta>ido. — 2. A A^- sccnding portamento in lute-playing. Draht'saite (Ger.) Wire string. Dramatic music, i. Same as Progratn- viusic. — 2. Music accompanying and illustrating an actual drama on the stage. Dram'ma (It.) Drama. — D. li'rico, a lyric drama.../?, niusica'le, a music- 62 DRANGEND— DULCIMER. drama, opera... Z>. per mu'sica, a musical drama, opera. . .Drammatica- men'le, dramatically. . .Dramma'tico, dramatic. Drang'end ((">er.) Pressing, hastening, hurrying. Draw-stop. In the organ, one of the projecting knobs within easy reach of the organist, which, when drawn out, shift the corresponding slides so as to admit wind to the grooves communicat- ing with a set of pipes or a combination of stops, or else effect a coupling. — Draw-stop action^ the entire mechan- ism controlled and set in operation by the draw-stops. Dreh'er (Ger.) An obsolete variety of waltz resembling the Landler, of Bo- hemian or Austrian origin, in 3-8 or 3-4 time. Dreh'orgel (Ger.) A barrel-organ. Drei (Ger.) '\hxt.&. . .Drei'chorig, (a) for 3 choirs ; (i) trichord (said of a pfte.). . .Df-ei'gestrichen, 3-lined, thrice- accented . . .Drei'klang, a triad . . . Drci'stimmig, three-part, in 3 parts, for 3 voices. Drit'ta (It.) See Diritta. Driving-note, Syncopated note. (Ob- solete.) Droit(e) (Fr.) Right. . .J/a/« droiie, right hand (abbr. m. d.) Drone. (Ger. Stim'mer, Boy-diui' ; Fr. bourdon; It. bordo'ne.) In the bag- pipe, one of the continuously sounding pipes of constant pitch. (Also see Dro)tt'-b(iss.). . .Droiic-I'ass, a bass on the tonic, or tonic and dominant, which is persistent throughout a movement or piece, as in the Musette 2. . .Drone- pipe, same as Drone. Driick'balg (Cier.) Concussion-bellows. Druck'er ((Jer.) A specially brilliant (sometimes a forced) effect ; einen Driicker atif'setzen, to bring out such an efTect. Drii'cker (Ger.) See Steelier. Druck'werk (Ger.) An organ-action operating by the pressure of stickers on the remoter parts of the mechanism. (See Zug-.uerk.) Drum. An instr. of percussion, consist- ing of a hollow body of wood or metal, over one or both ends of which a mem- brane (the head) is stretched tightly by means of a hoop, to which is attached an endless cord tightened by leathern liraees, or by a system of rods and screws. The two chief classes of drums are the rliythmical (those employed to vary and emphasize the rhythm), and the musical (those capable of produc- ing a mus. tone distinct in pitch). The commonest forms of the first class in modern use are : (i) The side-drum (Ger. Tronrmcl; Fr. tambour; It. tam- buro); it has a cylindrical body of wood or metal, and 2 heads, is slung across the left thigh, and only the up- per head is beaten with the 2 drumsticks; when gut strings {snares) are stretched across the lower head, the instr. is called a siiare-druiii. (2) The bass drum (Ger. grosse Trommel; Fr. grosse caissc; It. gran cassa, gran taniburo), similar in form to I, but much larger, and beaten on one or both heads w'ith a stick having a soft round knob at the end. (3) See Tawhourine. . .The so\q representative of the second class is the Kettledrum (which see). Duc'tus (Lat.) A series of tones in stepwise progression ; as d. rec'tus, ascending ; d. rever'tens, descending ; d. circiimcur'rens, first ascending and then descending. Du'delsack (Ger ) Bagpipe. Du'e (It.) Two. . .A due, signifies (l) for two ; as a due voci, for 2 parts or voices ; (2) both together (see Divisi). ..Due corde, "two strings"; see Cor da . . . Due volte, twice . . . / due pe- dali, both (pfte.-) pedals at once. Duet'. (Ger. Duett'; Fr. duo; It. dtief- to.) I. A composition for 2 voices or instr. s. — 2. A composition for 2 per- formers on one instr., as the pfte. — 3. A composition for the organ, in 2 parts, each to be played on a separate manual. Duetti'no (It., dimin. of duetto^ A short and simple duet. Dulcian' (Ger.) See Dolcian. Dulcian'a. I. An organ-stop having metal pipes of narrow scale and yield- ing a somewhat sharp, thin tone. — 2. A reed-stop of delicate tone. — 3. ^^ small bassoon. Dul'cimer. (Ger. Hack'brett; Fr. iym- panon ; It. cem'balo.) A very ancient stringed instr., greatly varying in con- struction and form ; typical character- istic, the wire strings stretched over a soundboard or resonance-box and struck DUMB PIANO— DURUS. 63 with mallets or hammers. In the modern forms the string-tension is regulated by wrest-puis, and the mallet-heads have one soft and one hard face, which pro- duce different effects j^_ (^' of tone. Compass 2 to 3 octaves, g to g'^: The dulcimer was the _ precursor, and is often called the proto- type, of the pianoforte. See Pan talon. Dumb piano. An instr. like a small piano in form, having a keyboard of narrow compass, but neither hammers nor strings ; intended for silent finger- practice, i. e. merely for increasing the mechanical dexterity of the fingers (Comp. Digitorium, and Virgil Prac- tice- Clavier) . . . Dumb spine/, see Mani- chord. Dummy pipes. Pipes which do not speak, displayed in the front of an organ. Dump. An obsolete dance in slow tempo and common time. Du'o (It. and Fr.) A duet. (In English usage, duo is sometimes distinguished from duet by applying the former term to a 2-part composition for 2 voices or instr.s of different kinds, and the latter to such a composition for 2 voices or instr.s of the same kind.) Duode'cima (It.) i. The interval of a twelfth. — 2. A Twelfth (organ-stop). Duodecimo'le (Ger.) Dodecuplet. Du'odene. A 12-tone group composed of 4 trines, applied to the solution and correction of problems in temperament and harmony. A diiode'nal is the sym- bol of the root-tone of a duodene. The term (as also Trine, Decad, Ilcptad, Heptadecad, etc.) is the invention of A. J. Ellis, a full explanation of whose system of acoustics will be found in his original Appendices to the Second Eng- lish Edition of Helmholtz's work "On the Sensations of Tone, (1885, trans- lated by Ellis himself). Duodra'ma. (It. dnodram'ina.) A kind of melodrama, or spoken dialogue accom- panied by the orchestra. Duo'i (It.) Same as Due, Duo'le (Ger.) Couplet 2. Duo'lo (It.) Grief, sadness, melancholy. Du'pla {proportio). See Xotaiion, §3. Duple. Double.../), rhythm, rhythm of 2 beats to a measure. Dur (Ger.) Major. Dur,-e (Fr.) Harsh, unpleasing in tone. Duramen'te (It.) Sternly, harshly. Durch'fiihrung (Ger.) In a general sense, the mus. construction or working-out of a movement ; specifically, the develop- ment of a theme, as in the fugue or sonata. (See Development, Form.) Durch'gang (Ger. ;Lat. tran' situs.) The " passage " or progression of one prin- cipal tone to another through a tone or tones foreign to the harmony or key. . . Durch'gangston, passing-tone, chang- ing-tone ; re'gehinissiger D.ton, one falling on a weak beat ; un'regelmds- siger Durchgangston, one falling on a strong beat, also called a scliwe'rer Durchgang, " heavy passing - tone," though properly an anticipation or free suspension. Durch'gehend (Ger.) i. Passhig, as Durch'gehender Akkord' , passing- chord. — 2. Transitional, as durchge- hende Atts'^twichungen, the transitional or continuous modulations necessary in passing to a key harmonically remote. — 3. Complete ; as durch'gehende Stim'men, complete (organ-) stops. Durch'komponieren (Ger.) In song- writing, to set each strophe to differ- ent music, thus following the changing mood more closely than in the ballad or folk-song, where melody and harmony are generally the same for each verse. ..Durchkomponiert, " through-com- posed," progressively composed. Durch'schlagende Zung'e (Ger.) Free reed. Durch'stechen (Ger.) Running (of wind in an organ). Also said of a pipe which, when facing another, causes thb latter to speak by the wind issuing frora its mouth. — Dtirch'stechcr, tones pro- duced by the above defects. Duree (Fr.) Duration, time-value (of a note). Durez'za (It.) Sternness, harshness. Dur Moll'-Tonart (Ger., "major-minor mode".) The "combined" mode de- rived theoretically from the resolution of the dominant chord in minor to the tonic in major (mode with major third and minor sixth); expressed by the Hauptmann formula D/F-at7-C-e-G-b-D/F. Du'ro,-a (It.) Stern, harsh. Du'rus,-a,-um (Lat., "l>ard".) Equi^ «4 DUSTER— EIN. valent to major in the phrases cantits duius, hcxachor'dum durum; i. e. a chant (vocal music) and hexachord with major third ; opp. to yl/c/Z/j. — B durum, B natural. Dii'ster (Ger.) Gloomy, mournful. Dutch concert. See Concert. Dux (Lat, "leader, guide".) Subject or theme of a fugue. Dynam'ics. The theory of mus. dyna- mics is the scientific explanation of the varying and contrasting degrees of in- tensity or loudness in mus. tones. E. E. (Ger. E; Fr. and It. ;«/.) The 3d tone or degree in the typical diatonic scale of f-major. (Compare Alphabet- ical Notation, and Solmisation.) E (It.) And ; (before a vowel, ed). Bar, I. (Ger. Ohr, Gehoi-' ; Fr. oreille: It. orec'chio.) A mus. ear is one im- pressionable to mus. tones, thus afford- ing to its possessor, after more or less practice, the capability of accurately reproducing them, and of appreciating and correctly analyzing compositions performed by others. — 2. One of the 2 projecting plates of metal on either side of the mouth of an organ-pipe. Ebollimen'to, Ebollizio'ne (It.) Ebul- lition ; a sudden and passionate ex- pression of feeling. Ecart (Fr.) A wide stretch on the pfte. Ec'bole (Gk.) The raising or sharping of a tone ; opp. to Ec' lysis. Ecceden'te (It.) Augmented (of inter- vals). Ecclesiastical modes. See Modes. Ec'co (It.) Echo. Echappement (Fr.) The hopper or es- capement in a double-action pfte. Echelette (Fr.) Xylophone. Echelle (Fr.) Scale. Echo. I. A subdued repetition of a strain or phrase. — 2. An echo-stop. — 3. A harpsichord-stop. . ./r(:// J ). . .Eighth-rest, a rest equal in time-value to an eighth- note. Ei'Ien (Ger.) To hasten, accelerate, go faster. . .Ei'lend, hastening ; acceleran- do, stringendo. . .Ei'lig, hasty, in a hur- ried style; rapid, swift. Ein, Eins (Ger.) One. . .Ein'chorig, {a) having one string to each note ; (b^ for single (or undivided) chorus (choir). . . Ein'fach, simple, plain. . .Ein' gang, in- troduction. . .Ein'gestrichen, one-lined. . .Ein'greifen, (a) to touch or sound (strings) ; {b) in pfte. -playing, to inter- EIS— EMPATER. 6S lace the fingers. . .Ein'klang, unison. . . Ein'lagi\ a short piece introduced (<•/;/'- gelegt) between 2 compositions or in the midst of a long one. . .Ein'lcitung, in- troduction. . .Ein'mal, once. . .Ein'- saitcr, monochord. . .Ein'salz, entrance (of a vocal or instrumental part) ; attack. Ein'satzstuck, a crook (usually Bogrn). Ein'satzzeicken, in a canon, the prrsa. . . Ein'schnitt, a pause at the end of a melodic phrase or section . . . Ein'scizcn, to enter (as a part) ; to attack ; to strike or fall in ; ein' setzender Hortiist' , a horn-player who sets the mouthpiece rather within than against his lips ; a lipping sometimes necessitated by thick lips. . .Ein'singen, (a) to sing to sleep ; (d) to practise singing until confidence is attained. . .Ein'spielen, (a) to play on a new instr. till it works smoothly ; Q>) to practise a part or piece until confidence is attained. . . Ein' stimmen, to tune (in concert with other instr.s). . .Ein'stim- mig, for one part or voice. . .Ein'tritt, entrance ; beginning. E'lS (Ger.) Y.%. . .E'lsis, Ex. Ei'senvioline (Ger.) See N'agelgeige. Eklo'g(u)e. Ger. spelling of Eglogue. Ela, Name of the highest ^^ '^ note in the Aretinian scale : ^ Electric Organ. See Organ. . .Electric Pianoforte (Ger. elektropho'nisches Kla- vier')^ inv. in 1891 by Dr. Eisenmann of Berlin. Over each unison of strings an electro-magnet is fixed ; on closing the circuit (by depressing a digital) each magnet attracts its strings, and (the magnetic action being duly controlled and limited by a set of microphones) causes their continuous vibration. — Tone (of the improved instr.) full, sweet, capable of the most various dynamic Elevation. + wntten : played : fe shading ; timbre like that of the string- orchestra ; the ordinary hammer-action may be employed alone, or in combina- tion with the above. A peculiar (sus- taining) pedal-mechanism permits a given tone, a full chord, or any har- mony, to sound on as long as desired, even after lifting the fingers. Numer- ous combined effects of tone are pos- sible. El^gamment (Fr.) Elegantly. Elegan'te (It.) Elegant, graceful... Elega7itemen'te, elegantly, etc. Elegie'zither (Ger.) See Zither. El'egy. (Fr. ^le'gie ; It. elcgi'a)^ A composition of a mournful cast, either vocal or instrumental ; a dirge. . .Ele'- giac, a pentameter, i. e. a verse com- posed of 2 dactylic penthemims or written in elegiac metre. . . Elegiac verse, that in which elegiac poems or verses are written, consisting of elegiac dis- tiches ; an elegiac distich being one in which the first line is a dactylic hexa- meter, and the second a pentameter, thus : Element (Fr.) The entire range of tones embraced in the mus. scale... Element nietriqtte, a measure-note. Eleva'tio (Lat.) i. Up-beat ; unac- cented count. — 2. The rising of a mel- ody over the ambitus of the mode. — 3. A mus. composition accompanying the elevation of the Host. Elevation. See E leva tio. . .Also, the name of 2 obsolete graces, the elevation aiid shaked elevation : Shaked Elevation, -*=i! S ^ |-J_.g ^ -=3i=^ -rrr^'f^ ^-f^ £ £l6vation (Fr.) i. Up-beat or weak beat (also lev^) ; opp. to Frapp/.^2. Same as Elevatio 2 and 3. Eleva'to (It.) Elevated, lofty, sublime. . .Elevazio'ne, see Elevation. Embellir (Fr.) To embellish ment. Embellishment. See Grace. orna- Embouchure (Fr.) i. The mouthpiece of a wind-instr., or the oval orifice of a flute. — 2. See Lip. Empater les sons (Fr.) To produce a very smooth and suave legato. . .Ex/- cution (j'oix) cinpdtee, an instrumental (vocal) style lacking in neatness and distinctness. 66 EMPFINDUNG— ENTREE. Empfin'dung(rier.) Feeling, emotion.. . Empfin'dungsvoll, full of feeling ; feel- ingly, with emotion. Empha'se (Ger. and Fr.) Emphasis, stress. Emport6,-e (Fr.) Carried away by feel- ing or passion. Empress6,-e (Fr.) Urgent, eager ; in haste. •Enarmo'nico (It.) Enharmonic. En badinant (Fr.) See Scherzando. Enclavure du manche (Fr.) Space cut in belly (of violin) for insertion of neck. Encore (Fr.) "Again!" (in English usage; the French use the word ""bis" when recalling an actor or performer). — Also used for recall {noun and verb), and for the piece or performance re- peated. End-man. In the "negro minstrels", a man who sits at the end of the semi- circle formed by the company on com- mencing the performance. There are 2 or 4 such end-men, who provide a good part of the fun apart from the songs, and likewise perform on the "bones " and the tambourine. Energi'a (It.), Energie(Fr.) Energy'. . . Energicainen'te (It.), or con oiergia, with energy and decision, energetically. Ener'gico (It.), Ener'gisch (Ger.) En- ergetic, vigorous ; indicates that the passage so marked is to be vigorously accented and distinctly phrased. Enfant de choeur (Fr.) A choir-boy. Enfa'si, con (It.) With emphasis, em- phatically. . .Enfa'tico, emphatic. Eng (Ger.) Narrow, close... £'«^^ Hamionie' (Lage), close harmony. Eng'elstimme (Ger.) I'ox angelica. EngTiihrung (Ger.) The stretto in a fugue. Eng'lisch (Ger.) English. . ..fw^Z/jr// Horn, cor 2^w%\2A9,. . .Eng'lische Rle- cha'nik, English action (pfte.). . .Eng'- lischer Tanz, anglaise . . Englisch Vio- lef, {a) an obsolete bow-instr. re- sembling the viola d'amore, with 14 sympathetic strings stretched below the fingerboard ; (/') a former tuning of the violin {c-a-e^-a^). Enharmon'ic. (Ger. enharmo'nisch ; Fr. cnharinoniqiie ; It. enaniio'nico.) In Greek music, the enh. genus was distinguished by a tetrachord, the first 2 steps in which were (approximately) quarter-tones, and the third step a major third. — In modern music, enhar- monic tones are tones derived from dif- ferent degrees, but practically identical in pitch, as c^ and ^/p on the pfte. or organ. . .Enltarmonic change, a change effected in the harmonic relations of a tone or chord by treating it as identical in pitch with another r-^ — 1 ^ » tone or chord of dif- |(fl ) ^ ^^ ^^^ s<— ferent notation ; thus: tJ ^- t^ where the enharm. change of 11^ to a^ brings about a different resolution cf the diminished seventh-chord by chang- ing its tonality: (i) (/-minor. (2) (5-minor. =§^ ■and =5^ W^'^ . .Enharmonic chords, chords (like I and 2 above) alike in pitch but unlike in notation and derivation . . . Enharm. di'esis, see Diesis . . .Etihan/t. interval, one derived from an enharm. change. . . Enharm. modulation, an enharm. change of chords, as above. . .Enharm. organ, pianoforte, scale, one in which the identity of the enharmonic tones is denied, and an attempt made to realize practically the minute differences in pitch between such tones, e. g. by add- ing an e.xtra digital for d\) as distinct from ("i ; etc. Ensemble (Fr.) Concert, in the sense of " agreement of 2 or more in a de- sign or plan". — i. The unity of a composition ; the harmonious agree- ment of parts which forms a well-bal- anced whole. — 2. The harmonious co- operation of the various factors in a performance ; of the actors, singers, musicians, or instruments, taken in groups or together. . .J-/.? ;r^tf«.*- d' en- semble, concerted music. En serrant (Vr.) Stringendo. Entr'acte (Fr., " interval between acts".) A light instrumental composition or short ballet, intended or adapted for performance between acts. Entra'ta (It.) See Entr,fe, and Inirada. Entree (Fr.) i. See Intrada; also, specifically, the orchestral prelude to a ballet, following the overture. — 2. En- trance (of a part or actor). — 3. A division of a ballet corresponding to a "scene " in a dramatic performance ; also, the dance -music accompanying it. — 4. An old dance resembling the Polonaise in character, usually in 4-4 time ; often ENTRY— ESPRESSIONE. 6- occurs as first movement in the Sere- nata. Entry. An act of an opera, burletta, etc. (Obsolete.) Entschlos'sen (Ger.) Resoluteflyj, de- termined, in a determined manner. Entwurf (Ger.) Sketch, plan, design. Eo'lian. See ^Eolian. Ep'icede. (Lat. epkc'dium ; Fr. epi- cede ; It. epice'dio.) A funeral song, dirge. Epigo'nion (Gk.) The ancient Greek lyre with 40 strings, named after its re- puted inventor Epigonos. Epinette (Fr.) Spinet. Epini'cion (Gk.) i. A triumphal song in celebration of a victory. — 2. In the Greek Church, the triumphal hymn, the Sanctus. Epio'dion (Gk.) A funeral song. Episode. (Ger. Zwisch'ensatz; Fr. ^pi- sode; \\.. diver time- n' to.) An intermedi- ate or incidental section ; a digression from and interpolation between the repetitions or developments of the prin- cipal theme or themes of a composition ; specifically, in the fugue, a passage of the above character ordinarily formed of motives taken from the subject or coun- tersubject. Epistle side (of the altar). That on the priest's left, when he is facing the con- gregation ; the south side ; opp. to the gospel or north side. Epis'trophe (Gk.) In a cyclic composi- tion, a refrain. Epit'asis (Gk.) The raising of the voice, or the strings of an instr., from a lower to a higher pitch. (See Aiiesis.) Epithala'mium (Lat.), Epithala'mion (Gk.) A nuptial song or poem. Epito'nion (Gk.) A tuning-wrench ; a pitch-pipe. Ep'itrite. Same as Hippius. Ep'ode (Gk., "after-song".) i. A re- frain. — 2. The concluding stanza of an ode, following the strophe and anti- strophe. Eptacorde (Fr.), Eptacor'do fit.) i. Heptachord. — 2. .V scale of 7 notes. — 3. The interval of a seventh. Equa'bile(It.) Equable, even, uniform, similar. . .Eqiiabilmen' te, equably, etc. Equal counterpoint, temperament, See the nouns . Eqtial 7'oices, voices of the same class, i. e. either women's (or boys') voices (contralto and soprano), or men's voices (tenor, bass) ; opp. to "unequal voices," a term equivalent to mixed chorus. E'quisonance. In medieval music, the unison (of primes or octaves). Equisonnance (Fr.) The unison (of octaves, double octaves, etc.) Equi'sono (It.) In unison or octaves. Equiv'ocal or doubtful chord. .See Chord. Ergrirfen(Ger.) Affected, stirred, vnox- &d. . .E)-grif'fenheit, emotion, agita- tion. Erha'ben (Ger.) Lofty, e.xalted, sub- lime. . .Erha'iienheil, sublimity, etc. Erhoh'ung(Ger.) Raising (the pitch of); sharping. . . Erhoh' ungszeic hen, sign of raising, as the j, or a C; after a J7. Ermat'tet (Ger.) Exhausted, wearied. Ernie'drigung (Ger.) Lowering (the pitch of) ; flatting. . .Eriiie'diigtings- zeicheii, sign of lowering, as the [?, or the ti after a %. Ernst (Ger.) I^arnest, serious, grave. (Also adverb^ Ero'ico,-a (It.) Heroic ; strong and dignified. Erot'ic. (It. ero'lico.) I. Amatory.— 2. An amatory poem, a love-song. Er'ster,-e,-es (Ger.) Yhst. . .Ef'ste Stiiu'me, the highest part or voice. Erwei'tern (Ger.) To extend, expand. Erii«'].) Development. Expression (Fr.) i. Expression. — 2. The vibrato effect on bow-instr.s. Expression. (Ger. Aiis'druck; Fr. ex- pression; It. espressio'ne.) The cleat and effective presentation of the emO' tional and intellectual content of a work ; its proper reading and interpre- tation, rendering and execution ... .ffor- pression-mark, a written direction (either a sign, word, or phrase) for the performance of a p\ece. . .Expression- stop, in the harmonium, a stop which closes the escape-valve of the bellows, so that the wind-pressure, and conse- quently the intensity of the tone, is partly under the control of the pedals. Expressive organ. (Ger. Expressii/- orgel; Fr. argue expressif.) The har- monium. Extem'pore. Without previous prepar- ation ; on the spur of the moment ; off- hand. Extem'porize. (Ger. extemporie'ren!) To improvise. . . Extemporizing-ma- chine, an apparatus for mechanicallj EXTENDED COMPASS— FAGOTTO. 69 recording improvisations on the pfte. or organ by means of a meciianism placed in communication with the key- board. See Mclograph. Extended compass, harmony, inter- val. See the nouns. Extension (Fr.) i. On the pfte., a stretch ; on the violin, the extension of the little finger or forefinger of the left hand. — 2. Same as Etendiie. Extension-pedal. See Pedal. I. 2. Extraneous chromatic signs. Those not proper to the key. . .Extraneous modulation, one to a remote key. Extravagan'za. A composition of an extravagant, whimsical, or fantastic character ; a burlesque. Extreme, i. Of intervals, augmented. The chord of the extretne sixth has a major third and sharp sixth, and oc- curs on the 6th degree in minor in 3 principal forms : 3. or with progression to major {E[)). — The first form is called the Italian sixth; the second, the French sixth; and the third, the German sixth. — 2 (pi.) In part-music, the outer parts. — 3. Extreme key, a remote key. F. F. (Ger. F; Fr. and It. fa.) The fourth tone and degree in the typical diatonic scale of 6'-major. (Comp. Alphabeti- cal notation, Solmisation.)—f^= forte; ffox fff (seldom ffff) , fortissimo. Fa. I. The fourth of the Aretinian syllables. — 2. Name of the tone E in Italy, France, etc. . .Ea feint (Fr.), fa f.c'tum (Lat.), former term for any flatted note.../vz mi, in solmisation, the descending step of a semitone; originally that from E to E, thereafter from B'q to a, E') to D, etc. Fabliau (Fr.) A versified tale or ro- mance of the iroiivercs, in vogue chief- ly during the 1 2th and 13th centuries. . .Eablier (Provenfal), a Trouvere. Fa'burden. (Fr. faux bourdon; It. fal'so bordo'ne.) i. In medieval music, the primitive harmonization of a c. f. by adding the third and the sixth above, and progressing in parallel motion throughout, only the first and last chords having key-note, fifth, and oc- tave. — 2. Later, the setting of a simple (note against note) counterpoint to the c. f., strict parallel motion being given up to some extent ; dissonances were avoided, various embellishments added, and the whole counterpoint frequently improvised. — 3. A drone-bass, a bur- den. — 4. The intonation of the Psalms, Face (PV.) Thepositionof a chord, either as a fundamental chord or inversion ; e. g. a triad has 3 faces. -fach (Ger., "-fold ".) When compounded with a numeral, equivalent to ranks, i.e. in a mixture-stop ; zjt'ei'fach=:^-\ih. 2 ranks, drei'fach^whh. 3 ranks, etc. Fach'erformiges Pedal' (Ger.) A "fan-shaped" or radiating pedal-key- board. Faci'le (Fr.), Fa'cile (It.) Facile, easy, '^UQnt. . .Eacilemeni (It. facilmen'te), easily, fluently. . . Eacilitd {It. facilita')., ease, easiness, facility, fluency ; facili- ie{e) also signifies made easy, as an easy arrangement of a difficult piece or passage. Fack'eltanz (Ger.," torch-dance".) A torch-light procession arranged at some German courts at the marriage of a member of the reigning family ; the music is a polonaise in march-time, for military band, and in minuet-form. Facture (Fr. ; Ger. Eaktur' ; It. faitu'- ra.) I. The plan, build, structure, construction of a composition. — 2. (Fr. and It.) Scale (of organ-pipes). -fa'dig (Ger.) Equivalent to threads (of violin-strings), as /fddig, having 4 threads. Fad'ing. An Irish dance ; also, the burden of a song. Fagott' (Ger.) Bsissoon. . .Fagot t'zug (or simply Fagott), a reed-stop in the organ. Fagot'to (It.) Bassoon. . .Fagotti'tw, a 70 FAH— FAUSSE. " small bassoon " pitched a fifth higher than the ordinary one (Ger. Quint'- fagott, Toior' J agolt). . .Fagotti' sta, a bassoonist, bassoon-player. . . Fagotto' ne^ double-bassoon. Fah. For /(J, in Tonic Sol-fa. Faible (Fr.) Weak . . . Tk-w/j- faihlc, weak beat. Faktur' (Ger.) See Facture. Fa-la. See Ballet 3. . .Also, in Italy, a kind of arietta ending with a burden of fa-la. Fall. I. Same as Fly. — 2. A cadence or close. — 3. A lowering of the voice. Fall (Ger.) See Ton' fall. Falling rhythm. A descending rhythm. Fal'sa (Lat. and It.; G&v. false h.) False, wrong. . .Mil' si ca falsa, see Ficta... Qitin'/a falsa (Ger. fil'sche Quin'te), diminished fifth. False. (Ger. falsch ; Fr. faux, fausse ; It. falso,-a.) Wrong ; not true to pitch, out of tune. . .False cadence, chord, fifth, harmony, see the nouns.. . False relation, also inharmonic rel., cross-rel.. an harmonic discrepancy arising from the chromatic contradiction of a tone in one part by another part. In equal counterpoint it is apt to occur at a modulation, and consists in sound- ing, either simultaneously or success- ively, a tone and its chromatically al- tered octave. The former case is generally confined to passing-notes «in figuration, and then has no ill effect ; the latter case occurs when a'chromatic- ally changed tone, which might have been reached in one part by the step of a chromatic semitone, enters in another octave in another part ; the effect is harshest in passing from a major chord to a paral- lel minor I chord, or vice versa: Falset'to (It. ; Ger. Falsett' ; Fr. voi.x de fausse/, fausset.) The highest of the 3 vocal registers (chest-voice, head-voice, falsetto), so named from its forced or unnatural character ; often reckoned to the head-register. . . False t'tist, a falset- to singer. Fal'so,-a (It.) Y&\?,q. . .Falso bordone, (a) see Fabin-den ; {l>) the reciting-note. Fancy. A short piece of an impromptu character ; a fantasy. Fandango. (Span.) A lively Spanish dance in triple time, for 2 dancers of different se.x, who accompany it with castanets, or sometimes (in the case of the man) with a tambourine 'l"he dance alternates with vocal couplets, both dance and song having a guitar- accomp.; the following is the castanet- rhythm : J" K5^! I S=J T Fanfa'ra (It.), Fanfare (Fr.) i. A brass-band.— 2. A fanfare. Fan'fare. A flourish of trumpets or trumpet-call, either in the orchestra, on a hunt, or at warlike gatherings. Fantasi'a (It.; Ger. Fantasie' , Phan- tasie' ; Vr. Jantaisie.) I. An impro- visation or impromptu. — 2. In the 1 7th and iSth centuries, an instrumental composition in free imitation, as con- trasting with one in strict imitation. — 3. Later, a composition free in form and more or less fantastic in character. • — 4. A term lousely applied to pot- pourris and paraphrases - . . Free fan- tasia, that part of the first movement of a symphony or sonata which follows the double-bar (repeat of first part) and precedes the reintroduction of the prin- cipal theme ; it consists chiefly of a free development of motives taken from the first part. Fantasie'ren (Ger.) SteFhantasieren. . . Fantasie' stiick, see Fhantasiestiick. Fanta'stico (It.), Fantastique (Fr.), Fantas'tisch (Ger.) Fantastic, giving free rein to the fancy. Fan'tasy. See l\iiitasia. Farando'la, Farando'le. A circle- dance of southern France and the ad- joining Italian provinces, in 6-S time and very rapid tempo. Farce. I. {\t. fir'sa.) A one-act opera or operetta of ultra-comical or burlesque character. — 2. {\X.farsia.) A canticle in the \'ernacular intermingled witi Latin, formerly sung at the principal festivals of the R. C. Church, and later finding ludicrous imitation in \}n& farsa or farce. Fa'scia (It.) i. A tie.-— 2 {^\., fascie). Ribs. Fastosamen'te (It.) Pompously, in a stately iXylQ.. . .Fasto'so., pompous, stately. Fatigue-call. A signal to soldie'rs, call- ing them to fatigue-duty. Fattu'ra (It.) See Fac'ture. Fausse (Fr., masc. /rt«x.) False.../; FAUSSET— FIFTH. 71 quinte, diinin. fifth. . ./% relation, false relation. Fausset (P"r.) See Falsetto. Faux (Fr.) False. . .Fatix-bourdon, see Faburden. F-clef. (Ger. Fschlussel ; Fr. ch-f de fa ; It. chiave di basso.) See Clef. Fe'derklavier (Ger.) Spinet. Feeder. In the organ, see Organ, (i) Wind-szipply. Fei'erlich (Ger.) Festive ; solemn, grave, serious. (Also adverb^ Fei'Ien (Ger.) To file, polish, refine, put the finishing touches to. Fein (Ger.) Fine, delicate, refined. Feint, -e (Fr.) See Ficta. Feld'fl6te,-pfeife (Ger.) i. SecBaztern- jlote. — 2. A fife. — 3. See Sch-ivcizei- Jiote 2. Feid'stiick (Ger.) A cavalry-call or signal. Female or feminine rhyme. A rhyme ending with an unaccented syllable, as fate'ful — ungrate'ful. Fermamen'te (It.) Firmly, with de- cision. Ferma're il tuono. See Mcssa di voce. Ferma'ta (It.), Ferma'te (Ger.) i. A pause, stop, or interrupti')n, as that be- fore the cadenza of a concerto. — 2. A hold (/in). — 3. A stop (on the violin). Fermez'za, con (It.) In a firm, de- cided, energetic style {dt-ciso). Fer'mo (It.) Firm, decided ; fi.xed, un- changed (as canto fervio). Fer'ne (Ger.) Distance. . . Wie a us dcr Feme, as if from a distance. Fern'fiote (Ger.) A covered 8' organ- stop of very soft tone. Fern'werk (Ger.) Echo-organ. Fero'ce (It.) Wild, fierce, vehement.. . Ferocita', wildness, vehemence. .. Ctv; ferocita, wildly, vehemently. Fer'tig (Ger.) Ready; done, finished ; prompt, skilful, dexterous. ../^'r'/iVM'A readiness, skill, dexterity ; technical finish. Ferven'te (It.) Fervent, ardent, pas- sionate. Fes (Ger.) Fr> . . .Fes'es, Y\)\,. Fest (Ger.) I. A festival . . . Musik'fest, mus. festival. — 2. Firm, steady. (Also adv^ Festivamen'te (It.) In a gay, festive manner. . ./vj-z/z'/V;/', festivity, mirth: con f., in a gay and festive style. . .Fes- ti'vo {Ger. /est' lick), festive, festal (also fes(o'so). Feu'er (Ger.) Fire, ardor, passion... Feu'erig, fiery ; with fire, ardently, pas- sionately. F-holes. (Ger. F'-Iocher ; Fr. les F.) The 2_/-shaped soundholes cut in the belly of the violin, etc. Fiac'co (It.) Languishing. Fia'sco (It.) P'ailure. Fia'to (It.) Breath, breeze, wind... Strumen'to da/., wind-instr. Fic'ta,-um (Lat., " feigned ".) Fa fie', turn, see Fa. . .Mu'sica ficta, see Mu- sica, in AppendiX- Fiddle. (Ger. Fi'del, Fie'del.) See Vio- Un. . .Fiddle-bow, fiddlestick, see Boiv. Fi'des (Lat.) i. The string of a mus. instr. — -2. A lute, lyre, cithara. Fi'dicen (Lat. ; fem. fidicina.) A player on a stringed instr. Fidic'ula (Lat.) Dimin. of Fides. Fidu'cia (It.) Confidence, boldness. Fie'del (Ger.) ¥\d(^\Q. . .Stroh'fiedel, .xylophone. Fier, Fiere (Fr.) Proud, haughty. Fie'ro,-a (It.) Wild, fierce ; bold, vig- orous. . .Fierainen'te, wildly, boldly. . . Fierez'za, fierceness, boldness, vigor. Fife. (Ger. Quer'pfeife ; Fr. fifire ; It. piffero.) I. An octave cross-flute with 6 holes and without keys (thus differ- ing from the Piccolo) ; compass about — $• used chiefly as a march-accomp. with the drum. — 2. An organ-stop of 2-foot pitch ; a piccolo-stop. Fifteenth. I. (Ger. Quint' dezime; Yx. guinzieme ; It. quindice'sivia.) A double octave.— 2. An organ-stop of 2- foot pitch. Fifth. (Ger. Quin'te ; Fr. quinte ; It. quin'ta.) An interval of 5 diatonic de- grees (see Intei-'al) ; also, the 5th de- gree in the diatonic scale, the dominant. ..The typical or standard interval of this name is ihe perfect (or major) fiifth, equal to the interval between the key- note and the fifth tone of the diatonic scale ; e. g- {c-g), the vibrational ratio being c:g::2:-^. . .Diminished (imperfect, defective. 72 FIFTHY— FINGER-CYMBALS. minor, or false) fifth, an interval nar- rower by a semitone than a perfect fifth. . .Augmented {pi npt'r feet, supcrfiuoiis, or extreme) fifth, one wider by a chro- matic semitone than a perfect fifth. . . Consecutive {ox parallel) fifths , see Con- secutive. . . Covered (concealedor hidden) fifths, see Octave. . .Circle of fifths, see Temperament. Fifthy. Having the second harmonic (fifth above the octave of the generator) specially prominent. Figur' (Ger.) See Figure 2. Figu'ra mu'ta (Lat. and It.) A rest. Figu'ra obli'qua (Lat.) The "oblique figure" of Plain chant and mensurable music was a simple ligature formed by uniting 2 notes ; {a) in Plain chant, it was written in 2 ways : I. 2. = sung ^ (b) in mensurable notation thus ; s^»)^-m^s sung : W ntst ^ 13^: la: ; i n all cases the ends of the figure marked the seats of the 2 notes. In the midst of a ligature it possessed no special signiiicance ; but at the termination it denoted the imper- fection of the final note. Flg'ural. See Figtiraie. . .Fignral'ge- sangiGcT.), cantus figuralis. ..Figural'- miisik, unequal or figurate counterpoint. Figurate. (Gftr. figurierf ; Fr. figure; It. figura'to.) Having, or consistinj:: (Also Figurative.) of, figurations Figuration, i. In counterpoint, the introduction of comparatively rapid fig- ures or phrases, containing passing and changing-notes, into the counterpoint. — 2. The variation of a theme by accom- panying it with florid runs and pas- sages, or by substituting for its own melody-notes more or less florid varia- tions. — 3. The writing-out of a figured bass. Figure. I. (Ger. Figur'; Yx. figure; It. figur a!) A distinct group of notes, a motive. — 2. (Ger. Ziffcr; Yx. chiffre; It. ci'fra.) A numeral, as used in thorough-bass. Figured, i. (Ger. beziffert; Yx. chif- fr^(e); It. cifra'to.) Provided with fig- ures, as a bass (see Thorough-bass). — 2. Figurate. Fil (Fr.) Thread (of a violin-string). Filar' il tuo'no, la voce (It.) In the Italian method of singing, to produce an even, sustained tone, without cre- scendo or diminuendo. (Also affilar' il tuono; Fr. filer un son, la voix.) Fil'pen (Ger.) See Fistulieren. Fi'lum (Lat.) Stem (of a note). Fin (Fr.) End, close. Final. In Gregorian music, that tone (in any mode) on which the melody must end (equiv. to key-note or tonic); in the authentic modes it was the low- est tone ; in the plagal modes, the 4tb tone from below. Irregular final tones were called confinals ... Final close, closing cadence. Fina'le (It.) i. A final. — 2. The con- cluding movement of a sonata, sym- phony, etc. , or the closing number of an act in an opera. An operatic finale is generally an ensemble for soloists and chorus, and intended to have a highly dramatic or otherwise striking effect. Fina'lis (Lat.) See Accentus. Fi'ne (It.) End, close ; indicates either the end of a repeated section (after the da capo or dal segno), or the end of a piece in several divisions. Fing'er (Ger.) Finger. . .Fing'erbildner, ("finger-developer"), see Dactylion. An apparatus of this name was also in- vented by Seeber, and consists of a separate attachment for each finger, whereby the bad habit of bending the last joint inwards is corrected. . .Fing'- erfertigkeit, "finger-dexterity", agility and readiness of the fingers. . .Fing'er- leiter, see Chiroplast. . .Fing" ersatz, Fing'ersetzung, fingering ; eng'er F., close fingering ; gedehn'ter F., spread fingering, stretches. . .Fing'erwechscl, change of fingers. Fingerboard. I. (Ger. Griff' breit; Fr. louche, mauche: It. tastie'ra.) In the violin, guitar, etc., the thin, narrow strip of wood glued upon the neck, above which the strings are stretched, and on which they are stopped with the fingers of the left hand. — 2. See Key- board. Finger-cymbals. Very small cymbals, held in pairs on the thumb and fore- finger of both hands . . . Finger-hole (Ger. Ton'loch), in the flute, clarinet, etc., a hole in the tube, to be closed by FINGERING-FLAUTANDO. 73 a finger or by a lever operated by a finger, thus changing the pitch. Fingering. (Ger. Fing' ersatz, Appli- katiir' ; Fr. doigler; It. di/teggiatii'ra.) I. The method of applying the fingers to the keys, holes, strings, etc., of mus. instr.s. — 2. The marks guiding the performer in placing his fingers. . . Eng- lish (px American?) fingering (for the pfte.), that in which notes taken by the thumb are marked x (or +) with I 2 3 4 for the fingers ; German (or conti- nental) fingering, that in which the thumb is marked i, and the fingers 2 3 4 5. (An earlier German system re- sembled the English, merely using a o instead of the x for the thumb.) Fini're il tuono. See Messa dl voce. Fini'to (It.) Finished. Fi'no (It.) Till, up to, as far as. Fin'to,-a (It.) Feigned. . . Caden'za fin- ta, deceptive cadence.. .7^!Z _/f«/^, see Fa feint. Fiochet'to (It.) Somewhat hoarse ; faint, v€\\^di.. .Fiochez'za, hoarseness. . .Fio'co,-a, hoarse, faint, veiled. Fioreggia're (It.) To figurate. Fioret'to (It.) Any melodic embellish- ment. Fiori'to (It.) Florid, embellished. . . Fioritu'ra, an embellishment, an orna- mental turn, flourish, or phrase intro- duced into a melody (commonly used in pi., fiorittire). First. I. Of voices or instr.s of the same class, the highest ; e. g. first so- prano, first violin. — 2. In the staff, the lowest ; as first line, first space. — -3. The first string of an instr. is the high- est. — 4. As the name of an interval, the prime or unison. Fis (Ger.) F^. . .Fis'i«, F x . Fis'telstimme (Ger.) Falsetto. (Also Fistel.) Fis'tula (Lat.) Pipe. Fistulie'ren (Ger.) i. To sing falsetto. — 2. Of an organ-pipe, to overblow in such wise as to sound (unintentionally) some harmonic tone instead of the fundamental. Fixed Do. The fixed-Do system of solmisation is that in which the tone C, and all its chromatic derivatives (CJ, t'x , and Cf?, Cp;?) are called Do, D and its derivatives Re, etc. , in whatever key or harmony they may appear ; the syllables are then termed fixed syllables. . .Fixed-tone instr., (or instr. of fixed intonation), one (like the pfte. or or- gan) the pitch of whose tones cannot be modified at the player's pleasure like, for example, the tones of the violin. Flag. I. A hook (N^). — 2. Abbr. for fiageolet (-tones). Flageolet, i. (Ger. Flageolett' ; Fr. fiageolet; It. fiagiolet'ta.) A modern- ized y//?/^ a bee, a small wind-instr. of the whistle family. There are 2 species still in use, the English and the French ; the latter is the more complicated, hav- ing 4 holes above and 2 below, various au.xiliary keys, g.^^ It is not and a compass b^i. used in the of 2 octavesp " 3^ ! / -^~- — orchestra... and 3 semi- K^ ) ^ D u b I e tones, ^j,'' X-obhy : •-' fiageolet, sia instr. inv. by Bainbridge about 1800, consisting of 2 flageolets of different size placed side by side and having a common mouthpiece ; simple duets could be played on it, but it is no longer in use. . . Flageolet-tones, see Harmonic 2. — 2. A small flute-stop in the organ, of I or 2-foot pitch. Flageolett' (Ger.) i. Flageolet. — 2. General term for the harmonics {Flageo- let' tone) produced on the violin, etc. Flaschinet' (Ger.) Obs. spelling of Flageolett. Flat. (Ger. Be; Fr. be'mol ; It. bemol'le.) The character (7 , which lowers the pitch of a note before which it is set by a semi- tone, and, when set in the signature, has a like effect on notes occurring on its line or space (and every octave of such line or space) unless cancelled. — Some earlier composers used the \) in- stead of a 3 whenever a note was to be lowered by a semitone. — The double fiat pi? lowers a note by 2 chromatic semitones ; for it the great fiat j? was sometimes written. . . Flat fifth, a dimin- ished fifth.. .Flat tuning, a method of tuning the lute (also called French flat tuning, by reason of the comparative lowness of the earlier French pitch). Flatter la corde (Fr.) " To caress the string," i. e. to play (on bow-instr.s) with graceful and tender expression. Flautan'do, Flauta'to (It.) A direc- tion in music for the violin, etc., to play near the fingerboard, and thus to pro- 74 FLAUTO— FOLK-SONG. duce a somewhat flute-like tone. . .Also, occasional for flageolet. Fla'uto (It.) Flute ../Y. a becco, flute ^ bee . . Ft. pic'colo, see Piccolo. . . Ft. traver'so, cross or transverse flute. . . Flauto also frequently occurs as a name for organ-stops, e. g. Jlauto ama'bile, Jiaiito dol'ce, &tc. . .Flanii' no, a small flute.. .Flaiili'sta, a flute-player, flutist. . .Flauto' lie, a large or bass flute. Fle'bile (It.) Tearful; plaintive, mourn- ful. Flessi'bile (It.) Flexible. Flick'oper (Ger.) See Pasticcio. Fling. A spirited Scotch dance, resem- bling the Reel, and in quadruple time. F'-16cher (Ger.) y-holes. Florid, Embellished with figures, runs, passages, etc. Flo'te (Ger.) Flute. . . Flo'teuhass, bass flute. . . Fld'teiistiviiiie, a flute-stop (or- gan).. . Flo'teiiwi'rk, a small organ hav- ing only flue-pipes (opp. to Schnan-- werk, Zitngeinuerk, Rohrwerk, and Regal). Fliich'tig (Ger.) Lightly, nimbly, airily ; fugitively, hastily, superficially. (Also adj.) Flue-pipe. (Ger. Labial' pfeife ; Fr. tuyau a bouche ; It. caii'na d' a'niina.) See Pipe ; also Stop 2. Flii'gel (Ger., "wing".) i. Formerly, a wing-shaped clavier (clavichord) ; now, a grand ]i{\.Q.. .Flii'gelhar/e, see Spitzharfe.. .P'lii'gelhorn, bugle, key- bugle. — 2. See Bart. Flute, (Ger. Flo'te; Yr. flute ; It. fla'uto.) I. The orchestral flute (also called German flute, cross flute, and D- flute, from its origin, the position in which it is held, and its — former— low- est tone respectively), in its present form as improved by Boehm, has a wooden tube of cylindrical bore, pro- vided with 14 ventages closed by keys, and caused to sound by a current of air projected from the player's mouth against the feather-edge of an oval orifice near the upper end of tube ; the air-column within the is set in vibration in the same as that within a g„,^j flue-pipe in the or- ^ (S; gan. Compass frompzj & /] I - <:' to c* (rare ex-F vl) 1 | / tremes b and c'^'i,) : *J (•■) "*" the first octave is obtained by moderate the tube way ) wind-pressure, the second and third by augmenting and forcing it, thus causing the tone to change (by overblowing) to the higher octave. It is a non-trans- posing instr., and its music is therefore written at the pitch at which it is to be played. Together with the octave-flute or piccolo it forms an incomplete family, made in 6 sizes : Flute in C in V\> in i;^ (in C i< in , Piccolo -< in D\f I in £\, the typical member of which is the C- flute. Its powerful and mellow tone (more reedy than that of the old flute), and extraordinary flexibility and agility, render it the leader of the wood-wind. — The picco/os in />r> and £|7 are chiefly used in military music. — In the 15th and i6th centuries complete families of flutes were constructed, embracing bass, alto, and treble instr.s. — 2. Direct Flute, the flageolet &r\A flilte a bee, having a mouthpiece at the end. Fliite (Fr.) Flute. . .Fl. h bee, a direct flute. ../•/. allemande, a German flute. . .Fl. a pavilion, an 8-foot organ-stop. . .Fl. d' amour, {a) a flute in B\); (b) 2l soft-toned organ -stop. . ./^/. d'Angle- terre, flageolet. . . //. douce, flauto dolce. . .F'.. du Poitou, bagpipe (cornemuse). ..Fl. harmonique, fl. octaviante, see Harmonic stop. . .Fl. traversiere, trans- verse flute. Flute-'work. In the organ, the flute- Toork includes all flue-stops not belong- ing to the principal-work and gedact- ■work, as well as various modifications of these two groups. Fly. The hinged board or flap used as a cover for the keyboard of the pfte. and organ. Fo'co (It.) See Fuoco. Fogliet'to (It.) In orchestral music, the part for the leader ; it contains cues for, or the obbligato passages of, the other instr.s, and can therefore be used by the conductor in lieu of a score. Foire des enfants (Fr.) See Toy Sym- phony. Fois (Fr.) Time ; premih-e fois, first time ; seconde fois, second time. Foli'a (Span. ; It.folli'a; usually in the plural, as Fr. " folies d'Espagne" ) A Spanish dance for one person, in slow tempo and 3-4 time. Folk-song. (Ger. J^olkslied) A song of the people, tinged by the musical FONDAMENTAL— FORM. 75 peculiarities of the nation, and generally of a simple, unaffected character, and in ballad-form. — Also, a song imitative of the above. Fondamental,-e (Fr.), Fondamenta'le (It.) Fundamental. . . Son fondaniental, generator. — Basse fondamentale, see Basse. Fondamen'to (It.) Fundament, funda- mental part. Fonds d'orgue (Fr.) The foundation- stops of the organ. Foot. I. (Ger. Ftiss ; Yr. pied ; It. pie'de.) In prosody, a group of syl- lables, one of which is rendered special- ly prominent by an ictus (accent) ; it corresponds to the measure in music. — 2. ((Jtr. Stiefel.) That part of an or- gan-pipe below the mouth. — 3. (Obs.) A drone-bass; a refrain or burden. — 4. The unit hi measure in designating the pitch of organ-stops, and (by extension) that of other instr.s, and of the several oc- taves of the musical scale ; thus an 8- foot (8') stop is one whose longest pipe pro- p ^- — and is about 8 feet duces the V ^ — in length, i.e. a tone C: :^ stop whose pipes produce tones corresponding in pitch to the keys depressed ; a 4-foot (4') stop is an octave-stop ; a 16-foot (16') stop yields tones an octave below those indicated by the keys p gj;^ touched. The 8 foot octave F^^ — embraces the 7 tones from C ^g- upwards (comp. Pitch, §1 ); the flute is an 8-foot instr. (because the pitch of its tones is the same as that indi- cated by the notes), while the piccolo is a 4-foot (or octave) instr. — The derivation of the term is as follows : The velocity of sound-waves is estimated at 1056 feet per second ; by dividing this velocity by the vibration-number of the given tone, we obtain the length of one sound-wave of that tone ; for in- stance, the tone C-i having 33 vibrations per second, 1056-5-33 = 32 feet, the length of one sound-wave, and likewise the length of an open flue-pipe capable of producing the tone C-i (CCC). Foot-key. Pedal-key (of an organ). Foreign chords or tones are such as do not belong to a given key. Forla'na (It.), Forlane (Fr.) A lively Italian dance in 6-8 or 6-4 time. Form. Form in music is that element, or combination of elements, which, by securing a proper balance between con- trasting parts, produces y?;//j// 0/ effect, or Unity. What are called the musical forms depend, in varying degree, for their distinctive features, (i) on rhyth- mical and metrical grouping ; (2) on the- matic construction ; (3) on melodic and harmonic contrast ; (4) on contrasting tempi ; and (5) on contrasting moods. Points I and 2 cover the ground of (I) mechanical synimetry ; the contrasts of melody, harmony, tempo, and mood postulate a more highly developed sense for (II) (esthetic symmetry. I. (i.) The element of metrical grouping is eminently characteristic of ordinary dance-airs and simple songs ; the following example exhibits its sim- plest form : Period. >%^ -^Er. Phrase "^ I Phrase :2±: 2iz 32= ?=?= rps: :i:e^:ES^ ^ :^=t= section Period. P I Phrase "73 Phrase -^- =?23 :^r^*-iJ= :;5=3=:=3=t r=*=e- 52= 22= Analysis of this Sentence {coDipound period, here a period of 16 measures), which contains a musical thought com- plete in itself, shows it to be composed of 2 simple 8-measure Periods, each period being formed by 2 Phrases, each of which embraces 2 Sections ioxmtd, in turn, of 2 Measures each. [The term motive for measure is to be rejected as misleading and unnecessarily confusing, except in the qualified shape of measure- motive.^ The punctuation of such a 76 FORM. musical sentence presents a striking analogy to that of the grammatical sentence from which its terminologyis in part borrowed : Phrase i = subject and predicate \comma^. Phrase 2 = limiting clause \semicolc>i\. Phrase 3, further modification \comnici\. Phrase 4, second limiting clause and conclusion of sen- tence \^period\ The exact symmetrical balance here observable, of 2 + 2, 4+4, and 8 + 8, though of very common oc- currence, is not the general rule, and would engender wearisome monotony (especially in extended compositions) if regularly adhered to ; the variety of changes caused by triple time, com- pound measures, the opposition of un- equal phrases, the expansion or con- traction of periods, etc., etc., is prac- tically limitless. But in all the musical forms in which metrical symmetry is observed, the simple period is, in one shape or another, the form-element or germ-cell, so to speak, on which their construction is founded. I. (2.) A theme or melody simply repeated, (formula A + A, or |: A :|), presents no distinctive departure from the simplest form ; repeated in alterna- tion with another |: A -f B :| it ex- I. Exposition : Theme on ist ISt Episode : ti " 6th II. First Development: It " 5th 2d Episode : Ik " 2d 111. Second Develnpment : " ISt Stretto : Theme brought out on the 4th — Coda. II. (i.) Theelementof harmonic con- trast is derived in part from contrasting themes, in part from the deliberate choice of keys directly or remotely re- lated to that of the leading theme ; in part, also, from the harmonies accom- panying or varying the theme or themes. Dependence on the harmonic variation of repetitions of a single theme, to- gether with the lighi, and shade of vary- ing tempi, is an important principle of the Theme with Variations. II. (2.) In cyclic compositions (the Cyclical Forms'), contrasting tempi (S = slow, F = fast) in the successive movements are a prominent feature. The old Suite originally had the for- mula (S -}- F -H S + F) ; later a fifth movement, either slow or fast, was in- serted after (seldom before) the 2nd slow one. The Sonata and Symphony are essentially alike in plan ; either (F + S -+- F), or more commonly (F -+- S -{- F + F), or (S + F -t- S + F) or (F + F hibits the peculiar feature of the song 'with refrain ; once repeated, after any digression (interlude, or second theme), it produces the so-called Song-form {Liedform, A + B+A), or that of the jMinuet with Alternativo. With 2 dis- tinct themes alternating as follows : (|: A + B :| -h B [A] -t- A -I- B [in the original key of A]), it has the Sonata- form, or Fir st-7novement Form; while the Kondo-form has the following alternations : ( A + B -+- B [A] -t- A + B [B2 in same key as A ; development- section in the middle]) ; or : (A -I- B -|- A [in same key as B] -I- B [same key as A] 4- A). It must be added, how- ever, that the Song-form, Sonata-form, and Rondo-form, as carried out in practice, present frequent deviations from the above formulas. — A theme re- peated or imitated while still progress- ing, produces the form of the Canott, Catch, or Round ; one or more themes repeated in conjunction or alternation with an accompanying or contrasting counterpoint, according to a more or less regular formula, the Fugue. The following is a fairly exhaustive formula for the construction of a simple 2 part fugue : deg. (tonic) Answer on 5th (dominant) " (in augment.) " " 3d (in diminut.) " ISt " (inverted) " " 7th (inverted) " (with modulation to the subdominant) H- S + F) ; or, in 5 movements, (F -f S -+- F -f S + F) ; etc. ; a slow closing movement rarely occurs. II. (3.) The foregoing formal schemes are a product of the slow evolution of centuries. First, the primitive dance- song develops into lyric and epic song — love-ditties, ballads, — and into instru- mental dance-tunes differently named according to their character or origin ; while a parallel progress is seen in the rise of church-music from the severe Gregorian Chant to the stupendous contrapuntal works of the late middle ages and the chaste style of Palestrina. Instrumental art-music now borrows and develops its forms from the vocal style ; the forms of imitative music (can- on and fugue) gradually near perfection, finally attained by J. S. Bach ; through the adoption by artists of the rhythmic melody and nionodic style of the hitherto despised natural music (folk-music), and the recognitioti of its harmonic FORMARE IL TUONO— FREE CHANT. 77 basis, the two currents of art-music and folk-music are slowly merged in one broad stream ; the popular dance-tunes are transformed into art-forms, and combined in the Suite ; the rondo- form and the first-movement (sonata-) form are evolved step by step, and their combination produces the Sonata and Symphony; which latter, discarding the scheme of 4 formal movements, and aspiring to the uninterrupted flow and sweep of an epico-lyrical drama without words, becomes the Symphonic Poem. [Compare also Passion, Oratorio, Op- era, Overture^ Forma're il tuono. See Messa di voce. Fort (Ger.) Off; as Flote fort (organ- music). Fort (Fr.) i. Forte.— 2. Skilful, emi- ri€ntr:~.'Tempsfort, strong beat. . . Four- niiure j tuyaitx forte , a mixture-stop of 3 ranks. Fortbien. A keyboard stringed instr. inv. by Friederici in 1758, having a softer tone and lighter touch than the fortepiano then in vogue. For'te (It.) I {adjective). Loud, strong (abbr. /) ; piu. forte {pf), louder ; po- co forte (also //), rather loud ; forte piano ifp), accent strongly, diminish- ing instantly to piano ; fortenien'te, loudly, forcibly ; forte pos si' bile, as loud as possible. — 2 {noun), {a) A passage to be executed loudly or forcibly ; {b) in the harmonium, a slide within the chest containing one or more sets of reeds, opened by a stop or knee-lever to produce a forte effect ; sometimes di- vided, one section affecting the treble side and the other the bass side. Fortepia'no (It.) Same as Pianoforte. Fortis'simo (It., superl. oi forte.) Very loud, or extremely loud or forcible (abbr. ff, or fffior the extreme) ; also forte possi' bile {ffff). Fort'riicken (Ger., noun.) The ad- vance of the hand on a keyboard or fin- gerboard, as caused by the repetition of a figure with the same fingering but at a different pitch. Fort'schreiten (Ger.) To progress... Fortf schreitung, progression ; Fort'- schreitung einer Dissonanz' , resolution. /For'za (It.) Force, vigor; con f., for- cibly, etc. Forzan'do (It., "forcing, straining".) With force, energy ; indicates that a note or chord is to be strongly accent- ed ; abbr. fz.. .Also Forza'to, Sfor- zan'do {sfz). Forzar' la vo'ce (It ) To force the voice. Foundation-stops. See Stop. Fourchette tonique (Fr.) Tuning-fork. Fourniture (Fr.) A mixture-stop. Four-part. (Ger. vier'stit?imig ; Fr. h qnatrevoix ; It. a (jnat'tro vo'ci.) Set for, or performed by, 4 parts in har- mony. Fourth. (Ger. Quar'te ; Fr. quarte ; It. guar'ta.) I. The fourth degree in the dia- tonic scale ; the subdominant. — 2. An interval embracing 4 degrees (see In- terval). The typical or standard fourth is \.he perfect (or major) fourth, equal to the interval between the key-note and the 4th tone of its vibrational the diatonic " @-' %^ ratio being scale, as r-/.- (r:/::3:4... Ditninished {imperfect, defective, mi- nor, or false) fourth, an interval nar- rower by a chromatic semitone than a perfect iowrih. . .Augmented {pluper- fect, superfluotis, or extreme) fourth, one wider by a chromatic semitone than a perfect fourth. Frangaise (Fr.) A dance in triple time, resembling the country-dance. Francamen'te (It.) Freely, with free- dom (of deliver)'), boldly ; frankly, in- genuously. Franchez'za (It.), Franchise Freedom, confidence, boldness fr., see Francamente. Franz'ton (Ger.) " French pitch' lower than the ordinary Kammerton. Frapp6 (Fr., "beaten".) The down- beat ; opp. to Levi. Fra'se (It.) Phrase ; frase larga = largamente. . .Fraseggia're, to phrase. Fred'do,-a (It.) Co\A. . .Freddamen'te, coldly. Fredon (Fr.) An obsolete term for a roulade, trill, or tremolo ; also, a sign calling for a florid extension of a single written no\.e. . .Fredonnement, trilling, warbling; humrmng. . .Fredonner, to trill, warble ; to hum, sing to oneself. Free chant. A form of recitative music for the Psalms and Canticles, in which a phrase, consisting of 2 chords only, is applied to each hemistich of the words. [Stainerand Barrett.]. . Free fugue, see Fugue. . .Free part, an independent part added to a canon or fugue to com- plete or enrich the harmony . . . Free (Fr.) . Con It is 78 FREGIATURA— FUGARA. reed, see Reed. . . Free style (of compo- sition), that in which the rules of strict counterpoint are relaxed. Fregiatu'ra (It.) A grace, an ornament. Frei (Ger.) ¥re.e.. .Frei'heit, a license or liberty. French Horn, Sixth, Violin-clef. See the nouns. Fret. (Ger. [equiv.] Bund ; Fr. toiiche ; It. ta'sto.) One of the narrow ridges of wood, metal, or ivory crossing the fin- gerboard of the mandolin, guitar, zither, etc., against which the strings are pressed by the fingers to shorten their vibrating length and thus raise the tone. Fretel, Fret^le (Fr.) A sylvan pipe ; the Pan's-pipe with 7 reeds. Some- times called siffiet des chatidronniers. (Also fretetcl, freteau, fretimi, frestel.) Fret'ta, con (It.) With haste, celerity ; hurriedly. Fricassde (Fr.) i. A sort of popular dance interspersed with pantomime, in vogue in the iSth century in the thea- tres des boulevards at I'aris. — 2. A kind of part-song of the i6th century, each part having different words. Fries (Ger.) Purfling. Frisch (Ger.) Brisk, lively, vigorous (also adverb). Froh'lich (Ger.) Glad, joyous, gay, (also adverb'). Front'pfeife (Ger.) See Prospekt. Frosch (Ger.) Nut (of a bow). Frot'tola (It., "comic ditty".) A pop- ular ballad or song intermediate between the villanella and the madrigal ; in great vogue during tha i6th century. F'-Schlussel (Ger.) F-clef. Fu'ga (Lat. and It.) A fugue... /^. ad octa'vain \(juin'tam^ (Lat.), fugue at the octave [fifth]... /^. aqua' lis nio'tus (Lat.), fugue in similar motion, the answer ascending and descending like the subject. . ./'. al eoiitra'rio [^lever'so, 7-ove'scio] (It.), see F. contraria. . . F. authen'tiea (Lat.), fugue with a subject ascending above the key-note. . . F. ea- no'nica \tota'lis\ (Lat.), a canon.../'. compo'sita (Lat.), a fugue whose subject progresses by conjunct degrees.../^. contra' ria (Lat.), a fugue having the answer in contrary motion to the sub- ject. ../^. del tuo'no (It.), tonal fugue. ..F. dop'pia (It.), double fugue. . />'. homopho' na (Lat.), fugue with answer at the unison.../^, iinpro'pria (Lat.), see F. irregiila'ris . . .F. ineequa'lis (Lat ), see /". contraria. . .F. inco7npo'- sita (Lat.), a fugue whose subject pro- gresses by disjunct degrees.../", in eonseguen'za ( It. ), a canon . . . F. in con- tra' rio tem'pore (Lat.), see F. per ar'sin et the' sin. . . Fuga in no' mine, a " fugue in name," i. e. a nominal or free fugue. ../'. inver'sa (Lat.), a fugue worked throughout in double reversible coun- terpoint, so that the inversions of the parts may appear in contrary motion. . .F. irregula' ris (LdX.), a fugue irregu- lar in form. . . F. li'bera (Lat. and It.), a fugue with free episodes. . .F. liga'ta (Lat. and It), a fugue without free episodes, strictly developed from its subject andcountersubject. . .F. niix'ta (Lat.), a fugue varied in development by employing different contrapuntal de- vices (augmentation, diminution, inver- sion, etc.). . .F. obbliga'ia (It.), see F. ligata. . .F. partia'lis (Lat.), a fugue proper, in contradistinction to a canon. . .F. per augmentatio'nem \dimi7n1tio'- nevpi^ (Lat.), a fugue in v;hich the answer is in augmentation [diminution] either \ throughout, or as a rule. . . F. per the' sin et ar'sin (Lat.), a fugue whose subject begins on the strong beat, and the answer on the weak beat, thus shifting the accents throughout. ../'". /t'r imi- tatio'nem interrup' tain (Lat.), a fugue in which the answer is interrupted by breaks or rests . . F. per tiio'tum con- tra' riuin (Lat.), see F. contraria. ../'. perio'dica (Lat.), see F. partialis . . .F. perpe'tua (Lat.), a canon. . .F.plaga'lis (Lat.), a fugue with subject descending below the key-note. . . F. pro'pria (Lat.), see F. regularis . ..P\ rea'le (It.), a real fugue. ..F. rec'ta (Lat.), see F. cequalis inotus. . .F. redi'ta or reddita (It.), a fugue at the middle or end of which all or some of the parts progress in canon . . . F. regula'ris (Lat.), a fugue in regular form.. .F. retrogra'da (Lat.), a fugue having the answer in retrograde progression ; or /". retrogra'da per tno'- tuin contra' riuin, when the answer is in retrograde progression and contrary motion. . .F. ricerca'ta (It.), a fugue in whose working-out the rarer and more elaborate contrapuntal devices are " sought out " for display ; a long and elaborate master-fugue.../^, sciol'ta (It.), or solu'ta (Lat.), see F. li'bera. . . /". tota'lis (Lat.), a canon. Fuga'ra. (Ger. Foga'ra, Voga'ra.) An FUGATO— FULL ANTHEM. 79 organ -stop having metal flue-pipes gen- erally of small scale and 8 or 4-foot pitch ; tone of a sharp, " stringy " quality. Fuga'to (It., " in fugue stj'le ".) A pas- sage or movement consisting of fugal imitations, but not worked out as a regular fugue. Fu'ge (Ger.) Fugue. Fuggi're la caden'za (It.) To avoid the cadence (by interrupting it). Fughet'ta (It., dimin. of Fuga.) A short fugue, usually only a fugue-e.xposition. Fugue. (Ger. Fu'ge ; Fr. fugue ; It. fu'ga.) The most highly developed form of contrapuntal imitation, based on the principle of the equality of the parts, a theme proposed by one part being taken up successively by all par- ticipating parts, thus bringing each in turn into special prominence. The word fugue is presumably derived from the Latin fuga, a flight, which aptly characterizes the chasing and changing of the subject through the several parts. The elements essential to every fugue are(i) Suhject, {2) Aitsiver, (3) Coiaite)-- subject, (4) Slretto; to these are common- ly added (5) Episode, (6) Organ-point, (7) Coda;\ht{^) CWt/A? ismerelyafortu- itous appendage to the actual subject, bridging over the interval sometimes left between the true end of the latter and the entrance of the Ansicer. — The subject is usually short and suggestive ; after its proposition by the part taking the lead, it is taken up by the part next following as the answer, and at a differ- ent interval (usually a fifth higher or a fourth lower than the original one), being then accompanied by a contrast- ing counterpoint, the cotinter subject, in the first part ; if there are 3 parts, the 3rd resumes the subject at the octave of its original pitch, followed (if there are 4 parts) by the answer in the 4th. This first enunciation of the subject by all the parts in turn, with contrapuntal accomp. in the rest, is called the Expo- sition ; this is commonly succeeded by an Episode, which is generally construct- ed (for the preservation of unity of effect) of motives from the subject and countersubject, with modulation into re- lated keys ; then comes the First De- velopment, or Fepercussion, in which subject and answer are taken up by the several parts in a different order, fol- lowed by a second and variously modi- fied episode. Further developments and episodes follow at the composer's pleasure, varied by the contrapuntal de- vices enumerated above, and generally in freer form, the subject and answer appearing in new keys and at a differ- ent interval. The fugue may be con- cluded by a Stretto or Final Develop- 7nent, in which the subject and answer overlap each other in consequence of following in closer succession ; the stretto is frequently above an organ- point ; or the organ-point is used to support the freer contrapuntal combina- tions of the coda, a general finale or winding-up ; or stretto and coda are identical ; etc., etc. — The modern fugue has 2 principal varieties: (i) "Wxe. Real Fugue, in which the original form of the subject is preserved in the answer (i. e. the latter is an exact transposition of the former) ; and (2) the Tonal Fugue, in which the subject is modified in the answer in order to return to the original key ; e. g. fp Subject. Answer (Tonal). I X Not: 3t:^ -2i ■^^=^ :i^^ :^=^ :&-(=^ 4f22i Further varieties are the Double Fugue (with 2 subjects, the exposition of the 1st being followed by that of the 2nd, and finally by the combination of both) ; — the Triple Fugue (with 3 subjects) ; etc. ; a fugue with 2 or more subjects is sometimes called a Manifold Fugue. — A fugue in which the countersubject is retained and developed together with the subject throughout, is also called a double fugue. The most elaborate iugal form is the Fuga ricercata (comp. Fuga). — Fugues may be written for voices or instr.s, or for solo instr.s (pfte., organ). (Compare Form I, 2.) Fugued, Fuguing. See Fuga'to. Writ- ten in either strict or free fufral stvle. Fiih'rer (Ger.) " Leader, dux", subject (of a fugue.). .Ftih'rutig, leading. Full anthem. See Anthem. . . Full band, a military band, or an orchestra, having all the customary instr.s. . .Full cadence, close, see the nouns. . . Full Choir (di- So FULLPFEIFE-GALANT. rection in organ-playing), draw all stops of the choir-organ . . . /■'«// chord, one represented by all its tones ; also (in concerted music), one in which all the parts unite. . . Full Great (in organ-play- ing), draw all stops of great organ. . . Full orchestra, see Full band.. .Full organ, with all stops and couplers drawn... /«// score, see Score.. .Full stop (in lute-playing), a full chord fol- lowed by a pause ; also, a chord in which all available fingers are occupied in stopping the strings . . . Full Siuell (organ), draw all stops of swell-organ. . .Full to fifteenth (in organ-playing), draw all stops but mi.xtures and reeds. Fiiirpfeife (Ger.) A dummy pipe. . . Fiill'quinte, a very sharp-toned organ- stop of 5^-foot pitch, to be drawn only with a strong combination of founda- tion-stops. . . Full'sielle, a passage put in to "fill out"; padding. ..FiiU'stimme, (a) a part reinforcing a principal part at the octave or unison ; {/>) a mutation- stop a third or a fifth above the normal pitch ; (e) pi., in polyphonic composi- tion, accessory parts not treated melodi- cally like the principal parts, but brought in occasionally to complete the harmony or mark the rhythm. Fundamental, i. The root of a chord. — 2. A generator (in this sense also fundamental bass, note and tone^. . . Fund, chord, triad, see Chord, Triad. . .Fttnd. position, any arrangement of the tones of a chord in which the root remains the lowest. Fundamentarbass (Ger.) Fundamen- tal bass. . .Fundamental' ton, root ; key- note, tonic {Grund'to)i, To'nika). Funebre (Fr.), Fu'nebre, Funera'le (It.) Funereal, mournful. Funf'fach (Ger.) See -fach.. .Fiinf- stimmig, 5-part ; for 5 parts or voices. . .Fiinf'stufige Ton leiter, pentatonic scale. Fuo'co [foo-6'-co] (It.) Fire, spirit ; con f., ov fuoco'so, with fire, fiery, spirited. Fu'ria (It.) Fury, passion; con /., wildly, passionately. Furiant, Furie. A rapid Bohemian dance with alternating rhythms and changing accentuation. Furibon'do (It.) Furious, frenzied. Furio'so,-a (It.) Furious, passionate; furiosamen'te, passionately ; furiosis'- sivio, with extreme passion. Furla'na (It.) See Forlana. Furniture-stop. A mixture-stop. Furo're (It.) A rage, mania, passionate fondness (for anything).. .Also, fury, passion, vehemence ; cott f., passion- ately. Fu'sa(Lat.), Fuse(Fr.) An eighth note, or quaver. Fus^e (Fr.) An ornament consisting of a rapid ascending or descending dia- tonic series of notes ; a slide. Fusel (Ger.) Same as F'usa. FuselTa (Lat.) 32nd-note. . .Fusel'lala, 64th-note. Fuss (Ger.) Foot ; -/wj-jj^, the adjective- ending corresponding to -foot, as S'f its- sig {acht'fiissig), 8-foot. . .Fuss' klavier, pedals (of an organ).. .Fuss' ton, equiv- alent to "-foot pitch", e. g. an organ- pipe of 4-foot pitch is said to be of 4- Fusston. Fiit'terung (Ger.) Linings (of a violin). G. G. The fifth tone and degree in the typical diatonic scale of C-major. . . G. abbr. {ov gauche {m.g. = main gauche) ; G. 0. (or simply G), grand-orgue. Ga'belklavier (Ger.) A keyboard instr. inv. in 1882 by Fischer and Fritzsch of Leipzig, in which steel tuning-forks are substituted for strings. The some- what dull timbre, due to the lack of harmonics, has been brightened by adding, for each key, a second fork tuned an octave higher than the first. . . Ga'belton, "fork-tone," i.e. the tone a^ pitched for tuning. . . Ga'belgriffe (pi.), cross-fingerings. — See Stimmgabel. Gagliar'da (It.), Gagliar'de (Ger.) A galliard. Gai (Fr.) Gay, lively, brisk. . . Gaiement, or gai?ne}it, gaily, briskly. Gaillarde {Vr.) A galliard. Gajamen'te (It.) Gaily, lively.. .Ga'jo,-a, gay. Ga'la (It.) In the phrase t/Z^a/rt, gaily, merrily. Galamment (Fr.), Galantemen'te (It.) Gallantly, gracefully, prettily. Galant' (Ger.) Free ; e. g. galan'te Fu'ge, free fugue ; galan'ter Stil, ga- lan'te Schreib'art, free style, the homo- phonous style of composition for the clavichord or harpsichord, in vogue in GALANT-GEFAHRTE. 8i the l8th century; opp. to gebun'dener Stil, strict style, in which a certain number of contrapuntal parts was ad- hered to throughout. Galant,-e (Fr.), Galan'te (It.) Gallant, graceful, pretty. Gal'liard. (Gar. Gagliar'de ; Fr. gail- larde ; \\.. gagliar'da.') An old French dance for 2 dancers (also called Koma- ne'scd), of a gay and spirited character, though not rapid, and in 3-4 time ; like the Pavan, it had 3 reprises of 4, 8, or 12 measures. It was the precursor of the Minuet. Gal'op. (Fr. galop, galopade ; Ger. Galopp'.) A very lively and spirited round dance in 2-4 time ; supposed to have been derived from the old German Hop'ser or Rutsch'cr (names descrip- tive of the step). Introduced into France early in the iQth century. Galoub^, Galoubet (Fr.) A kind of small fife, the shrillest of all wind-in- str.s, with 3 holes and a compass of 17 notes ; found only in Provence. Gam'ba. i. See Viola da gamba. — 2. An organ-stop similar in tone to the viola da gamba. Gam'be (Ger.) Viola da gamba. . . Gain'- benstimnie, a gamha-slop.. .Gam'ben- 7verk, piano-violin. Gam'bist. A player on the viola da gamba. Gam'ma. The Greek G (F). In medie- val music from the loth century on- ward, the lowest tone of the mus. sys- tem then obtaining was called F ; the letter was , — ^ — together with the F- ~ clef. Flence, its use ''' to name the entire scale (see Gamme and Gamut). . . Gam- ma ut,^.„ . .i ,j ^ c in the old system of : solmisation. also used as a clef r;F: name of G :"■ Garame (Fr.) A scale (see Gamma)... G. diatonique {chromatique), diatonic (chromatic) scale. Gam'ut {irom gamma ut). i. See Gatn- ma. — 2. A scale. — 3. The staff. — 4. In old English church-music, the key of G. Gang (Ger.) Passage. (Plural Gauge.) Ganz (Ger.) i. WhoXz.. .Gan'ze Note {gan'ze Takt'note), whole note (c)... Ganz' instrument, a metal wind-instr., the lowest natural tone of whose tube can be made to speak ; opp. to Ha lb' in- strument, , , Ganz'sc/iluss, whole ca- dence. . . Ganz'ton, or gan'zer Ton, whole tone. — 2. Very. Gar'bo (It.) Grace, elegance. Gas'senhauer (Ger.) In the i6th cen- tury, a designation for popular songs or ioVs.-^ovigs{Gas' senhawerliji) ; the word now signifies a trite and threadbare tune, and at the same time something vulgar and unworthy of art. [Riemann. J Gathering-note. In chanting, an irreg- ular y(?;-wa/(5! on the last syllable of the recitation, to enable the body of the singers to catch up and begin the ca- dence together. Gauche (Fr.) Left; main g. {a!o\ix . m. g.), left hand. Gaudio'so (It.) Joyous, jubilant. Gau'menton (Ger.) A guttural tone. Gavot'. {¥t. gavotte ; It. gavot'ia.) An old French dance-form in strongly marked duple time,((lJ alia breve), be- ginning with an auftakt, of a lively though dignified character, and resem- bling the Minuet. (See Suite.) The Gavot has latterly been revived as an instrumental piece. Gaz'el. A piece with a short and oft-re- curring theme or refrain. G-clef. (Ger. G'-Schlussel ; Fr. clef de sol ; It. chiave di soprano.) The sign f determining the position of the note g^ on the staff. (See Clef^ Gebla'se (Ger.) usually Balg). Gebroch'en (Ger.) Broken. Gebun'den (Ger.) i. Tied. — 2. Legato, tied ; as gebun'dcne Dissonanz' , pre- pared dissonance ; gebun'denes Spiel, legato playing ; gebun'dener Stil, strict style. — 3. Having 2 or more digitals to one string (said of clavichords) ; opp. to tin' s^ebunden or bund'frei (i. e. "fretted" or "fret-free" [Grove]). (Comp. Bundfrei.) Gedackt'' (Ger.) Stopped (of organ- pipes) ; opp. to offen. (Also gedact, gedakt.) Gedampft' (Ger.) Damped ; mufSed ; muted. Gedeckt' (Ger., "covered".) See Ge- dackt. Gedehnt' (Ger.) Gedicht' (Ger.) Gefahr'te (Ger.) position). Bellows (of an organ ; See Dehnen. Poem. Answer (in fugal com- 82 GEFALLEN-GESCHLEIFT. Gefal'len (Ger.) Pleasure ; iiach G., a piacere. Gefariig (Ger.) Pleasing, attractive, graceful. Gefiihr (Ger.) Feeling, emotion., .y)/// G., with feeling, expression (also i(t'- fiihlvoll). Ge'gen (Ger.) Against, contrary to. . . Ge' gcnbezih'gitng , contrary motion. . . Ge'geiifuge, a fugue in which the an- swer is an inversion of the subject. . . Ge' genharmotiic , counter-subject (in a fugue).. .Ct'Vf'wj-rt/z, {a) contrast; (/') contrasting movement or effect. . . G/- genstimme, contrapuntal part ; counter- subject. Gegit'tertes B (Ger.) B cancellatum. Gehal'ten (Ger.) Held, sustained. Geh'end (Ger.) Andante. Gei'ge (Ger.) WioWn.. .Gei'genciavicvm- bel, Gei'genklavier, bow-piano. . . Gei'- genharz, rosin. . . Gei'geni7istruii!eut, bow-instr. . . Gei'genpriiuipal, violin- diapason (organ-stop). . . Gei'gewivcrk, piano-violin. . . Geigetizettel, the maker's "label" or "inscription" on a violin. Geist (Ger.) Spirit, soul ; mind, intel- lect ; genius ; essence. Gei'sterharfe (Ger.) ^olian harp. Geist'lich (Ger.) Sacred ; opp. to iveW- lick, secular. Gelas'sen (Ger.) Calm, composed, placid ; easy. (.\]so adverb.) Gelau'fig (Ger.) Fluent, voluble ; easy, la.m\Y\diX.. .Geliiu'Jigkc-it, fluency, celer- ity, velocity ; ease, familiarity. Gemach'lich (Ger.) Comfortable, easy, commodious, convenient ; slow, gentle. (Also adverb. ) Recht gemdchlich , com- modetto. Geraa'ssigt (Ger.) Moderate. (.See Aldssig.) Gemisch'te Stim'men (Ger.) i. Mixed voices. — 2. In the organ, the mixtures, or mixture-stops. Gems'horn (Ger., "chamois-horn.") In the organ, a metal flue-stop having ta- pering pipes of 8, 4, or 2-foot pitch on the manuals and of i6-foot pitch on the pedal, with mellow, horn-like timbre. . .Gems' horiujuittte, a 5>^-foot stop of the above type. Gemiit'(h) (Ger.) Soul, heart, spirit ; mind ; disposition, temperament, na- ture. Ge'nera. Plural of Geiitt.<:. General'bass (Ger.) Thorough-bass; General' bassschrift, thorough-bass no- tation.. .General' pause, a pause for all instr.s or parts in the midst of a com- position, particularly when so intro- duced as to produce a striking effect. A hold '^ over the rest for such a pause renders its duration indetermin- ate ; i. e. robs it of rhythmic value, as if the beats or counts were suspended for the time being. . . General' probe, full rehearsal. Generator. (p>. \^soi{\ g/n/rateur.) i. A root, or fundamental tone. — 2. A tone which produces a series of har- monics. Ge'nere (It.) A mode or key ; a genus. Genero'so,-a (It.) Generous, free, ample. Genial' (Ger.) Relating to or exhibiting genius ; talented, gifted, ingenious, clever ; spirited. Genie (Fr.), Genie' (Ger.) Genius. Genouillifere (Fr.) Knee-lever ; formerly used in German grand pftes. as a sub- stitute for the earlier draw-stops, before the general introduction of pedals. Genre (Fr.) Genus, as g. diatonique, elnvmatiqiie, enharmonique. — A 1 s O , style. Gentil,-le (Fr.) Genti'le (It.) Grace- ful, delicate, pretty. — Gentiliiient {gen- tilmen'te), gracefully, etc. . . Gentilez'za, r('«(It.),with dignity, refinement, grace. Ge'nus (Lat.) i. In ancient music, a system of arranging the notes of a tetra- chord ; for diatonte, chrom., enharin. genjis, see Greek Music, §2. — 2. A mode or octave-scale. Gera'de Bewe'gung (Ger.) Similar or parallel motion. . . Gera'de Takt'art {gerader Takt), duple or quadruple time. German flute, the cross-flute. . . German sixth, see Extreme. Ges (Ger.) Gr^.. .Ges'es, Gbb- Gesang' (Ger.) Singing, song ; a song, vocal composition ; melody, air. . . Ge- sang' buck, a song-book, hymn-book.. . Gesangs' kiinst, the art of singing, vocal art. . .Gesa72g'{s)indssig, melodious; adapted for singing, for the voice. . . Gesang'verein, singing society, choral society. Geschlecht' (Ger.) Genus ; mode. Geschleift' (Ger.) Slurred ; legato. GESCHMACK— GOATHORN. 83 . Geschmack'- Having Geschmack' (Ger.) Taste voll, tasteful(ly). Geschwanzt' (Ger., "tailed".) a hook or hooks ( ^ jj). Geschwind' (Ger.) Swift, rapid, quick. (Also adverb.) Ges'es(Ger.) See Crj. Gesicht' (Ger.) Front (of organ). . . Ge- sichis'pfeifen, front pipes. Gespon'nen (Ger. "spun".) Gesponnene Saitt\ " covered " string. . . Gesponnener Ton, "son file" (see Filar), an even, sustained tone (voice or violin). Gestei'gert(Ger.) Intensified; rinforzato. Gestrich'en (Ger.) i. Having hooks. — 2. In compound w-ords, equivalent to -lined, -accented, as ein'gestrichene Ok- ta've, one-lined (once-accented) octave. -3. Crossed, p p org^jS'^ — 4- Cut :(as a scene 'an opera). f in with a stroke or line across, as Get(h)eilt' (Ger.) Divided, separated.. . Geteil'ie Violi'uen, violini divisi. . . Ct'- ieil'te Stim'men, partial stops (organ). Getra'gen(Ger.) Sostenuto. See Tragen. Geworfener Strich (Ger.) " Thrown stroke " ; in violin-technics, a form of the saltato. Ghaz'al, Ghaz'el (Arabic.) See Gazcl. Ghiribiz'zo (It.) Whim, fancy, caprice. . . Ghiribizzo'so, whimsical, etc. Gi'ga (It.) See Gigue. Gigeli'ra (It.) Xylophone. Gigue (Fr.) I. Early name for the old form of viol, which nearly resembled that of a ham {gigue) ; hence German Geige. — 2. Ordinary title in the Suite for the Jig. Gioche'vole (It.) Playfully, merrily. Giocon'do,-a (It.) Jocund, gay, playful. . . Giocondamen'te, joyously, merrily. Gioco'so,-a (It.) Playful, sportive, ban- tering; humorous. . . Giocosamen' le ,'p\a.y- fully, etc. Gio'ja (It.) Joy, delight, pleasure... Giojan'tc, joyfully, mirthfully. .. C/^'- jo'so,-a, joyful, mirthful. . . Giojosameii'- te, joyfully, etc. Giovia'le (It.) Jovial, cheerful. Giraffe. An old-style upright grand pfte. Gi'ro (It.) A turn. Gis (Ger.) Q'i,.. .Gis'is, Gx. Giubili'o (It., also giu'hilo. giubilazio'- ne.) Joy, rejoicing, jubilation. .. C///- Hlo'so,-a, jubilant. Giuocan'te (It.) Playful, bantering. . . Giitoche'vole, playfully, etc. Giu'sto,-a (It.) Appropriate, strict, moderate (as tempo ginsto), exact, pre- cise, correct. . .Allegro giusto {all." f?iod(<'), moderately fast. . . Giiistamoi'te, correctly, exactly.. . Gnistez' za.,con ,\i\\.\\. precision. Glas'harmonika (Ger.) Harmonica i. Glee. A secular composition for 3 or more unaccompanied solo voices, of later origin and less contrapuntal inge- nuity than the Madrigal, and peculiar to England. It is of modern character both with regard to tonality knd to its employment of harmonic masses and the perfect cadence. The name glee is not properly descriptive of its nature, as serious glees are written as we./ as merry ones. Gleich (Ger.) Equal. . . Glei'cher Kon'- trapiDtkt, equal counterpoint. . . Ghi'che Siimmen, equal voices. . . Gleich' schwe- bende Tempera tiir', equal temperament. Gli (It.) The (masc. pi.). Glicibarifo'na (It.) A wind-instr. inv. in Italy about 1S27 by Catterini ; a small 4-octave expressive organ. Glide. The smooth connection of 2 tones by slurring. Glissan'do (also glissa'to, glissican'do, glissica'to ; spurious It. forms imitated from the Fr. glisser.) i. On bowed instr.s, {a) calls for a flowing, unac- cented, execution of a passage ; {b) same as Portamento. — -2. On the pfte., a rapid scale-effect obtained by sliding the thumb, or thumb and one finger, over the white keys, producing either the simple scale, or thirds, sixths, etc. (easier and more effective on the Janko keyboard). Glisse (Fr.) I. Glissando 2. — 2. A di- rection indicating that a passage is to be executed smoothly and flowingly. Glock'e (Ger. ; dimin. Glock'chen.) P.ell. . . Glockenist' , same as Carillonneur. . . Clock' enspiel, {a) a carillon ; {b) an instr. consisting of bells or (more re- cently) of steel bars, tuned diatonically and struck with a small hammer ; oc- casionally used in the orchestra ; {c) an organ-stop which causes a set of small bells to be sounded by the manual. Glo'ria. See Doxology, Mass. Gnac'care (It.) Same as Castagnette. .Goathorn. See Gemshom- 84 GONDELLIED— GRACE. Gon'dellied (Ger.) Gondoliera. Gondolie'ra (It.) See Barcarole. Gong. {Tam-tam in Fr. and Ger. use.) An instr. of percussion in the form of a large round slightly concave plate or basin of metal (alloy of 4 parts copper to I part tin), with a raised rim. It is struck with a stick having a padded leather head, and is used in the orchestrate in- tensify melodramatic effects. Goose. (Fr. couac.) A harsh break in the tone of the clarinet, oboe, or bas- soon, caused by a defective reed or im- proper manipulation. Gorgheggia're (It.) To execute florid vocal music ; also see Fredotiner. . . Gorgheggiatnen' to, art of singing florid passages, etc. . . Gorgheg'gio, a florid passage. Gospel side. See Epistle side. Gout (Fr.) Taste. Grace. (Ger. Verzie'rung ; Fr. orne- tnent, agr^ment ; It. abbellimen'to, fio- rct'to.) A vocal or instrumental orna- ment or embellishment not essential to the melody or harmony of a composi- tion. (The long appoggiatura is an ex- ception ; it was formerly written as a small note — grace-note— because care- ful composers could thus nominally evade the rule prohibiting the entrance of unprepared dissonances.). ..Crar^- uott\ a note of embellishment, usually distinguished by its smaller comparative size. The graces for harpsichord, clavichord, pianoforte and voice, enumerated below in alphabetical order, are given according to the following authorities : — J. H. d'Anglebert, i68g (d'A.) ; J. S. Bach, 1720 (B.) ; C. Ph. E. Bach, 1787 (Em. B.) ; Dr. John Blow, i7oo(Bl.) ; Dr. I'homas Busby, i786(l'.u.); Francois Couperin, 1713 (C.) ; J. W. Callcott, 1817 (Ca.) ; Etienne Loulitf, 1696 (L.) ; N. de S. Lambert, 1697 (La.); F. W. Marpurg, 1762 (M.) ; P. J. Milchnieyer, 1797 (Mi.); J. S. Petri, 1782 (P.); Fr. Pollini, 1711 (Po.) ; J. P. Rameau, 1737 (R.) ; Christ- opher Simpson, 1659(8.); G. F. Wolf, 1783-89 (W.) ; and J. G. Walther, 1732 (Wa.). In every case, the special article in the body of the book should also be consulted, the pri- mary intention of this article being to give a list 0/ signs for ready reference. Acciaccatura (Bl.) I =^ I -s m Anschlag, (d'A.) Appoggiatura. : (C.) ^^=i=Sl Arpege. (R.) f i ^M (R.) ^^ 1 . (R) Arpegement en descen- en montant. dant. -5-^^ 4=i=g=i^ ^/^ Arpegement simple. (La.) \ ^ letc figure. Arpeggio. 1 I -t — M- Backfall to Double Backfall. (Wa.) fl Shaked Backfall. (Bu.) A^ :s^ p ^ m '- ^--Ui - Back Turn. Balancement. Beat GRACE. 85 (S.) V 1 1 — Shaked Beat. (,vw (d'A.) 1 4^ ♦>» 44- Bebung. Beisser. Brechung. (^ (d'A.) ^ (B.) f Cadence (H* (B.) (♦•♦ (B.) (m|» (B) ^^^^^^^^^^^^ ■^' I ' ' I ' - Doppelt-Cadence Doppelt-Cadence and Mordant. Cadence pleine Cadence brisee. ^-. ^ ^ -" I * • *"~ g ?~ =«=?^ -I U tr=sc Cadent. (d'A.) Shaked Cadent. (d'A.) (d'A.) t^ H^ Chute. (d'A.) ^(«)|=i-*-*- Chute et Pince. Chute. -^ (d'A.) i Tierce coulee. Coule. 122= w -T' ; r • i*^ -^(Em. B.) ^«- ^ 5^ TT*^ !•-' Doppel- Geschnellter Doppelschlag. Prallender schlag. Doppelschlag. i t "'''=<> ^ or^ ^ (d'A.) ^ (d'A.) *;*= ^'^JT^^^^T^ f :i^i g^ iSzqtacTiiraz Umgekehrter Doppelvorschlag. Double. Doppelschlag. -f-g ^ (S.) + E^^ D. sur une tierce. Double. Elevation. «— si- (s.) ^ 25= I Shaked Elevation. 86 GRACE. (Po.) (ro.) 1^^ '? ftKiac *t: * : m^S:X2 (R.) S£i^ Gruppetto. lE^ Liaison. Li3^r~"~^ ^ r ^^^ (Lo.) vv vvv ]\Iartellement M. double. M. triple, simple. (M.) (M.) Mordant. (M.) 4=::±: ■zm^Sz it=Si *^ Mordents. (Wa.) ^ ^^ Nachschlaof. (Wa.) ^ =ff=^ litifc J_ (P.) :SSt:t ifciisz 1 ^*— Springender Nachschlag. Nachschlag Nachschlag. (modern). 3tit i ^^i^ ^ (c.) ^!-^ Pince. ^^ (C.) ^ ^ (M.) or -•-•«- -/- (C.)__ 1 — ^-i?1 — 3 Pince simple. % (c.) fl •/- (cob H ^k^ :?= z^=i-K?H^^?^ I ! I- ?lf=i=i^5i^^IF^ ' ' ' I Pince double. Pince diese. Pinces b^jnolises. I =?= :^^: -*-»-i-»-«-»- =? -,.is_,-s^_B-iip-.-ffii: -f— I- ^P Pince continu. (R.) (R.) (R.) if-rTrriKgjr-iJ -^ -"-"^-"-t! Pince. ^ 1 I :(?=)= *- — ^ ^^^^^^^ ^ Pince at Port de voix. Pince lie. (Lo.) (Lo.) I — e ^ =U .: ^4^^i^^^ IN:^ ?:^: -f^— r- -1 »*- (C.) J. Pince Pince Plain-beat. double, etouffe. (Lo.) or or Port de voix. :f=:=ff (c.)_w: -r T" . , (R-) ^ Port de V. simple. Port de voix double. X=£il: -r-r-r- -w^zrSJKZ Port de voix. Pralltriller. ^^3= Single Relish' GRACIEUX— GRAZIA. 8> or // Son coupe Suspen sion. (C.) Trem- Trembkm. blement. appuyc. Tremblement. (P.) AV, :i=pip3rr3z^-^: ^ Tremblem. coniinu (P-) i^^i^, z±=m^i:ii. Turn. -1- Doppeltriller mit Nachschlag. a tf(Bi.) \5(Bi.) Mit Yor- und Nachschlagf. -t- Trill without after-beat. Gracieux, Gracieuse (Fr.) (Graceful. Gra'cile (It.) Graceful and delicate ; thin, slender {zw'ce gracile). Grad (Ger.) Degree. Gradation. An ascending or descend- ing series of diatonic chords. Grade'vole(It.) Pleasing, agreeable. . . Gradevolincn' te, pleasingly. Gra'do (It.) Degree, step. . . Gr. ascen- den' te, ascending step... Cr. dcscendeii'te, descending step. . .Digrado, by a step, stepwise ; opp. to disalto, by a skip. Gradual. {\,2X. gradua'k?) i. An anti- phon following the epistle ; so called because sung on the stcp(gradus) of the ambo or pulpit. — 2. A caniatorium (book of chants) containing the grad- uals, introits, and other antiphons of the R. C. Mass. Graduellement (Fr.) Gradually. Grammatical accent. See Accent. Gran cas'sa (It.) See Cassa. . .Gran gu'sto, epithet applied to an eccentric or highly effective composition. Grand. Technical term for Grand Piano- forte (see Pianoforte). . . G7'and action^ an action such as is used in grand pftes. . . Grand barr^, see Barre'. Grand (Fr.) Large, great. . .Gr. barr^, see Bar re' . . . Gr. bourdon, double-bour- don. . . Gr. cha-ur, full-organ. . . Gr.Jeu, Trill with appogg*. {a) full organ ; (/') an harmonium-stop which brings into action the full power of the instr. ...-i grand orchestre, for full orchestra. . . Grand-orgiie, {a) full organ ; (/') great organ; (f) pipe-organ. Grandeur (Fr.) Width (of intervals). Grandez'za (It.) Grandeur, majesty, dignity. Grandio'so (It.) Grand, pompous, ma- jestic. Grandisonan'te (It.) Loud or long- sounding, re-echoing ; sonorous. Granulate (It., "granulated.") Non legato. Grap'pa (It.) Brace. Grasseyement (Fr.) A guttural and vicious pronunciation of the r and / in swi'gxrx'g. . .Grasseyer.1 to pronounce as above. Gratio'so (It.) Same as Grazioso. Gra've (Fr. and It.) i. Grave or low in pitch. — 2. Heavy, slow, ponderous in movement (see Tempo-marks). — 3. Grave or serious in expression, Gravement (Fr.), Gravemen'te (It.) Slowly, heavily, ponderously; seriously, Gravicem'balo (It.) A harpsichord. (Also Gravecembalo.) Grav'is (Lat.) Heavy, ponderous ; see Accent us eccl. Gra'zia (It.) Grace, elegance; con gr.. 88 GRAZlOS— GREEK MUSIC. gracefully, etc. . . Grazio'so,-a, graceful, elegant. . .Graziosamen'te, gracefully. f -Grazios' (Ger.) Graceful(ly). '■/ , Great octave. See Pitch, absolute. . . Great organ, see Organ. Greater. Major. Grec (Fr.) Greek. . .A chorus a la grec is one introduced at an act-close, in imitation of the ancient Greek tragedy. Greek music. Without attempting to explain the theoretical and mathemat- ical subtleties of the system, a brief statement of some leading features will be given below. §1. The Modes, or Octave-scales. The typical Greek scale was precisely 1. Dorian. 2. Phrygian. -,f, ^ , , ' ,f. ^—d ^—c^^b—a—g—f^e d^—c^^b—a—g—f^e—d 4. Hypodorian or ^olian. a—g—f^e—d—c^B—A the reverse of our modern ascending 7>iajor scale, being conceived as a de- scendittg viinor scale. Harmony in the modern sense was unknown ; the aim of Greek theory in treating of harmonic intervals was, therefore, to establish the melodic succession of the tones, and the Greeks conceived the scale as con- stituted of a series of tctrachords{i,-\.ovi^ groups with the compass of a perfect fourth). The primitive Greek modes were sim- ple octave-scales ; the three most ancient forms were (i) the Dorian, (2) the Phrygian, and {3) the Lydian, to each of which were later added 2 attendant modes, making 9 in all : Lvdian. ' ^b—a ~g—f^e—d—c 7. Hyperdorian or Mixolydian. X b—a —g—f^e—d—c^ B (The signs — and ^ 5. Hypophrygian or Ionian. A * 4. g\-f\^e^-d^_c^^b-a-g 8. Hyperphrygian or Locrian. t 6. Hypolydian. \ e^—d ^—c^^b—a—g—f 9. Hyperlydian. -^"•'-/'-^ - d^-c^^b-a g^-p^e^-d ^-c^^b-a-g indicate the step of a whole tone and semitone respectively.) The prefix hypo signifies "a fifth be- low "; hyper, "a fifth above". (Compare 3fode.) The character and name of each mode depended {a) upon the form of the tetrachord, and (/') upon the position of the diazeuctic tone. While each of the 3 primitive modes is com- posed of 2 tetrachords of like name and form, which are disjoined {sepzrii\.ed) by the diazeuctic tone (marked f ; from dia- zeuxis.a. separation), each of its 2 attend- Major Mode. -1 1 -^^ m • -f- ant modes is composed of 2 similar con~ joined tetrachords, united by one com- mon tone, and preceded or followed by the diazt-uxis. The character of the te- trachord depends on the position of the semitone ; e. g. in the Dorian tetra- chord, found in the Dorian and attend- ant modes, the semitone occurs between the third and fourth tones. This Do- rian mode is an exact inversion of the modern major mode : Dorian Mode. =t I I ± §2. The Perfect System is based on the Dorian tetrachord ; it comprises the following two octaves, in which the Do- rian mode occupies the central portion: -n o ,-, u u M o rt i> ■? s C o i-i O Xi o Sa o c o ^ O O T3 O 2 S S2 ^ '-.?••-/• f r- v a o o o -s -G rt s-H «^ ■ G a rt t/) o .0 o " ec "0 J2 G •- ■ a'l—fi ^^ _ a—g—f d— c- ^ ^ Dorian Mode. GREEK MUSIC. 89 This system is formed by adding, at eitlier extreme of the Dorian scale, a conjoined tetracliord, and completing the 2-octave system by the addition of A (hence called P roslambanomenos , "the acquired tone") in the lower octave, thus forming a complete a- minor descending scale. The 2 central tetrachords were therefore disjoined ; but, for modulations to the lowt-r quint (which to the Greeks was the most natural transition, just as that to the key of the higher quint is to us), they used the semitone above the highest tone of the middle tetrachord, and con- sequently distinguished a special " con- joined tetrachord " (tetrachordon synem- menon) d^-c^-b^-^a, in opposition to the "disjoined tetrachord" {tetr. diezeug- menon) d ' .b-a. Full Names of all Degrees in the Perfect System. Nete hyperboleon Paranete hyperb. Trite hyperboleon Nete diezeugmenon (highest of the disjoined) Paranete diezeugmenon (next-highest of the disjoined) Trite diezeugmenon (third of the disjoined) Paramese (the [tone] next the middle) (highest of the high) (next-highest of the high) (third of the high) d' d' b 07 r a a Nete synemmenon (highest of the conjoined) Paranete synemmenon ^ (next highest of the conjoined) Trite synemmenon (third of the conjoined) impor- as the Mese (middle tone) Lichanos meson Parhypate ' ' Hypate Lichanos hypaton Parhypate ' ' Hypate Proslambanomenos The theorists attributed special tance to the middle tone Mese tonic of the perfect system. This sys- tem also forms the foundation of me- dieval mus. theory ; even the compass given above was not overstepped till the introduction of the F (gamma). Gre- gorian music keeps within these limits, and the notation in Latin letters retains this same diatonic scale even to the chromatic alteration of Faratiiese to Trite synemmenon. This perfect sys- tem {systema teleion) was also styled the systetna metabolon, the " mutable (i. e. modulatory) system," with reference to the modulation to the subdominant made possible by employing the con- joined tetrachord ; without this tetra- chord it was called the systema ameta- bolon (immutable). [This diatonic (Xvi'\- sion of the tetrachord into 2 whole tones and a semitone (as a — g — f^e), of which the Dorian tetrachord is the normal type, was the distinctive feature of the diatonic genus {genus^=mQ\od\c arrange- ment of the tones within the tetrachord); the earlier enharmonic genus was formed by omitting the paranete or the lichanos (as a f-^e), and the later Mese H n ^-^ ti O 3* O 1 a. o 3 f (forefinger-tone of the middle) (next-lowest of the middle) e (lowest of the middle) d (forefinger-tone of the low) C (next-lowest of the low) B (lowest of the low) A (acquired tone) [in no tetrachord] enharmonic genus by dividing the trite or the parhypate into 2 tones (as a 5S" 6Jf" The system d% — ^/-^J, with 6 sharps, is enharmonically identical with ie semi- tone ; scale, Eq ; com- pass, 5 octaves and a sixth, from Fi to d*: A Double Harp has 2 rows of strings tuned dissimilarly; a Triple Harp hSiS 3 such rows. . .ALolian ,^.,see ALolian. . . Cotiched h., the spinet. . .Dital harp, see Dital. ..Double-action pedal-harp, see Harp . . . IVelsh h.,a. kind of triple harp. Harpeg'gio, Harpeggie'ren. See Ar- peggio, Arpeggiate. Harpicor'do. Same as Arpicordo. Harp-lute. See Dital harp. Harpo-lyre (Fr.) A kind of improved guitar, with 21 strings and 3 necks ; inv. 1829 by Salomon of Besanjon. Harp-pedal. See Pedal. Harp'sichord. (Ger. Kiel'fliigel; Fr. clavecin; It. arpicor'do, clavicem'balo.) A keyboard stringed instr. in which the strings were twanged by quills or bits of hard leather (see Pianoforte). — Vis- a-z'is harpsichord, one with a keyboard at either end or side, for 2 performers. Harp-way tuning. Favorite early Eng- lish tunings {scordature) of the viola da gamba ; termed harp-way tunings be- cause admitting of a ready execution of arpeggios : - f^" . Sharp : Flat; -&~ 7^ HART-HEROIC. 95 other variants are found in German works. Hart (Ger.) Hard ; major (usually diir) \ abrupt, unprepared (of a progression or modulation) ... //a;7 vermin' dertcr Drei'klang, triad with major third and diminished fifth, as B-dj,-f. Haupt (Ger., "head".) Chief, princi- pal. . .//rti^/^a^f^^w^, primary accent. ..Haiipfakkord, fundamental triad. . .Haupt' gesang, leading melody {Ilatipt'melodie) . . . Haupt' kadcnz, full cadence. . .Haupt' manual, great-organ manual (abbr. Man. I.).. .Haupt' note, (a) principal note ; {h) chord-note ; (r) accented note; (^) melody-note... Haupt' prinzipal, 8-foot diapason (on manual), i6-foot (on pedal). . .Haupf- probe, see Generalprobe .. .Haupt' satz, principal \h&mQ. . .Haupfschluss, full cadence . . . Haupt' septime, dominant 7th. . . Haupt' sti mine, principal part. . . Haupt' thema, first or principal theme. ..Haupt' ton, {a) root (of a chord; in recent theory, the fifth of the minor triad) ; {b) key-note ; (r) see Haupt- note... Haupt' tonart, the principal or ruling key in a composition. . . Haupt' - werk (abbr. //, ^F.), great organ. Hausse (Fr.) Nut (of a bow). . .Hausser, to raise (the pitch). Haut,-e (Fr.) High, acute. . .//(7/f /*'- contre, high tenor. . .Haut-dessus, high soprano. . .Haute-taille, high tenor. Hautbois (Fr.) Oboe...//, d' amour, see Oboe. Hautboist' (Ger.) A player in a military band. Haut'boy. Oboe. Head. i. Point (of bow).— 2. In the violin, lute, etc., the part above the neck, comprising peg-bo.x and scroll.— 3. In the drum, the membrane stretched over one or both ends. — 4. In a note, the oval (formerly square or diamond- shaped) part which determines its place on the sia.^. . .Head-tones, Head-voice, the vocal tones of the head-register; opp. to chest-tones, etc. Heel. (Ger. Stdckchen [des Raises] ; Fr. talon [de la manche].) In the violin , etc., the wooden elbow or brace by which the neck is firmly fastened to the body. Heer'pauke (Ger.) An old and very large form of kettledrum. Heftig (Ger.) Vehement, impetuous, .Hcf'tigkeit, passionate (also adverb) vehemence, passion. Heim'lich (Ger.) Secret, mysterious; furtive, stealthy, clandestine. (Also adverb^ Hei'ter (Ger.) Serene, cheerful, glad. (Also adverb.) Hel'dentenor (Ger.) See Tenor i. Hel'icon. (Ger. Helikon.) i. An an- cient instr. for illustrating the theory of the mus. intervals, consisting of 9 strings stretched across a square reso- nance-box. — 2. A brass wind-instr. oi recent invention, used chiefly in mili- tary music as a bass ; its tube is bent to form a circle, and it is carried over the shoulder. It is constructed in various pitches {F, By, C, Bb), and of broad scale, so that its lowest natural tone speaks (2 octaves i^;zrsr below the notes |^=^ on the bass-staff 15™ Helper. An octave-pipe set beside and m- sounding with another of 8-foot pitch, for the sake of brilliancy. Hemidemisemiqua'ver. A 64th-note, . .H.-rest, a 64th-rest. Hemidiapen'te. In Gk. music, a dimin- ished fifth. Hemidi'tone. In Gk. music, a minor third. Hemio'la, Hemio'lia(Gk.) i. In ancient music, quintuple rhythm (5-4, 5-3 time). —2. The interval of a fifth (2 : 3).— 3- A triplet (3 ; 2). — 4. In mensurable no- tation, s&Q Notation, §3, Color. Hem'iphrase. A half-phrase. Hem'itone. In Greek music, the inter- val of a half-tone (256: 243). the mod- ern (diatonic) semitone being 16: 15. Hep'tachord. In Greek music, a dia- tonic series of 7 tones, with one semi- tone-step between the 3rd and 4th.— 2. The interval of a major 7th-— 3- A 7-stringed instr. —4. The 7-tone scale. Hep'tad, Heptadec'ad. See Duodene Herab'strich (Ger.) Down-bow. Herauf'strich(Ger.) See Hinaufstrich. Heroic. (Ger. hero'isch; Fr. hc'roique; It. ero'ico,-a:) Grand, imposing, noble, bold, daring (in conception, or con- struction). . .The " Heroic Symphony (Sinfoni'a ero'ica) by Beethoven is the Third, Op. 55 in E^... Heroic verse, {a) in classical poetr)', the hexameter ; (I>)\v\ Engl., Ger., It. poetry, the iambic 96 HERSTRICH— HOOK. of lo syllables ; (<) in Fr. poetry, the Alexahdrine. Her'strich (('.er., "hither-stroke".) Down-bow (on the 'cello and double- bass). Herun'terstrich (Ger.) Down-bow (on the violin, etc.) Her'zig (Ger., "hearty," "heartily".) Same as Innig, but perhaps implies greater naivete. Hes (Ger.. " ^t>-") Unusual for (Ger.) Heu'len (Ger.) Ciphering, Hex'achord. i. In Greek music, (,/) a diatonic series of 6 tones ; {b) the inter- val of a major sixth. — 2. See Soli/ti- saiion. Hexam'eter. The usual hexameter-line has 6 feet, the first 4 being dactyls or spondees, the 5th a dactyl or spondee, and the 6lh a spondee or trochee, thus : Hidden. See Octave. Hift'horn (Ger.) A kind of wooden hunting-horn producing 2 or 3 tones ; there were 3 varieties, the Zin'ke (high), Halb'rudenhorn (medium), and Rii' dot- horn (low pitch). Hilfs- (Ger.) Auxiliary. ..////////// /V, \^'g^x-X\y\e^. . .Hilfs'7iote, auxiliary note. . . Hilfs' stini/ne, mutation-stop. — (Of- ten Jliilfs-.) Hinauf'strich (Ger.) Up-bow (on the violin, etc.) Hin'strich(Ger., " thither-stroke".) Up- bow (on the 'cello, and double-bass). Hin'tersatz (Ger.) In old German or- gans, a mixture-stop placed behind the diapason, which it reinforced. Hip'pius. I. A metrical foot of 4 syl- lables, 3 long and i short ; called I'st, 2nd, 3rd or 4th hippius according as the short syllable occupies the 1st, 2nd, 3rd or 4th place. —2. Same as Molosnis. His (Ger.) Y>%... Ilis'is, B x . Histor'icus (Lat.) Narrator (oratorio). Hobo'e (Ger.) See Oboe. Hoch (Ger.) High, acMie. . .Hock'amt, high Mass. . .//oc/i'zeilsrnarscA, wed- ding-march. Hock'et. An early form of contrapuntal vocal composition in 2 or 3 parts, char- acterized by the frequent and sudden interruption, in rapid alternation, of the vocal parts, producing a spasmodic, " hiccupy " effect; chiefly in vogue during the 12th and 13th centuries. (Also spelled hoqnet, hocquet, hoqtietus, oclutus, etc.) Hoh'e (Ger.) High pitch, acuteness ; high register (e. g. '''' Obo' enhdhe'\\i\<^- est notes of the oboe). Hohl'flote (Ger. ; Fr. JlAte creuse; the smaller sizes are also called Hohlpfei- fen.) In the organ, an open flue-stop of broad scale, usually with eared pipes, having a dark, mellow timbre, some- what hollow (whence the name), gener- ally of 8 or 4-foot pitch, seldom of 16' or 2'. As a mutation-stop in the fifth it is called the Ilokl'quinte. Hold. {Ger. Ferma'te; Yx. point d'arrct, coiironne; It./erina'ta, coro'na.) 'Ihe sign ^ over, or \t/ under, a note or rest, indicating the indefinite prolonga- tion of its time-value, at the performer's discretion, in accordance with the rhythm of the composition. . .In orches- tral scores often called (Ger.) General'- faiise, {\\..) pa' usa genera' le. — (In Eng- land, usually called a Pause.) — Placed over a bar or double-bar, the hold in- dicates a slight pause or breathing-spell before attacking what follows ; opp. in this sense to Attacca. Holding-note. A note sustained in one part while the others are in motion. [STAINER A.\D B.A.RRETT.] Holz'blaser (Ger., sing, and pl.) Play- er(s) on wood wind-instr.s. (Abbr. //:/'/.). . . Holz' blasi nstru/nente, wood wind-instr.s; technically, the "wood- wind ". Hol'zernes Gelach'ter ) (Ger.) Xylo- Holz'harmonika f phone. Homophone (Fr.) The enharmonic of a given tone, as (/of rx , d^ of r^, etc. Homophonic,-ous. (Tit., alike in sound or pitch.) I. In earlier music, unison- ous, in unison ; opp. to antiphonic. — 2. In modern music, a style in which one melody or part, supported to a greater or less extent by chords or chordal combinations, (i. e. an accompanied melody), predominates, is called homo- phonic ; opp. to polyphonic. . .Homo- phony, homophonic music; opp. to an- tiphony and polyphony. (See Jl/onody.) Hook. (Ger. Fah'ne, Fdhn'chen ; Fr. crochet ; It. co'da uncina'ta.) A stroke attached to the stems of eighth-notes, i6th-notes, etc. (J^ Z ). Also Flag, Pennant. HdQUETUS— HdRNSORDIN. - :S:^ - t = j g g^ < = ■ 3 ^ t^ ■ == ' =)= Horn in -IS- C Notation : D Eb F G Ab A Bb (C) 16 15 14 13 13 Partial tone 16 The stopped tones have a peculiarly sombre quality, and are often utilized for special effects ; they can be pro- duced on the valve-horn in exactly the Bb C D Et> E 12 10 10 10 10 same manner as on the natural horn (also comp. Trumpet). This modern Valve-horn is usually constructed ia the following sizes [RiemannJ: ' G Ab A Bb C \3^ •zy -cr- =0=2 =S =(=)= low high the given pitch-note being in each case the 2nd partial tone (octave of the gen- erator), and repre- Wf. - the horn be- sented in each ing a trans- case by the note: ^^ posing in- str. ; when the C-clef is employed, the notes are written an octave higher than when noted in the /"-clef, consequently m Horn-band. A band of trumpeters... Russian horn-band, a band of perform- ers on hunting-horns, each of which produces but one tone, the number of players and instr.s being equal to that of the scale-tones required by any given piece ; e. g. 37 for the chromatic scale of 3 octaves. Horner (Ger.) Plural of //cr«, equiv. to corni. (Abbr. Hr.) Horning. A mock serenade with tinhorns and other discordant instr.s, performed either in humorous congratulation, as of a newly married couple, or as a mani- festation of public disapproval, as of some obnoxious person. (Local U. S.) [Century Dict.] — A callithumpian concert. Horn'musik (Ger.) ^t& Harmoniemusik. Hornpipe, i. An obsolete English mus. instr. — 2. An old English dance in lively tempo, the earlier ones in 3-2 time with frequent syncopations, and the later in 4-4 time ; very popular during the iSth century. Horn'quinten (Ger., "horn-fifths".) The covered fifths produced by the natural tones of n I J ^ J I a pair of horns: ^^ Horn'sordin (Ger.) Mute for a horn. 98 HOSANNA— IDYL. Hosan'na; Hosian'na (Hebr.) Lit. "save, I pray"; an interjection used as a prayer for deliverance or as an accla- mation. — In the Mass, a part of the Sanctus. Hue'huetl (Aztec.) (Also huehuitl, vevtl, tlapanhiiehuetl) Drum of the abori- gines in Mexico and Central America, consisting of a section of a log hollowed out, carved on the outside, from 3 to 4 feet in height, as thick as a man's body, and set upon a tripod. The upper end was furnished with a head of leather or parchment which could be tightened or relaxed, thus raising or lowering the tone. It was struck with the fingers, and considerable skill was required to play it. From the indistinct accounts of the old Spanish writers it appears to have yielded, in conjunction with the Teponaztli, a rude harmonic bass accom- paniment. Huit-pieds (Fr.) Same as Halbe Orgel. Hulfs- (Ger.) See Hilfs-. Hum'mel, Hiirn'melchen (Ger.) i. A drone. — 2. An obsolete organ-stop, by drawing which 2 reed-pipes were caused to sound continuously until it was pushed in. — 3. The Balalaika, which has a sympathetic string. — 4. The " drones " of the hurdy-gurdy. Humoresque. (Ger. Humores' ke .) A composition of humorous or fantastic style. See Caprice. Hurdy-gurdy. (Ger. Dreh'leier, Bau'- ernleier; Fr. vielle ; It. li'ra ied/sca.) A stringed instr. with a body shaped like that of a lute or guitar, and from 4 to 6 strings, only 2 of which are melody- strings, the others being merely drones tuned a fifth apart. The melody-strings (compass [7^ J\ ^^^ stopped by about 2 |^ _ y ) means of keys octaves : ^ -w controlled by the left hand ; the right hand turns a crank at the tail-end of the instr., which causes a rosined wheel impinging on all the strings to revolve, thus pro- ducing the harsh and strident tone. This wheel and the key-mechanism are contained in an oblong box correspond- ing to the neck of the lute, etc., but set directly on the belly, only the peg-box and head projecting beyond. The melody-strings pass through this box, and are attached to a tailpiece ; the drones lie outside. The music pro- duced is of the rudest description. The hurdy-gurdy was in great vogue from the loth to the 12th century. Hur'tig(Ger. ) Quick, brisk, s^nit; presto. Hydrau'licon. An hydraulic organ. Hydraulic organ. (Ger. IVas'serorgel; (}k. hydraii' los ; Lat. or'ganum hydrau'- Ileum.) A small kind of organ, inv. by Ktesibios of Alexandria (180 B. C.), in which the wind-pressure was regelated by water. Hymn. (Ger. and Fr. Hymne; It. in'no!) A religious or sacred song ; usually, a metrical poem to be sung by a congre- gation... In foreign usage, a national song of lofty character, such as the Marseillaise. Hy'per (Gk.) Over, above ; often occurs in compounds, as hyperdiapa'son, the octave above ; hyperdiapeti te, the fifth above, etc. . .In the Greek transposing scales (see Greek miisic) hyper signified a fourth higher. (Lat. equivalent super ^ Hypercatalectic. In dipodic versifica- tion, a line having a redundant half- foot (either thesis or arsis) is thus termed ; hypercatalexis being such state of redundancy. Hy'po (Gk.) Under, below ; frequent in compounds, as hypodiapa'son, the octave below, hypodiapen'te, the fifth below, hypodifonos, the third below. . . In the Greek transposing scales (see Greek tnusic) and the church-modes (see Mode), hypo signified a fourth below ; in the ancient Greek modes, a fifth below. (Lat. equivalent sub.) I. I (It., masc. pi.) The. lam'bus. A metrical foot of 2 syllables, one short and one long, with the ictus on the long (-' — ^). las'tian. Same as Ionian. Ic'tus. Accent or stress, either rhythmi- cal or metrical. Idea. A musical idea is a figure, motive, phrase or strain, with or without har- monic concomitants ; also, a fully de- veloped theme or subject. Id^e fixe (Fr.) Berlioz's term for an oft-recurring and characteristic idea or theme ; a sort of leading-motive. rdyl. (Ger. and Fr. Idyl'le; It. idil'lio.) A composition of a pastoral or tenderly romantic character. IL— INBETONT. 99 II (It., masc. sing.) The. Imboccatu'ra (It.) i. Mouthpiece (of a vvind-instr.) — 2. Lip 2. Imbro'giio (It.) " Embroilment, con- fusion". A passage in which the rhythm of the different parts is sharply con- trasted and perplexing in effect. Iraitan'do (It.) Imitating. Imitation. (Lat. imita'tio; Fr. imitation; It. imiiazio' 7ie ; Ger. N'ach'ahinimg.) The repetition of a motive, phrase or theme proposed by one part (the ante- cedent) in another part (the consequent), with or without modilication. . ./. at ike fifth, octave, etc., that in which the consequent follows the antecedent at the interval of a fifth, octave, etc. . ./. by augmentation, that in which the time- value of each note of the antecedent is increased according to a certain ratio in the consequent (J = J, or J = J. etc). ../. by diminution, that in which the time-value of each note in the ante- cedent is decreased according to a cer- tain ratio in the consequent (J = J etc.).../. by inversion, that in which each ascending interval of the ante- cedent is answered by a like descend- ing interval in the consequent, and descending intervals by ascending ones. ..Canonic i., strict imitation (see Ca- non)... Free i., that in which certain modifications of the antecedent are per- mitted in the consequent (e. g. augmen- tation, diminution, reversed imitation, as explained above ; or when certain intervals are answered by others, the time-value of certain notes altered, etc.); opposed to Strict imitation, in which the consequent answers the antecedent note for note and interval for interval . ..Retrograde i., that in which the theme is repeated backwards {recte e retro); see Cancrizans. Im'raer (Ger.) Always ; continuously ; immer starker werdend, continually growing louder ; immer langsamer , slower and slower ; immer langsam, slowly throughout. Immuta'bilis (Lat.) One of the fl^r(-;;/MJ- eccl. Impazien'te (It.) Impatient, restless, vehement. . .Impazienlemen'te, impa- tiently, etc. Imperfect cadence, consonance, in- terval, measure. Seethe nouns... Imp. time, see Notation, §3. Imperfection, i. See N'otation, §3. — 2. In a ligature, the presence of a breve as final note, indicated by using the figura obliqua ( te )• Imperio'so,-a (It.) Imperious, haughty, lofty. Im'peto (It) Impetuosity. .. CVw i., or impetuosamen'te, impetuously. . .Impe- tuosita', iV!\'pe\.\ios\iy .. .Impetuo' so, -a, impetuous. Implied discord. An interval which, though not itself dissonant, is contained within a dissonant chord ; e. g. a ma- jor third in i^zj^ — . . . Implied in- the chord : terval (in tho- rough-bass), an interval not indicated by a figure, but understood, 2 e. g. the sixth and fourth in a chord of the second Imponen'te (It.) Imposing, impressive. Impresa'rio (It.) The agent or mana- ger of a traveling opera or concert-com- pany. — Occasionally, an instructor of singers in opera or concert. Impromp'tu. i. An improvisation. — 2. A composition of loose and extem- poraneous form and slight develop- ment ; a fantasia. Imprope'ria (Lat., "reproaches".) In the Roman ritual, a series of antiphons and responses forming part of the solemn service substituted, on the morning of Good Friday, for the usual daily Mass. Impropri'etas (Lat.) A term applied to a ligature when its first note is not a breve, but a long; indicated, when the second note ascends, by a descending tail to the right or left of the first ; when the second note descends, by the absence of the tail. Opp. to Proprietas. Improvisation. Extemporaneous music- al performance. Improviser (Fr.) To improvise. . .//«- provisateur {-trice), a male (female) im- proviser. Improvisier'maschine (Ger.) A melc graph. Improwisa're (It.) To improvise... Im'provvisamen'te, extemporaneously. . .Improvvisa'ta, an improvisation, im- promptu . . . Improvvisato're {-tri'ce), a male (female) improviser. . .AlTimprov- vi'sta, extempore. In'betont (Ger.) With mediate accent (See Abbetont.) lOO INCALZANDO— INTERLUDE. " Pursuing hotly." Incalzan'do (It.) See Striiigt-ttdo. Incarna'tus. Part of the Credo. See Alass. Inch of Wind. See IVeight. Inchoa'tio (Lat.) The introductory tones or intonation of a plain-song chant. Incomplete stop. A partial stop (or- gan). Incrociamen'to (It.) Crossing. Indeci'so (It.) Undecided. Independent chord, harmony, triad. One which is consonant (i. e. contains no dissonance), and is therefore not obliged to change to another by pro- gression or resolution ; opp. to Depend- ent. Index. Same as Direct. Indifferen'te (It.) Indifferent, careless. . .InJifferenteinen'te, or con in Jiff e- ren'za, indifferently, etc. Inferna'le (It.) Infernal, hellish. Infinite canon. (It. ca'none injini'to.) See Ciiiioue. Inflati'lia (Lat.) Inflatile or wind-in- struments. Infrabass' (Ger.) Subbass. Ingan'no (It.) Deceit. . . Caden'za d'in- ganno, deceptive cadence. Ingres'sa. Name of the Introit in the Ambrosian rite. In'halt (Ger.) Contents , idea, concep- tion ; subject-matter. Inharmonic relation. See False rela- tion. Inner parts. Parts lying between the highest and lowest... Inner pedal, a pedal-point in such part or parts. In'nig (Ger.) Heartfelt, sincere ; fer- vent, intense ; with deep, true feeling ; equivalent to It. affettuo'so, con affet'- to; in'timo, intiniis'simo . . .Mit in'- nigem Aus'druck, with heartfelt ex- pression . . . In'nigkeit, deep emotion or feeling, fervency, intensity. . ./«'«/^'- lich, same as Innig. [n'no (It.) Hymn. Innocen'te (It.) Natural, unaffected. . . Innocentemen'te, naturally, artlessly. . . Innocen'za. naturalness, artlessness, etc. In no'mine (l.at., "in the name".) i. A kmd of motet or antiphon. — 2. See Fuga in nomine. Inquie'to (It.) Unrestful, restless. , .In. Insensi'bile (It.) Imperceptible. sensibilmen' te, insensibly. Insisten'do (It.) Insistently, urgently, with strong stress. (Also con insisten- za.) In'standig (Ger.^ Urgent, pressing. (Also adverb.') Instan'te (It.) Urgent, pressing...//?- staiitemcn'ie. urgently, etc. instrument. (Ger. and Yx.Instninienl' ; It. instruuwn' to, istruinen' to, stronien'- to, striiriien'to.) A list of the principal modern instruments is given opposite, according to Gevaert's classification ; the asterisk (*) indicates that the instr. is little used in the orchestra ; the brack, ets ([ ]), that it is obsolete, ornearlyso (Iwistrument (Fr) I. a arc he t, bow-in, strument. ..La cordes, stringed instru- ment. . .1. ct percussion, percussive in- strument. . ./. a vent, wind-instrument. Instrumentation. (Ger. Instrumentie'- rung; Fr. instrumentation; It. istru- mentazio'ne.) The theory and practice of composing, arranging, or adapting music for a body of instruments of dif- ferent kinds, especially for orchestra. (See Orchestra, Orchestration!) — In- strnmentierting (Ger.) is a term also oc- casionally applied to pfte. -music to de- note dynamic shading and variety of touch ; sometimes with reference to all, at others to single, parts. Intavola're (It.) i. To write out or copy in tablature or score. — 2. To set to music. ..Intavolatu'ra, («) tablature ; (/') notation ; (r) figured bass. In'teger va'lor nota'rum (L.at.) "In- tegral value of the notes", i. e. their absolute duration at an average tempo, a question of high importance before the invention of tempo-marks and the metronome. Michael Prsetorius says (1620), that about 80 /cv«/(7rrt (=breves, the tempus, or unit of measure, then being the breve ^) should fill 7>^ minutes, thus : 80 ts^ =7J minutes io| tj =1 min. = io| M.M.; hence O ~i\\ M.M.; ^ =42t M.M.; and ^=85JM.M. (J=85JM.M.) [RiEMANN.] Intenziona'to (It.) With stress, em- J phasis. [Interlude. I. An intermezzo. — 2. An INTERMEDE— INTERROGATIVUS. [g» CLASSIFIED LIST OF MUSICAL INSTRUMENTS. C..\. Stringed Instruments. r .., . ■ ( VioHn, Viola, I. with 4 strings -j violoncello, Double-bass fa) by a bow \ ^ ^,^^^ ^^^^ ^^^^ , ^y;^,^ ^,^^ A. Strings, rubbed i I 4 strings ( [Viols, vari (.b) by a wheel turned by a crank Hurdy-gurdy, Piano-violin imore various] I \v. .k fi J I. without fingerb. Harp Strings,plucked ] ^> ^^ ""^ nngers ^ ^ ^^,.^^^ fingerboard *Guitar, *Mandolin, *Zither, [Lute] ' b) by a keyboard-mechanism [Harpsichordl B „ . b) by a keyboard C. Strings, percuss- j a) directly by the player ed ( b) by a keyboard-mechanism [Harpsichord] *Zimbalon (or Tympanon), xylophone Pianoforte A. With mouth- ( a) lateral hole B. With reed II. Wind-Instruments. Flutes, Piccolos, Fife b) whistle-like a) cylindrical tube -f- beating reed b) conical tube -^ beating reed _c) conical tube + double reed C. With mouth- piece ' a) natural .b) chromatic 1. with slide 2. with holes (keys) with valves (pis- tons) [Flutes a bee], *Flageolet J [Chalumeau], clarinets, *alt-cla- ( rinet (basset-horn), bass-cl. Saxophones, *octavin ' Oboe,*hautbois d"amour, ait-oboe or cor anglais *Sarrusophimes Bassoon, quint-bassoon, double-bas- soon Horn, natural Trumpet, natural *Post-horn |^*Bugle, military Trombones, slide-trumpet ( [Cornetto, Serpent] *Key-bugle, or key-trumpet *OphicIeide Valve-horn Valve -trumpet Valve-trombone, (*alto, tenor, *bass) Cornet a pistons Valve-bugles or saxhorns ; Tubas or saxhorns I D. Polyphonic ( ^) without keyboard b) with keyboard ] '• ^■!;M"?f\ li'^^'' ' ' -' j 2. without tubes Haimon III. Instruments of Percussion. ium, *Vocalion A, With a mem- ( a) with tones of determinate pitch brane \ b) with tones of indeterm. pitch ( a) with tones of determinate pitch " lb) with tones of indeterm. pitch Kettledrums Bass drum, side-drum, etc. Bells, carillons. Glockenspiel J Triangle, cymbals, tam-tam, ( tanets, etc. instrumental strain or passage connect- ing the lines or stanzas of a hymn, etc. — 3. An instrumental piece played between certain portions of the church service (Lat. interlu'dium). Intermede (Fr.) i. Interlude :.— 2, An operetta in one act. Interme'dio (It., dimin. intermedict'to.) Interlude 2. Intermez'zo (It.) Intermezzi were or'ig- inally short mus. entr'actes in the Italian tragedies, of a very simple description, and quite independent of each other ; towards the end of the l6th century they assumed larger proportions ; finally they were treated as separate parts of a whole mus. drama, of a less serious cast than the principal work which they were intended to embellish, their acts alternating with those of the latter. — Having reached this stage, they merely had to be detached from the larger work to form a self-existent operetta or opera bnff'a. — Instrumental music sometimes takes the place of the old intermezzi in modern dramas (e. g. that to the " Mid- summer-night's Dream," by Mendels- sohn)... The term intermezzo is also technically applied to many short move- ments connecting the main divisions of a symphony or other extended work ; sometimes to entire long movements, or even to independent compositions.. . Interm'ez'zi in the Suite are such dances (movements) as do not form one of its regular constituent parts, but are occa- sionally introduced for variety's sake, and usually between Sarabande and Gigue. Interrogati'vus. Ont. oi'CciQ accentus ecct 102 INTERROTTO— INTERVAL. Interrot'to (It.) Interrupted. . ./«/t';-- ruzio'ne, interruption. Interval. {LaX. interval' lum ; Ger. Jii- tcrjiaW ;Yv. intervallc ; It. interval' lo.) The difference in pitcli between 2 tones. — For naming the various intervals there are 2 systems in vogue ; both are founded upon and derived from the names of the intervals formed, in the diatonic major scale, between the key- note and the successive ascending de- grees ; in both the ist degree is called a Prime- (or First), the 2nd a Second, the 3rd a Third (or Tierce), 4th a Fourth (or Quart), 5th a Fifth {or Quint), 6th a Sixth (or Sext), 7th a Seventh (or Sept), and the 8th an Octave (or Eighth). In the typical scale of C- major the standard intervals are as follows, counting upward from the key- note , C : {TABLE I.) O E c u I-, c > ™* (Tj H ^i, H^ CO t/J =1= -4- ^^ 7 -/^-J- -<&* ^^ -«>- -iS- -S/- -iS>- -ts- (i) The older system, that in general use, will be explained first ; premising, that intervals are always considered as measured upwards from the lower tone to the higher, unless expressly accom- panied with the epithet below or Inuer. Table III includes the standard inter- vals and their direct derivatives between , !:{cl). :(c? and =(c): '■(ci) Table III shows {A) that each major OT perfect interval, when widened by a semitone, becomes augmented ; that each major interval, narrowed by a semitone, becomes minor; and that each minor or perfect interval, narrowed by a semitone, becomes diminished ; {B) that by inverting the intervals : 2345070 7654321 interval becomes perfect " " minor " " major " diminished a Perfect a Major a Minor an Augmented a Diminished " " augmented ; {C) the regular order of the standard intervals according to their pitch (com- pare Vibration), both in Just Intona- tion and Ei/ual Temperament, inter- vals bracketted together being Enhar- monic ; {D) the division of the Octave in Equal Temperament. (2) In the newer system, all the standard interv'als are called major; any major interval widened by a semi- tone becomes augmented, if narrowed by a semitone, it is minor ; and any minor interval narrowed by a semitone becomes diminished ; {TABLE II.) Minor. Diminished. -Fob -Al>t> -G[> -At> -Bb -CO Inter- Ma- Aug- vals. jor. mented. ' Second...C— D C-Djt C-Dt> C-Dt)b or Cft— D[> Third... Fourth. . Fifth.... Sixth.... Seventh. Octave. . The latter system is simpler and more consistent than the old, and might be advantageously substituted for it if all leading musicians Ln England and America would agree to adopt it ; other- wise, its occasional use can serve only to increase the confusion unhappily pre- vailing in English musical terminology. In this Dictionary the older system is adhered to throughout. An interval is : — Augmented, when wider by a chroma- tic semitone than major or perfect. . . Chromatic, when occurring between a kej''-tone and a tone foreign to the key. . . Compound, when wider than an oc- tave ; thus a Ninth is aii Octave plus a Second, a Tenth is an Octave plus a Third, etc. . .Consonant, when not re- quiring resolution (comp. Consonance). . .Diatonic, when occurring between 2 tones belonging to the same key (ex- ceptions, the augm. 2nd and 5th of the harmonic minor scale). . .Dimin- ished, when a chromatic semitone nar- rower than minor or perfect. . .Disso- nant, when requiring resolution (comp. Dissona)ice). . .Enharmonic, when both its tones, though having different letter- names, are represented by one and the same tone on an instr. of fixed intona- tion . . . Extreme, see A ugmented. . . Flat, see Diminished. . .Harmonic, when both tones are sounded together. . . Imperfect, see Diminished. . .Inverted, when the higher tone is lowered, or the lower tone raised, by an octave (see Table I). . .Major ; according to Table I, the major intervals of the major scale are the Second, Third, Sixth, and Seventh ; ace. to Table II, all its inter- vals are vci'a!)Ox .. .Melodic, when the 2 tones are sounded in succession... INTERVAL. 103 B. Inverted Inter- vals. Perfect Octave" (1:2) Dimin. Octave" (25 : 48) Major Seventh (S:i5) Minor Seventh (9 : 16) Dimin. Seventh (75 : 128) Major Sixth (3:5) Minor Sixth (5:8) Augm. Fifth (16:25) Dimin. Sixth (675 : 1024) Perfect Fifth (2:3) Dimin. Fifth (25 : 36) Augm. Fourth (18 : 25) Perfect Fourth (3:4) Dimin. Fourtli (25 : 32) Major Third (4:5) Minor Third (5:6) Dimin. Third (225 : 256) Major Second (8 : 9) Minor Second (15 : 16) Augm. Prime (128 : 135) Perfect Prime (1:1) ( TABLE III.) WW? ""• \tw i ^ I ^ f^ t^ "IT standard Intervals. Perfect Prime Augm. Prime (Chromatic Second)* Minor Second (Step of Lead- ing-tone) Major Secondf Augm. Second Minor Third Major Third Dimin. Fourtli Augm. Tliird Perfect Fourtli Augm. Fourth Dimin. Fifth Perfect Fifth Augm. Fifth Minor Sixth Major Sixth Augm. Sixth Minor Seventh Major Seventh —Dimin. Octave Perfect Octave C. Vibrational Ratio in Just In- tonation. I : I 128 : 135 15 : 16 8:9 64: 75 5:6 4: 5 25 : 32 512 : 675 3 : 4 18 : 25 25 : 36 2: 3 16 : 25 5:8 3: 5 128 : 225 9 : 16 8:15 25:48 Tempered Intonation. lA- !., I : I, I I : iT^. (•i-i' ( I • I? I : Itj I : I' i:i| i:if T • yl ' I • It3 I : 2 D. Division of Octave in Equal Tem- perament. 0.00000 0.08333 0.16666 0.25 0-33333 0.41666 0.58333 0.66666 0.75 0.83333 0.91666 I. 00000 * The greater chromatic Second ; the lesser (e. g. d-d^) is 24 : 25. f The greater whole tone ; the lesser (e. g. d-e) is 9 " 10. ro4 INTIMO— ISORRHYTHMIC. Minor, when a chromatic semitone nar- rower than major or perfect. . .Perfect: the Prime, Fourth, Fifth, and Octave. . .Redundant, see Augmented. . . Sharp, see Augmented. . .Simple, when not wider fhan the Octave. .. Super /iuous, see Augmented. In'timo, Intimis'simo (It.) Compare In nig. Intona're (It.) To intone. [ntonation. i. The production of tone, either instrumental or vocal, especially the latter ; when applied to the pitch of the tone produced, it is said to be cor- rect, pure, just, true, etc., in opposition to incorrect, impure, false. — 2. The method of chanting employed in Plain Song.^3. The opening notes leading up to the reciting-tone of a chant... Fixed intonation, see Fixed. In'tonator. See Motiochord i. Intonatu'ra, Intonazio'ne{It.) Intona- tion ; pitch. Intonie'ren (Ger.) To intone ; also, to voice (as organ-pipes) ; voicing. Intra'da. (It. intra' ta, entra'ta; Ger. Intra'de ; Fr. entrt'e.) i. An instru- mental prelude or overture, especially the pompous introduction to the earlier dramas and operas ; hence applied to opening movements of various descrip tions. —2. See Fnirtfe. Intre'pido,-a (It.) V,o\d. . .Intrepida- men'te, boldly. . .Intrepidez'za, boldness. Introduction. A phrase or division pre- liminary to and preparatory of a com- position or movement ; may vary in length from a short strain up to an ex- tended and independent movement. (It. introdtizio'tie. ) Intro'it. (Lat. intra' itus, "entrance"; It. intro'ito.) An antiphon sung while the priest is approaching the altar to celebrate the Rlass ; formerly an entire psalm, but abbreviated later. — In the modern Anglican Church, an anthem or psalm. Invention. A short piece in free con- trapuntal style, developing one motive in an impromptu fashion. (Comp. Bach's 30 Inventions.) Inversion, i. (Ger. Um'kehrung ; Fr. renversement; It. riversamen'to, rivol'- io.) The transposition of the notes form- ing an interval or a fundamental chord : — (A) A simple interval is inverted by setting its lower note an octave higher, or its higher note an octave lower (see Interval); compound intervals must first be reduced to simple ones, and then in- verted : — (A') A chord is inverted when its lowest note is not the root ; thus any triad has 2 inversions, e.g.: a be t ZSPZ ESE isi inv. ind inv. o is the fundamental position; b, ist in- version, or chord of the sixth ; c, 2iui inversion, or chord of the fourth and si.xth ; — a chord of the seventh has 3 inversions, e. g. : abed ^—^. 1st inv. zndinv. -^rdinv. a, fund, position ; b, ist inversion, or chord of the fifth and sixth ; c, 2nd in- version, or chord of the third and fourth; d, jrd inversion, or chord of the second. — 2. In double counterpoint, the trans- position of 2 parts, the higher being set below the lower, or vice versa; this trans- position may be by an octave or some other interval, and is technically termed ' ' inversion in the octave ", "in the fifth", " in the tenth ", etc. — 3. The repetition of a theme in contrary motion, ascend- ing intervals being answered by de- scending ones, and vice versa ; also , called imitation in contrary motion, or imitation by inversion. — 4. An organ- point is termed inverted when in some other part than the lowest. Invi'tatory. (I. at. invitato'rium) In the R. C. Church, the variable antiphon to the Venite, at matins ; — in the Greek Church, the triple "O come, let us worship ", preceding the psalm at each of the canonical hours ; — in the Angli- can Church, theversicle " Praise ye the Lord " with the response " the Lord's name be praised", at matins. Ionian. See Mode. I'ra (It.) Wrath, passion ; eon ira, wrathfully, passionately. ..Ira' to, wrath- ful, passionate. Irlandais,-e (Fr ) Hibernian, Irish. Iro'nico,-a(It.) Ironical. . .Ironicamen'- te, ironicallv. Irregular cadence. See Cadence. Irresolu'to (It.) Irresolute, undecided, hesitating. Isorrhyth'mic. (Ger. isorrkyik'misch.) ISTESSO TEMPO— JUBELHORN. 105 In prosody, an isorr. foot is one divisi- ble into 2 parts containing an equal number of rhythmic units, i. e. one having thesis and arsis of equal length ; as the dactyl ( — i^^ -~^), anapest (-^ -^i — ), and spondee ( — ; — ). Istes'so tempo, 1' (It.) " The same tempo" (or time) ; signifies (i) that the tempo of either the measure or measure- note remains as before, after a change of time-signature ; or (2) that a move- ment previously interrupted is to be re- sumed. (Also Lo stesso tempo^ Istrumen'to (It.) Instrument. . .Zr/;-?/- inenii a fiz'zico (Ger. Kncif'iiistrii- mentc), stringed instr.s plucked with fingers or \Ae:Ctr\xrCL. . .Isirumcntazio'- ne, instrumentation. Italian sixth. See Extreme. Italien,-ne (Fr.) Italian ; a Vitalienne, in the Italian style. rte, mis'sa est. See Mass. J. Jack. I. In the harpsichord and clavi- chord, an upright slip of wood on the rear end of the key-lever, carr}'ing (in the former) a bit of crow-quill set at a right angle so as to pluck or twang the string, or (in the latter) a metallic tan- gent. — 2. In the pfte., the escapement- lever, usually called the hopper ox grass- hopper. Jagd'horn (Ger.) Hunting-horn.. .Jagd'- stiick, hunting-piece. Ja'gerchor (Ger.) Hunters' chorus ; hunting-chorus. Jale'o (Span.) A Spanish national dance for one performer, in 3-8 time and moderate tempo. Jalousie'schweller(Ger.) The "Vene- tian-blind " swell. See Sioell. Jan'izary music. (Ger. Janitscha'ren- musik, music for triangle, cymbals, and bass drum.) According to Grove, the Janizary band "contained I large and 3 small oboes, and i piccolo flute, all of very shrill character ; i large and 2 small kettledrums, one big and 3 small long drums, 3 cymbals, and 2 triangles". Janko keyboard. See Keyboard. Jeu (Fr.) I. Style of playing. — 2 (pl.yVwa-). A stop of an organ, harmonium, harp- sichord, etc. . .Jeu h botiche, flue-slop. . .Jen c ('teste, see Cdleste. . .Jeu d'anche, reed-stop .. .yi?M d'ange, vox angelica. . .Jeu de Jtiltes, flute-stop. . .Jeu de mu- tation, (rt) mutation-stop ; (p) mixture- stop. . .Jen de timbres. Glockenspiel. . . Jeu de violes, consort of viols. . .Jeu de voix humaine, vox humana. . . C;'a«^ jeu, pleinjeu, full organ ; full power. . .Demijeu, half power. Jew's-harp. (Ger. Maultrotnmel; Fr. tronipe, giiimbarde ; It. tnnn'ba.) A small instr. with a rigid iron frame, within which is adjusted a thin, vibra- tile metallic tongue ; the frame is held between the teeth, and the metallic tongue, being plucked with the finger, produces tones reinforced in loudness and determined in pitch by the cavity (air-space) of the mouth. — Formerly also Jeza's-trump, trump, iromp. Jig. (Fr. and Ger. Gigue; It. gi'ga.) A species of country-dance, though with all conceivable modifications of step and gesture, usually in triple or com- pound time, and in rapid tempo. — In the Suite, the Gigue is generally the last movement. Jingles. The disks of metal attached at intervals to the hoop of the tambourine. Jocula'tor (Lat.) Seejo/igteur. Jo'deln (Twrb), Jo'dler (nou;!) (Ger.) A favorite style of singing among the in- habitants of the Alps, characterized by a frequent and unprepared alternation of falsetto tones with those of the chest- register. A Jodler is a song or refrain sung as above. Jongleur (Fr.) A wandering minstrel in medieval France, and also in England under the Norman kings ; later, a jug- gler or mountebank. Jo'ta (Span.) A national dance of north- ern Spain, danced by couples, in triple time and rapid movement, somewhat resembling a waltz, though with innu- merable extempore and fantastic varia- tions of step, and accompanied by the castanets and mandolin, with vocal in- terludes. Jouer (Fr.) To play (any instrument) ; used with de, du, de /'. Jour (Fr. , "day.") K corde a jour '\% si.n open string. Ju'ba. A dance of the negroes in the Southern States, forming an essential feature of the breakdown. Ju'bal. (Ger.) An organ-stop of either 2 or 4-foot pitch. Ju'belhorn (Ger.) See Klappenhorn. lo6 JUBILATE— KERAULOPHON. Jubila'te. In the Anglican liturgy, the looth psahn, following the second les- son in the morning service ; named from the first word of the psalm in the Vulgate. Jubila'tio (Lat.) In the R. C. musical service, the melodic cadence or coda on the last syllable of "alleluia"; also /uliiliis. Ju'bilus (I-at.) I. Same a^s Julnlatio. — 2. An extended melodic phrase or orna- ment sung to one vowel. Ju'la (Ger.) An obsolete 55-foot organ- stop. Jump. I. See Z>«w/. — 2. A leap. Jung'fernregal or Jung' fernstii)ime (Ger.) Vox angelica. (Lat. also vox virgiiwa.) Jupiter Symphony. Mozart's 49th (and last) symphony, in C-major. Juste (Fr.) Just, true, accurate (said of intonation). . .Justcsse, purity (of tone) ; correctness, accuracy (of ear or voice). K. Kadenz' (Ger.) Cadence; close; ca- denza. . .Ah'gebrochene A'., interrupted cadQncQ. . .Auf'gt'haltene K., the fer- mata (usually on the \ chord) before a cadenza . . . Plagal' kadenz, plagal cz.- il&ncQ. .. Triig' kadenz, deceptive ca- dence. . . Un'vollkommene {voll'kom- mene) A'., imperfect (perfect) cadence. — Also frequently Schluss (close), which see. Kalama'ika. A Hungarian national dance in 2-4 time and rapid tempo, of an animated and passionate character. Kalkant' (Ger.) A " bellows-treader" of the older German organs. . .Kalkan'- tenglocke, bell-signal for the blower. Kam'mer (Ger., imitating It. camera.) A private room or small hall . . . Kam'- merkantate, chamber-cantata. . .Kam'- merkoinponist, court-composer (for a prince's private band). . .A'ani'merkon- zeri, (rt) chamber-concert, (/') chamber- concerto. . . Kain' mcrmitsik, chamber- music. . . Kam' inerimisikcr, court-musi- cian. . . Kam' mersdngcr , court-singer. . . Kam'inerstil, the style of chamber- music. .. A'rt'w'w<'r/c);/, normal or stan- dard orchestral pitch (now rt'=435); see Chorion . . . Kam' inervirtuos , court- virtuoso. Ka'non (Ger.) Canon. Kanta'te (Ger.) Cantata. Kanun'. A sort of Turkish dulcimer or zither with gut strings, played with plectra adjusted like thimbles on the tinger-tips. Kanzel'le (Ger.) Groove (in windchest.) Kanzo'ne (Ger.) Canzone. Kapel'le (Ger.) i. Especially in the i8th century, a company of musicians, either instrumentalists or vocalists, or both, maintained as part of the establishment of a court or nobleman, or of some church dignitary. — 2. In modern usage, an orch^strai. . .Kapell'kfiabe, choir- boy. . .Kapell'mcister, (a) conductor of an orchestra ; (d) C/ioir-masier. (Some- times literally translated chapel-master^ . . Kapell' ineistermusik, " band-master music", i. e. music filled with reminis- cences from works familiar to the con- ductor-composer, and hence the reverse of original. Kapodas'ter (Ger.) Capotasto. Kassation' (Ger.) Cassazione. Kastagnet'ten (Ger., pi.) Castanets. Katalek'tisch (Ger.) Catalectic. Ka'tzenmusik (Ger., "cat-music".) A caliithumpian concert, mock serenade. Kavati'ne (Ger.) Cavatina. Kazoo'. A musical (?) toy, consisting of a pasteboard tube furnished with a gut string, which vibrates when the per- former sings into the tube. Keck (Ger.) Bold, confident; pert. (Also adverb.). . .Keck' heit, boldness, confidence. Keh'le (Ger.) i:\,xo2X. . .Kehl'fertig. keil, vocal skill . . . Kehl'kopf, larynx . . . Kehf schlag (P>. cojip de glotte), sud- den, firm attack of a vocal tone, the vo- cal cords closing and adjusting them- selves simultaneously with the emissioa of air. Kehrab', Kehraus' (Ger.) Familiar term for the concluding dance at a party or Dall. Ken'ner (Ger.) A connoisseur, expert. Kent bugle. (Ger. Kenthom.) Key- bugle. Kerau'lophon. In the organ, an 8-foot partial fiue-stop, having metal pipes of small scale, each surmounted by an adjustable ring, and with a hole bored near the top ; the tone is soft and KEREN— KEYBOARD. 107 reedy. Inv. by Gray and Davidson of England. Keren. A Hebrew trumpet. Kes'sel (Ger.) Cup (in mouthpiece of brass insiv.s). . .Kes'selpauke, kettle- drum (usually simply Pauke). Ket'tentriller (Ger.) Chain of trills. Kettledrum. (Ger. Pau'ke; Fr. tim- bale; It. tim'pano.) The only orches- tral drum tuned to accord with other instruments. It consists of a hollow- brass or copper hemisphere (the kettle) resting on a tripod, with a heael of vel- lum stretched by means of an iron ring and tightened by a set of screios or a system of cords zx^A braces. It is gener- ally played in pairs, the larger drum yielding any tone from /' to c, and the smaller ^^_ 1— r — 1 ^-i accord- f r o m B\) to/: :^ ^ in g as the head is relaxed or tightened. The timpani were formerly noted as transposing in- str.s (i.e. in f, with the added direction " Timpani in i5"f>, in Z?!?," etc.), but now the notes desired are generally written. As used at first, they took only the tonic and dominant of the movement, chiefly as a rhythmical reinforcement ; now they take very various intervals, and are employed to obtain musical and dramatic effects. They are struck with 2 sticks having elastic handles and soft knobs of felt, sponge, and the like. Key (l). (Ger. Ton'art; Fr. mode, ton; It. mo' do, to' no.) The series of tones forming any given major ©r minor scale, considered with special reference to their harmonic relations, particularly the relation of the other tones to the tonic, or key-note ; the term "scale" indicates simply their melodic succes- sion. (Comp. Tonality.) Each key is named after its key-note, as C-major, a-minor. See General View, page 108. The following keys : i-^g^f-fl:— ( C-sharpmaj.[=Z>-flat maj [ (^ '^ ' » ° \ .4 -sharp min.[=i9-flat mi ij . ^ ^j^ — j C-flat maj.r=j9-major] Y ^ V h- |^-flatmin.[=:G'-sharpmin.] are comparatively little used, being en- harmonically equivalent to the simpler keys added in brackets. . .<4//6'«(/rt«^ keys, see Attendant .. .Chromatic key, one having sharps or flats in the signa- ture ; opp. to natural k^y .. .Extreme key, a remote key . . . Major key, one having a major third and major sixth. . . Minor key, one having a minor third and %\y^h.. . .A'atural key, one with neither sharps nor flats in the signature. . . Parallel key, (a) a minor key with the same key-note as the given major key, or vice versa ; (t>) same as — A'ela- tive key, see Relative . . .Remote key, an indirectly related key (comp. Phone, §4). Key (2). (Ger. Tas'te; Fr. louche; It. ta'sto.) I. A digital or finger-lever in a pfte., organ, etc. — 2. A pedal or foot- key in the organ and pedal-piano. Key (3). (Ger. Klap'pe ; Fr. cl^, clef; It. chia've) In various wind-instr.s, a mechanical contrivance for ooening or closing a hole in the side of the tube, thus shortening or lengthening the vi- brating air-column and consequently raising or lowering the pitch of the tone produced. The key here replaces the finger-tip ; it is attached to a lever worked by the finger or thumb, and differs in principle from the valve in lying flat outside the tube. Key (4). A tuning-key. Key (5). A clef. (Obsolete.) Key-action. In the pfte. or organ, the entire mechanism connected with and set in action by the keys, including the latter themselves. Keyboard. (Ger. Klaviatur' ; Fr. cla- vier ; It. tastatu'ra, tastie'ra^ The keys or digitals of the pfte., organ, etc., taken collectively. The modern stand- ard keyboard is the product of an evo- lution extending over 1,000 years. — Its only successful rival at present is the Janko keyboard, inv. by Paul Ton Jankoof Totis, Hungary, in 1882, which presents to the eye the appearance of six different rows of keys arranged step- wise, one above the other. But the corresponding keys in the ist, 3rd, and 5th rows are all fixed on one key-lever ; thus, if C be struck in the ist (lowest) row, the corresponding keys in the 3rd and 5th rows are depressed ; further, the 2nd, 4th, and 6th rows are similarly connected ; so that any given tone can be struck in three different places, ad- mitting of the choice of the key most convenient to the position of the hand at any given instant. The 6 rows are therefore arranged in 3 pairs ; in the lower row of any pair the succession of io8 KEY-BUGLE— KEY-NOTE. GENERAL VIEW OF THE KEYS. Key-signa- f^^ ture. Knglish. German. C dnr A nioU Gdur E moll D diir H moll j A-major A dur 1 F-sharp minor Fis moll ^y^ ( E-major Edur 3" '( C-sharp miner Cis moll B-major H diir ' G-sharp minor Gis moll ( F-sharp major Fis dnr ( D-sharp minor Dis moll ggE G-flat major Ges dur E-flat minor Es moll French. Ut majenr La mincur Sol majeur Mi mineur Re majenr Si mineur Italian. Do maggiore La minore Sol maggiore Mi minore Re maggiore Si minore La majeur La maggiore Fa diese mineur Fa diesis minore Mi majeur Mi maggiore Ut diese mineur Do diesis minore Si majeur Sol diese mineur Si maggiore Sol diesis minore Natural keys. Fa diese majeur Fa diesis maggiore Re diese mineur Ke diesis minore Sol bemol majeur Sol bemolle maggiore Mi bemol mineur Mi bemolle minore Sharp keys. k^ ^ j D-fiat major Des dur ( B-flat minor B moll ( A-flat major As dur "l F-minor F moll j E-flat major Es dur ( C-minor C moll B-flat major B dur G-minor G moll I F-major D-minor Fdur D moll Re bemol majeur Re bemolle maggiore Si bemol mineur Si bemolle minore La bemol majeur La bemolle maggiore Fa mineur Fa minore Mi bemol majeur Mi bemolle maggiore Ut mineur Do minore Si bemol majeur Si bemolle maggiore Sol mineur Sul minore Fa majeur Re mineur Fa maggiore Re minore Flat keys. ^^\ keys is C jD B [white] F-'^ G^ [black] f [white], etc.; in the upper I upper row of keys (in pair) lower " " "' " " C Consequently, a chromatic scale is played by the simple alternation be- tween the successive keys of any 2 ad- joining rows ; the fingering of all the major scales is uniform, and all minor scales are also fingered alike. The width of an octave on the ordinary key- board is just that of a tenth on this ; so that large hands can stretch a thirteentli. or even a fourteenth (^'3'-y- \r\g. . .Klavier-Violoneello, the inven- tion, in 1893, of Prof, de Vlaminck of Brussels. To a 'cello, fi.xed on a hor- izontal frame about the height of the knee, a keyboard is attached in such a manner, above the strings, that by ma- nipulating it the player's left hand can effect all stops and double-stops. With the bow, all the effects on the 'cello as ordinarily played are obtainable ; while purity of intonation is attained with mathematical accuracy by the aid of the tangents actuated by the keys ; even the vibrato effect can be brought out. — Klavier- Viola, a viola to which a key- mechanism similar to the foregoing is applied ; when played, it is set on alow table or stand. no KLEIN— KURZ. Klein (Ger.) Small; minor. . .A7i7«'- ^c\i'ackt, flute (organ-stop). Kling'ende Stim'men (Ger.) Speaking or sounding stops (of an organ) ; opp. to stum' me Regis' ier. Knee-stop. A knee-lever under the manual of the reed-orgaii ; there are 3 kinds, used («) to control the supply of Avind ; (Jj) to open and shut the swell- box ; (r) to draw all the stops. Kneif'instrument (Ger.) An instr. hav- ing strings plucked by the fingers or a plectrum. Knie'geige (Ger.) Viola da gamba. . . Knie'guitarrc, guitare d'amour. . . . Knic'zug, knee-stop. Knopf'regal (Ger.) See Apfelregal. Kno'te (Ger.) TsodQ. . .A'lio'tenpttnki, nodal point. Kollektiv'zug (f.er.) Composition- pedal. Kol'Iern (Ger.) See Sgallinacciare. Kolophon'. See Colophony. Kombinations'pedal (Ger.) Combina- tion-pedal. . .Kombinations' to)i, combi- nation-tone. Komponie'ren (Ger.) To compose... Kornponicrt' , composed.. .A'oiiipouist' , composer. Kon'trabass (Ger.) Double-bass... A' w'- trafagott, double-bassoon. . .Kon'tra- okiave, contra-octave. . .Kon' trapunkt, counterpoint. ..A'ou'i/'asiibjc'ki, counter- subject. K onzert' (Ger.) Concert ; concerto. (Also Concert.) . . . Konzet-f niciste>\ leader, first \\o\\n. . .Konzcrt'oper, a light opera for concert performance without stage-accessories. . .Konzert'- sti'ick, {a) a short concerto in one move- ment and free form ; (/') any short solo piece for public performance. Kopf'stimme (Ger.) Head-voice. Kop'pel (Ger.) Coupler. . .Koppcl c,b, coupler off. . .K. an^ draw coupler. Kornett' (Ger.) Comet, Kosa'kisch (Ger.) A national dance of the Cossacks, the melody of which con- sists of 2 8-measure repeats in 2-4 time. Ko'to. The Japanese zither-harp, with 13 silk strings stretched over an arching oblong soundboard, each having a sep- arate movable bridge, by adjusting which the string can be tuned. Com- pass about i octaves. The player uses both hands ; the chromatic tones are produced by pressing the strings behind the bridges. Kraft (Ger.) Force, vigor, energy. . . Krdf'tig, forceful, vigorous. (Also adverb. ) Kra'gen (Ger.) Peg-box (of a lute). Krakowiak. See Cracovienne. Krau'sel (Ger.) Mordent. Krebs'gangig (C^er.) Cancrizans, \c\xO' ^X2.<\^. . .Krcbs' kano7t, canon cancri- zans. Krei'schend (Ger.) Harsh, strident 5 screeching, screaming. Kreuz (Ger., "across".) A sharp (JJ). . .Kreuz' sai tig., overstrung. . .Kreuz'- tonart, a sharp key. Krie'gerisch (Ger.) Martial, warlike. Kriegs'lied (Ger.) War-song. Kro'me (Ger.) Chroma. Krumm'bogen (Ger.) Crook. . .Krutnm'- horn, {Kronipkorn, Krumhorn, hence Fr. cromorne and It. cormorne ; It. also cornamu' to tor'to, or, for short, star' to.) I. An obsolete wood-wind instr. of the Bombard class, blown by means of a double reed within a cupped mouth- piece, and differing from the bombards by the semi-circular turn of the lower part of the tube and by its remarkably narrow compass (a ninth). In the l6th century it was made in 3 or 4 different sizes, treble, alto, (tenor), and bass, and had 6 ventages on the straight part of the tube. The tone had a melancholy timbre, which was imitated — 2. in the organ-stop of the same name (also cormorne, cremona, phocinx), formerly in vogue for small-sized organs and for the echo-work of larger ones (of 8 and 4-foot pitch, on the pedal also of 16- foot pitch as Kruinm' hornbass) ; a reed-stop, the tubes of which were fre- quently half-covered, or conical below and cylindrical above. [Riem.\nn.] Krus'tische Instrumen'te (Ger.) See Schlag'instrumente. Kuh'horn (Ger.) The alp-horn. ..Kuh'. reigen, Kuh'reihen, Ranz des vaches. Kunst (Ger.) Art; science. . .A'kz/j^- fiigiie, fuga T'icercata...Ay^ }ist'/er, artist. . .Kunsf lied, an ar/-song, opp. to folk- song {Volkslied). . .Kunst'pfeifer, see Stadtpfeifer. Kurz (Ger.) Short; crisp(ly) . . . A'wr'zirr Mor'dent, short mordent. . .Kur'zeOk- KYRIE— LAUTE. iir ta've, short octave . . . A'ur2 und he- stimmt', short and decided. . .Kur'zcr Vor'schlag, short appoggiatura. Ky'rie (Gk.," Lord".) The first word, and hence the opening division, in the Mass. L. L. Abbr. for left (or Ger. links) in the direction /. h. (left hand). La. I. The 6th Aretinian syllable. — 2. (Fr., It., etc.) The note ^.—3. The (Fr., fern. sing.). . .La be'mol, etc., see Key I, Table. Labecedisa'tion. See Bcbisation. Labiarpfeife (Ger.) A labial (lipped) pipe ; a flue-pipe . . . Labial' stinune, a flue-stop. Labisa'tion. Same as Bcbisation. La'biurn (Lat.) Lip (of an organ-pipe). (Plural, in Ger. use, La'bien.) Lacrimo'sa (Lat.) First word in the 8th strophe of the Requiem ; hence, name of a movement or division of the grand musical requiem, usually of a tender and plaintive character. (PLa'ge (Ger.) Position (of a chord); position, shift (in violin-playing). . . L.a'- gemuechsel, change of position, shifting. . . Enge {weite) Lage, close (open) har- mony. Lagnman''do(It.) Complainingly, plain- tively. . .Zai,T//«(7'j-(', "tearful", plain- tive, in the style of a lament. Lah. For La, in the Tonic Sol-fa system. Lamenta'bile (lamentan'do, lamen- te'vole, lamento'so) (It.) In a sad, melancholy, or plaintive style. f'-Land'ler (Ger.) A slow waltz of South ^ Germany and Austria (whence the Fr. name Tyrolienne), in 3-4 or 3-8 time, and the rhythm J— J— ^-^^IJ J :-x -4. Key (on wind- Lang'sam (Ger.) Slow, s\o\\\y... Lang' - samer, slower. Language. In a flue-pipe of an organ, an inner partition between foot and body ; see Pipe 1, a. Languen'do, Languen'te (It.) Lan- guishing, plaintive. Languette (Fr.) i. The tongue of a harp- sichord-jack, on which the quill was fixed. — 2. Tongue of a reed in the harmonium or reed-organ. — 3. Pallet (in the organ), instr.s). Languid. Same as Language. Languidamen'te (It.) Languishingly, languidly .. .La n'guii/o, languid, lan- guishing. Lantum. A large kind of hurdy-gurdy, having a rotatory bellows which supplies wind to metallic reeds, and played by pressing buttons adjusted in front. Lapid'eon. An instr. consisting of a series of flint-stones graduated to the tones of the scale, hung in a frame, and played with hammers ; inv. by Baudrj'. Largamen'te (It.) Largely, broadly ; in a manner characterized by breadth of style without change of time. [Grove.] Largan'do (It.) " Growing broader", i. e. slower and more marked ; generally a crescendo is implied. Large. See Notation, §3. Large, Largement (Fr.) Largamente (Ger. breit); sostenuto {Ger. getragen). Larghet'to (It.) Dimin. of Largo; calls for a somewhat quicker movement, nearly equivalent to Andantino. Lar'go (It.; superl. larghis'simo.) Large, broad ; the slowest tempo-mark, calling for a slow and stately movement with ample breadth of style. . .Z. assa'i, with due breadth and slowness . . . Z. di molto, or >nolto largo, an intensification of Largo. . .Poco largo, "with some breadth"; can occur even during an A llegro. Larigot (Fr.) Originally, a kind of shepherd's pipe, or flageolet ; hence, an organ-stop of i'^ foot pitch, one of the shrillest registers. Lau'da (Lat.) .\ laud (hymn or song of praise). . .Lau'des, lauds ; together with matins, the first of the 7 canonical hours, taking its name from the i4Sth, 149th, and 150th Psalms then sung. Lauf (Ger.) i. See Laufer. — 2. Peg- box (usually Wir'belkasten). Lau'fer (Ger.) A run. Lau'nig (Ger.) i. With light, gay humor. — 2. With facile, characteristic expres- sion. Laut (Ger.) i. Loud. — 2. A sound. Lau'te (Ger.) A lute. . .Lau'tengeige, a viol. . . Lau' teninstrumente , see JCneif' ittstrutnente. . .Lautenist', lute-player. . . . Lau' tenmacher , see Luthier. CIS LAVOLT A— LEITMOTIV. Lavol'ta (It.) An old Italian dance in triple time, resembling the waltz. Lay, A melody or tune. O Le (Fr. and It.) The. Lead. i. The giving-out or proposition of a theme by one part. — 2. A cue (comp. F7-esa). Leader, i. Conductor, director. — 2. In the orchestra, the first violin ; in a band, the first cornet ; in a mixed chorus, the first soprano. — (In small orchestras the leader [ist violin] is still, as was the rule in earlier times, also the conductor.) Leading, i {noun). In a composition, the melodic progression of any part or parts. — 2 {adjective). Principal, chief; giuding, directing. . . Leadiiig-cho>-d, the dominant chord, as leading into that of the tome. .. Leading melody, principal melody or theme . . . Leading-motive, see Leitmotiv. . .Leading-note, -tone (Ger. Lei f ton; Fr. note sensible ; It. no' ta sensi'bile), the yth degree of the major and harmonic minor scales ; so called because of its tendency, in certain melodic and chordal progressions, to the tonic. Leaning-note. Appoggiatura. Leap. I. In piano-playing, a spring from one note or chord to another, in which the hand is lifted clear of the keyboard. — 2. See Skip. Leben'dig, Leb'haft ((ler.) Lively, animated. (Also adverb.). . .Leb'haftig.^ keit, animation ; Mit L. und durcliaus' mit Empfindiing und Aiisdiitck, with animation, and with feeling and ex- pression throughout. Ledger-line. See Leger-Une. Legan'do. (It.) See Legato. Lega'to (It. ; superl. legatis'simo) ' "Bound"; a direction to perform the passage so marked in a smooth and connected manner, with no break be- tween the tones ; also indicated by the legato-viark, a curving line drawn over or under notes to be so executed... Lega'tobogen (Ger.), legato-mark, slur. Legatu'ra (It ) A tie ; a syncopation.. . ~ ~nr~Si^aeeY-s&S Ligature 2. Le'gend. (Ger. I.cgen'de ; Fr. IJgende.) A composition based on a poem of lyrico-epic character, the poem serving either as text or program. . . Legen' den- ton, tm (Ger.), in the style of a romance or legend. L^ger, leg^re (Fr.) Light, nimble..: Legl-rement, lightly, nimbly. Leg'er-line. (Ger. I/ilfs'linie; Fr. Hgne ajoutee; It. ri'go aggiun'to or Jitito.) One of the short auxiliary lines used for writing notes which lie above or below the staff. Leger-lines are counted away from the staff, either up or down . . . Legtr-space, a space bounded on either side or both sides by a leger-line. Leggerez'za (It.) Lightness, swiftness. . .Leggermen' te, lightly, swiftly. . .Leg- ge'ro, same as Ltggiero. Leggiadramen'te. (It.) Neatly, ele- gantly, gra.cciu\\y . . .Leggia'dro, neat, graceful, elegant ; in if bHSff'Slld cheer- ful style. Leggieramen'te, Leggiermen'te (It.) Lightly, swiftly. . .Leggie're, light, etc. . .Leggierez'za, lightness, swiftness. . . Leggie'ro, a direction indicating, in piano-technic, that the passage is to be performed with as great lightness as is consistent with the degree of loudness required ; generally in swift piano pas- sages with little rhythmical emphasis. It differs from Legato in calling for a mere down-stroke of the fingers without pressure, and with a quick, springy re- coil. . .L. con 7noto, lightly and swiftly. Le'gno, col (It.) " With the stick" ; in violin-playing, a direction to let the stick of the bow fall on the strings. Leicht(Ger.) i. Light, brisk. — 2. Easy, facile. . .Leicht beiuegt, (a) leggiero con moto ; (/') with slight agitation. Lei'denschaft {Ger.) Passion, fervency, vehemence. . .J/it L., or lei' dense ha ft- lich, passionately, vehemently. Lei'er (Ger.) Lyre; L.kasten, hand-organ. Lei'se (Ger.) Low, soit, piano. Lei'ter(Ger., "ladder".) Scale {Ton'- leiter). . .Lei'tereigen, proper or belong- ing to the scale. . .Lei'terfremd, foreign to the scale. Leit'motiv[-teef"] (Ger.) Leading-mo- tive ; a term brought into special prom- inence by Wagner's musical dramas, and applied to any striking mus. motive (theme, phrase) characteristic of or accompanying one of the persons of the drama or some particular idea, emotion, or situation in the latter ; the motive recurring reminiscently at suitable stages of the action. . .Also used of similar motives in recent operas, oratorios, and program-music. LEITTON— LIP. "3 Leit'ton (Ger.) Leading-tone, Lenez'za, con (It.) In a gentle, quiet manner. Le'no (It.) Faint, feeble. Lent,-e (Fr.) Slow. . .Lentement, slowly. . . Lenteur, slowness. Len'to (It.) Slow; a tempo-mark inter- mediate between Andante and Largo (comp. art. Temfo-mai-k). Also used as a qualifying term, as Adagio non lento. . .Lentamen'te, slowly. . .Lentan'- do, growing slower, retarding ; a direc- tion to perform a passage with increas- ing slowness {riiardando, rallentandd). . .Letitez'za, con, slowly, deliberately. Lesser. Minor; as the lesser third... Lesser appoggiatura ,shorta.^'pogg\2iX.uxa.. . .Lesser whole tone, see Lntervals, Table III, foot-note. Lesson. (Fr. lecon.) In the 17th and 1 8th centuries, the name of the several pieces for the harpsichord, etc., which, when combined, formed a Suite. Le'sto (It.) Lively, brisk. Letter-name. A letter used to desig- nate a tone, note, key, or staff-degree. See Alphabetical notation. Lev6 (Fr.) Up-beat. Ley'er (Ger.) Earlier spelling of Leier. Liaison (Fr.) I. A tie. — 2 {liaison d'har7nonie). A syncopation. — 3. See Ligature 2. Libel'Iion. An automatic music-box, distinguished by the feature that the notes are represented by perforations in sheets of tough cardboard, which (as they/ajj through the box) can be made continuous, so that compositions of any desired length may be performed. Liberamen'te (It.), Librement (Fr.) Freely. Libret'tist. A writer of libretti. . .Z?'- brefto (It., pi.-/. ; Fr. ditto, or livret ; Ger. Text). A "booklet"; specifically, one containing the vv-ords of an opera, oratorio, etc. ; also such words or text, whether in book-form or not ; a book. License. (Ger. Frei'heit ; Fr. licence ; It. licen'za.) An intentional deviation from established custom or rule. . . Con alcu'no licenza (It.), with a certain freedom. Lice'o (It.) Academy (of music). Lich'anos (Gk.) See Lyre i. Li6 (Fr.) Tied ; legato. Lieb'lich (Ger.) Lovely, sweet, charm- ing ; often with names of organ-stops. Lied (Ger.) Song. — A preeminently Ger- man song-form is that of the durch'- kontponiertes Lied, which differs from the ballad {Stro'phenlied) in not repeat- ing the same melody for each stanza, but following closely the sense of the words by changing melody, harmony, »and rhythm. . .A'wwj'/'/ztv/, Volks'lied, Folks' t{h)umliches Lied, see those words.. .Lie'dercyclus, a cycle (set) of songs. . .Lie' derkranz, (a) a choral so- ciety ; (i), also Lie'derkreis, a set or series of songs.. . Lie' der spiel, see Vau- deville. . . Lie'dertafel, a singing-society of men, of a social character.. .Lied'- form, see Form. Liga'to (It.) Legato. Lig'ature. (Ger. Ligatur' ; Fr. ligature; It. legatii'ra.) I. In mensurable music, a connected group of notes to be sung to one syllable. Ligatures were de- rived from the compound neumes ; their simplest form is the Figura obliqua (q. v.) (Comp. Proprieias, Improprietas, Perfection, Lmperfection.) — 2. In mod- ern music, a group or series of notes to be executed in one breath, to one syl- lable, or as a legato phrase. — 3. A tie ; hence, a syncopation. Ligne (Fr.) A line.. . Ligne ajotit^e {pas- tiche, or sHpplifinentaire), a leger-line. Li'mite (It.) Limit. Lim'ma. See Apotome. Li'nea (It.) A line. Lin'gua. (It.) Reed (of organ-pipe). Lingual'pfeife (Ger.) Reed-pipe (usu- ally Zung' enpfeife). Li'nie (Ger.) K Ixne. . .Li'niensysfem, the staff. Linings. (Ger. Fiit'terungjYx.contre- tfclisses.) In the violin, etc., the strips of pine-wood glued inside the body to the ribs, to stiffen the fixed .structure. Lin'ke Hand (Ger.) Left hand. Lip. I. (Ger. Lip'pe or [Lat.] La'bium, pi. La'bien; Fr. biseaii [upper Up].) The lips of a flue-pipe are the flat surfaces above and below the mouth, called the upper and lower lip. See Pipe 2, a. — 2. (Ger. An'satz ; Fr. em- bouchure ; It. imboccatu'ra.) The art or faculty of so adjusting the lips to the mouthpiece of a wind-instr. as to pro- duce artistic effects of tone ; also lipping 114 LIPPENPFEIFE— LUR. Lip'penpfeife (Ger.) Flue-pipe (usually Labialpfeife). Li'ra (It.) Lyre (see Lyre). — ^Vhile the ancient lyre was a harp-like instr., the lira of the l6th-l8th century was a species of viol, a bow-instr. with a varying; number of strings, and made in 3 principal sizes... Z. barberi'na, a small lyre inv. by Doni of Florence in the 17th century... Z. da brac'cio, "arm-lyre", a bow-instr. first mentioned in the gth century, and appearing in the 15th as an instr. resembling the viol in form of head and in stringing, though in other points (and finally in the adoption of 4 strings) like the vio- lin (see art. Violin, foot-note).. .Z. da gam' ha, knee-lyre.. .Z. lede'sca, hurdy- gurdy. Li'rico,-a (It.) Lyric, lyrical. Liro'ne (It.) The great bass lyre (also Accor'do, Archivio'la di lira), with as many as 24 strings. Li'scio (It.) Smooth, flowing. I/istes^so^ See Istesso. " Li t an y. (Gk. Utanei'a ; Lat. and It. li- iani'a; Fr. (pi.) litanies; Ger. Litanei'.) A song of supplication; "a solemn form of prayer, sung, by priests and choir, in alternate invocations and re- sponses, and found in most Office- books, both of the Eastern and West- ern Church " [Grove]. Litanies were originally employed in processional supplications for averting pestilence and other dangers, and later adopted by the Church as portions of the reg- ular service at certain seasons. Lit'terae significati'vae (Lat.) Single letters, or abbreviations, of doubt- ful significance, employed in medie- val neumatic notation. (Ger. Roma'- nusbuchstahen.) Liu'to (It.) A lute. Livre (Fr.) 'Qook...A livre oiivert,zX sight. Livret (Fr.) Libretto. PLo (It.) The. Lob'gesang (Ger.) Song or hymn of praise. Loch in der Stimme (Ger.) "Hole in the voice " ; said of that part of a register in which certain tones cannot be made to "speak" on account of a morbid state of the vocal organ. Lo'co (It.) Place ; signifies, following 8va, "perform the notes as written". Also al loco. Lo'crian. (Ger. lo'krisck.) See Mode. Long. {l^s.t. lojiga.) StQ Notation, %-i; also for Long-rest. Lonta'no (It.) Distant ... Z)a /., or in lontanan'za, from a distance, far away. Loop. I. A vibrating portion of a body, bounded by 2 nodes. See A'ode. — 2. The cord fastening tailpiece to button (violin, etc.) Lo'sung, fort'schreitende (Ger.) Reso- lution (usually Aicf losiing). Loud pedal. Damper-pedal. Loure (Fr.) i. An ancient Fr. bagpipe inflated by the mouth ; hence — 2. A dance named from the instr., on which it was formerly played, in 6-4 or 3-4 time and slow tempo, the down-beat strongly marked. Lour^ (Fr.) Slurred, legato, non staccato. Low. I. (Ger. lei'se ; Fr. douce; It. pia'no.) Soft, not loud. — 2. {GGV.tief ; Fr. bas,-se ; It. basso,-a.) Grave in pitch, not acute. Lugu'bre (Fr. and It.) Mournful. Lullaby. Cradle-song, berceuse. Lun'ga (It.) Long. Written over or under a hold, it signifies that the latter is to be considerably prolonged. . .Lun- ga pa'itsa, a long pause or rest. — Ltin- ghe (pi. of lunga), drawn out, pro- longed ; ^'note" (notes) being implied. Luo'gO (It.) Same as Loco. Lur (Danish, from Old Norse Indr, a hollowed piece of wood.) i. A unique pre-historic wind-instr. of bronze (alloy of copper 88.90^, tin 10.61;*, nickel and iron 0.49;?;), numerous well-pre- served specimens of which have been found, but only in Denmark, southern Sweden, and Mecklenburg. The long, slender, exactly conical tube, varj'ing in length from 5 ft. to 7 ft. 9^ in., forms a sweeping, graceful curve (for- ward from the player's lips, upward and backward over his left shoulder, and forward again over his head), and terminates with a broad circular flat plate (about loin, in diam.) in lieu of a flaring bell. This plate is ornamented with bosses in front, and on the rear with several small bronze tassels, de- pending loosely. The Lur has a cupped mouthpiece, shallower and more nearly V-shaped than that of the trombone. LUSINGANDO-MACHETE. 115 The tone is powerful and mellow.— 2. The modern Lxir, of Norway and Swe- den, is usually made of birch bark, and is aUied to the Swiss alp-horn. Lusingan'do, Lusingan'te (It.) Coax- ing, caressing; also lusinghe'vole. . . Lusinghevoliiien'te, coaxingly, etc... Lusinghie're, or -0, coaxing, flattering, seductive. Lus'tig (Ger.) Merry, gay (also adverb). Lute. {Gtv.Lajt'ie; Fr. luth ; It. liii'io.) A stringed instr., now obsolete, of very ancient origin ; it was brought to Eu- rope by the Moors, who called \\.Al' tid or Al OW. ..The body has no ribs, the back being, like that of the mando- lin, in the vaulted shape of half a pear. The strings, attached to a bridge fixed on the face of the instr., and passing over or beside the fretted fingerboard, were plucked by the fingers, and varied in number from 6 up to 13, the highest or melody-string {treble, canto) being single, and the others in pairs of uni- sons. Bass strings off X\v& fingerboard, each yielding but one tone, were gener- ally attached to a second neck ; they were in later times covered with silver wire, the other strings being of gut. These bass strings were introduced in the i6th century, and led to divers modi- fications in the build of the instr. ; the various forms of large double-necked lutes then evolved {theorbo, archiliuto, chitarrone) being general favorites, and holding, from the 15th to the 17th cen- tury, the place in the orchestra now oc- cupied by the bass violins. Music for the lute was written in tablature, there being 3 systems (French, Italian, and German)... A lute-player is variously called a lutenist, liitanist, lutinist, and lutist. Luth (Fr.) \.vX&...Ltitherie, the trade of, and also the instr.s made by, a hithier. . .Luthier, formerly, a lute- maker ; now, a maker of any instr. of the lute or violin class. Luttuo'so (It.) Mournful, plaintive. . . Luttuosatnen'te, mournfully, etc. Lyd'ian. (Ger. ly'disch.) See Mode. Lyre, i. (Gk. and Lat. ly'ra; It. li'ra; Fr. lyre; Ger. Lei'er.) A stringed instr. of the ancient Greeks, of Egyptian or Asiatic origin. The frame consisted of a soundboard or resonance-box, from which rose 2 curving arms joined above by a cross-bar ; the strings, from 3 to 10 in number, were stretched from this cross-bar to or over a bridge set upon the soundboard, and were plucked with a plectrum. The names of the strings (whence were derived the names of most of the tones in the Greek modes) on the 8-stringed lyre were as follows : Hyp' ate, "uppermost" (.is the lyre was held) ; the longest and deepest-toned. Parhyp'ate, " next to hypate \ Lich'anos, "forefinger-string . Me'se, "middle string". /'af-«?«<^i^, " next to Mese". Tri'te, "third string" (from the lower side). Parane'te, " next to the last . Ne'te, "last," or "lowermost (the high- est in pitch). The Kithara may be considered as a large form of the lyre, the Chelys as a treble lyre.— The lyre differed from the harp in having fewer strings, and from the guitar, lute, etc., in having no fin- gerboard ; its compass and accordatura varied greatly. It was chiefly used to accompany songs and recitations.— 2. An instr. used in military bands, con- sisting of loosely suspended steel bars tuned to the tones of the scale and struck with a hammer.— 3. See Rebec. Lyric, lyrical. Pertaining to or proper for the lyre, or for accompaniment on (by) the lyre ; hence, adapted for singing or for expression in song. — The term is applied to music and songs (or poems) expressing subjective emotion or special moods, in contradistinction to epic (nar- rative), and draf?iatic (scenic, accom- panied' by action). . .Lyric drama, the opera. . .Lyric opera, one in which the expression of subjective feeling, and the lyric form of poetry, predominate... Lyric stage, the operatic stage. M. 'k ,. Abbr. of It. mano, and Fr. main, (hand) ; in organ-music, of manual (usually Man.), and Lat. manua'liter ; and of metronome (usually M. M.) and mezzo. . .n represents the note me (mi) in Tonic Sol-fa notation. Ma (It.) But ; as in the phrase vivace, ma non troppo, lively, but not too much so. Machete. A small Portuguese guitar (oc- tave-guitar), having 4 strings tuned : Ktrt: or sometimes d'^ instead of ^* ii6 MACHINE-HEAD-MANDOLIN. Machine-head. (Cer. JMecha'nik) A rack-and-pinion adjustment substituted for the ordinary tuning-pe^^s of the double-bass, the guitar, and of the mel- ody-strings of the zither. Ma'dre, al'la (It.) " To the Mother" ; a superscription of hymns to the Virgin. Mad'rigal, (Ger. and Fr. Madrigal' ; It. madriga'le, madria'le, mandria' Ic.) Originally, a short lyrical poem of an amorous, pastoral, or descriptive char- acter. — Hence, a poem of this kind set to music, which is polyphonic, with in- cessant contrapuntal variations, and based (in the stricter style) on a cantus firmns ; it is without instrumental ac- companiment, and differs from the Motet in being of a secular cast. This style of composition appears to have had its rise in the Low Countries to- wards the middle of the 15th century, spreading thence to other European States, and cultivated with peculiar suc- cess in Italy and England well into the i8th century ; in England the Madrigal Society still flourishes. Madrigals are written in from 3 to 8 or more parts, and are best sung by a chorus, which feature forms one of the chief distinc- tions between the M. and the Glee (for solo voices). Maesto'so (It.) Majestic, dignified... MaesliY {ioi!),Mat'sta'de (co/i), Mac:st/- vole, Maeslcvolnien'te, RIaestosaDii-n'ie, with majesty or dignity, majestically. Maestra'le (It.) Occasional term for the stretto of a fugue, when in canon- form. Maestri'a (It.) Mastership, skill, virtu- osity. Mae'stro (It.) A master. . .M. al ccin'- balo, term formerly applied to the con- ductor of an orchestra, who sat at the harpsichord instead of wielding the baton. . .J/, dfi piit'/i, "master of the boys", i. e., the choir-master of St. Peter's at Rome...i]/. delco'ro, choir- master... J/, di emtio, singing-master. . .AI. di cappel'la, (a) choir-master ; (/;) conductor; (c) Kapill'meisier (conduc- tor of chorus and orchestra). Mag'adis (Gk.) An ancient Greek instr. with 20 strings tuned in octaves two by two ; hence the term viag'adize, to sing in parallel octaves, as boys and men. Ma'gas (Gk.) Bridge (of a cithara or lyre) ; fret (of a lute). Magazin'balg (Ger.) Reservoir-bellows (organ). Maggiola'ta (It.) A May Song. Maggio're (It.) Major. Mag'got. A "fancie", or piece of an impromptu and whimsical character. Magni'ficat. Name of, and first word in, the " Magnificat anima mea dominum " (my soul doth magnify the Lord), the hymn or song of the Virgin Mary (Luke L 46-55), sung in the daily service of the Church. Main (Fr.) Hand ...M. droite {gauchS), right (left) hand...yl/. har?noniijue, harmonic hand. Maitre (Fr.) Master. . .yl/. de chapdle. Kapellmeister, conductor. . .M. de viu- siqitc, ((?) conductor ; {l>) music-master, teacher. Maitrise (Fr.) In France, prior to 1789, a music-school attached to a cathedral, for the education of young musicians, who were called enfants de cha'tir. Some few were reestablished, and still exist. Majesta'tisch (Ger.) Majestical(Iy). Major. {Ger. dur ; Yr. majeur ; \t. mag- gio're.) Lit. " greater", and thus opp. to tnitior, " lesser." (Comp. Phone, Inter- val^ . . . Major cadence, one closing on a major triad. . .i]/. chord or triad, one having a major third and perfect fifth. . .M. interval, key, mode, scale, tonal- ity, see the nouns. . .AI. whole tone, the ^/•(V?/t';- whole tone 8:g (as c-d); opp. to the lesser (or minor) whole tone 9:10 (as d-e). Malinconi'a (It.) Melancholy. .. C^« w., with melancholy expression, deject- edly {aho mali/iconicawefi'te) . . .Malin- co'nico {-nio'so, -no'so), melancholy, dejected. — Also Melanconi'a, etc. Mancan'do (It.) Decreasing in loud- ness, dying away, decrescendo ; usually, a combination of decrescendo and ral- Icntando is intended (v. Tempo-mar fi). Manche (Fr.) Neck. Mando'la (It.) A large variety of Man- dolin. Man'dolin(e). (It. mandoli'no.) An instr. of the lute family, the body shaped like that of a lute, though smaller, having wire strings tuned pairwise, played with a plectrum, and stopped on a fretted fingerboard. There are 2 chief varie. ties, (l) the Neapolitan {mandolino napolita'no), which has 4 pairs of strings tuned^'--(/'-a'-d'^ like those of the violin ; MANDOLINATA— MASCHINEN. 117 and (2) the Milanese {viand, lombar'do), which has 5 or 6 pairs, tuned g-c^-a^-d'^-c'^ (or g-b-c-'^-a^-d^-e''). C o m - F; pass about 3 octaves : Mandolina'ta (It.) A piece for mando- lin, or played with mandolin-effect. Mando'ra, Mando're. Same as Ma nd or sfz. Martellement (Fr.) i. In harp-playing, calls for the crush-note {acciaccatu'i'ci) or redoubled stroke. — 2. Comp. Graces. MarziaTe (It.) Martial, warlike. Maschera'ta (It.) Masquerade. Maschi'nen (Ger., pi.) S>ct Pistons. . . Alaschi'nenpauken, kettledrums pro- n8 MASK-MEDIUS. vided with a mechanism for the rapid adjustment of the pitch. Mask, Masque. (Ger. Mas'kenspiel ; Fr. masque.) The mus. dramas called masques, so popular during the i6th and 17th centuries, were spectacular plays on an imposing scale and with most elaborate appointments, the sub- ject being generally of an allegorical or mythological nature, and the music both vocal and instrumental. — The masque was the precursor of the opera, but was distinguished from it by the lack of monody. Mass. (Lat. tttis'sa; It. vies'sa ; Fr. and Ger. iMes'se.) " Mass " is derived from missa, in the phrase " Ite, missa est [ecclesia] " (Depart, the congrega- tion is dismissed), addressed, in the R. C. Church, to persons in the congre- gation not permitted to take part in the communion service, the ]VIass itself taking place during the consecration of the elements. — The divisions of the musical mass are (i) the Kyrie ; (2) the Gloria (inch the Gratias agimus, Qui tollis, Quoniam, Cum Sancto Spiri- tu) ; (3) the Credo (inch the Et incar- natus, Crucifixus, Et resurrexit) ; (4) the Sanctus and Benedictus (with the Hosanna) ; (5) the Agnus Dei (incl. the Dona nobis). It has passed through very various phases, from the simple unison chant of Plain Song to the most elaborate productions of late medieval counterpoint, with a transition there- after to the severity of the Palestrina epoch, to the vocal masses in 8, 16, or even 32 parts, and finally to the grand mass v/ith full chorus and orchestra (r>iissa solem'nis). . .High mass, one celebrated on church festivals, accom- panied with music and incense. . .Loiu tnass, one without music. . . Missa brev'- is, short mass of Protestant churches, incl. only the Kyrie and Gloria. Ma'ssig (Ger.) Moderate(ly). Mas'sima (It.) i. The maxim. — 2. A whole note. — 3 {adj.) Augmented (of intervals). Master-chord. The dominant chord. . . Mastcr-fttgUi\ f uga ricercata. . . Master- note, leading-note. . .i^/rtjVt'rj-/«^^T, see Meistersinger. Masure, Masurek, Masurka. See Mazurka. Matelotte (Fr.) An old sailors' dance resembling the hornpipe, in duple time. Mat'ins. The music sung at morning prayer, the first of the canonical hours. Maul'trommel (Ger.) Jew's-harp... Maul'trommelklavier, the melodicon. Max'iin. (Lat. wajr'zwrt.) See N^otation, §3, Large. Mazur'ka. A Polish national dance in triple time and moderate tempo, with a variable accent on the third beat. Me. For mi (Tonic Sol-fa). Mean, Former name for an inner part (as the tenor or alto), or an inner string (of a viol) . . . Mean clef, the 6"-clef , as used for noting the inner parts. Mean-tone system. See Temperament. Measurable music. Mensurable music. Measure, i. (Ger. Takt ; Fr. mesure; It. niisu'ra.) A metrical unit, simple or compound, of fixed length (time-value) and regular accentuation, forming the smallest metrical subdivision of a piece or movement ; visibly presented by the group of notes or rests contained be- tween two bars, and familiarly called a "bar". (Comp. Time.) — 2. Occa sional for tempo. — 3. A dance having a stately and measured movement. — Aleasure-note, a note indicated by the time-signature as an even divisor of a measure ; 4 thus indicates that each measure has 3 quarter-notes, and a measure-note is then a quarter-note. . . Measure-rest, see Rest. M^canisme (Fr.) Technic or technique ; mechanical skill. (It. meccanismo.) Mecha'nik (Ger.) i. A mechanism or mechanical apparatus, such as {a) the pfte. -action ; (/') the machine-head of a guitar, zither, etc. — 2. In pfte. -playing, {a) technique ; (l>) specifically, the mere mechanical action of the fingers and hand, as the lift and down-stroke of finger or wrist, the passing-under of the thumb, etc. ; often carelessly trans- lated by mechanism. Mechanism. See Mechanik 2 b. Mede'simo (It.) The same. Me'dial. Proper to the Mediant. Me'diant. i. (Ger. and It. Median' te ; Fr. ynediante.) The third degree of a scale. — 2. In medieval music, one of the 3 pivotal tones of a mode, situated as nearly as possible midway between the Final and Dominant, and ranking next in importance to the latter. Me'dius. See Accentus ecclesiastici. I MEHR-MELOPIANO. 119 Mehr (Ger.) yiox&. . .Mehr'chdris;, for several (4-part) choruses. . .Mehr'fach, manifold ; mehr' f aches Intervall' ,cova.- pound interval ; mehr'facher Ka'non, a canon having more than 2 themes ; mehr'facher Kon' trapunkt, counter- point written in more than 2 invertible parts ; mehr'fache Stim'me (organ), a compound sVo^. . .Mehr'stimmig, in several parts ; polyphonic. . . Mehr'stim- viigkeit diirch Bre'chung, apparent polyphony obtained (especially on the pfte.) by employing broken chords. Mei'ster (Ger.) Isla.'sXt.x. . .Mei'sterfuge, fuga nz^xc-ei'l^L. . .Mei'stersinger (or -siinger), in Germany, the successors of the Min'nesdnger (Troubadours), but, unlike the latter, chiefly artisans, who formed guilds in various cities for the cultivation and propagation of their art, the stringent rules for which were con- tained in the Tabidatur' . Their poems were founded for the greater part on biblical subjects ; the musical treatment was apt to be dry and prosaical. — They originated about the 14th century in Mainz, reached their zenith in the 15th and i6th centuries (notably under Hans Sachs of Nuremberg), and thereafter decayed gradually, the last society be-| coming extinct in 1839 (Ulm). Melancoli'a (It.), Melancholie (Fr.) See Malincolia. Melange (Fr.) A medley, pot-pourri. Melis'ma (Gk.) i. A melodic ornament, fioritura, grace ; colorature. — 2. A Ca- denza 1. . .ATelisvial'ic, ornamented, embellished ; said of vocal or instru- mental music abounding in ornaments ; also, specifically, melismatic sotg, that in which more than one tone is sung to a syllable ; opp. to syllabic song. Melo'deon. The original American organs were called melodeons or melo- diums. (See Reed-organ.) Melo'dia. (Organ.) A variety of stopped diapason nearly resembling the Clara- bella. Melod'ic. Pertaining to the progression of single tones ; hence, vocal, as a vielod- ic interval. Melo'dica. A small variety of pipe- organ inv. in 1770 by Joh. Andr. Stein of Augsburg, having a tone like the Jldte a bee, and a compass of but 3^ octaves. It was used ordinarily to play the melody to a harpsichord- or pfte.- accompaniment ; hence the name. An excellent crescendo and decrescendo were obtainable by varying the finger- pressure on the keys. Melo'dico (It.) Equiv. to Caniando. Melo'dicon. A keyboard instr. inv. by Peter Rieffelsen of Copenhagen, in 1800, in which the tones were produced by tuning-forks. Melo'dik (Ger.) Science or theory of melody. Melo'diograph. See Melograph. Melo'dion. A keyboard instr. inv. by J. C. Dietz, of Emmerich, in which the tones were produced by vertical steel bars chromatically graduated ; these bars being pressed by the digitals against a rotating cylinder. Forte was obtained by a quicker, piano by a slow- er, rotation. Compass, 5^-6 octaves. Melo'dium. i. Melodeon. — 2. (Ger.) Alexandre organ. Mel'odrama. i. Originally, a musical drama. — 2. In modern usage, («) stage- declamation with a mus. accomp. ; {b) a form of the drama in which the music plays a very subordinate part, and the plot is more or less romantic and sen- ^ sational. vj^el'ody. (Ger. Melodic' ; Fr. m^lodie ; \\.. melodi'a.) I. The rational progres- sion of single tones ; contrasted with Harmony, the rational combination of several tones. — 2. The leading part in a movement, usually the soprano. — 3. An air or tune. Mel'ograph. Name of various mechan- ical devices for recording the music played on a pfte. One of the latest and most successful is the electric m. or Phonautograph (inv. by Fenby, in Eng- land), in which the pressure on the digitals closes an electric circuit, effect- ing a record on paper as in the Morse system of telegraphy. A cardboard stencil forming an exact copy of the record can be made to reproduce the music when placed in the Melotrope, a mechanical attachment to a pfte. by means of which the digitals are depress- ed as if by the player's fingers. Mel'ophone. A variety of Concertina. Melopian'o. A pfte. inv. by Caldera of Turin, in 1870, in which the tone is sustained by rapidly repeated blows of small hammers attached to a bar pass- ing over and at right angles to the strings, the bar being kept in vibration I20 MELOPLASTE— METER. by means of a treadle worked by tlie player. Crescendo and decrescendo effects are producible at will, and the tone is of delightful quality. Meroplaste, A simplified method for learning the rudiments of music, inv. by Pierre Galin about iSi8. Instead of teaching the notf^s, clefs, etc., at first, he took merely the 5 lines of the staff, singing familiar airs to the syllables do, re, mi , etc., at the same time showing with a pointer the position on the staff of the notes sung. For teaching rhyth- mical relations he used a double metro- nome marking both measures and beats. Me'los (Gk.) "Song". The name be- stowed by Wagner on the style of reci- tative exemplified in his later mus. dramas. (See Recitative.) Mel'otrope. See art. Melograph. Meme (Fr.) The same...// la tnente, I'istesso tempo. Men. Abbr. of Meno. M^nestrel (Fr.) Minstrel (q. v.) M6netrier,-tri^re (Fr.) Originally, a player on any instrument, especially for dancing ; now, a vagabond fiddler at fairs and in low places of entertain- ment, or a village musician. Me'no (It., abbr. men.) Less, not so. — When Meno occurs alone as a tempo- mark, mosso is implied. . .JAv/^ mosso, " less moved," i. e., slower. Mensur' (Cer.) i. Mensti'ra, i. e. the time of a movement (mensurable music). — 2. Scale (of organ-pipes). — 3. In other instr.s, the various measurements requisite for their true intonation (as length of tube, distance between finger- holes, thickness of strings, etc.) Mensurargesang,-musik (Ger.) Men- surable music. (See Notatiott, §3.) Men'te (It.) Mind, memory; alia m., improvised, e.\tempore. Menuet (Fr.), Menuett' (Ger.) Me'rula (Lat., "blackbird, Same as / 'o'gelgesang. Mescolan'za (It.) A m°dley. Mes'otonic. Mean-tone. Mes'sa (It.), Mes'se (Ger Mass. Mes'sa di vo'ce (It.) The attack of a sustained vocal Xone pianissimo, with a swell to fortissimo, and slow decrease to pianissimo again ; thus : Minuet, ousel ".) and Fr.) The attack and increase was formerly caWtd for ma' re il luono ; the sustaining of the ff tone, ferma're il tuono ; and the decrease and close, fini're il tuono. Messan'za (It.) A quodlibet. Me'sto (It.) Tensive, melancholy... Mestamen'te, plaintively, grievingly. (Also con mesti'zia.) Mesure (Fr.) Measure ; a measure ; a la m., in time (i. e. a tempo, a battu'td). ..Mesure, measured. — (See Time.) Metal'lo (It., "metal".) A ringing, ' ' metallic " quality of voice. Metal'lophone. A pfte. in which graduated steel bars take the place of strings. — 2. An instr. like the xylo- phone, but with bars of metal instead of wood. Meter, Metre. i. Metre in music is the symmetrical grouping of musical rhythms ; a disposition of musical mem- bers akin to the arrangement of the poetic strophe. It differs from Form in having to do merely with the rhyth- mical groupings within compositions ; from Rhythm, in treating of the sym- metrical arrangement of the smaller tone-groups, the articulation of which produces the rhythm or time. These definitions are, however, not universally binding, metre and rhythm being used sometimes as interchangeable terms, and sometimes with significations ex- actly the reverse of those just given. In metre the smallest metrical element (unit of measure) is the Measure ; the combination of 2 measures (either sim.ple or compound) produces the Section; of 2 sections, the Phrase ; of 2 phrases, the Period (of 8 measures), which may be extended to 12 or 16 measures ; be- yond the period of 16 measures the metrical divisions seldom go, i. e. they are not followed by the ear as metrical, but as thematic divisions (see Form). — 2. The metre of English hymns is classified, according to the feet used, as iambic, trochaic, or dactylic ; in the syllabic schemes below, the figures in- dicate the number of syllables in each line. Variants are not infrequent in modern hymnology. A. laml'ic metres: Common metre (C. M.), 8 6 8 6; Long metre (L. M.), 8888; Short metre (S. M.), 6 6 8 6 ; these have regularly 4 lines to each stanza; when doubled to 8 lines they .nre called Common metre double (C. M. D.), Long metre double (L. M. D.), and Short metre double (S. M. D.). They may also have 6 lines in each stanza, and are then named METHODE— MILITARY MUSIC. 121 Common particular metre (C. P. M.), 8 8 6 8 8 6; Long particular metre (L. P. M.), or Long metre 6 lines, 888388; and Short particular metre (S. P. M.), 6 6 8 6 6 8. Besides the above, there are Sevens and Sixes 7676; Tens 10 10 10 10 ; Hallelujah metre 6 6 6 6 8 8 (or 6 6664444); etc. B. Trochaic metres : Sixes 6 666; Sixes and Fives, 6565; Sevens 7777; Eights and Sevens 8787; etc. C. Dactylic tiietres : Elevens 11 11 11 11; Elevens and Tens 11 10 11 10 ; etc. These are most of the metres in general use (comp. Cotmnon). — 3. In ancient prosody, the science of Metiics treated of the quantity (length) of the sj'Ilables ; whereas in modern English poetry all accented syllables are treated as long, the un- accented as short. The metrical unit is a mora (time) or syllable ; syllables com- bine to form feet; feet to cola, verses (i. e. , lines), or periods ; periods to strophes ; strophes to pericopes ; and pericopes (or lines, or periods) to poems. ..Syllables are either short (^-), long ( — ), or common (~) ; the long being equivalent to 2 short, and the common either long or short according to posi- tion. A Foot is a combination of 2 or more syllables. Methode (Fr.), Me'todo (It.) Method. Metro'metro (It.), Metrometre (Fr.) A metronome. Met'ronome. (Fr. metronome; Ger. lilctronom' ; It. metro' notno.) A double pendulum, weighted below, actuated by clockwork, and provided with a gradu- ated scale on which a slider can be moved up and down, the slider deter- mining by its height how many beats the pendulum shall make per minute ; often with a bell-attachment {Bell- metronome). With the slider set at 60 the pendulum makes one beat per sec- ond. . .Metronome-mark {metronom'ic mark), a mark set at the head of a com- position for exactly indicating its tempo ; e.g., M.M.J =60 means, that the time-value of one quarter-note is equal to one pendulum-beat with the slider set at 60 ; M. M. standing for " Mael- zel's Metronome " after its reputed in- ventor, Maelzel of Vienna (18 16). — The M. is much used by beginners and students, for learning to play strictly in time, and for timing their practice. Me'tro (It.), Me'trum (Lat.) Metre. Met'te (Ger.) Matins (in the R. C. Church). Mettez (Fr.) Draw, add (organ-music). Mez'zo,-a (It.) Half...^ tnezza a'ria, scQAriaparlante. . .Alezzo for' te{mf), half-loud . . . Mezzo lega'to, in pfte - technics, a variety of touch resembling legi^ie'ro in being a down-stroke with- out pressure, but differing from it in requiring that greater attention be paid to a forcible stroke than to a rapid, springy return of the 'ax\^e.x . . .Mezza Tua'nica, half-shift. . . Mezza orche'stra, with half the strmg-hdind. .. Mezzo pia' no (mp), half-soft, less loud than mezzo forte .. .Mezzo sopra'no, the female voice intermediate between soprano and alto, partaking of the timbre of both, and usually of small compass {a — f'^, or a — /^), but ver)' full-toned in the medium register. . .Mezzo teiw're, same as Barytone ; only the tnezzo te}tore \s in quality rather a low tenor than a high bass. . .Mezza vo'ce, with half the power of the voice ; nearly equivalent to mez- zo forte, in singing or playing. Mi. I. The third of the Aretinian syl- lables. — 2. Name of the note E in France, Italy, €ic...AIi contra fa est diabolns in mnsica, " mi against fa [i. e. the tritone] is the devil in music ", a theorem of medieval musicians express- ive of their abhorrence of the melodic step, and even of the harmonic relation, of the tritone (the 7ni = i?t} of the " hard " hexachord and the fa = 7^ of the " natural" he-xachord). Middle-C. The one-lined e' on the first leger-line below the treble staff or above pt the bass staff: . . .Middle part or voice, same as inner part. Militairement(Fr.), Militarmen'te (It.) In military style. Also (It.) Alia mili- tare. Militar'musik (Ger.) i. Military music. — 2. A military band. .Military music. The military band differs from the orchestra in being a wind-band (composed solely of wind- instruments), and in admitting the cornet, bugle, saxophones, and other instr.s whose timbre is considered not to blend well with those of the sym- phony-orchestra. Another peculiar feature is the large reinforcement of the clarinets, which take the place and parts of the violins and violas in the orchestra. Military bands may contain anywhere from 40 to 90 performers ; ^ 122 MIMODRAMA— MINUET. 3 trombones 2 alto saxhorns 3 alto saxotrombas 5 bass saxhorns I contrabass saxh. I " tuba I shallow drum I bass drum I pair cymbals that of the 22nd Regt., New York, has 66, namely : 2 piccolos I contraffagotto 2 flutes I Ej> cornetto 2 oboes 2 ist Ey cornets I A!> piccolo clarinet 2 2nd " " 3 E^ clarinets 2 trumpets 8 ist B[> clarinets 2 fliigclhorns 4 2nd " " 4 French horns 4 3rd " " 2 Et> alto horns I alto " 2 lji> tenor horns I bass " 2 euphoniums I sopr. saxophone 3 trombones I alto " 5 bombardons I tenor " 3 drums 1 bass " I pair cymbals 2 bassoons In France, in accordance with the official order promulgated Nov. 17, 1892, the regTilar infantry bands com- prise the following instruments : 2 flutes 2 small clarinets 8 large 2 oboes I sopr. saxophone I alto " I baryt. " 1 tenor " 2 cornets 2 trumpets or 40 in all (14 wood-wind, 23 brass, 3 percussives). — The principal innova- tions on the former standard (estab- lished by imperial decree of March 26, i860) are (i) disuse of wooden flutes, for which metal flutes are substituted ; (2) suppression of 4 saxophones, and substitution of 4 more clarinets ; (3) suppression of 2 barytone saxhorns, for which 2 bass saxhorns are substituted. Mimodrama. (Fr. mimodrame.) A pan- tomimic dramatic performance, often accomp. by music. Minacce'vole (It.) In a menacing or threatening manner. (Also 7uinaccevol- mcn' ti\ miiiaccian'do, ?ninaccio'so, min- acciosainen' le.') Mineur (Fr.) Minor. Min'im. (Lat. ini'nima ; It. nii'tiitna or bian'ca ; Fr. t?iiiiime or blanche ; Ger. hal'be No'ie.) i. A half-note. — 2. See Notation, §3.. .Minim-)est, a half-rest. Min'nesinger,-sanger (Ger., sing, and pi.) One of the German troubadours, or lyric poets and singers of the 12th and 13th centuries, who were exclusively of noble lineage ; distinguished from their Southern contemporaries by their chaster conception of love {Min'ne, Frail' cndiensi). They accompanied their songs {Afin'negesang, written chiefly in the Swabian dialect) on the Qll viol or arpanetta, and their rivalry cul- minated in grand poetical contests, such as the one immortalized by Wagner in " Tannhauser." Their art originated in Austria, spreading thence to the Rhine, Thuringia, and Saxony ; in the hands of their successors, the Mei'stei- singc'r, it degenerated past recognition. i'nor. (Ger. klein, tnoll ; Fr. viincur ; It. 7ni)io'rt'.) Lesser ; smaller (comp. Interval, Major, Phone). . .Minor tone, the lesser whole tone iO:g. Minstrel. The minstrels of the middle ages were professional musicians who sang or declaimed poems, often of their own composition, to a simple instru- mental accomp. They were followers of the nobility in court and camp. The French me'nestrelsoi the 8th century and later were the musical attendants of the troiiveres and troubadours, having to execute practically the musical concep- tions of their noble masters. Thus they occupied from the outset a subordinate position ; their art slowly degenerated in England, whither they were trans- planted at the Norman Conquest, until they were classed by statute (1597) with "rogues, vagabonds, and sturdy beg- gars"; in France their guilds were maintained down to the Revolution. In England they coalesced with the Anglo- Saxon "gleemen". Their favorite instr. was the rebec. . . Negro Minstrels, singers and actors portraying (originally) scenes from Southern plantation-life. The chief performers of the troupe are the middle-man or interlocutor and the two end-men (so called from their re- spective positions in the semi-circle of performers on the stage); the former leads the talk and gives the cues, while the latter preside over the tambourine and " bones", and crack the jokes. Minuet'. (It. tninuet'to; Fr. menuet; Ger. Menuett'.) One of the earlier French dance-forms, supposed to have orig- inated in I'oitou ; it dates as an art- product from about LuUy's period (end of 17th century), and, as such, prop- erly consists of 2 minuets, or a double minuet with contrasted sections of 16 measures each, the second forming the Trio, after which the first is repeated. It is in triple time, and has a slow, statelj' movement, eschewing all orna- mentation. It frequently occurs in the Suite, Sonata, and Symphony ; Beetho- ven was the first to introduce in its MIRACLE— MODE. 123 stead, in the 2 latter, the livelier and freer Scherzo ; in the Suite it figures, by way of contrast, between the Sara- bandeand Gigue. Miracle, Miracle-play. See Mystery. Miscel'la (Lat.) A mixture-stop. Mise de voix (Fr.) Messa di voce. Misere're (Lat.) The first word of the Psalm LI (in the Vulgate, L), which begins: "Miserere mei, Uomine" (Pity me, O Lord) ; hence, the name of this Psalm, or of a musical setting of it, sung in the Catholic Churches as part of the burial service, at the Communion of the Sick, and the like. During Holy Week it is performed with pecu- liar solemnity in the Sistine Chapel at Rome. Mis'sa (Lat.) The Mass. . .M. brev'is, short mass...iJ/. canta'ta, chanted mass . .M. pro defunc' tis^s^^ Requiem. . .A/, solem'nis, ox solen'nis, high mass. Mis'sal. (Lat. tnissa'le.) The R. C. Mass-book, containing the liturgical forms necessary for the celebration of mass the year round. Miss'klang (Ger.) Discord, cacophony. Misterio'so (It.) Mysterious ... J/Zj/f- riosamen' le, mysteriously. Mistichan'za (It.) A quodlibet. Misu'ra (It.) A xi\Qa.s\xx&. . .Misura'to, measured, in e.xact time. Mit (Ger.) With. Mit'klang (Ger.) Resonance. . .^/Z/'- klingende Tone, overtones. Mit'telkadenz (Ger.) Semi-cadence. . .Miftelstintme, an inner part or voice. Mixed cadence. See Cadence. . .Mixed AUTHENTIC MODES. Mode I (Do'rian). W^ ^ Mode III (Phryg'ian). ^ -^ ^ ModeV (Lyd'ian). Mode VII (Mixolyd'ian). g r. r canon, one in which the successive parts enter at different intervals. . .yJ/Zjr^;/ chorus, quartet, voices, vocal music combining male and female voices. Mixolyd'ian, See Mode. Mixture. (Ger. Mixtur' ; Fr. fourni- ture; It. ripie'no, accor'do.) A com- pound auxiliary flue-stop with from 3 to 6 ranks of pipes sounding as many har- monics of any tone represented by a given digital. These harmonics are generally octaves and fifths of the fun- damental tone ; sometimes a third, or even a seventh, is added ; they are higher in comparative pitch for low tones than for high ones, (see Break 3) ; e. g. for the tone C the 3-rank mixture would usually contain c'^-g^-c- ; and for g' Mixolydian (Mode VII, 4th authentic) f K a b c» d' el (' Lydian (Mode V, 3rd authentic) I I I I e f g a b c' di e' Phrygian (Mode III, 2nd authentic) d e f g a b c' d' Dorian (Mode I, ist authentic) I 11 I rdefgabc' d'"] [Hypomixolydian (Mode VIII, 4th plagal)] c d e f g a b c' Hypolydian (Mode VI, 3rd plagal) I il-_ 1 Bcdefgab Hypophrygian (Mode IV, 2nd plagal) Hypodorian (or jEolian) ABcdefga Hypodorian (Mode II, ist plagal) I [1 L The gradual development of monodic, harmonic, and chromatic music, the evolution of the leading-note, the ac- ceptance of the third as a consonance, and the recognition of the predominance of the tonic triad, with the modern system of transposing tempered scales in the major and minor modes thence resulting, led to the gradual disuse of the church-modes. Mode hell^nique (Fr.; also troisilme mode'). The inverted major scale, be- ginning on the 3rd degree : e' — d' — c'^b — a — g — f-— -e. so termed byBlainville (171 1-69), this being the ancient Dorian mode (see Greek music). Modera'to (It. ; superl. moderaiis'simo.) I {noun). Moderate ; i. e. at a moderate rate of speed, or tempo. — 2 {adverb). (Also moderatamen'te). Moderately { as allegro moderate, moderately fast. MODERNO— MORDENT. 125 Moder'no,-a (It.) Modern ; alia moder- na, in modern style. Modification. Same as Temperament. Mo'do (It.) Mode ; style. Mod'ulate. (Ger. modulie'reti; Fr. mo- duler; It. modula're.) To pass from one key or mode into another ; to effect a change of tonality . . . Modulation. (Ger. and Fr. Modulation' ; Fr. also transi- tion; It. modulazio'7ie.) Passage from one key to another ; change of tonality. — A modulation may be either y?«rt/ or transient ; it is final when the new tonic is permanently adhered to, or still another follows ; transient {transitory, passino-), when the original tonic is speedily reaffirmed by a cadence. . . Chromatic modulation, one effected by the use of chromatic intervals ; diatonic m., one eiTected by the aid of diatonic intervals ; enharmonic m., one effected through employing enharmonic changes to alter the significance of tones or intervals. Mod'ulator. See Tonic Sol-fa. Mo'dus (Lat.) Mode. Moll (Ger.) Wmor. . .Moll'akkord, mi- nor chord. . .Moll'dreiklang, minor inad.. . .Moll' ton art, minor key... Moll'tonleiter, minor scale ; etc., etc. Mol'le (Lat., " soft".) A term probably first used in the loth century to desig- nate the B rotun'dum {B molle,-=^), in opposition to the B quadra' turn {B du'- rum, Q, the modern BQ). Later it was applied tothehexachord/ — d, in which B^ was substituted for bX\ ; and, finally, to the minor key and triad (with fiat third). Mollemen'te (It.) Softly, gently. Mol'lis (Lat.) See Molle. Moloss(e). (Lat. molossus.) A metrical foot of 3 long syllables ( ). Morto,-a (It.) Much, very ; as molto adagio, very slowly ; molto allegro, very fast. . .Di molto, exceedingly, extremely. Momen'tulum (Lat.) A i6th-rest. Momen'tum (Lat.) An 8th-rest. Mon'ochord. (Fr. monoco7-de; It. 7nono- cor'do.) I. A very ancient instr. for the precise mathematical determination of the intervals, consisting of a single string stretched over a soundboard and provided with a bridge sliding on a graduated scale, by means of which any desired division of the string could | be isolated, and intervals of true pitch obtained. — An instr. of the same name, but furnished with several strings for the purpose of obtaining harmonic effects, was the precursor of the clavi- chord. — 2. The tromba marina. — 3. A clavichord. — 4. (Ger., recent.) Akindof bow-zither, having one string stretched over a fretted fingerboard attached lengthwise to the top of an oblong re- sonance-bo.x. Mon'ody. (Ger, and Fr. Monodie'; It. ynonodi'a.) A Style of composition {monod'ic or monophon'ic) in which one part, the melody, predominates over the rest, they serving as a support or ac- comp. to it. It took its rise in Italy about 1600, in the form of a vocal solo with instrumental accomp., the latter being at first a mere figured bass exe- cuted on the harpsichord, theorbo, etc. Its novelty lay, not in its newness, but in its employment and recognition by artists. It developed into the opera, cantata, and oratorio on the one hand, and, on the other, into all those forms of instrumental music in which the ele- ment of accompanied melody is found, as the suite, symphony, etc. (Also Homophony, Monophony. ) Monoph'onous. Capable of producing but one tone at a time ; opp. to poly- phono us. . .Monoph'ony, see Monody. Mon'otone. i. A single unaccompanied and unvaried tone. — 2. Recitation (in- toning, chanting) in such a tone. Monter (Fr.) i. Toascend; montant,a.%- cending. — 2. To raise the pitch of. — 3. To put strings on an instr.; also, to put an instr. together, to set it up. Montre (Fr.) In the organ, the dia- pason ; so called because "shown" or set up in the organ-front, away from the soundboard. Moralities. (Ger. Moralitd'ten; Fr. tnorali/es.) A later form of the miracle- plays or mysteries. Morceau (Fr.) A piece, composition ; viorceau de genre, characteristic piece. Mordant (Fr.) Comp. Graces. Mordent. (Ger. Mor'dent, Bei'sser; Fr. pince'; It. >norden'te.) A grace con- sisting of the single rapid . f^ alternation of a principal ~9 ^ , — »^ note with an auxiliary a minor second below, thus: < P 126 MORENDO-MOVEMENT. played : ^^^ ^_ 1' h e ^ > 3 Moren'do (It.) Dying away, growing fainter and fainter (v. Ti-mpo-niarks). Mormoran'do (It.) Murmuring, mur- murous, in a very gentle, subdued tone. Also inormore'vole, mormoro' so. Morris-dance. (Also inorrice-dancc, Moresque, Morisco, etc.) A sort of costume-dance, apparently of Moorish origin, in 4-4 time and of a boisterous character ; now obsolete. — Also, a kind of country-dance still performed in Yorkshire, England. Mos'so (It., "moved".) Equivalent to "rapid" in the phrases ?neiio mosso, less rapid, piu wosso, more rapid, and poeo mosso, somewhat rapid (e. g. Allegretto poco mosso, a rather lively allegretto, nearly allegro). Mo'stra (It.) A direct. Motet'. (Ger. Motet' te; Fr. motet; It. mottet'to.) A sacred vocal composition in contrapuntal style, without instru- mental accomp. In former times the a cappella style was not always strictly adhered to. The motet resembles the atithem in having a biblical prose te.xt, but differs from it in being polyphonic ; compositions in anthem-style are, how- ever, sometimes called motets. — The Latin !?iote'tiis is a term of various and sometimes obscure signification. Motif (P'r.) A motive. Motion. I. The progression or lead- ing of a single part or melody ; it is conjunct when progressing by steps, disjunct when progressing by skips. — 2. The progression of one part con- sidered in relation to that of another ; contrary or opposite motion is that in which one part ascends while the other descends ; parallel* motion, that in which both parts ascend or descend by the same interval ; oblique motion, that in which one part is held while the other ascends or descends ; similar* motion, that in which both parts ascend or descend together by dissimilar inter- vals ; 7uixed motion, that in which 2 or more of the above varieties occur at once between several parts. * N.R. — The above fine distinction between /'ura/ift a.nionics, those produced on an open string ; opp. to artificial, which are produced on a stopped string. . .N'atu- ral hexachord, that beginning on C. . . Natural horn, the French horn without valves ... A^rt/«rrt/ interval, one found between any 2 tones of a diatonic major scale. . .Natural key, see A'at. scale. . . Natural pitch, that of any wind-instr. when not o\&x\)\o\sx\.. . .Natural scale, C-major, having neither sharps nor flats. . . Natural tone, a tone producible, on a wind-instr. with cupped mouthpiece, by simply modifying the adjustment of the lips and the force of the air-current, without using mechanical devices for changing the length of the tube (such as keys, valves, or the slide). Such natural tones always belong to the series of higher partials (comp. Acoustics). These are the only tones which an instr. having a tube of invariable length (like the natural [French] horn) can yield ; they are produced by the division of the vibrating air-column defined by their tube into aliquot (equal) parts of NATURALE— NINTH. 129 constantly decreasing length. A tube of wide bore in proportion to its length will yield most readily the low and me- dium tones of the series, including the fundamental ; a tube comparatively nar- row, the medium and higher tones, omitting the fundamental. Any metal instr. yielding the fundamental tone (e. g. the Tuba) is called a complete instr. (Ger. Ganz' instrument) \ one incapable of yielding it (e. g. the Trumpet), an incomplete instr. (Ger. Halb'instru- ment). With a minimum air-pressure, and the lips most relaxed, the funda- mental tone of the tube is sounded. Natura'le (It.) Natural, unaffected... Naturalmen'tty naturally, etc. Natura'lis (Lat.) Natural . . . Can'tus naturalis, and hexachor'du/n natura'le, music, and the hexachord, embracing the tones c d e f g a. Naturalist'' (Ger.) A natural or self- taught singer ; one not trained accord- ingtoany vocal "method "or " school ". . .Naturalis' tisch, amateurish. Naturel,-le (Fr.) Natural. Neapolitan sixth. A chord of the sixth on the sub- . , /,- « „ dominant m y^ ^ g _ \&\ — minor, with K y \ ~~ '^=^ minor sixth: Ne^ben- (Ger.) By-, accessoiy.. .Ne'ben- dominanie, dominant of the dominant, e. g. D in the key of C. . . Ne'bendrei- klang, secondary \r\z.6.. . .Ne'benge- danke, accessory theme or idea. . .Ne'- benklang, accessory tone (either es- sential, as harmonics, or unessential). . .Ne'bennote, auxiliary note . . .A^e'ben- septimenakkorde , secondary chords of the 7th (all except the dominant)... Ne'benstinime, accompanying or ripieno T^d^Tt. . .Ne'benTverk (on 2-manual or- gan), choir-organ. Neck. (Ger. Hals; Fr. vianche; It. ma'nico.) The elongated projection from the body of an instr. of the viol or lute family, bearing the fingerboard on its upper side, and ending with the head or scroll. Negligen'te (It.) Negligent, careless. . .Negligentemen'te, negligently. Ne'gli, nei, nel, nell', nel'la, nel'le, nel'lo (It.) In the. Ne'nia. A funeral song or lament ; a dirge. Neo-German school. The disciples of Schumann and Liszt ; the romantic school of composition, and the "pro- grammists". Ne'te. See Lyre. Nettamen'te (It.) Neatly, cleanly ; clearly, distinctly. . .Net' to, neat, clean, clear. Neu'deutsche Schu'Ie. See Neo-Ger. man. Neu'ma, Neume. I. In Gregorian mu- sic, a melisma. — 2. In medieval mus. notation, one of the characters used to represent tones, inflections, and graces. They were of different and fluctuating form and signification, at first with a curious outward resemblance to modem short-hand, later changing to coarse and heavy strokes and flourishes. The earlier neumes (Sth to 13th century) can hardly be successfully deciphered, even with the aid of the letters {litterce significative^) sometimes added, or of the lines (inception of staff-notation) employed, from the loth century on- ward, to fix the pitch ; for they were less an attempt at exact notation in the modern sense, than an aid to memory, a system of mnemonic signs. They are important as being the first attempt to exhibit the relative pitch of notes by their relative height on the page ; they gradually passed over into the notce quadrate and ligatures of Plain Song. Neuvi^me (Fr.) The interval of a ninth. Nicht (Ger.) Not. Ni'colo (It.) A large kind of bombardon (17th century) ; precursor of the bas- soon. Nie'der- (Ger.) Dovrn. . .Nie'derschlag, down-beat. . .Ane'derstrich,dov/n-ho'*f. . .Nie'der takt, down-beat. The interval of 2 octaves -2. See Ldfigot (organ- Nineteenth. I. and a fifth.- stop). Ninth. (Ger. No'ne; Fr. neuvihne; It. no'na.) An interval wider by a semi- tone or a whole tone than a perfect octave ; a compound second; but dis- tinguished in theory from the second by the fact that it enters into the formation of a chord in the series of ascending thirds. . .Chord of the ninth, a chord practically recognized under 2 principal forms : (i) the major, and (2) the minor chord of the ninth, each a chord of the dominant seventh with added ninth: 130 NOBILE-NOTATION. (r.) J (2.) ^P^ The former, based on par- Lz tials 2-3-(4)-5- (6)-7-9,is acou- stically the more .. _ sra- euphonic, H^eVSM?)!^ though the lat- \^J V^/ ter has been of- J^ : V / '■ ^ tener used in practical music. Their inversions are figured according to the ordinary rule. (Comp. Chord.') No'bile (It ) Noble ; refined, chaste. . . Nobilmen'te, nobly. . .Con ttobilitd'y with nobility, grandeur. Noch (Cxer.) Still, yet. Nocturne (Fr. ; Ger. Noktur'ne, Nachf- stuck; It. ttottu!-'no.) A word intro- duced by Field as a title for piano-pieces of a dreamily romantic or sentimental character, but lacking a distinctive form. Noc'turns. Services of the Church held during the night, each portion of the Psalm set aside for this purpose being termed a Nocturn. Nodal figures. The figures correspond- ing to the nodal lines of a vibrating plate of wood, glass, etc.; rendered visible by strewing fine dry sand on the plate, this sand being tossed by the vibrating portions of the plate to the nodal Uhi's, which are points of perfect or comparative rest ; the symmetrical figures thus formed are also called Chladni's fgtires, having been discov- ered by him. . .N. point., see A'ode. Node. (Ger. Kno'tenpunkt; Fr. nceud; It. no' do.) A point or line in a vibrating body (such as a string, soundboard, trumpet, bell), which remains at rest during the vibrations of the other parts of the body. Opp. to Loop i. No'dus (Lat., "knot".) An enigmatical canon. Noel (Fr.) A sort of carol sung in the South of France, chiefly on the day be- fore Christmas, or Christmas eve. Noeud (Fr.) i. A turn (usually groupe). — 2. A node. Noire (Fr.) A quarter-note. Nome, Nomos (Gk.) A canon (rule) for mus. composition ; hence, a song composed according to the rule. Non (It.) Not. No'na (It.), No'ne (Ger.) The interval of a ninth. Nones. The fifth of the canonical hours. Nonet'. (Ger. N'onett' ; It. nonet' to) A composition for g voices or instr.s. Non'nengeige (Ger.) Nun's-fiddle, tromba marina. Nono'le (Ger.) Nonuplet. Non'uplet. A group of 9 notes of equal time-value, executed in the time proper to 6 or 8 of the same kind belonging to the regular rhythm. Normal'ton (Ger.) Standard pitch... Normal' tonarten (pi.), normal keys. . . NormaV tonleitern, normal scales. No'ta (Lat. and It.) A note.. .N. buo'na, an accented note. . . N. cambia'ta {catn- bita), (a) a changing-note ; (b) an irreg- ular resolution of a dissonance by a skip. . .A^. carattcri'stica, leading-note. . .N. catti'va, an unaccented note... Nota contra notam (I.at.), note against note, equal counterpoint.. .N. d'abbelli- men' to, a grace-note. . . A-^. da passa'gio, a passing-note. . .A'', falsa, a changing- note. . .N. principa'le, a principal (essential) note. . .N. quadra' ta {quadri- quar'ta), a Gregorian or plain-song note. . .N. roma'na, a neume. . .N. sen- si'bile, the leading-note. Notation. Musical notation is the art of representing musical tones by means of written characters. Letters, numerals, and signs of different kinds, have been used. The signs now almost univer- sally employed are called notes, and are written on a staff of 5 lines ; hence, this system of writing music is termed Staff- notation. (Comp. also Alphabetical notation, A'ttimes, A'umerals.) %\. The lines and spaces of the staff indicate the pitch of the notes. The lines which Hucbald first used (about A.D. 900), served the same end by representing strings ; in the spaces be- tween, the syllables of the words sung were written, the relative pitch of the suc- cessive tones being (sometimes) marked by the letters / {—-tontts, whole tone), and s { = se/>iiton!ii>n, semitone). — This system was also used later for noting the primitive part-music called or'ganum or discant; increasing the number of lines as far up or down as necessary, and setting the syllables for the several parts vertically one above the other. — An ex- ample of one-part notation ace. to Hucbald now follows : NOTATION. 131 ta li/ \ lus\ Ec\ Isra \ / in quo \ 0/ no\ S ce\ / he do/ on\ vere / est Solution in choral notes : t. . — ■ • 1 M— « — ■ — i — i — ■ — ■ — ■ — ■ ■ — ■ — ^- - ^ =1 Ec - ce ve - re Is ■ -he Nearly contemporaneously with Huc- bald's invention, an innovation appeared in neumatic notation ; a red horizontal line was drawn across the page, and all neumes written on this line m. were of the same pitch, this pitch being fixed by a letter/": set before the line. A second line, but yellow, was soon added for r' above the y-line (or below, for plagal melodies) ; the two greatly facilitated the reading of written music. An- other improvement, m a different dir- ection, is shown by an orderly system of lines marked in regular succession by Greek letters set before them, the tones being represented by points or dots on the lines. To Guido d'Arezzo is generally ascribed the systematization and introduction (about IC26) of the 4-line staff, in which both liyies and spaces were at length utilized ; he re- tained the red and yellow lines, added a third (black) line between them for a, and a fourth (black) line either above or below these three, according to the range of the melody written, for f' or d; he did not use notes, but either letters or neumes. ^2. A staff being thus established, and affording a firm basis for exactly fixing the pitch of written music, the neumes hitherto in ordinary use gradu- ally lost their hieroglyphical appearance and became transformed into the Choral Notesof Plain Chant, the regular square form of which d) gave rise to the name vota qttadrata or quadriqiiarta, other shapes occurring only occasionally in certain figures ^ ^^ or ^^ "I . The 4-line staff is still retained in Plain Chant ; other staves, having from 6 to 15 or more lines, were arbitrarily em- li - ta, in quo do - lus non est. ployed down to the 15th centurj", when tlie 5-line staff for all vocal music ex- cept Plain Chant, and the 6-line staff for organ-music, were universally adopted ; the present 5-line staff superseded the latter after the invention of music-print- ing. — All this time the form of the clefs was likewise changing, the original / and c becoming : (/) _ (0 i p l x^ — etc.; the g also assumed a great variety of fantastic shapes before the modern forms were finally settled. §3. Mensurable notation, differ- ing from that of Plain Chant by express- ing a determinate (relative) time-value of the tones in its notes, which were invented for the exact indication of rhythmic relations, appeared near the beginning of the I2th century. The notes in use for some 200 years, and imitated from Plain Chant, were the Large (^|) or duplex longa or maxima; the Long (^,) or longa; the Breve (g); and the Semibreve (^ or pr) ; to which were then added the Minim (1) and Semiminirn (1). Early in the 15th century the first five were supplanted by the open notes (large ^ , long F^ i breve ^ , semibreve O or A, minim I \ the smaller notes which had been gradu- ally added being written in 2 forms : Semiminima [J]<5 or I Perfect Imperf. Perf. Large- Large- Long- rest, rest rest. m a: Imperf. Breve- Semibr, Long- rest rest rest. (Pausa) (Semipai I I ■ 1 = Croma or Fusa [^ ] /b or X. Semicromaor Semifusa[^^J ^ or X. Below are the corresponding rests : - Minim-rest Semiminirn- Croma- Semicr.- (Suspiriiim) rest rest rest 1.) (Semisuspirium). \ [7°-^^1^ i 13a NOTATION. — The single notes were often joined in groups (comp. art. Ligature). — The angular notes of measured music were not finally supplanted by modern round notes, in music-printing, till about 1 700, though in MS. music they had been freely employed since the i6th century. For determining the relative time- value of the notes, various and often conflicting rules were made for the Modus (mode), Tempus (time-value of the breve), Prola'tio (prolation), Color, Position, etc. ; a brief explanation of the 16th-century rules follows, premis- ing, that the terms perfect and imper- fect refer to the measure or time, triple time being regarded (out of reverence for the " Blessed Trinity") as perfect, while duple time was held to be imper- fect. Modus (mode) governed the subdi- vision of the Large into Longs, and of the Long into Breves : in the Modus major perfectus, i ^ = 3 t^ " " imperfec, I p!i = 2 t^ " minor perfectus, I t| =3 ^ " imperfec, iq = 2 f=| Tempus (time) governed the subdi- vision of the Breve intoSemibreves ; in Tempus perfectum (sign the circle 0).! N = 30 Tempus imperfec, (sign the semic. C), I 1=^ = 20 Prolatio (prolation) governed the subdivision of the Seinibreve ; in Prolatio major 1^=3! " minor i = 2 X the former marked by a dot in the time- signature (® or $), the latter simply by the absence of a dot.* The usual ^node-signatures were ver- tical strokes (long-rests) at the head of the staff ; e. g. , with the signs for tetn- J>us and prolatio : 1 Modus maj. perf. Modus min. perf. Tempus perfectum Prolatio major • The system previously in vogue referred to the relative time-value of the notes in general ; thus, according to de Vitry (13th century) : I, prolatio : ■ = 3 ^, and 1^ = 3^ ! Modus maj. imperf. ) Modus min. perf. ") Tempus imperfec. II. III. IV. ! = .♦, " i^ = 3^ ^EE Prolatio major ii_,| 1 Modus maj. perf. Inl 1 1 1 ~0 — ■) ■'^'°'^"S '"'"■ iiiperf. Unr I" -N.1!— ■J Tempus perfectum ' Prolatio minor Modus maj. imperf. Modus min. imperf. Tempus imperfectum ^. Prolatio minor N.B. — The time-signatures were often written smaller, between the second and third, or third and fourth, lines, etc. — The mode-signatures were also drawn from the fourth line down to the lowest ; as a rule, they were omitted alto- gether, leaving the reader to ascertain the mode from conventional peculiarities in the notation called sig'na intpli'cita or intrin'- sera (implied signs), in contradistinction to the signa indicia' lia (indicatory signs) ; as, in the greater mode perfect, a group of 3 black larges (see Color, below), or, in the lesser mode per- fect, a group of 2 black longs, or a breve-rests at the beginning of a modal unit. Position (i. e. the order in which the notes stood) was very important. A long followed by a long, or a breve by a breve, was always perfect (tripar- tite) by position; whereas a long pre- ceded or followed by a breve, or a breve preceded or followed by a semi- breve, was always imperfect (bipartite) by position. After the minim was in- vented, the semibreve also became similarly influenced by its position ; the minim and lesser notes were always perfect. Color was the general designation for notes differing in color from those ordinarily used ; the red note {no' tula ru'bra) of the 14th century generally marked a change from perfect to im- perfect time, or vice versa ; the white note {notula alba) was at first used like the red, but soon obtained the fixed and definite signification of imperfec- tion in opposition to the ordinary black note (of the 14th century); finally, the black note {notula nigra) of the i6th and 17th centuries, when the ivhite notes were universally adopted, in its turn indicated imperfection ; thus, from the 15th century onward, groups of 3 or more black notes had the proportio hemiolia to the surrounding white notes, i. e. their time-value stood to that of the latter in the ratio of 2 to 3, — hence their name Ilemiola or Hemiolia (q. v.) Augmentation and Diminution. Terms used loosely to express any in- crease or decrease in the time -value of the notes ; but signifying, specifically, {augmentatio) a retarding of the tempo, generally doubling the integer valor i NOTE. 133 and {diminutio) an acceleration of the tempo, generally reducing the integer valor by one-half. — The diminutio was first expressed by a vertical line through the tempus-signature ((j) (J (J) (|)- or by inverting the semicircle TO \, also by adding to the /cv«/«j--signature, in the midst of a composition, numerals or fractions (3, 2. f, \, t,); 2 or f then signified that 2 tactus (semibreves <>) were equal toi <>of the preceding tem- po; etc., etc. — Aiiginetitatio was gen- erally employed to reverse a preceding diminutio; the sign for which was sim- ply annulled by the usual sign for the integer valor (Q. C) Of" ^y the in- version of the fraction (^, 8, etc.) These fractions, however, were properly termed signs of Proportion. Proportion. The theory of Pro- portio, from the 15th century onward, treats of the different time-signatures and tempo-marks applied to several parts progressing simultaneously ; for instance, in a 4-part composition the integer valor might be marked for the discant in tempus perfectum 0.^"dfor the bass in tempiis imperfecium ([, the alto might be in tempus imperfectum diminutum (t , while the tenor had di- minutio intripla Q 3 ; further, changes might be made in any or all parts in the course of the piece, and were indi-; Note. cated by fractions (the signs 0/ propor- tion; compare Augmentation, above). Alteration ((zZ/^ra^iV) was the doub- ling of the time-value of the second of 2 a jr H n English. ! Breve, or Double note Semibreve, or Whole note ( Minim, or Half-note Crotchet, or Quarter-note ( Quaver, or j Eighth-note J Semiquaver, or Sixteenth-note ( Demisemiquaver, or I Thirty -second-note ( Hemidemisemiquaver, ( or Sixty-fourth-note. German. Brevis equal notes, and occurred either when the next largest kind of note was per- fect, and the 2 (smaller) notes stood between two such large ones, or when the 2 notes were separated from a following note of equal or smaller value by a punctum divisionis; e. g. t=j 00 H ^^ tempus perfectum (Q) would be expressed thus in modem notation ( c • | (S* a\ a ')• The Punc'tum or Punc'tus (point, dot) had various uses ; (a) Punctum augmentatio'tiis, equivalent to our dot of prolongation ; (/') Punctum altera- tio'nis, which, placed before the first of 2 short notes lying between 2 long ones, doubled the value of the second short note and restored the perfection of the 2 long ones ; (c) Punctum per- fectio'nis, used in prolation, and also to restore the perfection of a note made imperfect by position; and {d) Punc- tum divisio'nis or imperfectio'nis, written between 2 short notes lying be- tween 2 long ones, indicated the imper- fection of both the latter. None of these rules or signs were in- variably followed or employed ; the above remarks will serve, however, to give a correct general idea of the in- tricacies of Mensurable Notation. (Also see Figura obliqua.) (Ger. and Fr. No'te; It. no'ta.) One of the signs used to express the re- lative time-value of mus. tones. (Comp. N'otation.) The notes employed in modem notation are the following : French. Ganznote, or fanze Taktno lalbnote, or 1 halbe Note j Viertel, or I Viertelnote j Achtel, or ( Achtelnote J Sechzehntel, or ( Sechzehntelnote j Zweiunddreissig- 1 stel(note) j Vierundsechzig- ( stel(note) Breve, or Carree j Seml-br&ve, or 1 Ronde Blanche Noire Croche Double-croche Triple-croche Quadruple-croche Italian. Breve Semibreve ^ Minima, or Bianca JSe I N. emiminima, or era Croma Semicroma Semibiscroma Quattricroma Blaclk note, one having a solid head (J); opp. to zvhite note (J). Also, a black digital or key . . . Changing note, see Changing-note. . .Character-notes , notes varying in shape from those in common use, employed to present characteristic qualities of the tones other than their time-values. . . Choral-note, see Notation, §^i and 2. . . Crowned note, one with a hold (2) over it. . .Double note, a breve (= 20). . .Driving-note, a syncopated note. . .Essential note, a chord-note, of TaQ\o