i STACK 
 \ ANNEX 
 
 S 
 
 059 
 
 206 
 
 ^pI^onouncing 
 ;KET-MANDAL 
 
 OF 
 
 ICAL TERMS 
 
 together with 
 ELEMENTS OF NOTATION 
 
 yi>£NS£D BIOGSAPmES OF 
 OTEWORTHY MUSICIANS 
 
 Edited by 
 
 R. TH. BAKER 
 
 :8mnos 
 ([iisioAT^n 
 
 L 
 
 DRKt G. SCHIRMER 
 BtLES WOOLHOOSE 
 n'^ur St., Lnndoo, West 
 1905
 
 7^ 
 
 2^-*-*/ 1^^i^ fi^r^ ^;iy»^^9^^^y^yu,,4<AjU^l
 
 Q 
 
 ^Jy^j. CyuU/y^ ^jl^^^'^'
 
 A 
 
 pronouncing' 
 POCKET-MANUAL 
 
 OF 
 
 MUSICAL TERMS 
 
 together with 
 
 THE ELEMENTS OF NOTATION 
 
 and 
 
 CONDENSED BIOGRAPHIES OF 
 NOTEWORTHY MUSICIANS 
 
 Edited by 
 
 Dr. te. baker 
 
 NEW YORK : G. SCHIRMER 
 
 I9C5
 
 Copyright, 1905, 
 By G. SCHIRMER 
 
 17880 
 
 BURR PRIKTTNG HOUSB 
 NEW YORK
 
 INTRODUCTORY 
 
 Elements of Notation 
 
 Notation is a system of signs used in writing 
 music. The written signs for the time-value 
 (length, duration) of musical tones, are called 
 Notes ; the written signs for pauses (intervals ol 
 silence) between the tones, are called Rests. 
 
 Notes and Rests 
 
 Whole Note o Half-note J Quaiternote | 
 
 Whole Rest-—- Half-rest"^ auarter-rest f X 
 
 Eighth-note ^ i6th-note ^ 32d-note ^ 64th-note S 
 
 Eighth-rest T i6th-rest ^ 32d-rest ^ 64th-rest A 
 
 I Whole Note <s> equals 2 !, or 4 1, or 8 N, or 16 S, or 32 5 
 
 I Half-note I = 2 | , or 4 N, or 8 S, or 16 >, or 52 5 
 
 I Quarter-note I = 2 >, or 4 S, or 8 5, or 16 S 
 
 mm m^ m^ 1^ 
 
 I Eighth-note fs = 2 ^, or 4 S, or 8 5 
 I i6th-note j^ = 2 ^, or 4 5 ; and i 32d-note ^=25 
 
 The Staff 
 
 The Staff consists of five parallel horizontal lines. 
 Notes are written on the lines, or in the spaces 
 between. For higher or lower tones, additional 
 short lines are provided, called Leger-lines. 
 
 Le^er-Iines 
 
 5th line ■ ■ . 
 
 Jth line 4th space 
 
 3d line 3d space 
 
 2dHne 2d space 
 
 istluie ist space 
 
 Leger-lines 
 
 2057163
 
 Elements of Notation 
 
 The Clefs 
 
 A Clef is a sign written at the head (beginning) 
 of the staff to fix the position of one note. The two 
 ordinary clefs are 
 
 the G-Clef yr , fixing the place of the 
 
 (Treble Clef) ly ^ notei^i; and 
 
 .,^ 17 r^i^f c:i ' SSZTj^ilZZ, fixing the 
 
 lils!-S:i> 9- or e^= P'-y£ fe 
 
 (A third clef, the C-clef, is explained further on.) 
 
 The Scales 
 
 The Staff and Clefs together fix the Pitch of the 
 notes, showing whether they are high or low. A 
 series of 8 successive notes on the staff forms what 
 is called a Scaie. To name the notes of the scale, 
 we use the first seven letters of the alphabet, A B 
 C D E F G. Scales are named after the note on 
 which they begin, which is called the Keynote. 
 The scale of C, written in whole notes, in the bass 
 and treble clefs, is as follows : 
 
 The C written on the leger-line just below the 
 treble staff and just above the bass staff, is called 
 Middle-C. 
 
 The C-clef (now written on either of three lines 
 of the staff, and in several different shapes, two 
 being shown on this page and the next). 
 
 Tenor Clef: Alto Clef: Soprano Clef: 
 
 M 
 
 m 
 
 
 fixes the position of ^Iidd!e-C in tliree different 
 places^;/ the staff instead of de/oTV or adove the stafiE, 
 as the following Table of Clefs shows.
 
 Elements of Notation 
 
 
 IK 
 
 
 J+ 
 
 1: 
 
 ■i^ 
 
 
 M 
 
 
 Hi 
 
 
 II 
 
 
 'f 
 
 p 
 
 <;SE 
 
 c 
 
 
 
 :>' 
 
 » 
 
 s? 
 
 ^1 
 
 ^ 
 
 
 
 -< 
 
 ^ 
 
 *• 
 
 
 5? 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 o 
 
 Ci 
 
 ^ 
 
 
 o 
 
 s; 
 
 £2 E 
 
 
 i 
 
 
 
 o 
 
 sr 
 
 ^ 
 
 ty 
 
 
 
 
 5. : 
 
 
 " 
 
 
 
 <B 
 
 1:, 
 
 to 
 
 
 
 o 
 
 ' 
 
 
 m 
 
 
 
 r 
 
 "» ; 
 
 c 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 := 
 
 a. ( 
 
 < 
 
 
 
 
 
 
 
 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 f% 
 
 
 
 c 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 s 
 
 „-- 
 
 
 i 
 
 ■ 
 
 
 
 
 
 
 
 ( 1 
 
 
 
 r 
 0- 
 
 ■-' 
 
 
 -$l 
 
 51 
 
 
 
 O 
 
 3 
 
 \ 
 
 ♦ 
 
 
 
 
 
 ) ■ 
 
 
 ici 
 
 = 
 
 a. 
 
 P 
 
 
 
 
 
 
 i 
 
 J 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 O. 
 
 <% 
 
 1$.- 
 
 ■ ■( 
 
 
 •■(1 
 
 
 
 ^ 
 
 J 
 
 
 
 ? 
 
 s 
 
 
 
 
 
 
 
 
 
 
 S" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 3- — 
 
 
 
 
 
 
 
 ^ ■ 
 
 
 
 
 
 
 ( 
 
 
 
 -0 
 
 
 -H 
 
 «^ 
 
 
 
 
 
 
 
 
 
 
 * 
 
 «< 
 
 
 
 
 
 
 
 
 
 
 J_ 
 
 ft. ■ 
 
 
 .. . 
 
 
 
 
 - 
 
 1 
 
 •■(1 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 ) — 
 
 -■ ! 
 
 
 o 
 
 S 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 
 
 
 
 \ 
 
 
 
 ■• 
 
 
 - ■ 
 
 
 
 
 
 9 
 
 
 \ 
 
 
 
 • 
 
 
 
 
 
 
 
 $ 
 
 
 ''■z 
 
 
 
 
 ■ ■ 
 
 
 
 
 
 P 
 
 - [!• 
 
 
 
 
 
 
 
 
 
 lit 
 
 - II 
 
 
 
 
 
 
 
 
 
 
 I7«S0 
 
 \\ 
 
 
 
 
 
 
 
 

 
 v» Elements of Notation 
 
 The notes in the same vertical line are of the same 
 pitch and have the same name. For ordinary pur. 
 poses, any note marked C (c) is called simply "C." 
 But, in order to fix the place which any given note 
 occupies among all the others (that is, to fix its 
 "Absolute Pitch"), the whole range of musical 
 tones is divided into sections of seven notes each, 
 called " Octaves," and lettered and named as shown 
 in the Table. N. B.— The next octave below the 
 Great Octave is the "Centra-octave ;" below that 
 again is the " Double Contra-octave," 
 
 Chromatic Signs 
 
 The Chromatic Signs are set before notes to raise 
 and lower their pitch. 
 
 The Sharp # raises its note a semitone ; 
 
 The Flat [? lowers its note a semitone ; 
 
 The Natural 'a restores its note to the natural 
 pitch on the staff (without chromatic signs) ; 
 
 The Double-sharp X raises its note 2 semitones; 
 
 The Double-flat 1? t> lowers its note 2 semitones ; 
 
 The sign S^ restores a double-sharped note to a 
 sharped note ; 
 
 The sign 1^1? restores a double-flatted note to a 
 flatted note. . ^ 
 
 The Intervals 
 An interval is the difference in pitch between two 
 notes. In measuring an mterval, it is customary 
 to take the lower note as the basis, and to measure 
 up to the higher note. When the measurement i* 
 made downward, the interval is called "inverted/*
 
 ■Elements of Notation 
 
 ■vfi 
 
 Diatonic Intervals of the Major Scale 
 
 1 
 
 a 
 
 bo 
 
 3 
 
 £ 
 
 Q 
 
 -4— 
 
 -4=- 
 
 i 1 
 
 a g 
 
 1 i 
 
 'III 
 
 1 
 1 
 
 X 
 
 in 
 
 i 
 
 < 
 
 1 
 1 
 
 1 
 
 s 
 
 o 
 
 e 
 6 
 Q 
 
 1 
 
 O 
 
 ^ 
 
 =«*^ 
 
 
 
 
 
 
 T- 
 
 3^ 
 
 -.ll.. 
 
 ,_ ■■ 
 
 ^ 
 
 ^ 
 
 1 
 
 4- 
 
 ja 
 
 1 
 
 i 
 
 1 
 
 14 L_ 
 
 1 ^ 
 
 o !3 
 
 It 
 
 1 
 
 c 
 
 •a 
 
 c 
 ■§ 
 Q 
 
 1 
 
 S 
 
 1 
 
 .s 
 
 c 
 ClI 
 
 i 
 
 ■< 
 
 1 
 
 i
 
 viii 
 
 Elements of Notation 
 
 The Keys 
 
 A key is a scale employed harmonically, that is, 
 
 employed to form chords and successions of 
 
 chords. On the keynote C, or on any other note, 
 
 two different species of scale or key may be built up: 
 
 ra~ 
 
 
 
 
 
 
 
 (2? 
 
 — «>- 
 
 _g. 
 
 J 
 
 -<&- 
 
 ^ 
 
 ~^ 
 
 
 
 
 
 
 -yj^f^-f — 
 
 
 
 
 
 
 
 
 
 "7v5~ 
 
 —tt:. — 
 
 ^_ 
 
 
 
 -!^— 
 
 -G>- 
 
 ^2121= 
 
 --S'— 
 
 -'^^— 
 
 
 
 c 
 
 major 
 
 C 
 
 minor: 
 
 Such a key or scale is called Major when its 
 Third and vSixth are major intervals; it is Minor 
 when its Third and Sixth are minor intervals. The 
 succession of intervals in every major key is the 
 same as that in C major; in every miner kej', as 
 in C minor. To adjust the intervals properly, 
 chromatic signs are employed, as shown below : 
 
 Table of Keys
 
 Elements of Notation 
 
 It will be seen, on passing round the circle in 
 either direction, that the keynotes of the successive 
 keys always follow each other at the interval of a 
 perfect Fifth ; hence, this circle of keys, ending 
 where it beyan, is called the Circle of Fifths. 
 
 Chords 
 
 A chord is formed by a succession of from 3 to 5 
 different tones, built up in intervals of diatonic 
 Thirds from a given tone, or Root. A 3-tone chord 
 is a Triad ; a 4-tone chord is a Seventh-chord (chord 
 of the Seventh); a 5-tone chord is a Ninth-chord 
 (chord of the Ninth). 
 
 Triads in Major: 
 
 r= ■ ■ 
 
 i^^Es 
 
 |^^EJ^I=|| 
 
 C: I II III IV 
 Triads in Minor : 
 
 
 II III' IV V VI vn° 
 
 Seventh-chords in Major: 
 
 7 7 7 7 7 7 7 
 
 -• — t — • * — I 1 \ 
 
 C: I7 1I7 11I7 IVj, V7 vij v\i° 
 
 Seventh-chords in ]Minor: 
 
 7 7 
 
 715 7 53 7 tl 7 - 
 
 ^ n» II I7 iVj, V^ VI^ VII I
 
 Elements of Notation 
 
 Ninth -chords: 
 
 § s 
 
 In Major: 7 in Minor: 7 
 
 m 
 
 When the root of the chord is the lowest tone, 
 the chord is in the fundamental position; when 
 some other tone is the lowest, the chord is inverted. 
 Each triad has 2 inversions ; each seventh-chord 
 has 3. 
 
 Inversions of Triad : Inversions of 7th-chord: 
 6 
 4 
 
 i 
 
 3: 
 
 ist inv. 2d inv. ist inv. 2d inv. 3d inv 
 
 The ist inv. of a triad is called a chord of the Sixth. 
 *' 2d " " " " " " a chord of the 6th and 4th. 
 " 1st " " " 7th-ch. is " a chord of the 5th and 6th. 
 '* 2d " *' *' " "■ " a chord of the 3d and 4th. 
 " 3d " " " *' " " a chord of the Second. 
 
 Time-Signatures 
 
 The time-signature is usually written in the form 
 of a fraction set just after the clef, at the beginning 
 of a movement; the numerator (upper figure) shows 
 the number of notes of a given kind contained in 
 each measure, while the denominator (lowerfigure) 
 shows the kind of notes taken as the unit of meas- 
 ure. For instance, 3 (three-four time) means " 3 
 
 quarter-notes to the measure ": I I I I 
 \m m m \ 
 
 iM (twelve-sixteen time> means "12 sixteenth-notes 
 
 tothe measure": I 1 ; i 1^^ 1^ i i il 
 \ m m m m m m m m w m m m\
 
 Common Abbreviations 
 
 All ottava 
 
 A. See A. 
 
 Accel Accelerando 
 Accomp. Accompaniment 
 Accresc. Accrescendo 
 Adg° or Ad° Adagio 
 Ad lib. Ad libitum 
 Affett. Affettuoso 
 Aflfrett. Affrettando 
 Ag° or Agit° Agitato 
 All° Allegro 
 AJ[S"° [ Allegretto 
 All'ott. / 
 
 Airs^-^ )" 
 
 And"° Andantino 
 And'e Andante 
 Art. Arcato 
 Arp° Arpeggio 
 
 B. See B. 
 B. C. Basso continue 
 
 B. H. Both hands 
 Brill. Brillante 
 
 C. See C. 
 C. a. Coll'arco 
 Cad. Cadenza 
 Cal. Calando 
 Cantab. Cantabile 
 C. B. Col basso 
 C. D. Colla destra 
 'Cello. Violoncello 
 
 Canto fermo 
 Cantus firmus 
 
 Ch. Choir-organ 
 
 C. L. Col legno 
 
 CI., Clar. Clarinet 
 
 ColTott. / ^ „, .. 
 
 Coirs-* j-Coirottava 
 
 Cor. Cornet or Corno 
 C. P. Colla parte 
 C'is. 
 
 C. f. 
 
 C/'isc. 
 
 Crescendo 
 
 ^ S. Colla sinistra 
 
 D. See D. 
 
 Dal S. Dal Segno 
 
 D. C. Da capo 
 
 Delic. Delicatamente 
 Diap. Diapason 
 Dim. Diminuendo 
 Div. Divisi, divise 
 Dol. Dolce 
 Dolciss. Dolcissimo 
 Dopp. ped. Doppio pedal© 
 D. S. Dal segno 
 
 Energ, Energicamente 
 Espr. ( Espressivo or 
 Espress. f Espressione 
 
 F. See F. 
 
 F ox f Forte 
 Fag. Fagotto 
 ffovfff Fortissimo 
 Fl. Flute 
 Flag. Flageolet 
 
 For. Forte 
 fp Forte piano 
 For:^. ory.f Forzando 
 
 G. SeeG. 
 
 G. O. I Great organ or 
 G. Org. ) Grand-orgue 
 Grand. Grandioso 
 Graz. Grazioso 
 Gt. Great organ 
 
 Haut. or Htb. Hautbois 
 Hr. or Hrn. Horner 
 
 Incalz. Incalzando 
 Introd. Introduction 
 Inv. Inversion 
 
 [xi]
 
 xu 
 
 Common Abbreviations 
 
 L. See L. 
 
 Leg. Legato 
 Legg. Lesgero, Leggiero 
 Left hand 
 
 L. H. 
 
 Linke Hand 
 
 Lusing. Lusingando 
 
 M. See M. 
 
 Maesi" Maestoso 
 
 Man. Manual 
 
 Mane. Mancando 
 
 Marc. Marcato 
 
 ., p^ ( Mano destra 
 
 ^^- ^- ■( -Main droite 
 
 Men. Meno 
 
 Mez. Mezzo 
 
 ftif Mezzo forte 
 
 mf\ Mezzo forzando 
 
 M. G. Main gauche 
 
 M. M. Maelzel's Metronome 
 
 Mod. or Mod'o Moderate 
 
 Mor. iMorendo 
 
 Mov'" Movimento 
 
 vrp Mezzo piano 
 
 J., c * Manuscript 
 
 ' • ^- ■( Mano sinistra 
 
 M. V. Mezza voce 
 
 Ob. Oboe 
 
 Obbl. Obbligato 
 
 Op. Opus 
 
 Opp. Oppure 
 
 Org. Organ 
 
 Ott , 0^» or 8^a Ottava 
 
 Ovv. Ovvero 
 
 P. See P. 
 
 Ped. Pedal 
 Perd. Perdendosi 
 Pes. Pesante 
 pf Piu forte 
 
 pfte • j- Pianoforte 
 Piang. Piangendo 
 Pianiss. Pianissimo 
 Pizz. Pizzicato 
 Po' Poco 
 pp^ ppp Pianissimo 
 
 Raddol. Raddolcendo 
 Rail. Rallentando 
 
 Recit. Recitative 
 
 r/, r/f, rinf. Rinforzando 
 
 P u J Right hand 
 
 ^- "-1 Rechte Hand 
 
 Rhard.r^'^-''-'^^ 
 Riten. Ritenuto 
 
 S. Sees. 
 
 Salic. Salicional 
 
 Scherz. Scherzando 
 
 Seg. Segue 
 
 Sem. or Semp. Sempre 
 
 s/; 5/f , sff, sffy Sforzanda 
 
 Sim. Simile 
 
 Sin. Sinistra 
 
 Smorz. Smorzando 
 
 Sost. Sostenuto 
 
 Sp. Spitze 
 
 Stacc. Staccato 
 
 St. Diap. Stopped diapason 
 
 Stent. Stentando 
 
 String. Stringendo 
 
 Sw. Swell-organ 
 
 T. SeeT. 
 T. C. Tre corde 
 Tempo L Tempo primo 
 Ten. Tenuto 
 
 y^'P- I- Timpani 
 Tymp. ( ^ 
 
 Tpt. Trumpet 
 
 Tr. Trill, Trumpet 
 
 Tratt. Trattenuto 
 
 Trem. Tremolando, Trent 
 
 ulant 
 
 Tromb. Trombe, Trombon 
 
 U. C. Una corda 
 Unis. Unisono 
 
 V. See V. 
 Va. Viola 
 Var, Variation 
 Vc, Vcl., Velio. Violon- 
 cello 
 Viol., VI., Vno. Violino 
 V. O. Voiles Orchester 
 V. S. Volti subito 
 Vv., Vni. Violini
 
 Rules for Pronouncing 
 German, French and Italian. 
 
 (Read these Rules carefully, and always refer to them 
 in case of doubt,) 
 
 The Vowels are often not pronounced as in 
 English. The system of pronunciation em- 
 ployed in this Manual is explained beloV. 
 
 ah IS the broad a in father. 
 
 ah is the same sound, only not dwelt upon ; like 
 all in the college-cheer "■'rah! ''rah.' 'rah!'' 
 Never pronounce ah like the short English S 
 in bat. 
 
 a is the short English a, as in bat. 
 
 a is like a in bare. 
 
 a is nearly like a, but closer. Short a (5) is nearly 
 like e in bet., but more open. 
 
 a is nearly like a in bate: onlv the lon^ English 
 a ends with a soft sound like short i, called a 
 "vanish,"' caused by slightly raising the root 
 of the tongue (a'); whereas the long "Con- 
 tinental " a has no vanish. 
 
 eh is the short sound of long a (closer than e in 
 bet). 
 
 e is short e^ as in bet. 
 
 e is long ^, like ee in beet. 
 
 I is long /, as in bite. 
 
 \ is short /", as in ^/?, though sometimes shaded 
 towards ee. 
 
 oh is like o in bode: only the long English o ends 
 with a soft sound like u in buli^ called a 
 "vanish," caused by drawing the lips together 
 (o"); whereas the long "Continental'" i? has 
 no vanish. 
 
 6h is short ^, like the first o in opinion. Never 
 pronounce it like the short English o in blot. 
 
 6 is the so-called broad Italian o, pronounced like 
 aw in taw. 
 
 [xiii]
 
 xiv Rules for Pronouncing Ger., Fr and It. 
 
 6 is a sound not found in English. To pronounce 
 long 6, set the lips as if to &&y " oh," and then 
 say "a" (as in bate), keepifig the lips fixed in 
 the first position ; for short 6 {o) set the lips as 
 before, but then say "e" (as in bet)^ keeping 
 the lips fixed in the^rst position. 
 
 oo is like long oo in boot. 
 
 66 is like short oo in book. 
 
 u is short «, as in but. 
 
 ti is a sound not found in English. To pronounce 
 long u, set the lips as if to say " oo " (as in 
 boot)^ and then say "ee" (as in bee t), keeping' 
 the lips fixed in the first position ; for short 
 ii (il), set the lips as before, but then say "i" 
 (as in bit), keeping the lips fixed in the first 
 position. (N.B. — This ii, long or short, is the 
 so-called Frefich n.) 
 
 Diphthongs : 
 ahii represents the German du or eu ; pronounce 
 as one syllable quickly drawn together, accent 
 on the "ah" (ah'ii). It is somewhat like the 
 English oy in boy (aw'i). 
 
 wah represents the French oi ; pronounce as if 
 written o ah, in one syllable quickly drawn 
 together.^ccent on the " ah " (o 3.h'). 
 
 ow is like ow in brow. 
 
 The Consonants are usually pronounced as in 
 English. The following signs need explanation: 
 
 yh represents a sound not found in English, 
 namely, the soft German ch. Set the tongue 
 as if to pronounce "ye," and then breathe 
 (whisper) " he " through between tongue and 
 hard palate (see Allmahlich). 
 
 h represents a sound not found in English, 
 namely, the hard German ch. It is merely a 
 rough breathing, as if one were trying gently 
 to clear one's throat. Never pronounce it 
 like k, unless explicitly so marked. 
 
 ng'' represents the sound 7ig at the end of German 
 words, which finish, after the usual «^-sound 
 {ng- as in rinq-), with a light >t-sound (see 
 Aufschwung). 
 
 n represents a sound not found in English, 
 namely, the French nasal n. To get the cor- 
 rect nass^l .cpund, the n must be pronounced.
 
 Rules for Pronouncing Ger., Fr. and It. x*r 
 
 not after the vowel, but toi^etlier ivith the 
 vowel; that is, the vowel must be spoken 
 through the nose, thus becoming a nasal 
 vowel. Never pronounce like "ang," " ong," 
 etc., as the pronunciation is often printed; 
 there is no «<^-.sound about the French nasal n. 
 For example, to get the sound of ain, as in 
 the French word main (man), first sound "n," 
 setting the tongue firmly against the hard 
 palate so that the vocal air (air vibrating' 
 with tone) passes through the nose instead of 
 between the lips: then, letting the "n" still 
 vibrate through the nose, drop the tongue 
 and instantly blend the vowel "a" (as in bat) 
 with the "n." This blending of "a" and "n" 
 gives the exact sound desired, if cut off short 
 like a staccato trumpet-tone. To say "main," 
 simply put an "m" before the nasal vowel 
 "5.n." The nasal vowels "^hn" and "ohn" 
 are obtained similarly. 
 
 t is to be pronounced with a roll, tip of tongue 
 against hard palate. 
 
 s must be pronounced sharps wherever it occurs 
 in the marked pronunciation ; soft s is repre- 
 sented by z. 
 
 zh represents the z in azure. 
 
 The consonants d and / are usually formed, in 
 the Continental languages, by touching the root of 
 the upper front teeth with the tip of the tongue. 
 To make this point clear, first pronounce the Eng- 
 lish word " dry " in the ordinary way, tip of tongue 
 against the hard palate ; then pronounce the Ger- 
 man "■drei," but taking the dr with tip of tongue 
 against root of upper front teeth.— Form / in the 
 same manner. 
 
 The German zf is a compound of the English w 
 and V; i. e., to get it right, the lips must almost 
 close and, at the same time, the lower lip must 
 lightly touch the upper front teeth. 
 
 N.B. — All accents (vowel-marks) found on the key-words, 
 such as a, a, a, e, e. e, 6, u, etc., belong to the words as 
 correctly written in their respective languages.
 
 Comparative Table of Tempo-marks 
 
 CLASS I 
 
 INDICATIXG A STEADY RATE OF SPEED 
 
 Larghissimo, molto largo "! 
 
 Group I. 
 
 General 
 signification 
 of terms is 
 
 SLOW. 
 
 Group IL 
 
 General 
 
 significatioG 
 
 of terms is 
 
 FAST. 
 
 Largo (broad, stately) 
 
 Largamente 
 
 Larghetto 
 Grave (heavy, dragging) 
 Lento (slow) 
 
 Adagissimo 
 Adagio (sjow, tranquil) 
 
 Adagietto 
 
 Andantino '^ 
 
 Andante (moving, going along) 
 Moderato 
 
 Allegretto ( 
 
 Allegraniente )■ 
 
 Allegro (brisk, liveU-) [con moto, 
 vivace] [agitato, appassionato] 
 Presto (rapid) [con fuoco, veloce] | 
 
 Prestissimo J 
 
 CLASS II 
 
 INDICATING ACCELERATION 
 
 Accelerando (with increasing rapidity) 
 
 AffrettTnlkj l (swiftly accelerating, usually with a 
 
 Incalzando f ^''^^ce^ido) 
 
 Doppio raovimento (twice as fast) 
 
 PiS mntn° U^ Stead V rate of speed, fasUr than 
 
 Veloce j preceding movement) 
 
 CLASS III 
 INDICATING A SLACKENING IN SPEED 
 Rallentando 
 Ritardando 
 AUargando 
 Tardando 
 Slentando 
 Strascinando 
 Molto meno mosso {#' =.^'del movi- > /-i,„if „„ f__rt 
 mento precedente) ^(.nair as tast; 
 
 Ritenuto ^^ steady rate of speed, s/ozver than 
 
 preceding movement) 
 
 - (gradually growing slower) 
 
 Meno mosso 
 
 Meno moto 
 
 Calando 
 
 Deficiendo 
 
 Mancando 
 
 Morendo 
 
 Sminuendo 
 
 Smorzando 
 
 (growing slower and softer) 
 
 [xvi]
 
 A 
 PRONOUNCING 
 
 POCKET-MANUAL 
 
 of 
 
 MUSICAL TERMS 
 
 A, I. (Ger.. A ; Fr. and It., La). The sixth tone and 
 degree in the typical diatonic scale of C-major. 
 — 2. In musical'theory, capital A stands for the 
 ^-major triad, small a for the a-minor triad.— 3. 
 For the meaning- of A A, Ai, a^, a"^, a', a", a, etc., 
 see Pitch, absolute.— 4. In Italian, a [ah] (in 
 French, a [ah]) signifies to, at, for, by, in, etc. 
 — 5. In this Manual, an -a following an Italian 
 word, means that in the feminine form of the 
 word a takes the place of the masculine ending o. 
 
 Ab (Ger., ahp). Off (in organ-music). 
 
 A ballata (It., ah bahl-lah'tah). In ballad-style. 
 
 Abandon, avec (Fr., ah-vek' ah-bahn-dohn'). See 
 Abbandono, con. 
 
 A battuta (It., ah baht-too'tah). " With the beat ;" 
 in strict time. 
 
 Abbandonandosi (It., ahb-bahn-doh-nahn'doh-se). \ 
 
 Abbandonatamente (It., — nah-tah-men'teh). y 
 
 Abbandono, con (It., kohn ahb-bahn-doh'noh). ' 
 Yielding wholly to emotion ; with a burst of 
 passion ; carried away by feeling. 
 
 Abbandonare (It., ahb - bahn -doh -nah 'reh). To 
 abandon, to quit ; senza abbandonare la corda^ 
 without quitting the string. 
 
 A bene placito (It., ah ba'neh plah'che-toh). At 
 pleasure; meaning that the tempo may be al- 
 tered, graces or cadenzas added, or that certain 
 specified instruments may be used, or not, at the 
 performers' pleasure. [strict time. 
 
 Abgemessen (Ger., ahp'ge-mes'sen). Measured; in 
 
 Abgestossen (Ger., ahp'ge-shtoh'sen). "Struck 
 off"; detached; staccato. 
 
 Abnehmend (Ger., ahp'na'ment). DimitiueJido. 
 
 Abschwellen (Ger., ahp'shvel'ien). Dei,rescendo.
 
 2 Absolute music — Accompaniment 
 
 Absolute music is music born of the delight in 
 combining musical tones, being a product of the 
 musical faculty only. See PROGRAM-MUSIC. 
 
 Abwechseln (Ger., ahp'vek'seln). To alternate... 
 Mit abivechselnden Mattualen [mah-noo-ah'len], 
 with alternating manuals. 
 
 A cappella (It., ah cahp-pel'lah). See Cappella. 
 
 A capriccio (It., ah cahp-prit'choh). See Capriccio. 
 
 Accarezzevole (It., ahk-kah-ret-tsa'voh-leh). ii^^_ 
 
 Accarezzevolmente (It., — tsa-vohl-men'teh). ' 
 ressfully, caressingh-, coaxingly. 
 
 Accelerando (It., aht-cheh-leh-rahn'doh), "Acceler- 
 ating."" growing faster. 
 
 Accelerate (It., aht-cheh-leh-rah't6h\ "Acceler- 
 ated." livelier, faster. 
 
 Accentato (It., aht-chen-tah'toh). '-Accented 
 
 Accento, con (It., kohn aht-chen'toh). * 
 To.SiV'kQd. ..Accentate (— tah'teh) [plural form of 
 accentata, or imperative], accent the notes. 
 
 Accentuando (It., Sht-chen-too-ahn'doh). Accent- 
 ing. 
 
 Accentuare (It., — ah'reh). To accent ; senza accen- 
 tuare, without accenting. 
 
 Accentuate (It., — ah'toh). Accented. [mently. 
 
 Acciaccato, -a (It., Sht-chah-kah'toh, -tah). "Vehe- 
 
 Acciaccatura (It., aht-chah-kah-too'tah"*. i. A short 
 accented appoggiatura. — 2. A note a second 
 above, and struck with, the principal note, and 
 instantly released. 
 
 Accidental. Anv chromatic sign not found in the 
 key-signature, "occurring in the course of a piece. 
 
 Accompagnamento (It., ahk-kohm-pahn-yah-men'- 
 toh). Accompaniment. 
 
 Accompagnement (Fr., ah-kohm-pahn-yu-mahnO- 
 Accompaniment. 
 
 Accompaniment. Any part or parts v,'hicn attend 
 the voices or instruments bearing the principal 
 part or parts in a musical composition. It is ad 
 libitum when the piece can be performed without 
 it, and obbligato when it is necessary to the piece. 
 ...Additional accompaniments are parts added 
 to a composition by some other person than its 
 original anthov .. .Accompaniment of the scale^ 
 the series of chords used to harmonize-the ascend- 
 ing or descending diatonic scale.
 
 Accordance— Adagio 
 
 Accordance. Same as Accordatura. 
 
 Accordando (It., ahk-kor-dahn'doh). '* Accordant," 
 in tune. (In comic stage-scenes it means, that 
 the tuning of an instrument is imitated by the 
 orchestra.) 
 
 Accordatura (It., ahk-kor-dah-too'rah). The "tun- 
 ing,'' or series of tones according to which a 
 stringed instrument is tnned; g'-d^-a^-e'^ is the ac- 
 cordutiira of the violin. 
 
 Accordion. A free-reed instrument mvented by 
 Damian, of Vienna, in 1829. The elongated body 
 serves as a bellows, to be drawn out and pushed 
 together ; the bellows is closed at either end by a 
 keyboard, that for the right hand having a dia- 
 tonic (or incomplete chromatic) scale, while that 
 for the left hand has 2 or more keys for harmonic 
 bass tones. (See Concertina.) 
 
 Accrescendo (It., ahk-kreh-shenMoh). CRESCENDO. 
 
 Acoustic (ah-koo'stik) color. The timbre (charac- 
 ter or quality) of a musical tone. 
 
 Acoustics. Musical acoustics is the science of 
 musical tones as distinguished from mere noises. 
 A tone of sustained and equal pitch is caused by 
 regular and constant vibrations of the air, set in 
 motion by similar vibrations in the body pro- 
 ducing the tone (for instance, a piano-string, a 
 violin-string, an organ-pipe, or the vocal cords) ; 
 while a noise is caused by irregular and unequal 
 vibrations. 
 
 Action. In keyboard instruments, the mechanism 
 set in motion by the player's fingers, or bv the 
 feet (organ-pedals).— In the harp, the "action" 
 (a set of pedals) does not directly produce the 
 sound, but changes the key by shortening the 
 strings by a semitone or whole tone. 
 
 Act-tune. Music played between the acts of a 
 drama ; an entr'acte. 
 
 Acuta (Lat., "sharp," "shrill"). In the organ, a 
 mixture-stop having from 3 to 5 ranks. 
 
 Acute. High in pitch, sharp, shrill ; opposed to 
 Grave. 
 
 Adagietto (It., ah-dSh-jet'toh). i. A movement 
 slightly faster than Adagio.— 2. A short Adagio. 
 
 Adagio (It., ah-dah'j6h). Slow, leisurely ; a slow 
 movement.. .Adagio adagio, adagio assai, adagio 
 molto. very slow. ..Adagio non molto^ or non tan- 
 to. not too slow.
 
 Adagissimo— Atfabilmente 
 
 Adagissimo (It., ah-dah-jis'se-moh). Extremely- 
 slow. 
 
 Adaptation. An Arrangement. Fmext 
 
 Additional accompaniments. See Accompani- 
 Additional keys. Those above/^. 
 Addolorato (It., a^ad-doh-loh-rah'toh). Plaintive ; 
 
 in a style expressing grief. 
 Adel, mit (Ger., mit ah'del). " With nobility ; " in a 
 
 lofty style. 
 
 A demi-jeu (Fr., ah du-me-zho'). With half the 
 power of the instrument. 
 
 A demi-voix (Fr.,ah dii-me-vwah'). Mezza VOCE. 
 
 A deux (Fr., ah do'). A DUE ; a deux mains, for 
 two hands. 
 
 Adiratamente (It., ah-de-rah-tah-men'teh). An- 
 grily. 
 
 Adirato (It., ah-de-rah'toh). Angry, wrathful. 
 
 Ad'junct. Closely related, as one key or scale to 
 another. . .Adjunct note, an unaccented auxiliary 
 note not essential to the harmony. 
 
 Ad libitum (Lat., "at pleasure," "at wilT*). A 
 direction signifying (i) that the performer may 
 employ the tempo or expression that suits him ; 
 (2) that any vocal or instrumental part so marked 
 may be left out, if desired Cadenza ad libitum 
 means that a given cadenza may be performed 
 or not, or another substituted for it, at the per- 
 former's pleasure. 
 
 A due (It., ah doo'eh). See Due. 
 
 A dur (Ger., ah door'). A major. 
 
 Aengstlich (Ger.). See Angstlich. 
 
 .^olian harp or lyre. A stringed instrument 
 sounded by the wind. It is a narrow, oblong 
 wooden box, with low bridges at either end, 
 across which are stretched a number of gut 
 strings. The harp is placed in an open window, 
 or some other aperture where a draught of air 
 will sweep the strings. 
 
 Aequal (Ger., a-kvahl'). A prefix to a stop-name, 
 indicating that it is an 8-foot register. 
 
 Aeusserst (Ger.). See AusSERST. 
 
 AfFabile (It., ahf-fah'be-leh). j 
 
 Affabilita, con (It., kohn ahf-fah-be-le-tah'). [■ 
 
 Affabilmente (It., ahf-fah-bel-men'teh). J 
 Sweetly and gracefully ; suavely.
 
 Aflfanato— Agitatamente 
 
 Affanato (It., ahf-fah-nah'toh). Uneasily, distress- 
 fully. 
 
 Affanosamente (It., ahf-fah-noh-sah-men'teh). Anx« 
 iously, restlessly. 
 
 Affanoso (It., ahf-£ah-noh's6h). Anxious, restless- 
 
 Affetto, con (It., kohn ahf-fet'toh). j 
 
 Affettuosamente (ahf-fet-t66-6h-sah-men'teh). v 
 
 AfFettuoso (ahf-fet-too-oh'soh). ) 
 
 With passion, emotion, feeling; very expre* 
 sively ; tenderly. 
 
 Affezione, con (It., kohn ahf-feh-tse-oh'neh). In a 
 style expressive of tender emotion. 
 
 Afflitto (It,, ahf-flit'toh). Melancholy, sad. 
 
 Afflizione, con (It., kohn ahf-fle-tse-oh'neh). Sor- 
 rowfully, mournfully. 
 
 Affrettando (It,, ahf-fret-tahnMoh), Hurrying. 
 
 Affrettare (It., ahf-fret-tah'reh). To hasten... 
 Senza affrettat'e, without hastening. 
 
 Affrettato (It., ahf-fret-tah'toh). Hurried ; tempo 
 pin affrettato^ at a swifter pace. 
 
 Affrettoso (It., ahf-fret-toh'soh). Hurriedly. 
 
 A fior di labbra (It., ah fe-or' de lahb'brah). Very 
 lightly and softly sung or spoken. 
 
 After-beat. An ending to a trill, comprising two 
 notes, the lower auxiliary and the principal note. 
 
 After-note, i. Unaccented appoggiatura. — 2. The 
 unaccented note of a pair. Tbass 
 
 After-striking. The reverse of Anticipation by the 
 
 Agevole (It., ah-ja'v6h-leh). Easy, light. 
 
 Agevolezza, con (It., kohn ah-ja-voh-let'sah). | ^ 
 
 Agevolmente (It., ah-ja-v6hl-men'teh). f 
 
 ily, lightly. 
 
 Aggiustatamente (It., ah-j66s-tah-tah-men'teh). 
 Strictly in time, [indolently. 
 
 Agiatamente (It., ah-jah-tah-men'teh). Easily, 
 
 Agilita (It., ah-je-le-tah'). I. 
 
 Agilite (Fr., ah-zhe-Ie-ta'). 
 \'\wa.c\\.y .. .Con agilita^ in a light and lively style. 
 
 Agilmente (It., ah-jel-inen'teh). Lightly, viva- 
 ciously. 
 
 Agitamento (It., ah-je-t3,h-men'toh). Agitation. 
 
 Agitatamente (It., ah-je-tah-tah-men'teh). Excit- 
 edly, agitatedly.
 
 Agitato— Alia moderna 
 
 Agitato (It., ah-je-tah't6h). Agitated... A^^ttatc 
 con passione, passionately agitated. 
 
 Agitazione, con (It., kohn ah-je-t3,h-tse-oh'neh). 
 Agitatedly. 
 
 Agraffe (ah-grahf). In the piano, a small metallic 
 support of a string, between bridge and pin, 
 serving to check vibration in that part. 
 
 Agremens (Fr., ah - gra - mahn'). Harpsichord- 
 graces. 
 
 Ai (It., ah'e). See ALL'. 
 
 Air. A tune or melody. 
 
 Air (Fr., ar). Air, melody, tune; also, a song... 
 Airs detaches^ single numbers taken from operas, 
 etc. 
 
 Ais (Ger., ah'iss). A% {A sharp). 
 
 Aisis (Ger., ah'iss-iss). AX (A double-sharp). 
 
 Al (It., ahl). See ALL'. 
 
 A la mesure (Fr., ah lah mii-zurO- In strict time. 
 
 Alberti bass. A bass in broken chords, like 
 
 S^ 
 
 Album-leaf. Title of a short and (usually) simple 
 vocal or instrumental piece. 
 
 Alcuno, -a (It., ahl-koo'noh. -nah). Some ; certain. 
 . . . Con alcuna licetiza, "with a certain freedom '* 
 (as regards tempo). 
 
 Air, Alia (It., ahl, ahl'lah). To the, in the, at 
 the, etc.; in the style of, like. 
 
 Alia breve (It., bra'vSh). Formerly, a time of 
 4 minims (=i breve) to the measure. Now, 4-4 
 time with 2 beats instead of 4 to the measure, 
 and in quicker temoo ; time-signature tjt - |ig . 
 also called alia ca'pfella. Ip 54^* 
 
 Alia caccia (It., caht'chah). In the hunting style. 
 
 Alia camera (It., kah'meh-rah). In the style of 
 chamber-music. 
 
 Alia cappella (It., kah-pel'lah). A Cappella. 
 
 Alia hanacca (It.). Like a Hanacca. 
 
 Alia marcia (It.). In march-style. 
 
 Alia militare (It., me-le-tah'reh). In military style. 
 
 Alia moderna (It., moh-dar'nah). In modern style.
 
 Allargando— Alletnande 
 
 AUargandodt., 3.hl-lar-gahn'd6h). Growing slower. 
 Allargare, senza (It., sen'tsah Shl-lar-gah'rSh). 
 
 Without slackening speed. 
 AUargate (It., — gah'tSh). Go slower. 
 Alia russa (It., r56s's&h). In the Russian style. 
 Alia scozzese (It., sk6ht-tsa'zeh). In Scotch style. 
 Alia siciliana (It.). Like a Siciliana. 
 Alia stretta (It.), i. Growing faster and faster.— 
 
 2. In the style of a Stretta {or Stretto). 
 Alia tromba (It.). Like a trumpet. 
 Alia turca (It., toor'kSh). In Turkish style. 
 Alia veneziana (It., veh-neh-tse-ah'nah). In the 
 
 Venetian style (like a Gondoliera). 
 Alia zingara (It., tsin'gah-r3,h). In the style of 
 
 Gypsy music. [syncopated'style. 
 
 Alia zoppa (It., tsop'pSh). Lamely, haltingly ; in 
 Allegramente (It., 3,hl-]5h-gra.h-men'teh). Nimbly, 
 
 lightly, gaily, vivaciously. 
 Allegrettino (It., ahl-leh-gre1:-te'n6h). i. A short 
 
 Allegretto movement. — 2. A tempo slower than 
 
 allegretto. 
 
 Allegretto (It., ahl-I6h-gret't6h). Quite lively ; 
 moderately fast (faster than andante, slower than 
 allegro). 
 AUegrezza, con (It., k6hn ahl-leh-gret'sSh). I ^^Y\\.h. 
 Allegria, con (It , k6hn Shl-leh-gre'Sh). * 
 
 liveliness, vivacity. Fidlv 
 
 Allegrissimo (It., ahl-leh-gris'se-m6h). Very rap- 
 Allegro (It., ahl-la'gr6h). Lively, brisk, rapid. 
 An Allegro (movement) is not quite as fast as a 
 Presto. ..Alleffro assai, Allef^ro di molto, very fast 
 (usually faster than the foregoing movement)... 
 Allegro di bravura, a technically difficult piece 
 or passage to be executed swiftly and boldly... 
 Allegro giusto, a movement the rapidity of which 
 is suited to its su hiect.. .Allegro risolulo, rapidly 
 and energetically. Etc., etc. 
 Allein (Ger., ahl-lin')- Alone; only. 
 
 Allemanda (It.. Shl-lgh-mahn'dSh). ( . n^.r^^r. 
 
 ' > I. A German 
 
 Allemande (Fr.. ahl-l'-mahn'd). t 
 
 dance in -},-i, time, like the Landler. — 2. A lively 
 German dance in 2-4 time.— 3. A movement In the 
 Suite (either the first, or next to the Prelude) in 
 4-4 time and moderate tempo (andantino).
 
 Allentamento — Altieramente 
 
 Allentamento (It., ahl-len-tah-men'toh). Slowness. 
 Allentando (It., ahl-len-tShn'doh). See Rallen- 
 
 TANDO. 
 
 AUentato (It., ahl-len-tah'toh). Slower. 
 
 Air espagnuola (It., ahl eh-spahn-yo'lah). In the 
 Spanish style. 
 
 Air inglese (It., Shi in-gla'zeh). In the English 
 style. [ian stvle. 
 
 Air italiana (It., ahl e-tah-le-ah'nah). In the Ital- 
 
 Allmahlich (Ger., ahl-ma'liyh). Gradually', by 
 degrees. (Also spelled alhndlilig^ allmalig.) 
 
 AI loco (It., ahl lo'koh). "To the place ;" a direc- 
 tion following '*<?ya,"and meaning "perform the 
 music as written."— Also directs a violinist to 
 return to a former position after a shift. 
 
 Allonge (Fr., ahl-lohn-zha'). Prolonged stroke (of 
 tne bow). 
 
 Allontanando(si) (It.. ahl-lohn-tah-nahn'dSh [-se]). 
 Withdrawing ; dying away. 
 
 Allora (It., ahl-lohTSh). Then 
 
 Air ottava (It.. Shi oht-tah'vah). " At the octave ; " 
 meaning, "play the notes an octave higher than 
 written." The sign ^a---.^.^-^ or cSv-^--^^ is 
 usually employed. ^ [octaves). 
 
 Air unisono (It., ahl oo-ne'soh-noh). In unison (or 
 
 Alma, con (It., kohn Shl'mah). With soul, spirit; 
 loftily ; ardently. 
 
 Alt (from the 1\.. alto). Notes "in alt" are those 
 
 of the next octave above /2 -^ _ ; notes in 
 
 the octave higher than this, are said to be "in 
 altissimo." 
 
 Alt (Ger.,ahlt). Alto (voice or part). 
 Alt-clarinet. An alto clarinet. (See ALTO.) 
 Alterezza (It., ahl-teh-ret'sah). Pride; loftiness. 
 Alternamente (It.,ahl-tar-nah-men'teh). | Alte'-nat- 
 Alternando (It., ahl-tar-nahn'doh). ' 
 
 ing, alternatively. 
 Alternativo (It., ahl-tar-nah-te'voh). See TRIO 2. 
 .A.lt-horn. The alto Saxhorn. 
 Altieramente (It , ahl te-eh-rah-men'teh). In a 
 
 lofty, majestic style.
 
 A Itissimo -Amoroso 
 
 Altissimo(It.,ahl-tis'se-m6h). Highest. (See ALT.) 
 Alto (from the It.alto). i. The deeper of the two 
 main divisions of women's or boys' voices, the 
 Soprano being the higher. (Also called Con- 
 tralto.) Ordinary compass from ^ to ^2 ; invoices 
 of great range, down to d and up iof^, or even 
 higher. — 2. An instrument of similar compass ; 
 as the alto Saxhorn.— 3. The counter-tenor voice. 
 — 4. The viola, or tenor violin. 
 Alto, -a (It., ShKtoh.-tah). W\^\\... Alfa viola, tenor 
 
 \-\o\\n...Otlava alta, an octave higher. 
 Alto-clef. A C-clef on the 3d line. 
 Altro, -a (It,, ^hl'troh, -trSh). Other... ^//r/, Altre, 
 
 others. 
 Alzando (It., ahl-ts3,hnM6h). Raising. . .Alzando un 
 
 po' la voce, raising the voice a little 
 Am (Ger., Shm). By the. r^jg^ 
 
 Amabile (It., Sh-mah'be-leh). vSweet, tender, gen- 
 Amabilita, con (It., kohn ah-mah-be-le-tah'). W.ith 
 
 sweetness ; tenderly. 
 Amaramente (It., ah-mah-rah-men'teh). j 
 Amarevole (ah-mSh-ra'voh-leh). V Bitterly; 
 
 Amarezza, con (kohn ah-mSh-ret'sah). ' 
 
 mournfully, grievingly. 
 Amarissimamente (It., ah-m5h-ris-se-mah-men'- | 
 Amarissimo (It., ah-mah-ris'.se-moh). [teh). f 
 
 \'ery bitterly, with great anguish. 
 Amateur (Fr., Sh-mah-tor')- A "lover" of art, 
 who, while possessing an understanding for and 
 a certain practical knowledge of it, does not pur- 
 sue it as a profession. 
 
 American organ. See Reed-ORGAN. 
 
 A mezza ana (It., Sh med'zah ah're-Sh). Halfway 
 between an aria and a recitative. 
 
 A mezza voce (It., voh'cheh). With half the power 
 
 <.f the voice (or an instrument). 
 A moll (Ger., ah mohl'). A minor. 
 Amor;, con (It., kohn ah-moh'reh). "] 
 
 Amorevole (ah-m6h-ra'v6h-leh). ! . 
 
 Amorously; 
 
 Amorevolmente(— ra-v6hl-men'teh). 
 Amorosamente f— rc'jh sSh-men'teh). J 
 
 lovingly, fondly, devotedly, tenderly. [fond. 
 
 Amoroso (It., ah-moh-roh's6h). Amorous ; loving,
 
 *An— Anglaise 
 
 An (Ger., ahn). On, by ; "add" (in organ-music). 
 
 Anacru'sis (Greek). One or two light (unaccented) 
 syllables beginning a verse of poetry ; in music, 
 it means a. part of a measure with which a piece 
 of music begins, the piece thus not beginning on 
 the strong beat. (See Auftakt.) 
 
 An'apest. A metrical foot of three syllables, 
 2 short and i long ; w w — 
 
 Anche (Fr., ahnsh). Reed.../^« d'anches [zho 
 dahnsh], reed-stop. 
 
 Anche (It., ahn'keh). Also, too, likewise ; even. 
 
 Ancor (It., ahn-kohr'). \ ^gain, also, yet, still, 
 
 Ancora (It., ahn-koh'rah). ' 
 '^\QXi. ..Ancor piu mosso, still faster, ..Ancora 
 piano, continue singing (or playing) softly... 
 Ancora piu piano, still more softly. 
 
 Andacht, mit (Ger., mit ahn'daht). | with devo- 
 
 Andachtig (Ger., ahn'deyh'tiyh). ' 
 tjon ; devotionally, devoutly. 
 
 Andando (It., ahn-dahn'doh). "Going on ;" easy 
 and flowing. 
 
 Andante (It., ahn-dahn'teh). " Going," " moving ;" 
 a tempo-mark indicating a moderately slow, 
 easily flowing movement between adagio and 
 allegretto.— Andante affettuoso., rather slowly, 
 and pathetic. . .A. cantabile, flowingly, in a sing- 
 ing style... .-i. con moto, A. mosso, A. un poco 
 allegretto, a flowing and rather inore animated 
 movement...^. 7ion troppo, easily flowing, but 
 not too fast. . .^. ■>naestoso, a flowing and stately 
 movement. . .^-j. pastorale, flowing with tranquil 
 simplicity...^, sostennto, rather slow, flowing 
 svaooihly ...Meno andante, slower. 
 
 Andantemente (It., ahn - dahn - teh - men ' teh). 
 Smoothly and flowingly. 
 
 Andantino (It., ahn-dahn-te'noh). This word is a 
 dimmutive of Andante, and means, properly, a 
 little slower than andante; but it is often used as 
 if meaning a little faster. 
 
 Andare (It., ahn-dah'reh). To move on. . .Andare 
 diritto, go straight on... Andare in tempo, keep 
 strict time. 
 
 Anfang (Ger., ahn'fahng'^). Beginning... Votn An- 
 fang, same as Da CaP' >. 
 
 Anglaise (Fr., ^hn-glaz'). The English country- 
 dance.
 
 Angoscia— Antecedent ii 
 
 ■■( 
 
 Angoscia, con (It., k6hn &hn-g6h'sh5.h). 
 
 Angosciosamente (5.hn-g6h-sh6h-sa.h-men'teh). 
 
 Angoscioso (It., 3.hn-g6h-shoh's6h). 
 With anguish, with agony of mind. 
 
 Angstlich (Ger., engst'liyh). Anxiously, fearfully. 
 
 Anhang (Ger., Shn'ha.hng''). Coda, codetta. 
 
 Anima, con (It., kohn ah'ne-mah). ANIMATO. 
 
 Animando (It., ah-ne-mahn'doh). With increasing 
 animation; growing liveUer .. .Animando e cre- 
 scendo, growing livelier and louder .. .Animando 
 sempre {pii'i), growing more and more animated. 
 ...Animando tin poco, with somewhat more ani- 
 mation.. .La stesso tempo e animando setnpre piiiy 
 the same rate of speed, with ever-increasing 
 animation (of expression). 
 
 Animate (It., 3,h-ne-mah'toh). With spirit, spirit- 
 edly, vivaciously. ..^w/wa/^ a'//)i«, with greater 
 animation. 
 
 Animosissimamente ( — sis-se-mah-men'teh). \ 
 
 Animosissimo (It., ah-ne-moh-sis'se-moh). ' 
 With the utmost animation, spirit, boldness. 
 
 Animoso (It., ah-ne-moh'soh). Animated, spirited. 
 
 Anmut(h), mit (Ger.,. ahn'moot). | ^j^^^ grace, 
 
 Anmut(h)ig (Shn'moo'tiyh). ' 
 
 charm; gracefully, suavely. 
 
 Anom'aly. The slight deviation from true pitch 
 caused by tempering intervals on fixed-tone in- 
 struments ; hence, an anomalous chord is a chord 
 containing an interval rendered, by unequal 
 tempering, extremely sharp or fiat. 
 Anschwellen (Ger., Shn'shvel'len). To swell, in- 
 crease in loudness. 
 Anschwellend (Ger., —lent). Crescendo. 
 Ansieta, con (It., kohn Shn-se-eh-tah'). j 
 Ansiosamente(5.hn-se-6h-sah-men'teh). >In a style 
 Ansioso (It., ahn-se-oh'soh). ' 
 
 expressive of anxiety or hesitation. 
 
 Answer. In a fugue, the taking-up by the second 
 part (at a different pitch) of the subject proposed 
 by X.'he first part. 
 
 Antecedent. The theme or subject of a canon or 
 fugue, as proposed by the first part ; the Leader. 
 Also, any theme or motive proposed for imita- 
 tion, or imitated further on.
 
 Anthem— Appoggiando 
 
 Anthem. A piece of sacred vocal music usually 
 founded on biblical words, with or without in- 
 strumental accompaniment, and of moderate 
 length. 
 
 Anticipation, The advancing of one or more of 
 the parts constituting a harmony before the rest ; 
 which part or parts would, if a^U the parts pro- 
 gressed together, enter later. 
 
 Antico (It., ahn-te'koh). Antique, ancient. ...(4/- 
 I'antico, in the ancient style. 
 
 An'tiphon, or An'tiphone. Originally, a respon- 
 sive system of singing by two choirs (or divided 
 choir)i an early feature in the Catholic service of 
 song; later applied to responsive or alternate 
 singing, chantmg, or intonation in general, as 
 
 Eractised in the Greek, Roman, Anglican and 
 utheran churches. — Also, a short sentence,^en- 
 
 erally from Holy Scripture, sung before and 
 
 after' the Psalms for the day. 
 Antiph'onal. i. A book or collection of antiphones 
 
 or anthems. — 2. In the style of an antiphone; 
 
 responsive, alternating. 
 Antiph'ony. Respon.sive singing by two choirs 
 
 (or divided choir) of alternate verses of a psalm 
 
 or anthem. 
 Anwachsend (Ger., ahn'vahk'-sent). Crescendo. 
 Aperto (It., ah-par'toh). "Take the loud pedal."... 
 
 Allegro aperto, an alleg'^o with broad, clear 
 
 phrasing. 
 Aph'ony. Loss of voice. [steadiness. 
 
 Aplomb (Fr., ah-plohn'j- Coolness, self-possession, 
 Appassionamento(It.,ahp-pahs-se-6h-nah-men't6h). 
 
 Passion, ardor. [sionately, ardently. 
 
 Appassionatamente (It., — nah-tah-inen'teh). Pas- 
 Appassionato, -a(It.,— nah'toh, -tah). Impassioned, 
 
 with passion. 
 Appena (It., ahp-pa'nah). Hardly, very little... 
 
 Appena anhnajido, a trifle more animated.. ..^2)- 
 
 pe?ta f?teno, a very little slower . . . Appena sensibue^ 
 
 hardly audible. 
 
 Appenato (It., ahp-peh-nah'toh). Distressed ; in a 
 style e-xpressive of distress or suffering. 
 
 Appoggiando (It., ahp-pohd-jahn'doli). " Leaning 
 on," •• supported." Said of a ■•■one (note) gliding 
 over to the next without a break, like an appog- 
 giatura or the portamento.
 
 Appoggiato— Arch- 
 
 13 
 
 J r$ r « 
 
 Appoggiato (It., ahp- p6hd- jah'tSh). "Leaned 
 against," "supported." 
 Calls for same style of exe- 
 cution as AppLii^f^iando. In 
 the following example, it is 
 
 equivulant to mezzo /e^a/o. ^ -^ 
 
 appoggiato e piano 
 
 Appoggiatura (It., ahp-pohd-jah-too'rah). An ac- 
 . cented appofi'giaturd is a grace-note which takes 
 the accent and part of the time-value of the fol- 
 lowing principal note. The long appoggiatura : 
 
 performed 
 
 1^ 
 
 :^ 
 
 is seldom written now ; the sJioi't appoggiatura , 
 zr. is performed 
 
 The unaccented 
 Poggiatura, wri 
 thus: 
 
 ^^^^ 
 
 -*^^ . T- 
 
 
 
 
 Lt-J 
 
 tten ^^^ 
 
 and 
 performed 
 
 'mm 
 
 For 
 
 For 
 
 takes its time- value from the /r^C(?rf/«^ principal 
 note, to which it is smoothly bound. 
 
 A punta d' arco (It., ah p56n'tah dar'kSh). With 
 the point of the bow. 
 
 A quatre mains (Fr., Sh kSh'tr man). I 
 
 A quattro mani (It., Sh kw^ht'troh mah'ne). ^ 
 hands ; duets on piano or organ. 
 
 A quatre voix (Fr., ah kSh'tr vwSh). ) 
 
 A quattro voci (It., Sh kwaht'troh voh'che). ^ 
 4 voices or parts. 
 
 Arbitrio (It., ar-be'tre-(5hV Will, pleasure. ..y| 
 suo arbitrio. at your pleasure. 
 
 Arcato (It.. ar-kah't(5h). With the bow. 
 
 Arch- (Engl.), Archi- (Lat.. ar'keK Arci- (It., ar'che). 
 A prefix signifying "chief, preeminent," former- 
 ly applied to instruments in the sense of " larg- 
 est," and to official titles in the sense of "head." 
 —Archchanter. precentor.. .Archlufe (Fr., Archi- 
 luth [ar-she-hVt'l; It., Arciliuto [ar-che-le-oo'tSh]), 
 a large kind of bass lute.
 
 14 Arco— Armoniosaraente 
 
 Arco (It., ar'koh). Bow. . .Arco ingiu O'oo'); down- 
 bow ; arco in su (soo'), up-bow. XaX^ 
 
 Ardente (It., ar-den'teh). Ardent, fiery, passion- 
 
 Ardentemente (It., ar-den-teh-men'teh). Ardently. 
 
 Arditezza, con (It., kohn ar-de-tet'sah). With bold- 
 ness, boldly, spiritedly. 
 
 Ardito (It., ar-de'toh). Bold, spirited. 
 
 Ardore, con (It., kohn ar-doh'reh). With ardor, 
 warmth. 
 
 Aretinian syllables. The syllables tit, re, mi\ fa^ 
 sol, la, first used to name the tones of the hexa- 
 chord by Guido d'Arezzo (Guido Aretinus). 
 
 Aria (It., ah're-ah, plural Arie [ah're-eh]). An air, 
 song, tune, melodv. The j^rand or da-caf>o aria 
 (Aria grande [grahn'deh]) is in 3 divisions : (I) 
 The theme, fully developed ; (II) a more tran- 
 quil and richly harmonized section ; (III) a repe- 
 tition da capo of the first, with more florid orna- 
 mentation, [aria. 
 
 Aria bufFa (It., b66f'f5.h). A comic or burlesque 
 
 Aria concertante (It., kohn-char-tahn'teh). An 
 aria for concert-singing, with obbligato instru- 
 mental accompaniment. 
 
 Aria da chiesa (It., dah k'y^'zah). Church aria. 
 
 Aria da concerto (It., dah kohn-char'toh). An aria 
 for concert-singing. 
 
 Aria d' entrata (It . den-trah'tah). An aria sung 
 by any character in an opera, on his or her first 
 entrance. 
 
 Aria di bravura (It., de brah-voo'rah). An aria re- 
 plete with ornaments and difficulties for showir^ 
 off the singer's skill. 
 
 Aria di sortita (It., de sohr-te'tah). See SORTITA. 
 
 Arie (Ger., ah're-e.) Aria. 
 
 Arietta (It., ahre-et'tah). \ 
 
 Ari...e (Fr., .h-rS-et',. LtTt ada°^ ^™^' 
 
 Ariettina(It., ah-re-et-te'nah). ' 
 
 Arioso (It., ah-re-oh's6h). In vocal music, a style 
 between aria and recitative ; or, a short melodi- 
 ous strain interrupting or ending a recitative. — 
 Also, an impressive, dramatic style suitable for 
 the aria grande; hence, a vocal piece in that 
 style.— In instrumental music, the same as ca«- 
 tabile. [Harmoniously. 
 
 Armoniosamente (It., ar-moh-ne-6h-sah-men'teh).
 
 Armonioso — A tempo 15 
 
 Armonioso (It., ar-moh-ne-oh's6h). Harmonious. 
 
 Arpeggiando (It., ar-ped-j3,hn'd6h). Playing in 
 hari)-.style ; sounding broken chords. 
 
 Arpeggiato (It., ar-ped-jah'toh). Arpeggiated, ar- 
 peggio'd. 
 
 Arpeggio (It., ar-ped'j6h ; plural Arpeggi [ar- 
 ped'jej). Playing the tones of a chord in rapid, 
 even succession ; playing broken chords. Hence, 
 a chord so played ; a broken or spread chord, or 
 chord-passage. 
 
 Arrangement. The adaptation of a composition 
 for performance on an instrument, or b}' any 
 vocal or instrumental combination, for which it 
 was not originally written. Hence, any compo- 
 sition so adapted or arranged. 
 
 Arsis (Greek). Up-beat. 
 
 Articolato (It., ar-te-koh-lah'toh). "Articulated": 
 hen articolato, clearly and neatly pronounceci 
 and phra.sed. ^stopped ^tvmz. 
 
 Artificial harmonics are those produced on a 
 
 Artiglich (Ger., ar'tlyh-lTyh). Prettily, neatly, 
 gracefully. 
 
 As (Ger., ahss). A\> {A flat). \<!\a.\.. 
 
 Asas, or Ases (Ger., a.hss'ahss, Shss'ess). A Double- 
 As dur (Ger., door). Aj major. 
 
 As moll (Ger., mohl). A\y minor. 
 
 Asprezza, con (It., kohn ah-spret's3,h). With 
 harsliness; harshly, roughly. 
 
 Aspro (It., ah'sproh). Harsh, rough. 
 
 Assai (It.. 3.hs-sah'e). Yevy . . .Allej^ro assa<. very 
 fast . . . Adasrio assai, very slow . . . Assai ynoderatb, 
 vt-ry moderate. 
 
 Assez (Fr., 3.hs-sa'). Enough; rather. 
 
 Assottigliando (It., ah-soh-te-l'yahn'dSh). Dimin- 
 isliiiig, softening. 
 
 A-string. The 2d string of a violin; the ist of a 
 viola, or 'cello ; the 3d of a double bass ; the 5th 
 of a guitar. 
 
 A suo arbitrio (It., Sh soo'i5h ar-be'tre-6h). \ 
 
 A suo bene placito (It., b§,'neh plah'che-t6h). >■ At 
 
 A suo comodo (It., k6h'm6h-d6h). ' 
 
 the pleasure or discretion of the singer or player. 
 
 A tempo (It., ah tem'p6h). In time ; at the preced- 
 ing rate, of speed.
 
 i6 Athemljs— Authentic melody 
 
 At(h)emlos (Ger., ah'tem-lohs). Breathlessly. 
 
 Attacca (It., aht-tahk'kah). "Attack" or be; •». 
 what follows without pausing, or with a vt j 
 short pause... AUacca (or attaccate [aht-tahk- 
 kah'teh]) subito, attack instantly. 
 
 Attacco (It, aht-tahk'koh). Attack ; stroke of the 
 glottis. [passage or piece. 
 
 Attack. The act (or style) of beginning a phrase, 
 
 Attendant keys of a given key are its relative 
 major or minor, together with the keys of the 
 dominant and subdominant and their relative 
 major or minor keys. For instance, the attendant 
 keys of Cmajor are a mmor, 6^ major, f major, 
 e minor, and d minor. 
 
 Attenzione, con (It., kohn Sht-ten-tse-oh'neh> 
 " With attention ; " in a marked style ; signifi= 
 cantly. 
 
 Audacia, con (It., kohn ah-oo-dah'chSh). With 
 boldness. [excitedly. 
 
 Aufgeregt (Ger., owf'ge-rayht'). Agitatedly; 
 
 Aufgeweckt (Ger., owf'ge-vekt'). Lively ; ani- 
 matedly, briskly. [impetuously. 
 
 Aufschwingend (Ger., owf'shving'ent). Soaringly, 
 
 Aufschwung (Ger., owf'shvoong^). Lofty flight, 
 soaring impetuosity ; mit Aufschwung., in a 
 lofty, impetuous, impassioned style. 
 
 Auftakt (Ger., owf'tahkt). Up-beat, anacrusis; a 
 fractional measure beginning a movement, piece, 
 or theme. 
 
 Augmentation. Doubling (or increasing) the time- 
 value of the notes of a theme or motive in imita- 
 tive counterpoint. 
 
 Augmented intervals. See INTERVAL. 
 
 Aumentando (It., ah-66-men-tahn'd6h). CRE- 
 SCENDO. 
 
 Ausdruck (Ger., ovvs'drook). Expression. . .il/iV 
 intiigem Ausdruck., with heart-felt expression. 
 
 AusdrucksvoU (Ger., ows'drooks-fohr). Expres- 
 sively. 
 
 Authentic. Within the compass of an octave 
 above the keynote. 
 
 Authentic cadence. See CADENCE. 
 
 Authentic melody, one whose range covers all, or 
 nearly all, the octave-scale above its tonic or 
 final ; opposed to Plagal.
 
 Authentic mode— Balance swell-pedal 17 
 
 athentic mode. In an attZ/r^w/zV church-mode, the 
 keynote is the lowest tone; in a p/a^a/ mode, the. 
 keynote is a Fourth above the lowest tone. 
 
 Authentic part of the scale, that part lying be- 
 tween the keynote and its higher dominant ; the 
 part between keynote and lower dominant being 
 called plagal. 
 
 Auxiliary note. A note not essential to the har- 
 mony or melody; particularly, a grace-note a 
 Second above or below a given melody-note. 
 
 Auxiliary scales. Those of attendant keys. 
 
 Auxiliary stop. See STOP. 
 
 Avec (Fr., ah-vek'). '^\\.\v. . .Aver, ^w^ [ahm], the 
 same as fi?;/ anima...Avec l.e chatit [shShn], the 
 same as co! canto. 
 
 Avoided cadence. See CADENCE. 
 
 A volonte (Fr., ah v6h-16hn-ta0. At pleasure. 
 
 B 
 
 B. I. (Ger. i^; Fr. and It. ji"). The seventh tone 
 and degree in the typical diatonic scale of C 
 major. -2. In musical theory, capital B desig- 
 nates the ^-major triad, small b the ^-minor 
 triad.— 3. For BB, B, b, bi, b2 (b', b", b), etc., see 
 Pitch, absolute.— 4. In German, B stands for 
 By.—S- B. is also an abbreviation for Bass or 
 Basso {c. B. = co\ Basso; B. C. = basso continuo). 
 
 Bachelor of (or in) Music. The lower of the aca- 
 demical musical degrees, Doctor of Music being 
 the higher. 
 
 Backfall. An obsolete grace, played like an ac- 
 cented appoggiatura. 
 
 Backturn. See TURN. 
 
 Bagpipe. A very ancient wind-instrument of 
 Eastern origin, still popular in Great Britain. 
 The commonest form has ^ pipes ; 3 drones (sin- 
 gle-reed pipes tuned to a given tone, its fifth and 
 its octave, respectively, and sounding on contin- 
 uously), and i chanter or melody-pipe (a double- 
 reed pipe with 6 or 8 holesj, on which the tune is 
 played. The " bag" is a leathern sack, filled 
 with wind either from the mouth or from small 
 bellows worked by the player's arm ; the pipes 
 are inserted in and receive wind from the bag. 
 
 Balance swell-pedal. See PEDAL.
 
 x8 Baldaraente— Bandola 
 
 Baldamente (It., bahl-dah-men'teh). Boldly. 
 
 Ballabile (It., bahl-lah'be-leh). i. A piece of 
 dance-music. — 2. Ballet-music— 3. In the style of, 
 or suitable tor, dance-music. 
 
 Ballad. Originally, a song intended for a dance- 
 accompaniment ;' hence, the air of such a song. — 
 In modern usage, a ballad is a simple narrative 
 poem, generally meant to be sung.— As a purely 
 musical term, it was originally applied to a short, 
 simple vocal melody, set to one or more stanzas, 
 with a slight instrumental accompaniment. It 
 now includes instrumental melodies of a similar 
 character ; also compositions for single instru- 
 ments, or for orchestra, supposed to embody the 
 idea of a narrative. 
 
 Ballade (Ger., bahl-lah'de). I ^ ballad 
 
 Ballade (Fr., bahl-lahd'). ^ 
 
 Balladenmassig (Ger., bahl-lah'd'n-ma'siyh). In 
 ballad-style. 
 
 Ballad-opera. An opera chiefly made up of bal- 
 lads and folk-songs. 
 
 Ballata (It., bahl-lah'tah). A ballad.—^ ballata, 
 in ballad-stj'le. 
 
 Ballet (bal-lay', or bal-let')- i- A spectacular 
 dance introduced in an opera or other stage- 
 piece. — 2. A pantomime, with music and dances 
 setting forth the thread of the story. 
 
 Ballet (Fr., bahl-laO. I a ballet. 
 
 Ballett (Ger., bahl-let'). ' 
 
 Balletto (It., bahl-let'toh). i. A ballet.— 2. The 
 title of an Allegretto by Bach, in common time. 
 
 Ballo (It., bahl'loh). A dance ; a haUet... Ba//i 
 inglesi^ English dances Balli unffaresi^ Hun- 
 garian dances.. .Z>ii ballo^ in dance-style, light 
 and spirited. 
 
 Band. i. A company of musicians playing mar- 
 tial music (brass-band, military band).— 2. An 
 orchestra.— 3. A section of the orchestra playing 
 instruments of the same class (brass-band, string- 
 band, wind-band, wood-band). 
 
 Banda (It.,bahn'dah). i. A military band.— 2. The 
 brass wind-instruments, and the instruments of 
 percussion, in the Italian opera-orchestra. — 3. 
 An orchestra playing on the stage. 
 
 Bandmaster. Conductor of a military band. 
 
 Bandola (Spanish, bahn-doh'lah). [Also the Ban^
 
 Banjo -Bass ig 
 
 do/on, Bandora, Bandura.] Instruments of the 
 lute family, with a greater or smaller number of 
 steel or gut strings, and played with a plectrum 
 ("pick"); all very similar to the Mandolin. 
 
 Banjo. A kind of guitar common in the U. S. 
 
 Bar. I. A vertical line dividing measures on the 
 staff, and indicating that the strong beat falls on 
 the note just after it. — 2. The popular name for 
 "measure" (the notes and rests contained be- 
 tween two bars). (N.B.— It is better to call a bar 
 a bar, and a measure a measure.) 
 
 Barbaro (It., bar'bah-roh). Same as Feroce. 
 
 Barcarole (— rol'). i. A gondoliera ; song of the 
 Venetian gon'loliers.— 2. A vocal or instrumental 
 solo, or concerted piece, imitating the Venetian 
 boat-songs, and usually in 6-8 time (Chopin's, for 
 piano, is in 12-8 time). 
 
 Barcarola (It., bar-ka.h-r6'13.h). ^ 
 
 Barcarole (Ger., bar-ka,h-roh'Ie). 
 
 „ ., /r- ,. , -, -, ,.. r •A. barcarole. 
 
 Barcarolle (Fr., bar-kah-rohl'). j 
 
 Barcaruola (It., bar-kah-r66-6'iah). J 
 
 Bare fifth, octave. See NAKED. 
 
 Bariolage (Fr., bSh-re-oh-iah'zh). i. A medley.— 
 2. A group of several notes played in the same 
 position on 2, 3, or 4 strings (violin). 
 
 Baritone, i. The male voice between bass and 
 tenor, and more or less similar in quality to both. 
 Compass from 6^to/i. Also, a singer having such 
 a voice.— 2. A bow-instrument like the viola da 
 gatnba. — 3. The Euphonium (bass Saxhorn). 
 
 Baritone clef. The obsolete /-'-clef on the ^ -y. 
 
 third line: ^' 
 
 Barocco (It., bSh-rohk'koh). Eccentric, strange, 
 odd. whimsical. 
 
 Barre (Fr , bar-ra') In lute- or guitar-playing, 
 tlie st()pping of several or all the strings with the 
 left-hand forefinger.— 6Va«(/ [grShn] barre, a 
 stop of more than 3 strings. 
 
 Barrel-organ. A species of mechanical organ. 
 The Orchestrion is a large kind of barrel-organ. 
 
 Barytone. Another spelling of Hariton'K. 
 
 Biis. I. The lowest tone in a chord, or the lowest
 
 Bass — Beat 
 
 part in a composition. — 2. The lowest male voice ; 
 ordinary compass from f^z, r^^^\ 
 F\n ^1 ("or d^\ : extreme -tt^. 7- V ' — 
 
 ^to c^ (or d^) ; extreme 7557 
 compass from C to e^ : '^ - 
 -3. A singer having 
 
 such a voice. (-<S'-) 
 
 Bass (Ger., bahs). Besides the 3 English meanings 
 given above, it denotes (a) an old bow-instrument 
 between 'cello and double-bass, with 5 or 6 
 strings ; (i5')the same as Kontrabass (double-bass); 
 (c) at the end of the name of an organ-stop, it 
 means that the stop is on the pedal (for example, 
 Gemshornbass). 
 
 Bass-bar. In violins, etc., a long, narrow strip of 
 wood glued to the inner surface of the belly 
 parallel with and just beneath the 6^-string, put 
 in to strengthen the belly and equalize vibration. 
 
 Bass clef, i^-clef on the 4th line : ^: 
 
 Basse (Fr., bahs). Bass. 
 
 Basset'-horn. A tenor clarinet of mellow, though 
 sombre, timbre, with a compass from Fto c^. 
 
 Basso (It., bahs'soh). Bass ; also, the double-bass. 
 
 Basso buffo (It., boof'foh). A comic bass. [tone. 
 
 Basso cantante (It., kahn-tahn'teh). A bass-bari- 
 
 Basso continue (It., kohn-te'noo-oh). Bas« notes 
 provided with figures indicating the chords to be 
 played above the bass notes. 
 
 Basso giusto (It., joo'stoh). A basso cantante. 
 
 Basso obbligato (It., ohb-ble-gah'toh). An indis- 
 pensable bass part or accompaniment. 
 
 Bassoon. A wood-wind instrument of the oboe 
 family ; the double tube bears the long, curving, 
 metallic mouthpiece with , > 
 
 its double-reed. Compass ^: ~jt ^.—\—i- 
 
 from Bi\} to c^, or even 
 to/2: 
 Tone soft and mellow. "z?" 
 
 Basso ostinato (It., 6h-ste-nah't6h). Ground bass. 
 
 Basstuba (Ger., bahs'too'bah). See TUBA 2. 
 
 Baton (Fr., bah-tohnO- A conductor's wand. 
 
 Battuta (It., baht-too'tah). Beat; downbeat; 
 measure. . .A battuta^ in strict time. 
 
 Beat. I. A movement of the hand in marking 
 ("beating") time.— 2. A division of a measure 
 marked by a beat. — 3. In a trill, the pulsation of 
 
 i^p
 
 Beating- reed— Belly 
 
 2 consecutive tones.— 4. An appojefgiatura. — 5. A 
 
 throbbing caused by the interfering tone-waves 
 
 of 2 tones of different pitch. 
 Beating reed. See Reed. [(plural). 
 
 Becken(Ger., bek'en). Cymbal (singular); cymbals 
 Bedeutungsvoll (Ger., be-dahii'toongs-fohl')- Full 
 
 of meaning ; significantly. 
 
 Begeisterung, mit (Ger., mit be-gi'st§-r66ng^). 
 With enthusiasm, spirit. 
 
 Begleitung (Ger., be-gli'toong''). Accompaniment. 
 
 Behagiich (Ger., be-hahg'liyh). Easily, comfort- 
 ably ; comodo. 
 
 Beklemmt(Ger., be-klemt')- [Properly dei/ommen.] 
 Anxious, oppressed. [Beethoven.]' 
 
 Bel canto (It., bel kShn'toh). The art of beautiful 
 song, as exemplified by the finest Italian singers 
 of the iSth and 19th centuries, and their pupils or 
 imitators. Opposed to Recitative, and to the 
 "declamatory" style of singing brought into 
 such prominence by Wagner. [mandO. 
 
 Belebend (Ger., bS-la'bent). R.WVIVANDO. Ani- 
 
 Belebt (Ger., bS-lapt'). ANIMATO ; animated, brisk. 
 
 Bell. A hollow metallic instrument of percussion, 
 sounded by a clapper hanging inside, or a ham- 
 mer outside. — Also, the flaring end of various 
 wind-instruments. 
 
 Bell-diapason. An organ-stop, usually of 8-foot 
 
 pitch, with open, bell-mouthed pipes. 
 Bellezza, con (It., k6hn bel-let'sah). With beauty; 
 gracefully, suavely. [surmounted by bells. 
 
 Bell-gamba. An organ-stop having conical pipes 
 Bellicosamente (It., bel-le-kSh-sSh-men'teh). > j^^ ^ 
 Bellicose (It., bel-le-kfSh's(jh). ^ 
 
 martial, warlike style. 
 
 Bell-metronome. A metronome with a bell- 
 attachment which may be set to strike with every 
 second, third, fourth or sixth beat of the 
 pendulum. 
 
 Bell open diapason. Same as Bell-diapason. 
 
 Bell-piano. GLOCKENSPIEL. 
 
 Belly. The face (upper side) of the resonance-box 
 of the violin etc. — Also, the soundboard of the 
 piano.
 
 Bene— Bisogna 
 
 Be6e (It., ba'neh). [Abbreviation,^^//.] Well... 
 Ben mar cat 0^ well marked ; a bene placito, at 
 pleasure ; ben ritmafo, with careful and precise 
 observance of the rhythm ; ben sostenuto^ ben 
 tenutOy well sustained. 
 
 Bequem (Ger., be-kvam'). Easily, comfortably. 
 
 Berceuse (Fr., bar-soz'). A cradle-song, lullaby. 
 
 Ber'gamask. A clownish dance like that of the 
 peasants of Bergamasca, Italy. 
 
 Bes (Ger., bess). B double-flat. 
 
 Beschleunigen (Ger., be-shlahu'ni-gen). To hasten. 
 
 Beschwingt (Ger., be-shvingt'). Winged. . .Z«c/t/ 
 beschwingt^ lightly and swiftly ; volante. 
 
 Beseelt (Ger., be-zalt'). " Soulfully," animated. 
 
 Bestimmt (Ger., be-shtimt'). With decision, energy. 
 
 Betont (Ger., be-tohnt')- Accented, marked. 
 
 Betonung, mit (Ger., mit be-toh'noong^). With 
 emphasis. 
 
 Bewegt (Ger., be-vayht'). Moved, agitated. 
 
 Bewegter (Ger., be-vayh'ter). Faster ; piu tnosso. 
 
 Bewegung (Ger., be-va'goong'^). Movement; agk 
 tation. 
 
 Bi'chord. Having two strings. A bichord instru- 
 ment is one (like the mandolin, lute, and certain 
 pianos) having a pair of strings, tuned in unison, 
 for each tone. 
 
 Bien (Fr., b'yen). 'Well... Bzen chatiie, same as 
 MOLTO CANTABILE ; bien rythme, same as BEN 
 
 RITMATO. 
 
 Bif'ara. An organ-stop, the pipes of which are 
 either double-mouthed, or in pairs ; the two mem- 
 bers of each pair are tuned at slightly different 
 pitches, so that the interference ("beating") of 
 the sound-waves produces a gentle tremolo. 
 
 Bi'nary. Dual ; two-part. . .Binary form, a form of 
 movement founded on two principal themes (see 
 Sonata), or divided into 2 distinct or contrasted 
 sections. ..Binary measure, that of common time, 
 the first of every 2 members taking the accent 
 (regular and equal alternation between down- 
 beat and up-beat). 
 
 Bind. I. A tie.— 2. A brace. 
 
 Bisogna (It., be-zohn'ySh). "Is necessary," 
 " must " ; as. si bisogna da capo al segno, must bo 
 repeated from the begining to the sign.
 
 Bizzarramente— Bom oardon 
 
 Bizzarramente (It., bid-zar-ra,h-men'teh.) ( ■, .. 
 
 Bizzarria, con (It., k5hn bid-zar-re'ah.) ' 
 zarre, whimsical, fantastic, extravagant style. 
 
 Bizzarro, -a (It., bid-zar'r6h, -rih). Bizarre, whim- 
 sical, odd, fanciful. 
 
 BlochflOte (Ger., bl6h'fl6'te). » _ An old kind of 
 
 Blockfl6te (Ger., blohk'flo'tg). ) 
 ^u/e a dec— 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 v^'ood within the body, glued vertically to the 
 ribs between belly and back to strengthen the 
 instrument. — A haminer in the piano " blocks " 
 when it remains against the string after striking, 
 instead of recoiling, thus '^ blockin^^" (deadening) 
 the tone. 
 
 B moll (Ger., ba mohl')- B flat minor. 
 
 Boat-song. Barcarole; Gondoliera. 
 
 Bob. A term in change-ringing applied to the 
 various sets of changes which may be rung on 6 
 bells (bob minor), 8 bells (bob major), 10 bells 
 (bob royal), or 12 bells (bob maximus). 
 
 Bocca (It., bShk'kah). Mouth. . .(Con) bocca chiusa 
 [kew'sdh], with closed mouth ; humming. (See 
 Bkummstimmen.) 
 
 Bocedisation. See Solmisation. 
 
 Body. I. The resonance-box of a stringed instru- 
 ment.— 2. That part of a wind-instrument 
 remaining when mouthpiece, crooks and bell are 
 removed. — 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." r^^ ^.jg 
 
 Bogen (Ger., boh'gen). i. A bow.— 2. A slur; or 
 
 Bolero (Span., b(5h-leh'r6h). i. A Spanish national 
 dance in 3-4 time and lively tempo (allegretto), 
 the dancer accompanying his steps with cas- 
 tanets. — 2. A composition in bolero-style. 
 
 Bom'bard. i. A large kind of oboe, or shawm, now 
 obsolete. — 2. A 16-foot reed-stop in the organ. 
 
 Bombarde (Fr., b6hn-bar'd'). A bombard. Also 
 see POS.AUNE 2. 
 
 Bombar'don. A large bass trumpet ; as now tflade, 
 a bass saxhorn.— Also a deep-toned organ-stop.
 
 24 Bouche— Bravoure 
 
 Bouche (Fr., boosh.) Mouth... ^ bouche fermee^ 
 same as Bocca chiusa. \bouffe, comic opera. 
 
 Bouffe (Fr., boof.) Comic, burlesque. . .<9/>era 
 
 Bourdon (Fr., boor-dohn'.) An organ-stop of i6 or 
 32-foot pitch, having stopped wooden pipes, some- 
 times with metallic tops; French organs also 
 have open bourdons of 8 and 4-foot pitch. — Also, 
 a great bell, as the bourdon of Notre-Dame.— 
 Finally, the lowest string of the 'cello and 
 double-bass. 
 
 Bourree (Fr., boo-ra')- i. A dance of French or 
 Spanish origin, in rapid tempo, having 2 sections 
 of 8 measures each, and in 2-4 or 4-4 time. — 2. A 
 movement in the earlier Suites, in alia breve time. 
 
 Boutade (Fr., boo-tahd'). i. A short, impromptu 
 ballet.— 2. An instrumental impromptu or fan- 
 tasia. 
 
 Bouts. The incurvations on either side of the 
 violin, etc., which form the "waist." 
 
 Bow. The implement used in playing instruments 
 of the violin-type. The hair is attached to the 
 stick by a bent point or head^ and drawn into 
 proper tension b3' the sliding ««/, which is worked 
 by the screw. . .Bow-arm or -hand, the right arm 
 or \\a.nd.. ..Bo7v-/^uitar, a kind of violin with 
 a guitar-shaped hody... Bow-instrument, one 
 played with a bo\Y .. .Bow-zither., see Zither. 
 
 Bow (verb). To execute with a bow ; also, to mark 
 a piece with signs indicating the bowing. 
 
 Bowing, The art of handling the bow ; a player's 
 method or style ; also, the signs for, and manner 
 of, executing any given passage. 
 
 Branle, Bransle (Fr., brahn'l'). A Brangle or 
 Brawl ; an old French dance in 4-4 time, in which 
 several persons joined hands and took the lead 
 in turn. [omission of reed-instruments. 
 
 Brass-band. Differs from full military band by 
 
 Brass-wind. Metal wind-instruments in an or- 
 chestra, or the players on them. 
 
 Bratsche (Ger., brah'che). The viola. 
 
 Bravour (Ger., brah-voor'). 'Bva.vnTa.. . . Bravour- 
 arie, aria di bravura. .. Bravour stiick, a vocal or 
 instrumental piece of a brilliant and difficult 
 character. 
 
 Bravoure (Fr., brah-voor). V,ra.vnr&...Valse de 
 bravoure. an instrumental waltz in brilliant, 
 showy style.
 
 Bravura— Brise 25 
 
 Bravura (It., brah-voo'rSh). Boldness, spirit, dash, 
 brilliancy -Iria di bravura, a vocal solo con- 
 sisting- of difficult runs and passages, designed 
 to show off the singer's voice or skill... Cc7« 
 bravura, with boldness, etc. 
 
 Brawl. See Branle. 
 
 Break, i. The point where one register of a voice 
 or instrument passes over into another ; in the 
 voice, the junction of the head- and chest- 
 registers; in the clarinet, between the notes 
 — — . . . Breaking of the voice, see 
 s— MUTATIOX.— 2. A false or im- 
 1 perfect tone produced by incor» 
 
 i 
 
 •^ rect lipping of ahorn ortrumpet; 
 
 or by some difficulty with the reed of the clarinet 
 (this " break " is called " the goose "); or, in sing- 
 ing, by some defect in the vocal organs. — 3. In 
 an organ-stop, when playing up the scale, the 
 sudden return to the lower octave (caused by an 
 incomplete set of pipes); also, in compound stops, 
 any point in their scale where the relative pitch 
 of the pipes changes. 
 
 Breatl>-band3. The vocal cords. 
 
 Breathing-mark. A sign inserted in a vocal part 
 to show that the singer may (or must) take breath 
 at that point ; written variously (', *, v', V, ")■ 
 
 Breit (Ger., brit). Largamente. 
 
 Breve (brev). A note equal to 2 whole notes or 
 semibreves ; the longest used 
 in modern notation; written : 
 See All.\ breve. 
 
 Breve (It., bra'veh). Short. [ruptlv. 
 
 Brevemente (It., br§h-v§h-men'teh). Short, aS- 
 Bridge. In bow-instruments, a thin, arching piece 
 of wood set upright on the belly to raise and 
 stretch the strings above the resonance-box, to 
 which the bridge communicates the vibrationsof 
 the strings.— In the piano, and other stringed in- 
 struments, a rail of wood or steel over which the 
 strings are stretched. 
 
 Brillante (It., brel-lShn'tSh). Brilliant, showy, 
 
 sparkling. 
 Brio, con (It., kShn bre'Sh). I With fire and dash; 
 Brioso (It., bre-oh's6h). i" spiritedly. 
 
 Brise (Fr., bre-za'; " broken "). In violin-playing, 
 
 short, detached strokes of the bow.
 
 26 Broken cadence— C 
 
 Broken cadence. See C^DK'SCK... Broken chords, 
 chords whose tones are sounded in succession in- 
 stead of together (ARPEGGIO).. .^rf^^« octaves, 
 series of octaves in ^^ ^^ <^ ^^ 
 
 which the higher ^ .. ' "^ _! ** _i J ■ 
 
 tones alternate with g>' \ \ — ~ 
 
 the lower : m ^ ^ 'm ' 
 
 Brummstimmen (Ger..br66m'shtim'men). "Hum- 
 ming voices "; production of tone without words, 
 through the nose, with closed mouth (BocCA 
 CHIUSA). [-QJ. forcibly accented. 
 
 Bruscamente (It., broo-skah-men'teh). Brusquely 
 
 Brusco (It., broo'skoh). Rough, harsh. 
 
 Buffo, -a (It., boof foh, -fah). Comic, burlesque j 
 hence, Buffo, Buffo-sing^er, a comic actor (singer) 
 in an opera.. .^;-/(2 btiffa. a comic air or aria... 
 Opera buffa, comic or burlesque opera. 
 
 Buffonescamente (It., boof-foh-ne-skah-men'teh). 
 Comically, drolly. ["droll, burlesque. 
 
 Buffonesco, -a (It., boof-f 6h-ne'sk6h, -skah) Comic, 
 
 Bugle. I. A wind-instrument of brass or copper, 
 with cupped mouthpiece, used for infantry calls 
 and signals. — 2. The key-bugle, with 6 keys, and 
 a compass of over 2 octaves. — 3. The valve-bugle 
 (see Saxhorn). 
 
 Burden. 1. A chfirus or refrain repeated after each 
 stanza of a song.— 2. The drone of a bagpipe. — 3. 
 The bass part.— 4. A dance-accompaniment sung 
 without instruments. 
 
 Burla (It., boor'lah). A jest ; raillery. [romping. 
 
 Burlando (It., boor-lahn'doh). Joking, jesting, 
 
 Burlescamente (It., boor-le-skah-men'teh). In bur- 
 lesque style. [farcical. 
 
 Burlesco, -a (It., boor-le'skoh, -skah). Comic, 
 
 Burlesque (bur-lesk'). A dramatic Extravaganza, 
 or farcical travesty of some serious subject, 
 with more or less niusic. 
 
 Busain, Busaun, Buzain. A reed-stop on the 
 organ-pedal, usually of 16-foot tone. 
 
 C. 1. (Ger. C; Fr. uf- It. do). The first tone and 
 degree in the typical diatonic scale of C major. 
 — 2. In musical theory, capital C designates the 
 C-major triad, small" t the ^-minor triad.— Also
 
 Caccia — Cadence 
 
 see Pitch, absolute. Middle-C is the note c» 
 
 —iZ zz: on the piano-keyboard. 
 
 ^ : Tenor-C is the lowest ^ , : 
 
 ^ ^I note in the tenor voice, c.- ~^^Z 
 
 Caccia (It., cSht'chah). The chase; a hunt...^//a 
 caccta, in hunting style, that is, accompanied by 
 
 [like the Bolero. 
 
 horns. 
 
 Cachucha (Span., cSh-choo'chSh). A dance much 
 Cadence, i. A CADENZA.— 2. Rhythm.— 3. The 
 closing strains of a melody or harmonized move- 
 ment ; the Close or ending of a phrase, section, 
 or movement. ...-i/«<?« cadence, a popular term 
 for Flagal cadetice (to which the word " Amen " 
 is often sung) -luthentic c, a Perfect c. . .Avoid- 
 ed, Broken, Deceptive. Evaded, or False cadence, 
 an Interrupted cadence. . .Full cadence, a Perfect 
 CAdencQ ... Half-cadejice (Half-close >, or Imperfect 
 c, the tonic chord followed by the dominant 
 chord... .Jnterrupted or Jrregidar cadence, an 
 unexpected progression avoiding some regular 
 cadence. . .Mixed cadence, a close with dom., sub- 
 dominant, dominant, and tonic chords in succes- 
 sion, being a mixture of authentic and plagal... 
 Perfect cadence, the dominant triad, or seventh- 
 chord, followed by the tonic chord ; the "authen- 
 tic cadence " of the church-modes... /^/a^tz/ ^rt- 
 dence, the subdominant chord followed bv the 
 torno.. . .Radical cadence, a close, either partial or 
 complete, formed with two fundamental chords. 
 .. .Surprise cadence, an Interrupted cadence... 
 Whole cadence, a Perfect cadence. 
 
 Authentic. Plagal. 
 
 -t-^ .. I 
 
 Interrupted. 

 
 a8 Cadenza— Canon 
 
 Cadenza (It., kah-den'dzah). i. In a vocal solo, a 
 brilliant passage, usually at the end. — 2. An 
 elaborate passage or fantasia at the end of the 
 first or last movement of a concerto, and played 
 b}^ the solo instrument (piano, violin, etc.). 
 
 Caesura. See Cesura. 
 
 Calando (It., kah-lahn'doh). " Decreasing "; grow- 
 mg softer and (usually) slower. 
 
 Calcando (It., kahl-kahn'doh). "Pressing"; has- 
 tening the tempo. 
 
 Calliope (cal-li'o-pe). A steam-organ ; a pipe-organ 
 whose harsh tone is produced by steam, instead 
 of wind, under pressure. 
 
 Caliithumpian concert. A boisterous serenade 
 given to some person who has become an object 
 of popular hostility or ridicule ; characterized by 
 the blowing of horns, beating on tin pans, derisive 
 cries, hoots, groans, cat-calls, etc. 
 
 Calma, con (It., kohn kahl'mah). See Calmato. 
 
 Calmando(si) (It., kahl-mahn'doh [-se]). Growing 
 calm, becoming tranquil. 
 
 Calmato (It., kShl-mah'toh). With calm ; calmly, 
 tranquilly. 
 
 Galore, con (It., kohn kah-loh'reh). { -^yj^j^ warmth 
 Caloroso (It., kah-16h-roh'.s6h). J * 
 
 passion; passionately. 
 
 Camera (It., kah'meh-rah). Chamber, room, small 
 hall. . .A//a camera, in the style of chamber-music. 
 . . .Musica da camera, chamber-music. 
 
 Camminando (It., kahm-me-nShn'doh). "Walking"; 
 a flowing movement, like Andante. 
 
 Campagnuolo, -a (It., kahm-pahn-yo'loh). Pastoral, 
 idyllic ; rustic. 
 
 Campana (It., kahm-pah^nSh). A bell. 
 
 Campanellino (It., -nel-le'noh). » ^ ^^^jl ^^jj^ 
 
 Campanello (It., — nel'loh). ' 
 
 Campestre (It., kahm-pe'streh). Pastoral, rural, 
 idyllic. 
 
 Cancel. The Natural, h. 
 
 Can'crizans (Latin). Retrogressive ; moving back- 
 ward. 
 
 Can'on. The strictest form of musical imitation, 
 in which 2 or more parts take up, in succession, 
 the given subject note for note.
 
 Canonical Hours— Capo sg 
 
 Canon'ical Hours of the Roman Catholic Church 
 are the established times for daily prayer : 
 matins (including noctiirns and lauds')^ prime^ 
 terce^ sext^ nones, vespers, and complin. 
 
 Canon'ic imitation. Strict imitation of one part by 
 another. 
 
 Cantabile (It., ka.hn-tah'be-16h). "Singable;" in a 
 singing or vocal style. 
 
 Cantando (It., kahn-tahn'doh). / Singing ; smooth 
 
 Cantante (It., kahn-tShn'teh). S and flowing. 
 
 Cantata (It., kahn-tah'tah.) A vocal work with 
 instrumental accompaniment, consisting of cho- 
 ruses and solos, recitative, duets, etc., shorter 
 than an oratorio. A sacred cantata has biblical 
 words ; a secular cantata may have any non-bib- 
 lical subject. 
 
 Cantato (It., kahn-tah'toh). "Sung;" singingly. 
 
 Canterellando (It., kahn-teh-rel-lahn'doh). Sing- 
 ing softly. [softly ; humming. 
 
 Canticchiando (It., kShn-tik-yahn'doh). Singing 
 
 Can'ticle. One of the non-metrical hymns of praise 
 and jubilation in the Bible; or a sacred chant 
 similar to it. 
 
 Cantilena (It., kahn-te-la'n3,h). \ 
 
 Cantilene (Ger., kShn-te-la'ne;. >" A little song;'* 
 
 Cantilene (Fr., kahn-te-lan'). ' 
 a ballad or light popular song; a flowing, song- 
 like passage on an instrument. 
 
 Canto (It., kShn'toh). A melod3^ song, chant; the 
 soprano (highest vocal or instrumental part)... 
 Col canto, " with the melody," a direction to 
 accompanists to follow the solo part in tempo 
 and expression. . .Ci/«/^yi'r;«o, a Cantus firmus. 
 
 Can'tus fir'mus (Latin). A fixed or given melody : 
 (a) Plain song ; (b) in counterpoint, a given mel- 
 ody, like a plain-song tune, to which other parts 
 are to be set according to rule. 
 
 Canzone (It., kahn-tsoh'neh). A song, folk-song ; 
 also, a part-song in madrigal-style. 
 
 Canzonet'. A little air or song ; a short part-song ; 
 a madrigal. 
 
 Capellmeister. See Kapellmeister. 
 
 Capo (It., kah'p6h). Head, beginning. ..A/ c<z/t7, 
 
 from the beginning. . .Z>ti capo al se^no, from the 
 
 beginning to the sign ("jy: or ^).
 
 Capo d'astro— Catch 
 
 Capo d'astro. [An English corruption of capo- 
 tastoP\ The " capo d'astro bar " in the piano is a 
 metallic bar fixed across the strings near the 
 wrestplank, bearing down on the 3 highest 
 octaves (more or less). 
 
 Capotasto (It., kah-poh-tah'stoh). i. The nut of 
 stringed instruments having a fingerboard.— 2. A 
 
 Fiece ot wood or ivory which can be set across a 
 retted fingerboai d to raise the pitch of all the 
 strings at once. 
 
 Cappella (It., kahp-pel'lah). [Wrongly spelled 
 capella.'] A choir ; an orchestra; both together. 
 ...A (or alia) cappella, vocal chorus without 
 instrumental accompaniment. (Also see Alla 
 
 BREVE.) 
 
 Capriccio (It., kah-prit'choh). An instrumental 
 piece of free form, distinguished by originality 
 in harmony and rhythm; a Caprice. . .A capriccio, 
 at pleasure. 
 
 Capricciosamente(It.,kah-prit-ch6h-sah-men'teh). ) 
 
 Capriccioso (It., kah-prit-choh'soh). 1 
 
 In a capricious, fanciful, fantastic style. 
 
 Caressant (Fr., kah-res-sahn'). ) 
 
 Carezzando (It., kah-ret-sahn'doh). \ ^H^^^^fZ' 
 
 Carezzevole (It., kah-ret-sa'voh-leh). ' 
 
 Carillon (Fr., kah-re-yohn'). i- A Glockenspiel, or 
 set of fixed bells played from a keyboard or by 
 a barrel-mechanism ;'also,a tune played on these 
 bells, or an instrumental piece imitating their 
 effect. — 2. A piano with bells instead of strings. — 
 3. A mixture-stop in the organ. 
 
 Carita, con (It., kohn kah-re-tah'). With tender 
 expression. 
 
 Carol. To sing joyously; hence, a joj^ous Christmas 
 song of praise. 
 
 Castanets'. A pair of small concave pieces of wood 
 or ivory, attached by a cord to a dancer's thumb 
 and forefinger, and struck together in time with 
 the music. 
 
 Castrate (It., kSh-strah'toh). An adult male singer 
 with soprano or alto voice. 
 
 Cat. Slang term for Bre.^K i. 
 
 Catch. A round or canon for 3 or more voices, 
 each singer having to " catch " or take up his part 
 at the right instant. Modern catches are gener- 
 ally humorous.
 
 Catgut— Chanjre-ringJiij? 
 
 Catgut. Popular name for gut strings. 
 
 Cavallina (It.. kah-vShl-le'nah). A forced, jerky 
 delivery (coloratura). 
 
 Cavatina (It., kSh-vah-te'nSh). A song; particu- 
 larly, a short aria without second section or Da 
 capo. 
 
 C-clef. A clef written | ^ | 1 13| | ||3||^ etc.; 
 (see Elements of Notation, p. iv). 
 
 C dur (Ger., tsa door'). C major. 
 
 Cedendo (It., cha-den'd6h). Growing slower. 
 
 Cedez (Fr., sa-da'). Go slower. 
 
 Celere (It., cheli'lgh-reh). Rapid, swift. 
 
 Celerita, con (It., kdhn cheh-leh-re-tah'). With 
 celerity, rapidly. 
 
 Celeste (Fr., sa-lest'). Celestial. 
 
 'Celli (It., cheKle). Abbreviation of Violoncelli. 
 
 'Cello (It., cheK16h). Abbreviation of Violoncello. 
 
 Cembalo (It., chem'b5.h-16h). Harpsichord ; piano- 
 forte ; in old times, a dulcimer... yi cembalo, lor 
 piano (or harpsichord). 
 
 Ces(Ger., tsSs.s). C flat. 
 
 Ceses (Ger., tsess'Sss). C double-flat. 
 
 Cesu'ra, Caesura. The dividing line between two 
 melodic and rhythmical phrases within a period ; 
 called masculine or feminine according as it 
 occurs after a strong or weak beat. 
 
 Chaconne (Fr., shah-k5hn'). A Spanish dance. 
 Also, an instrumental piece consisting of a 
 series of variations above a ground bass not 
 over 8 measures in length, in 3-4 time and slow 
 tempo. 
 
 Chalumcau (Fr., shah-hV-moh')- An old wind-in- 
 strument having q finger-holes and a beating 
 reed. (See CLAkl.NET.) 
 
 Chamber-music. Vocal or instrumental music 
 suitable for performance in a room or sm.all 
 hall ; especially, quartets and similar concerted 
 pieces for solo instruments. 
 
 Change, i. In harmony, MODULATION.— 2. In the 
 voice. Mutation.— 3. Any melodic phrase or 
 figure played on a chime of bells. 
 
 Change-ringing. The art and practice of ringing 
 a peal of bells in varying and systematic order.
 
 32 Changing-chord— Chef d'orchestre 
 
 Changing-chord. One containing tones (" chang- 
 ing-notes ") dissonant to the bass, and entering 
 on the strong beat. 
 
 Changing-note. A dissonant note (tone) entering 
 on the strong beat, and passing by a step to a 
 consonance, or by a skip to a chord-note or a note 
 belonging to another chord. 
 
 Chanson (Fr., shahn-sohn'j. A song. 
 
 Chansonnette (Fr., shahn-soh-net'). A short song. 
 ' Chant, A short sacred song. — i. The Anglican 
 chant, adapted to the Canticles and Psalms, 
 consists of 7 measures, harmonized, the time- 
 value of the single note constituting the 
 first and fourth measure^ being lengthened or 
 shortened to fit the words, whereas the others 
 are sung in strict time. Each ot its 2 divisions 
 (of 3 and 4 measures respectively) begins on a 
 reciting-note and ends with a cadence. — 2. The 
 Gregorian chant is a Gregorian melody repeated 
 with the several verses of a biblical prose text ; 
 it has 5 divisions, (i) the intonation, (2) the first 
 dominant, or reciting-note, (3) the mediation, (4) 
 the 2d dominant, or reciting-note, and (5) the ca- 
 dence. 
 
 Chant (Fr., shahn). Song; singing; melody; 
 tune. Also, voice (the vocal part as distinguished 
 from the accompaniment). 
 
 Chanter. The melody-pipe of the bagpipe. 
 
 Chanterelle (Fr., shahn-t'-rel'). The highest string 
 on a violin, lute, etc. 
 
 Chantie. A unison song sung by workmen and 
 timing thpir motions. 
 
 Chapel. A company of musicians attached to the 
 establishment of any distinguished personage. 
 
 Characteristic piece. A character-piece ; one de» 
 picting a definite mood, impression, scene, or 
 event. 
 
 Characteristic tone. r. The leading-tone.— 2. That 
 tone in any key which specially distinguishes it 
 from nearly related keys ; like F^ in G^ major, 
 distinguishing it from C major. 
 
 Characters. Musical signs in general. 
 
 Charme, avec (Fr., ah-vek' sharm). With charm ; 
 gracefully. 
 
 Che (It., ka). Than ; that. 
 
 Chef d'orchestre (Fr. shef dor-kes'tr). Conductor 
 of an orchestra.
 
 Chest-reg-ister— Choralmassig' 33 
 
 Chest-register. The lower recfister of the male or 
 female voice, the tones of which produce sympa- 
 thetic vibration in the chest. 
 
 Chest-tone. J Vocal tone possessing the quality 
 
 Chest-voice. > o^ '^he chest-register. 
 
 Chiaramente (It., k'yah-rah-men't6h). > Cleariv 
 
 Chiarezza, con (It., kohn k'y^h-ret'sah). 1 
 distinctly, linipidly. 
 
 Chiaro, -a (It., k'yah'roh, -r3,h). Clear, pure. 
 
 Chime, i. A set of from 5 to 12 bells tuned to the 
 :;cale, and played by swinging either the bells 
 themselves or 'clappers hung within them. Also, 
 a tune so played.— 2. A set of bells and hammers 
 played by a keyboard ; a Carillon. 
 
 Chin-rest. An oval plate of ebony attached to the 
 edge of the violin to the left of the tailpiece. 
 
 Chiroplast (kl'-). "Finger-former'"; an apparatus 
 invented by Logier about 1814, consisting of 2 
 wooden rai'ls attached in front of and parallel 
 with the keyboard, and a pair of open gloves ; it 
 hindered the wrist from sinking, and made the 
 fingers strike vertically. 
 
 Chitarra (It., ke-tar'rSh). A guitar. 
 
 Chitarrata (It., ke-tar-rah't5.h). A piano-piece imi- 
 tating the guitar. 
 
 Chiuso, -a (It., kew'sSh, -sSh). Closed...^ bocca 
 c/iiusa, with closed mouth ; humming. 
 
 Choir. I. A company of singers, especially in a 
 church.— 2. A choral society.— 3. In the Anglican 
 Church, the singers of the daily choral service, 
 who sit divided on the decant and cantoris sides of 
 the chancel.— 4, A subdivision of a chorus; for 
 example, the ist and 2d choirs in 8-part music. 
 
 Choirmaster. Leader (leading singer) of a choir. 
 
 Choir-organ. See ORGAN. 
 
 Cho'ral. i. Relating or pertaining to a chorus, or 
 to vocal concerted m\\^\c. ..Choral notes, the 
 square notes used for writing plain song.. .Choral 
 service^ a church-service with music by thechoir. 
 — 2 (k6h-rahK). A hymn-tune of the earlv Ger- 
 man Protestant Church, or one similar in style. 
 (Also spelled Chorale.) 
 
 Chora'liter (Latin). By or for the choir ; choral. 
 
 Choralmassig CGer., k6h-rahl'ma'slyh\ In the 
 style of a chorale.
 
 34 Chord— ClarabellA 
 
 Chord. I. A harmony of 2 or more tones. — 2. A 
 harmony of from 3 to 5 tones, forming an ascend- 
 ing series of diatonic thirds (see Elements of 
 Notation, page ix). — 3. A "'fiat^' ox"" soiiW chord 
 is one whose tones are produced simultaneously; 
 opposed to broken.— i,. A string. 
 
 Chorus. A company of singers ; hence, a composi- 
 tion, oftenest in 4 parts, each sung by several or 
 many smgers ; a double chorus has 8 parts. 
 Also, the refrain or burden of a song. 
 
 Chorus-master. A choirmaster : also, the con- 
 
 ductor of a chorus. 
 
 [of the Kyrie (see Mass). 
 
 Christe cleison (Gk., " Christ, have mercy "). Part 
 
 Chromatic. Relating to tones foreign to a given 
 key (scale) or chord ; opposed to diatonic . 
 Chromatic signs, the sharp (;:), flat (7), natural (5), 
 double-sharp (x), and double-fiat (>;>). 
 
 Church-modes. The octave-scales employed in 
 medieval church-music. 
 
 Ciaccona (It., chahk-koh'nah). A Chaconne. 
 
 Cimbal. See Cy.mbal. [chord ; a tambourine. 
 
 Cimbalo (It., ch!m'bah-16h). A cymbal ; a harpsi- 
 
 Cinque-pace (sink'pas). An old dance, probably 
 French, with a five-step movement. 
 
 Cipher. A tone is said to " cipher " on the organ 
 when, owing to some derangement of the action, 
 it persists in sounding. 
 
 Circle of Fifths. A series of Fifths tuned (as on 
 the piano) m equal temperament, so that the 
 twelfth Fifth in the series has the same letter- 
 name as the first tone. (See page viii.) 
 
 Circular canon. A canon closing in the key a sem- 
 itone above that in which it begins ; 12 repetitions 
 would thus carry it through the " circle " of 12 
 keys. 
 
 Cis (Ger., tsiss). Cit. . . Cisis (tsiss'iss), CX. 
 
 Cither (sith'er), Cith'ern, Cittern (sit'-). A kind of 
 lute or guitar, strung with wire and played with 
 a pick ; used in the i6th and 17th centuries. 
 
 Civetteria, con (It., kohn che-vet-teh-re'ah). With 
 coquetry ; in a coquettish, trifling stj'le. 
 
 Clang. (Ger. Klang). A fundamental tone with 
 its harmonics [Tyndall]...C/««^-C£'/t7r, Clang- 
 ti)it, "tone-color," timbre. 
 
 Clarabella. An organ-stop having open wooden 
 pipes of 8-foot pitch and soft, mellow tone.
 
 Claribel-flute— Coloratura 
 
 35 
 
 Claribel-flute. A 4-foot Clarabella. 
 
 Clarinet'. A transposing wind-instrument derived 
 from the Chaluineau. It has a cylimJrical wooden 
 tube pierced by 18 holes, 13 being closed by keys, 
 yieldmg a chromatic series of ig prime tones (<? to 
 i^p). Its compass comprises 3 octaves in 4 differ- 
 ent registers ; the Low register (" chalumeau '■'), 
 Medi'um register. High register (" clarinetto"), 
 and Super-acute register. 
 
 Clarinet-stop. See Krummhorn. 
 
 Clarinetto (It., klSh-re-net'toh). Clarinet. 
 
 Clarion, i. A small, shrill-toned trumpet. — 2. In 
 the organ, a 4-foot reed-stop of shrill, piercing 
 ^^"^- [8-foot reed-stop. 
 
 Clarionet', i. A Clarinet.— 2. In tlie organ, a soft 
 
 Clarionet-flute. A flue-stop with perforated cover. 
 
 Clavecin (Fr., kiah-v'-san'). I \ harp- 
 
 Clavicembalo (It., kiah-ve-chem'bSh-16h). > 
 sichord. 
 
 Clav'ichord. A precursor of the pianoforte, differ- 
 ing in action from the latter in having, instead of 
 hammers, upright metal wedges called tangents 
 on the rear end of the keys ; on pressing a 
 key, the tangent struck the wire, and remained 
 pressed against it till the finger was lifted, caus- 
 ing only one section of the string to vibrate. 
 
 Clavier (kla-ver'). A keyboard. (See Klavier.) 
 
 Clavier (Fr., klSh-v'ya'). A keyboard ; a manual. 
 ...Clavier de recite swell manual. 
 
 Clef. A character set at the head of the staff to fix 
 the pitch or position of one note, and thus of the 
 rest. (See " Elements of Notation," p. iv.) 
 
 Close (kloz). A cadence ending a section, move- 
 ment, or piece. 
 
 Close harmony or position. See Harmoxy. 
 
 Coda (It., koh'dih). A "tail;" hence, a passage 
 ending a movement. 
 
 Codetta (It., koh-det'tSh). A short coda. 
 
 Cogli (kohl've). Col, Coll', CoUa, Colle, Collo (It.). 
 With the. 
 
 Color. Timbre. 
 
 Coloratura (It., k6h-16h-rah-too'r4h). Vocal runs, 
 passages, trills, etc.. enhancing the brilliancy ot 
 a composition and displaying the singer's skill. 
 (Also used for instrumental ornaments.)
 
 36 Coloris — Complete stop 
 
 Coloris (Fr., koh-loh-re'). The changes in vocal or 
 instrumental "tone-color," or in the instrumen- 
 tation or registration, employed for obtaining 
 special effects; the "color-scheme" of a compo- 
 sition. 
 
 Colpo (It., kohl'poh). A blow ; di colpOy suddenly. 
 
 Combination-pedal. A metal foot-lever above the 
 organ-pedals ; the forte pedal draws all the stops 
 of its keyboard ; the mezzo pedal, the chief 8- and 
 4-foot stops of its keyboard ; the piano pedal 
 pushes in all but a few'of the softest stops. 
 
 Come (It., ko'meh). As, like. 
 
 Come prima (It., ko'meh pre'mah). As before, as 
 at tirst (that is, "resume the previous tempo "). 
 
 Come retro (It., ko'meh ra'troh). As before. 
 
 Come sopra (It., ko'meh soh'prah). As above. 
 
 Come sta (It., ko'meh stah). As it stands, as 
 written. 
 
 Commodo (It.). See COMODO. 
 
 Common chord. A major or minor triad. . .C^w- 
 ynon hallelujah metre, or Common lo77g fnetre, see 
 Metre. ..C^wwf;/ measure, common time... 
 Comfnon metre. Double common metre. Common 
 particular 7netre, see ^I'E.TKF,.. .Comtnon time, a 
 measure containing 2 (or 4) half-notes, or 4 quar- 
 ter-notes, with 2 or 4 beats respectively; duple or 
 quadruple time. (Ordinarily, common time is 
 understood to mean 4 quarter-notes, and as 
 many beats, to the measure.) [ComODO. 
 
 Comodamente (It., koh-moh-dah-men'teh). See 
 
 Comodetto (It., koh-moh-det'toh). Rather easy or 
 leisurely. 
 
 Comodo (It., ko'moh-doh). Easy, leisurely, at a 
 convenient pace. 
 
 Compass. The range of a voice or instrument ; the 
 scale of all the tones it can produce, from the 
 lowest to the highest. 
 
 Compiacevole (It., kohm-p'yah-cha'voh-leh). | 
 
 Compiacevolmente (-cha-vohl-men'teh). ' 
 
 Pleasing(ly), charming(ly). 
 
 Complement, Complementary interval. An inter- 
 val which, added to any given interval not wider 
 than an octave, completes the octave ; a Fourth 
 is the complement of a Fifth, a minor Third of a 
 major Sixth, etc. 
 
 Complete stop. See Stop.
 
 Complin(e)— Concertsttick 37 
 
 Com'plin(e). A short evening service, completing 
 the 7 Canonical Hours. fPOSED. 
 
 Composed-through. See PROGRESSIVELY COM- 
 
 Composition pedal. In the organ, a pedal which 
 draws out or pushes in several stops at (jnce. 
 
 Compound interval. vSee l^T^yiVM.. . .Co>?ipound 
 measure, rhythm, time, see TniK. . .Compound 
 stop, an organ-stop having more than one rank 
 of pipes. 
 
 Compressed score. A short score. 
 
 Con (It., kohn). With ; in a style expressive of. 
 
 (For definitions of phrases beginning with "con," 
 see the second word in the given phrase.) 
 
 Concave pedals. Radiating pedals. 
 
 Concentrando (It., k6hn-chen-trahn'd6h). " Con- 
 centrating ;" an expression-mark in vocal music 
 calling for an intensified effect of tone. 
 
 Con'cert. A musical performance requiring the 
 cooperation of several musicians.— (Ger.). See 
 
 KO.XZERT. 
 
 Concertante (It., kShn-char-tShn'teh). i. A con- 
 cert-piece.— 2. A composition for 2 or more solo 
 voices or instruments with accompaniment by 
 orchestra or organ, in which each solo part is in 
 turn brought into prominence.— 3. A composition 
 for 2 or more unaccompanied solo instruments... 
 Concertante parts, parts for solo instruments in 
 orchestral vavL?>\f:... .Concertante style, a style of 
 composition admitting of a brilliant display of 
 skill on the soloist's part. 
 
 Concerted music. Music written in parts for 
 several instruments or voices, like trios, quar- 
 tets, etc. 
 
 Concert-grand. See PIANOFORTE. 
 
 Concerti'na. The improved accordion invented by 
 Wiieatstone in 1829. 
 
 Concert-master. Leader; first violin. 
 
 Concertmeister. See KoNZERT.MEISTER. 
 
 Concerto (It., k6hn-char'r(5h). An extended com- 
 position for a solo instrument, usually with or- 
 chestral accompaniment, and in (modified) 
 sonata-form. 
 
 Concert-overture. See OVERTURE. 
 
 Concert-pitch. See PITCH. [piece ; concerto. 
 
 Concertstuck (Ger., kohn-ts^rt'sht/Vk). Concert-
 
 38 Concitato — Contrabbasso 
 
 Concitato (It., kohn-che-tah'toh). Moved, excited, 
 agitated. 
 
 Concord. Euphony; harmony; consonance. 
 
 Con'duct. The " leading" of a part. 
 
 Conductor. Director of an orchestra or chorus. 
 
 Cone-gamba. Bell-gamba. 
 
 Con'ical mouthpiece. See CUPPED. . . Conical tube, 
 one tapering very gradually; a cylindrical tube 
 does not taper. 
 
 Conjunct' degree. The nearest degree in the scale 
 (chromatic or diatonic) to the given degree... 
 Conjunct ynotion, progression by conjunct de- 
 grees or intervals. 
 
 Consecutive intervals. Intervals of the same kind 
 following each other in immediate succession ; 
 " consecutives" are progressions of parallel 
 fifths or octaves, forbidden in strict harmony. 
 
 Con'sequent. In a canon, the Follower ; the part 
 imitating the antecedent or Leader. 
 
 Conservatoire (Fr.. kohn-sar-vah-twar'). \ 
 
 Conservato'rium (Latin). >• A public 
 
 Conservatory. ' 
 
 institution for providing practical and theoretical 
 instruction in music. [soothing. 
 
 Consolante (It., kohn-soh-lahn'teh). Consoling, 
 
 Con'sonance. A combination of two or more tones, 
 harmonious and pleasing in itself, and requiring 
 no further progression to make it satisfactory.. . 
 hnperfect cotisonances, the major and minor 
 Thirds and Sixths. ..Perfect consonances., the Oc- 
 tave, Fifth, and Fourth. 
 
 Consonant chord, one containing no dissonant 
 ir^^itrx^X. . .Conso7iant interval, a consonance of 
 two tones. 
 
 Contano (It., kohn'tah-noh). "They count;" in 
 a score, parts so marked are to pause. 
 
 Continued bass. Bass notes provided with figures 
 indicating the chords to be performed above the 
 bass notes. [continued bass. 
 
 Continue, Basso continue (It., k6hn-te'n66-6h). A 
 
 Contra (Lat. ; It.). "Against;" prefixed to names 
 of instruments, it means " an octave below." 
 
 Contrabass. A double-bass. [bass. 
 
 Contrabbasso (It., kohn-trahb-bahs'soh). Double-
 
 Contraffagotto— Cornet 39 
 
 Contraffagotto (It., k6hn-trahf-fah-g6ht't6h). i. 
 Double-bassoon.— 2. A reed-stop in the organ. 
 
 Contraltino (It., kohn trahl-te'ndh). A high, light 
 tenor voice of fluent delivery. 
 
 Contralto (It., k6hn-trShKt6h). See ALTO i. 
 
 Centra-octave. The octave below the Great Oc- 
 tave. 
 
 Contrapun'tal. Pertaining to the art or practice 
 ot" counterpoint. 
 
 Contrapun'tist. One versed in the theory and 
 practice of counterpoint. 
 
 Contrary motion. Parts progress in contrary mo- 
 tion when one moves up while the other moves 
 down. 
 
 Centre (Fr., kohn'tr). "Acrainst;" contra-, coun. 
 tev- . . .Contredanse, the Quadrille. 
 
 Coperte (It., k6h-par't6h). Covered, muffled. 
 
 Cor (Fr.. kor), A horn. . . Cor anglaia (ahn-gla'), the 
 alt-oboe. 
 
 Coranto (It., kSh-rShn'tSh), 1. Courante.— 2. Coun- 
 try-dance. 
 
 Corda (It., kor'dAh). A string. [Plural corde (kor'- 
 ^h\\.)\. . .Sopra una corda. plav "on one string." 
 . . . Una corda, or U. C, take soft pedal of piano. . . 
 Due corde, release soft pedal ; or (when the soft 
 pedal shifts the keyboard). " play with soft pedal 
 pressed halfway down "...In violin-playing, due 
 corde means "play the note on two strings.". . . 
 Tutte (/e) corde, "all the strings" ; that is, "re- 
 lease the soft pedal." 
 
 Cor'net. A brass instrument of the trumpet family 
 {corjtet a pislons), with conical tube and cupped 
 mouthpiece ; improved from the old post-horn 
 by the addition of 3 valves; medium compass 
 2 octaves and 3 tones; it is a transposing instru- 
 ment, and noted in the 6^-clef : 
 
 actual 
 pitch: 
 
 ma noteu m me c^^-ciet : _4_ 
 
 this being for the ordinary cornet in /?l?.— The 
 old cornet was a wooden instrument with finger- 
 holes.— On the organ, there are various cornet- 
 stops : '</) Reed-stops of 2, 4, 8, and 16-foot pitch ; 
 (*) the German Kornetf, of 2 or 4-foot pitch, on 
 Ihe pedal; (r) a compound stop having from 3 to
 
 40 Cornet a pistons— Counterpoint 
 
 5 ranks ; {d) the Echo-cornet, a soft-toned cornet- 
 stop enclosed in a wooden box ; {e) the Mounted 
 corner, mounted on a separate soundboard to 
 render its tone louder. 
 
 Cornet a pistons (Fr., kor-na' ah pes-tohn'). The 
 ordinary valve-cornet. 
 
 Corno (It., kor'noh). A horn (plural corni). 
 
 Cornon (Fr., kor-nohn')- i. A cornet-stop.— 2. A 
 brass wmd-instrument of broad scale, invented 
 in 1844. 
 
 Cornopean (kor-no'pe-an). i. Cornet a pistons.— 
 2. An organ-stop on the swell-tnanual. 
 
 Corrente (It., kohr-ren'teh). Courante. 
 
 Corto, -a (It., kohr'toh, -tah). Short... Z-a cadenza 
 sia corta^ let the cadenza be short. 
 
 Cotillion (Fr. cotillon [koh-te-yohn']). A French 
 dance, the same as the german, to quadrille- 
 music, [(reed-organ). 
 
 Cottage organ. The ordinary portable parlor organ 
 
 Cottage piano, i. A small style of upright piano. 
 — 2. A small grand piano m upright form, in- 
 vented by Wilhelm Kress, of Vienna, in 1891. 
 
 Coule (Fr., koo-la'). Legato, slurred; also, a harpsi- 
 chord-grace. 
 
 Count. An accent, beat, or pulse of a measure... 
 Counting, the marking of the successive beat.*; 
 by counting. 
 
 Counter. Any vocal part set to contrast with the 
 principal part or melody; specifically, the counter^ 
 tenor Qcvx^Yv tenor, or sXto)... Bass counter, a sec- 
 ond \iaL's,^ -^^.tX.. ..Counter-exposition, reentrance 
 of a ivi^uG-^vCoiQcX.. ..Counter-subject, a fugal 
 theme following the subject in the same part... 
 Counter-tenor, a voice usually developed from 
 the head-tones and falsetto of a bass-voice ; com- 
 pass from ^ to c"^ .. .Counter-tenor clef, the C-clef 
 on the 2d line (obsolete). 
 
 Counterpoint, i. The art of polyphonic composi- 
 tion. — 2. The art of adding one or more parts 
 (melodies) to a given part (melody), the cantus 
 Jirmus, according to certain rules ; hence, one 
 of, or all, the parts so added. ..Double counter- 
 point is so written, that the parts can be inverted; 
 single counterpoint is not intended for inversion; 
 in triple and quadruple counterpoint, 3 and 4 
 parts are written so that they can be mutually 
 inverted.
 
 Country-dance — Crook 4X 
 
 Country-dance. A dance in 2-4 or 3-4 time, in 
 which the partners form two opposing lines, 
 which advance and retreat, the couples also 
 dancing down the lines and returning to their 
 places. 
 
 Coupler. A mechanical organ-stop acting to con« 
 nect two manuals, or pedal with manual, so that 
 when one is played on, the other is combined 
 with it. A Coupler-pedal is a coupler worked by 
 the foot. 
 
 Couplet. I. Two successive lines forming a pair, 
 usually rhymed. — 2. In triple times, 2 equal notes 
 occupying'the time of 3 such notes in the regular 
 
 rhythm, thus 
 
 Courante (Fr., koo-rahn't). A Courant, or old 
 French dance in 3-2 time ; hence, the instrumen- 
 tal piece so called. 
 
 Covered. See OCX. K\^. ..Covered strings, strings 
 
 of silk, wire, or gut, covered with spiral turns 
 
 of tine silver or copper wire. 
 Cracovienne (Fr., krih-koh-v'yen'). A Polish 
 
 dance for a large company, the music in duple 
 
 time with frequent syncopations ; 
 
 rhythm : - S m m »~\-» — • — • — • 
 
 Cremo'na. A violin made at Cremona, Italy. — 2. A 
 Krummhorn. 
 
 Crescendo (It., krgh-shen'doh). Swelling, increa* 
 ing in loudness. 
 
 Crescendo-pedal. A pedal-mechanism drawing all 
 stops successively up to "full organ.".. .Also, 
 the swell-pedal. 
 
 Crescent ; also Chinese crescent, or Pavilion. An 
 
 instrument of Turkish origin, used in military 
 music ; it has crescent-shaped brass plates hung 
 around a staff and surmounted by a cap or pavil- 
 ion ; around the plates little bells are hung, 
 which are jingled in time with the music. rpg 
 Crescente (It., kr6h-shen't6h). Same as Crescen- 
 Cromorne (Fr.. kr6h-morn0. See KRUMMHORN. 
 Crook. A short tube, bent or straight, which can 
 be fitted to the main tube of a horn or trumpet 
 to lower the pitch.
 
 42 Cross-flute— D 
 
 Cross-flute. One held across the mouth, and 
 blown from the side. 
 
 Cross relation. Same as FALSE RELATION. 
 
 Crotchet. A quarter-note. . .Cr£»/c/r^/-r^j-/, a quar- 
 ter-rest. 
 
 Crowd ; also Croud, Crouth, Crwth. An ancient 
 Welsh or Irish bow-instrument, probably the 
 oldest European instrument of its class. Its 
 square body was terminated by 2 parallel arms 
 joined at the end by a cross-bar, the centre of 
 which supported the fingerboard ; it had origi- 
 nally 3, in modern times 6, strings. 
 
 Crush-note. An AcCL\CCATURA 2. 
 
 Cue. A phrase, from a vocal or instrumental part, 
 occurring near the end of a long pause in another 
 part, and inserted in small notes in t/ie Ja^ter to 
 serve as a guide in timing its reentrance. 
 
 Cupo, -a (It., koo'poh, -pah). Dark, deep, obscure; 
 
 reserved.. .C^« voce cz^/a, with a veiled, intense 
 
 tone. 
 Cupped mouthpiece. The shallower, cup-shaped 
 
 form of mouthpiece for brass wind-instruments ,- 
 
 the conical (cone-shaped) mouthpiece is the 
 
 deeper form. 
 Cyclical forms of composition embrace a cycle or 
 
 set of movements ; like the old Suite or Partita, 
 
 or the Sonata, Symphony, and Concerto. 
 Cymbal, In the organ, a mixture-stop of very 
 
 high pitch. 
 
 Cymbals. The orchestral cymbals are 2 concave 
 plates of brass or bronze, with broad, flat rims, 
 and holes for the straps by which they are held ; 
 used to mark strong accents, or to produce 
 peculiar effects. 
 
 Czardas (Hungarian, char'dahsh). A national Hun- 
 garian dance, distinguished by its passionate 
 character and changing tempo. 
 
 D (Ger. D; Fr. re; It. re). The 2d tone and degree in 
 the typical diatonic scale of C major.— In musical 
 theory, capital D desig;nates the Z>-major triad, 
 small d the </-minor triad.— Also see Pitch, ab- 
 solute.— Z?. also stands for Da (D. Q. — Da capo), 
 and Dal{D. ^.- Dal segno).
 
 Da— Declamando 
 
 Da (It., dah). Bv, from, for, of. . Da capo, from the 
 heginnin^. . .Dii capo a/ yifte, repeat from begin- 
 ning to end (that is, to the word Fine, or to a 
 hold ^...Da capo al segtio, from the beginning 
 to the sign (:tj:)...D. C. al se,>:>io, pot isej^ue) la 
 coda, from the beginning to the sign, then play 
 the coda. ..D. C. dal segno,, repeat from the sign. 
 D. C. senza replica (or senza ripetizione), play- 
 through from the beginning without noticing the 
 repeats. ..Da esetruirsi, to be executed. 
 
 Dac'tyl(e> (Lat. dactyliis, a finger). A metrica- 
 foot with syllables arranged like the finger- 
 joints, one long and two short ; the accent on the 
 first (_t. -^ w). 
 
 Dactyl'ion. An apparatus for finger-gymnastics; 
 invented by Henri Herz in 1835. 
 
 Dagli (dahl'ye), dai (dah'e), dal, dall', dalla, dalle, 
 dallo (It.). To the, by the, for the, from the, etc. 
 
 Dal segno (It., dahl .san'yoh). From the sign. . .Dal 
 segno al Ji>ie, from the sign to the end. 
 
 Damenisation. Graun's system of sol-faing with 
 the syllables da, me, ni, po, tu, la, be. 
 
 Damper, i. A mechanical device for checkingthe 
 vibration of the piano-string.. .Z)j:;«/>^r-/£?^d/,^ 
 the right, or loud, pedal.— 2. The mute of a brass 
 instrument. 
 
 Dash. A staccato-mark (J or j^Y 
 
 Dead-march. A funeral march. 
 
 Debile (It., da'be-leh). ' peeble, weak. 
 Debole(It.,da'b6h-leh). » 
 Dibut (Fr., da-bu'). A fir.st appearance. 
 Debutant (Fr., da-bii-tan'; masculine). \ ^ _ 
 Debutante (Fr., da-bu-tahn't';/<?w/;«'«^). ' 
 former or singer who appears for the first time. 
 
 De'cima (Lat.). i. The interval of a tenth.— 2. An 
 organ-stop pitched a tenth higher than the 8-foot 
 stops. ^ 
 
 Decimole (des'l-mol). See Decuplet. [decision. 
 
 Decisione, con (It., k5hn da-che-ze-oh'n6h). With 
 
 Deciso (It., da-che'z6h.) Decided, energetic, with 
 decision. 
 
 Declamando (It.. da-klSh-mShn'dSh). "Declaim- 
 ing"; in declamatory style.
 
 Declamation — Descant 
 
 Declamation, In vocal music, clear and correct 
 vnunciation of the words. 
 
 Declamato (It., da-klah-mah'toh). "Declaimed"; 
 in declamatory style. [in loudness. 
 
 Decrescendo (It., da-cr§h-shen'd6h). Decreasing 
 
 Dec'uplet. A group of lo equal notes executed in 
 the time proper to 8 notes of like value, or 104 
 notes of the next highest value, in the regular 
 rhythm ; marked by a slur and a figure 10. 
 
 Defective. Same as DIMINISHED. 
 
 Deferred resolution. See RESOLUTION. 
 
 Deficiendo (It., da-fe-ts'yen'doh). Dying away. 
 
 Degli (It., dal'ye). Of the ; than the. 
 
 Degree, i. One of the 8 consecutive tones in a 
 
 major or minor diatonic scale. Degrees ar? 
 
 counted upward from the keynote.— 2. A line or 
 
 space on the staff.— 3. A step'. 
 Dei (It., da'e). Of the ; than the. j-^he 
 
 Del, deir, della, delle, dello (It.). Of the ; th-n 
 Delayed resolution. See RESOLUTION. 
 Deliberamente (It., deh-le-beh-rah-men'teh). 1 j-j 
 Deliberato (It., deh-le-beh-rah'toh). ^ 
 
 liberately. [icately. 
 
 Delicatamente (It., dSh-le-kah-tah-men'teh). Del- 
 Delicatezza, con (It., kohn deh-le-kah-tet'sah). 
 
 With delicac}'. 
 Delicato (It., deh-le-kah'toh). Delicately ; in a 
 
 delicate, refined st\'le. 
 Delirante (It., deh-lVrahn'teh). ^^^j^^ . ^^^.^._ 
 Delirio, con (kohn deh-le're-oh. ' 
 
 ously, frenziedly. 
 Demiquaver. A ifAYi-note . . .Demt'semzguaver^ a 
 
 32d-note. 
 
 Dependent chord, harmony, triad. One which is 
 dissonant, requiring resolution to a consonant 
 one. [chromatic lowering of a tone. 
 
 Depress. To lower (as by a t> or t>W- . .Depression^ 
 Deriv'ative. i. Same as derivative chord, that is 
 the inversion of a fundamental chord.— 2. The 
 root of a chord. 
 
 Des (Ger., dess). Db 
 Des'cant. Same as DiSCANT.
 
 Deses— Di colta 43 
 
 Deses (Ger., dess'ess). D double-flat. 
 
 Desiderio, con (It., k5hn deh-se-da're-6h). With 
 desire ; longingly, yearningly. 
 
 Desto vlt., deh'stoh). Sprightly. 
 
 Destra (It., deh'strSh). '^\'g\\t...Mano destra {de- 
 stru manOy colla destra), •' play with the right 
 hand." (Abbreviated m. d.) 
 
 Detache (Fr., da-tah-sha'). In violin-playing, "de- 
 tached," that is, playing successive notes with 
 down-bow and up-bow in alternation, but not 
 staccato. . . Grand detache, a whole stroke of the 
 bow to each note. [mined, resolute. 
 
 Determinato (It., deh-tar-ine-nah'toh). Deter- 
 
 Deux (Fr., do). Two. ..A deux tnains, for 2 hands. 
 .. .Deux temps, or Valse a deux temps, a. "two- 
 step " waltz. 
 
 Development. The working-out or evolution 
 (elaboration) of a theme by presenting it in varied 
 melodic, harmonic, or rhythmic treatment. 
 
 Devoto (It., deh-vo'toh). i In a 
 
 Devozione, con (kohn deh-v6h-tse-oh'neh). ' 
 devotional style ; devoutly. 
 
 D-flute. The orchestral or German flute. 
 
 Di (It., de). Of, from, to, by ; than 
 
 Diapa'son. i. An octave.— 2. Either of the 2 prin- 
 cipal foundation-stops of the organ, both of 8- 
 foot pitch ; (a) the open diapason., with metal pipe3 
 open at the top, and {b) the stopped diapason^ 
 with wooden pipes closed at the top with wooden 
 plugs. Pedal diapasons are usually 16-foot stops. 
 —3. Compass of a voice or instrument (in poetical 
 usage).— 4. A fixed pitch; the "normal diapa- 
 son " is an accepted standard of pitch. 
 
 Diapason-tone. Same as ORGAN-TONE. 
 
 Diaton'ic. By, through, with, within, or embrac- 
 ing the tones of the standard major or minor 
 &ca.\e... Diatonic /larmony or melody, that em- 
 ploying the tones of but one scale. . '.Diatonic in- 
 strument, one yielding only the tones of that 
 scale of which its fundamental tone is the V.ay- 
 noie... Diatonic interval, one formed by 2 tones 
 of the same scale. .Diatonic modulation, see 
 MODULATIO.V . . . Diatonic progression, stepwise 
 progression within one scale.. .Diatonic scale, see 
 SCALK. 
 
 Di colta (It., de kol'tSh). Suddenly, at once.
 
 46 Difficile — Discrezione 
 
 Difficile (It., def-fe'che-leh). * difficult 
 
 Difficile (Fr., de-fe-sel'). ' 
 
 Di gala (It., de gah'lah). Gaily, merrily. 
 
 Digital (di'ji-tal). A key on the keyboard of the 
 piano, organ, etc. 
 
 Dignita, con (It., kohn den-ye-tah'). With dignity. 
 
 Dilettante (It., de-let-tahn'teh). An amateur. 
 
 Diligenza, con (kohn de-le-jen'dzah). "With dil- 
 igence "; carefully. 
 
 Diluendo (It., de-loo-en'doh). Growing ^ofter, dy- 
 ing away. 
 
 Diminished interval, a perfect or minor interval 
 contracted by a chromatic semitone. . .ZJz'wzw- 
 islied chord, one whose highest and lowest tones 
 form a diminished interval. . . Dimi7iisJied subject 
 or thetne,ox\fi repeated or imitated in diminution. 
 ...Diminished triad, a root with minor Third 
 and diminished Fifth. 
 
 Diminuendo (It., de-me-noo-en'doh). Diminish- 
 ing in londness . . Dimitiuendo pedal, a pedal- 
 mechanism for gradually pushing in the stops 
 (organ). 
 
 Diminution. The repetition or imitation of a 
 theme m notes of smaller time- value (J^, >^, or H 
 that of the original). 
 
 Di molto (It., de mohl'toh). Very, extremely; alle^ 
 
 gro di molto, extremely fast. 
 Di nuovo (It., de no'voh). Anew ; over again. 
 Direct. The sign a^ or 1/ set at the end of a stafiE 
 
 to show the position of the first note on the 
 
 next staff 
 Direct motion, resolution, turn. See the nouns. 
 Diritto. -a (It., de-rit'toh, -tah). Direct, straight... 
 
 Alia diritta, in direct motion. 
 Dis (Ger., diss), Dii. 
 Dis'cant. i. The first attempts at polyphony with 
 
 contrary motion in the parts (12th century); 
 
 opposed to the or'ganum, in which parallel motion 
 
 was the rule. — 2. Treble or soprano voice ; the 
 
 highest part in part-music. 
 Discord, i. Cacophony. — 2. Dissonance. 
 Discretezza, con (It., kohn de-skreh-tet'sah). ( 
 Discrezione, con (It., kohn de-skreh-tse-oh'neh). ' 
 
 "With discretion "; discreetly, cautiously.
 
 Discrete— Divisi 47 
 
 Oiscreto (It., de-skra't6h). Discreet; compara- 
 tively subdued. [Disis). 
 Disdis (Ger., diss'diss). D double-sharp (usually 
 Disinvolto (It., de-zin-v6hl't6hj Free, easy, 
 graceful. 
 
 Disinvoltura, con (It., k6hn de-zin-v6hl-too'rah). 
 With ease, grace ; flowingly. 
 
 Disis (Ger.. diss'iss). D double-sharp. 
 
 Disjunct' motion. Progression by leaps. [less. 
 
 Disperato (It., de-.speh-rah'toh). Desperate, hope- 
 
 Disperazione, con (It., kohn de-spSh-rSh-tse-oh'- 
 neh). In a style expressive of desperation or 
 despair. 
 
 Dispersed harmony. See HarmON'V. 
 
 Dis'sonance. A combination of 2 or more tones re- 
 quiring resolution. 
 
 Dissonant interval. Two tones forming a disso- 
 nance. The dissonant intervals are the Seconds. 
 Sevenths, and all diminished and augmented 
 mx.*iv\-a.\s. . .Disso?iant chord, one containing one 
 or more dissonant intervals. 
 
 Distance. Interval. fSeldom used.] 
 
 Distanza (It, de-stahn'tsah). Interval; distance. 
 . . .Jn distanza, at a distance, marking music to 
 be performed as if far away. 
 
 Distintamente (It., de-stin-tih-men'teh. Distinctly. 
 
 Distinto (It., de-stin't6h). Distinct, clear. 
 
 Dital (dit'al). A key which, on pressure by the 
 finger or thumb, raises the pitch of a guitar- 
 string or lute-string by a .semitone. . . Dital harp, 
 a guitar-shaped lute with 12 to 18 strings, each 
 having a dital to raise its pitch a semitone ; in- 
 vented by Light in 1798. 
 
 Divertimento (It., de-var-te-men't6h). \ . lip-ht 
 
 Divertissement (Fr., de-var-tes-mShn'). ' 
 and easy piece of instrumental music. Also, an 
 instrumental composition in 6 or 7 movements, 
 like a Serenade. Also, an entr'acte in an opera, 
 in the form of a short ballet, etc. 
 
 Divide. To play Divisions. 
 
 Divisi (It., de-ve'ze). " Divided." Signifies that 2 
 parts written on one staff are not t«> be played as 
 double-stops, but by the division into 2 bodies of 
 the instruments playing from that staflf. Divise 
 (de-ve'zeh; is the feminine form.
 
 48 Division— Dominant 
 
 Division. A "dividing-up " of a melodic series of 
 tones into a rapid coloratura passage ; if for 
 voice, the passage was to be sung in one breath. 
 (Obsolete.)— To run a division^ to execute such a 
 passage. . .Division-viol^ the Viola da gamba. 
 
 Division-mark. The slur or bracket written for 
 triplets, quadruplets, etc., with a figure j, 4, etc. 
 
 Divoto, Divotamente. See Devoto, etc. 
 
 Do. The Italian name for (7.— In solmisation, the 
 usual syllable-name for the ist degree of the 
 scale, in the fixed-Do method of teaching. Do is 
 the name for all notes bearing the letter-name C, 
 whether keynotes or not ; in the tnovable-Do 
 method. Do "is always the keynote. 
 
 Dodec'uplet. A group of 12 equal notes, to be per- 
 formed in the time of 8 notes of the same kind iq 
 the regular rhythm. 
 
 Doh stands for Do in Tonic Sol-fa. 
 
 Dolce (It., dohl'cheh). i. Sweet, soft, suave. — 2, 
 A sweet-toned organ-stop. 
 
 Dolcemente (It., dohl-cha-men'teh). / Sweetly^ 
 
 Dolcezza, con (It., kohn dohl-chet'sah). i softly. 
 
 Dolcian (Ger., dohl-tsiahn')- ) 
 
 Dolciana (It., dohl-chah'nah). r An early kind of 
 
 Dolciano (It., dohl-chah'noh). ' 
 bassoon ; now, an 8- or 16-foot reed-stop in tha 
 organ ; a Fagotto. 
 
 Dolciato (It., dohl-chah'toh). Softer, calmer. 
 
 Dclcissimo (It., dohl-chis'se-moh). Very sweetly, 
 softly ; also, a very soft-toned 8-foot fiute-stop 
 in the organ. 
 
 Dolendo (It., doh-lenMoh). 1 Doleful, plaintive,sad. 
 
 Dolente (It., doh-len'teh). ' 
 
 Dolentemente (It, doh-len -teh-men'teh). Dole- 
 fully, plaintively. 
 
 Dolore, con (It., kohn doh-loh'reh). 1 
 
 Dolorosamente (doh-loh-roh-sah-men'teh). >• In a 
 
 Doloroso (doh-loh-roh'soh). ' 
 
 style expressive of pain or grief ; pathetically. 
 
 Dolzflote (Ger., dohlts'flo'te). An 8-foot open 
 flute-stop (organ). 
 
 Dom'inant. The fifth tone in the major or minor 
 &ca.\Q. ..Dofn. chord, ia) the dominant triad; {b) 
 the dom. chord of the ■jth...Dom. section of a
 
 Dopo — Double quartet 49 
 
 movement, a section written in the key of the 
 dominant, lying between and contrasting with 
 two others in the key of the tonic. ..Dom. triads 
 that having the dominant as root. 
 
 Dopo (It., doh'poh). After. 
 
 Doppel (Ger., ddhp'pSl). Double. 
 
 Dop'pelgriflf' (Ger.). Double-stop (violin) ; Doppel- 
 griffe^ Thirds, Sixths, etc., played with one hand 
 (piano). 
 
 Doppio (It., d6'p!-6h). V>o\x\>\g. ..Doppio tnovt'men- 
 to, twice as last. . .Doppio note or doppio valore, 
 twice as slow (that is, the absolute time-value of 
 the notes is do\xh\Q6.)... Doppio pedale, pedal-part 
 in octaves. 
 
 Dot. A dot set after a note prolongs its time- 
 value by half (^' . — ^' J); a second or third 
 dot prolongs the time-value of the dot imme- 
 diately preceding it by half (J.. = J J^ ^^V 
 
 Double. I. A variation.— 2. Repetition of words in 
 a song.— 3. In organ-playing, a 16-foot stop (ac- 
 companying the 8-foot stops in the lower octave). 
 —4. A substitute singer.— 5. In change-ringing, 
 changes on 5 \>Q\\^.—(i {adjective). "Producing a 
 tone an octave lower " ; as double-bassoon, 
 double-bourdon, etc.— 7 {verb). To add the higher 
 or lower octave (to any tone or tones of a melody 
 or harmony). 
 
 Double-bar. The 2 vertical lines drawn through 
 the staff at the end of a section, movement, or 
 piece. 
 
 Double-bass. The largest and deepest-toned in- 
 strument of the violin familv, with either 3 strings- 
 {G^-D-A being the Italian,' .-/j-Z^-e^ the English 
 tuning), or 4 strings {E^-A^-D-G). See Violin. 
 
 Double chorus. One for 2 choirs, or divided choir ; 
 usually in 8 parts. 
 
 Double counterpoint. See COUNTERPOINT. 
 
 Double-flat. The sign I?!?. 
 
 Double fugue. One with 2 themes. 
 
 Double-octave. A 15th, or the interval of 2 octaves. 
 
 Double quartet. A quartet for 2 sets of 4 solo- 
 voices, or of 4 solo instruments.
 
 50 Double reed — Drum 
 
 Double reed. A free reed. 
 
 Double-sharp. The sign X. 
 
 Double-stop. In violin-playing, to stop 2 strings 
 together, thus obtaining 2-part harmony. 
 
 Double-tongue. In playing the flute, and certain 
 brass instruments, the application of the tongue 
 in rapid alternation to the upper front teeth and 
 the palate, to obtain a clear-cut and brilliant 
 staccato. 
 
 Doublette (Fr., doo-blet')- A 2-foot organ-stop, 
 octave of the Principal. 
 
 Douce (Fr., doos). I g^^^^ ^^^^^^ ^^^^^^ 
 
 Doux (Fr., doo). ' 
 
 Doucement (Fr., doos-mahn')- Softly, sweetly, 
 suavely. 
 
 Down'-beat. i. The downward stroke of the hand 
 in beating time, which marks the primary or 
 first accent in each measure. — 2. Hence, the ac- 
 cent itself (strong beat, thesis). 
 
 Down'-bow. In violin-playing, the downward 
 stroke of the bow from nut'to point ; on the 'cello 
 and double-bass, the stroke from nut to point. 
 Usual sign fH • 
 
 Dramatic music, i. Program-music— 2. Music ac- 
 companying and illustrating an actual drama on 
 the stage. 
 
 Drammaticamente(drahm-mah-te-kah-men'teh). I 
 
 Drammatico (It., di ahm-mah'te-koh). ' 
 
 Dramatically ; in a vivid, dramatic style. 
 
 Drangend (Ger., dreng'ent). Pressing, hastening ; 
 strhigendo. 
 
 Draw-stop. Any organ-stop drawn by hand. 
 
 Drei (Ger., dri). Three. 
 
 Drohnend (Ger., dro'nent). Thundering; tonando. 
 
 Droit (Fr., drwah). U ight ; main drotte, right 
 
 Droite (Fr., drwah't). ) ^ ' 
 hand. 
 
 Drone. In the bagpipe, a continuously sounding 
 pipe of constant pitch; a drone-pipe. . .Drofte-bass, 
 a bass on the tonic, or tonic and dominant, which 
 is persistent throughout a movement or piece, as 
 in the Musette 2. 
 
 Drum. An instrument of percussion, consisting of 
 a cvlindrical, hollow body of wood or metal, over 
 one' or both ends of which a membrane {X.hQhead).
 
 D-string— Duodrama 
 
 is s'lretched tightly by means of a hoop, to which 
 is attached an endless cord tightened by leathern 
 braces, or by rods and screws, /^/ly/ Jimical ^vums 
 (side-drum, snare-drum, bass drum) do not vary 
 in pitch; fiiusicai drums (the Kettledrum) produce 
 musical tones distinct in pitch. 
 
 D-string. The 3d string on the violin ; 2d on the 
 viola, 'cello and double-bass. 
 
 Due (It., doo'eh). Two.. .A due, {a) for 2 ; as a due 
 I'oci, for 2 parts or voices ; {b) both together (after 
 Divisi). . . Due corde, see Corda . ..Due volte, twice. 
 . . .1 due pedali, both (piano-) pedals at once. 
 
 Duet, I. A composition for 2 voices or instruments. 
 — 2. A composition for 2 performers on one instru- 
 ment, as the piano.— 3. A composition for the 
 or}>:an, in 2 parts, each to be played on a separate 
 manual. 
 
 Duetto (It., doo-et'toh). Duet. 
 
 Dulciana, i. An organ-stop having metal pipes of 
 a somewhat sharp, thin tone.— 2. A small reed- 
 stop of delicate tone. — 3. A small bassoon. 
 
 Dulcimer, An ancient stringed instrument, hav- 
 ing wire strings stretched over a soundboard or 
 resonance-box, and struck with mallets or ham- 
 mers. The modern dulcimer has from 2 to 3 
 octaves' compass (see Pani .\LON) ; it was a pre- 
 cursor of the pianoforte. 
 
 Dumb piano. A small keyboard in.strument re- 
 sembling a piano, but without hammers and 
 strings ; intended for silent finger-practice. 
 
 Dumka (Polish. d66m'kah). A sort of vocal or 
 instrumental Romance, of a melancholy cast; a 
 lament or elegy. 
 
 Dummy pipes. Pipes which do not speak, dis- 
 played in the front of an organ. 
 
 Duo (It., doo'6h). A duet. — Z?«^ is sometimes dis- 
 tmguished from Duet by applying the former 
 term to a 2-part composition for 2 voices or instru- 
 ments of different kinds, and the latter to a 2-part 
 composition for 2 voices or instruments of the 
 same kind.— Also, a composition in 2 parts {or one 
 instrument ; for example, a violin-</Kt7, in contra- 
 distinction to a violin-^///*/ for t'vo violms. 
 
 Duodecima (It., doo-6h-d5'che-mah). i. The inter- 
 val of a Twelfth.— 2. The Twelfth (organ-stop). 
 
 Duodrama. A kind of melodrama, or spoken d;a. 
 logue accompanied by music.
 
 C3 D-;:-:-Z.i 
 
 Z-: t : 7 -_.-<-> r->iT/^i!wt^ rfe3rtfiaimi«!€ a Ibeac* 
 
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 Dar^ie) (: Wt^ ^firK Mas irsfti^^ aam^easning: sun ttascue. 
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 verse :Ii.i : . i: r i .r. ; , ;_ r . : .: t - : ^.- :_i r refraim t "" 
 tile --.- ; r ; r:;^7 aem^ . " 
 
 E CGer- ^.- Fir. aimJ It- ik£%. Tlie jd tomie ©r <iegiree 
 
 m tie trptcal dfatomEC scale «£ Ciimia.|<2r. — Msa 
 
 see Fetch, ABSOiLL-TrE. 
 B (Itu a.)- And. — ^WTteda preffiedffiniig' £ -wroiini 
 
 rrTH g- wit& "e."^ it sbfflCTid fee "wnrrtttifiiD (fi#„- 
 
 Qtker vowels, ett&er e or £:£ m&j fee inseidj 
 
 CJDErsonants* onlv ^. 
 EboIIimiiemito (;It^, a-bQM-Ie-nteEDta&^u \ Ea)TmIIIffittMJi- 
 EboIEiziocic (a-lMM-le-tseMafc^efeX. '^^ 
 
 a smidem aimd pasat^miaKe expressiQiii (a£ feeffiang. 
 Ecotaito (It-, ett-cEu£-t2;Ei!*tLa&L)L Exerted. 
 Ecclessasttscali Modes. TlDe«}ctaive-6caJlese3am|!il«i)fe\i 
 
 fa medieval g£t:iixx£iL-n?rm>fffi- 
 Ecco tilL, efc*kQfoi)L EclDfijiL iB®*ttter m ' uil l ULBa i ii .ggzp-l 
 Ec&o. !• A soilixStiDeti ir^peliEttiioiiii sttf s. ste&iioB qt 
 
 pfiaraae- — 2. ^™ ecfiDGs-stroipi. 
 EdMKOirgaDm. A sefraffafte sett «s£ impes.. ectBDer ei- 
 
 (dj<!jse<i mm a Iroix: ■wnrtrMim tLBce ©argam. ®ar pJaiced at i 
 
 distance foDanii! tlDe latlier, IiQ' pnTQ^Tmoe tfEce effiect ct 
 
 Echo-so^. Oc&e pamdHicm^ aum eicisfi!>-l£ke e^Lect. 
 
 EC3i» (Itu Sir*k®ii)iL EcfeQ^ 
 
 E^ If ■iinr (Fr., a-fcofe-saa^i. QTt.gfnaliTy, 
 
 mnsoniBd dance in i— 1 Q'r ^-4. tune ; cm^ipv • 
 
 ( maut i uns i ^ aaae in ^-^"time- k Co nipajre ; " 
 EdCIBUc^ And. (SeeE.)
 
 Edel— Emphase. mit S3 
 
 Edel ^Ger., a'deH. Xoble ; refined, chaste. 
 Effetto (,U., ef-fet'tOht. Effect, impression. 
 Effusione, con ^It., k6hn ef-foo-ze-oh'n§h). With 
 
 effusion; with warmth. 
 Eguaglian^a, con (.It-, kohn a-gu5.hl-ya,hn'tsih). *_ 
 Egualmente ilt., a-guahl-men'tehV * 
 
 Evenly, smoothly; tvn moita eguaglianza, very 
 
 smoothly, evenly. 
 Eguale i^It., a-guah'leh). Equal ; even, smooth. 
 Eighteenth. Interval of 2 octaves and a Fourth. 
 Eighth. I. An octave —2. An eighth-note (see 
 
 Elem. of Notation, p. iii). 
 Eilen iGer.. i'len\ To hasten, accelerate, go faster. 
 Eilend (,Ger., i'lent). Hastening ; stringendo. 
 Eilig (Ger., i'I!yh\ Hasty, hurriedly ; rapid, swift. 
 Ein. Eins (Ger., in. Ins). One. 
 Einfach (Ger., In'fah). Simple ; simply ; semflice. 
 Eingang (Ger.. In'gahng*). Introduction. 
 Els (Ger., a'iss). £"5. 
 
 Eisis I'-ter., a'iss-iss">. £" double-sharp. U'slanct'o. 
 Elan, avec (Ft., Sh-vek' a-lahn'). With dash ; con 
 Elargissez (Fr., a-lar-zhe-se')- Allargate. 
 Elegante (It.. a-la-gahn'teh\ \ 
 
 Elegantemente (,— gahn-ta-men'teh'). ^ In an ele- 
 Eleganza. con (kohn a-la-gShn'tsah). ' 
 
 gan:. graceful, refined stvle. 
 
 El'egy. A vocal or instrumental composition of a 
 
 melancholy cast, having no fixed form. 
 Elevate (It., a-la-vah'toh). Elevated, lofty, sublime. 
 Elevazione, con (It., kohn a-la-vih-tse-oh'neh). In 
 
 a lofty, elevated style. 
 
 Embellishment. See GRACE. 
 Emozione (It., a-m5h-tse-oh'n§h). Emotion. 
 Empfindung, mit (.Ger., mit em-pfin'd6<5ng*). \ 
 EmpfindungsvoU (Ger.. em-pfin'd65ngs-f6hl). ' 
 
 \\ ith emotion, feelingly, full of feeling. 
 Emphase, avec (Fr., ih-vek' Shn-fahz'). '. With 
 Emphase, mit (Ger., mit em-fah'z§). ' 
 
 emphasis.
 
 04 
 
 Enchainez — Entusiasmo, con 
 
 Enchainez (Fr., ahn-sha-na'). "Go on directly"; 
 attuccute. 
 
 Encore (Fr., ahn-kor'). "Again!" (so used in 
 English wlien recalling an actor or singer ; the 
 French cry " bis ! ''j.— Also, a recall on the stage ; 
 or, the piece or performance repeated or added. 
 
 En elargissant (Fr., ahn a-lar-zhe-sahn')- Allar* 
 gando. 
 
 Energia, con (It., kohn a-nar-je'ah). 
 
 Energicamente (It., a-nar-je-kah-men'teh). 
 
 Energico (It., a-nar'je-V6h). 
 
 Energie, avec (Fr., ah-vek' a-nar-zhi'). 
 
 Energisch (Ger., a-nar'gish). 
 energy and <-' ;cision, energetically. A passage 
 so marked is ic be vigorously accented and dis- 
 tinctly phraied. 
 
 Enfasi, con (It., kohn en-fah'ze). /With emphasis, 
 
 Enfatico at., en-fah'te-koh). J" emphatic. 
 
 English horn. The alt-oboe, or Cor ajiglais. 
 
 Enharmonic tones are tones derived from different 
 degrees, but practically identical in pitch; like 
 
 With 
 
 C1^ and d-y on the ] 'a.no or organ. ..Bn/iarmo?iic 
 cliords are chords diitering in notation but alike 
 in sound; such chords are called " enharmonically 
 changed," aud passing from one to the other is 
 an •• enharmonic modulation ". . .Enliarmonic in- 
 terval, one formed between 2 enharmonic tones. 
 
 En mesure (Fr., ahn mu-zur'). See MISUR.'^TO. 
 
 Ensemble (Fr., ahn-sahn'bl'). i. General effect (of 
 a composition).— 2. Style of performance (of a 
 body of vcya.siQ.xan'^. ..Morceaii d^ensemble, con- 
 certed piece. 
 
 Entr'acte (Fr., ahn-trahkt'). "Interval between 
 acts'"; hence, a light instrumental composition or 
 short ballet, for performance between acts. 
 
 Entrata (It., en-trah'tah). I ^ rj.^^ orchestral pre- 
 
 Entree (Fr., ahn-traO- ' 
 lude to a ballet, following the overture.— 2. A 
 division in a ballet like a " scene " in a play. — 
 3. An old dance like a Polonaise, usually in 4-4 
 time. 
 
 Entschlossen (Ger., ent-shlohs'sen). Resolutely, 
 in a determined manner. 
 
 Entusiasmo, con (It., kohn en-too-ze-ahz'mohX 
 With enthusiasm.
 
 Episode— Espressivo 55 
 
 Episode (ep'i-sod). An intermediate or incidental 
 section; in the fugue, a digression from the prin- 
 cipal theme, interpolated between the develop- 
 ments of the latter. [form. 
 
 Equabile (It., a-kwah'be-leh). Equable; even, uni- 
 
 Equabilmente (It., a-kwah-bel-men'teh). Evenly, 
 smoothly. 
 
 Equal counterpoint. Counterpoint in equal notes. 
 
 Equal temperament. See Temfekament. 
 
 Equal voices. Voices of the same class; that is, 
 either women's and boys' (soprano and altoj, or 
 men"s (tenor and bass). 
 
 Equiv'ocal chord. A dissonant chord of uncertain 
 resolution, like the diminished 7th. 
 
 ErgrifFen (Ger., ar-grif'fen). Aflfected, stirred. 
 
 Ergriffenheit (Ger., ar-grif'fen-hit). Emotion, agi- 
 tation. 
 
 Erhaben (Ger., ar-hah'ben). Lofty, exalted. 
 
 Erhabenheit (Ger., ar-hah'ben-hit). Loftiness, 
 sublimity. 
 
 Ermattet (Ger., Sr-maht'tet). Exhausted, wearied. 
 
 Ernst (Ger., arnst). Earnest, grave. 
 
 Eroico, -a (It., a-roh'e-koh, -kah). Heroic; strong 
 and dignihed. 
 
 Erschuttert (Ger., ar-shiit'tert). Shaken, agitated. 
 
 Erzahlung (Ger., ar-tsa'166ngk). Story, tale, nar- 
 ration. 
 
 Es (Ger., ess). E^. 
 
 Esaltazione, con (It., k6hn a-zShl-tah-tsc-oh'neh). 
 With exaltation; in a lofty, fervent style. 
 
 Esclamato (It., eh-sklSh-mah'tdh). " Txclaimed "; 
 forcibly declaimed. 
 
 Eses (Ger., ess'ess). ^double-flat. 
 
 Espandendosi (It., 6h-sp3.hn-den'd6b se). Growing 
 broader and fuller; with growing intensity. 
 
 Espansione, con (It., kohn 6h-sp5.hn-se-oh'neh). » 
 
 Espansivo (It., eh-spShn-se'vOh). ' 
 
 With intense feeling. [expiring. 
 
 Espirando (It., 6h-spe-rahn'd6h). Dying away, 
 
 Espressione, con (It., kohn eh-spres-se-oh'neh). »_ 
 
 Espressivo (It., eh-spres-se'v5h). * 
 
 With expression, expre>%sively. . . Cc>« molia (or 
 molt') espressione^ very expressively.
 
 56 Essential— Extension-pedal 
 
 Essential. Any#or t> belonging to a key-signature. 
 
 Essential harmony. See HARMONY. ..Bssentia/ 
 note, chord-note, or melody-note. ..^'j'^^w/'/a/ 
 seventh^ the leading-tone; also, the dominant 7th- 
 chord. 
 
 Estinguendo (It., Sh-stin-gwen'doh). Extinguish- 
 ing; dying away. 
 
 Estinto (It., eh-stin'toh). Barely audible; the ex- 
 treme oi piafiissimo. [tremely. 
 
 Estremamente (It., eh-stra-m5.h-men'teh). Ex- 
 
 Estro poetico (It., a'stroh poh-a'te-koh). Poetic 
 fervor. 
 
 Etude (Fr., a-tiid'). A study; especially, one af- 
 fording prac,tice in some particular technical 
 difficulty. . .j5'/«^^ de concert^ one designed for 
 public performance. 
 
 Etwas (Ger., et'vahss) Rather, somewhat. 
 
 Euphone (u-fo'ne). In the organ, a 16-foot free-reed 
 stop, with a soft, sweet tone like the clarinet. 
 
 Eupho'nium. i. An instrument invented \>y Chladni 
 in 1790, consisting of graduated glass tubes made 
 to sound by the moistened fingers, and connected 
 with steel rods. — 2. The bass saxhorn. 
 
 Evaded cadence. See CADENCE. 
 
 Evening-song, Even-song. In the Anglican Church, 
 a form of worship appointed to be said or sung at 
 evening; known as Vespers in the R. C. Church. 
 
 Execution, i. Style, manner of performance. — 
 2. Technical ability. 
 
 Exercise. A short technical study for training the 
 fingers (or vocal organs) to overcome some special 
 difficulty.— Also, a short study in composition. 
 
 Exposition. Same as Development. 
 
 Expression-mark. A written direction (either a 
 sign, word, or phrase) for the performance of a 
 piece. 
 
 Expression-stop. In the harmonium, a stop which 
 closes the escape-valve of the bellows, so that 
 wind-pressure, and intensity of tone, are partly 
 controlled by the pedals. 
 
 Expressive organ. The harmonium. 
 
 Extended compass. Tones beyond the usual range 
 of a voice or instrument. [terval.. 
 
 Extended harmony, interval. See HARMONY, IN- 
 
 Extension-pedal. The loud (right) piano-pedal.
 
 Extreme interval — Fanfare 
 
 57 
 
 Extreme interval. Augmented interval. — The 
 chord of the extreme sixth has a major Third and 
 sharp Sixth, and occurs on the 6th degree in 
 minor in 3 principal forms : 
 
 I (Italian Sixth), a (French Sixth). 3 (German Sixth). 
 
 Extreme key. A key having more than 3 sharps or 
 
 flats. 
 Extreme parts. In part-music, the outer parts. 
 
 F (Ger. F; Fr. and It. fa). The 4th tone and 
 degree in the typical diatonic scale of C major. . . 
 f= forte : ff or fff= fortissimo. —A\^o see PITCH, 
 
 ABSOLUTE. 
 
 Fa. I. In solmisation, the usual name for the ^th 
 degree of the scale.— 2. Name of the tone /- in 
 Italv, France, etc. 
 
 Facile (It., fah^che-lSh). I p^^i, ^^^^^ 
 
 Facile (Fr., f^h-sel'). ' ' ^' 
 
 Fagott (Ger., fS-h-gSht'). Bassoon.— Also, a reed- 
 stop in the organ. 
 
 Fagotto (It., fah-g6ht't6h). Bassoon. 
 
 Fah. In Tonic Sol-fa, it stands for Fa. 
 
 False. Wrong in pitch or harmony. . .False cadence^ 
 fifths harmony^ see the nouns. 
 
 False relation. The chromatic contradiction of a 
 tone in one part by another part; it consists in 
 sounding, either together or in succession, a tone 
 and its chromatically altered octave. 
 
 Falsetto. The highest of the vocal registers. 
 
 Fandango (vSpanO- A lively dance in triple time, 
 for 2 dancers of opposite sex, who accompany it 
 with castanets or tambourine. 
 
 Fanfare (fan'far). A flourish of trumpets or trum- 
 pet-call.
 
 Fantaisie— Feses 
 
 Fantaisie (Fr., fahn-ta-zeO- i 
 
 Fantasia (It., fahn-tSh-ze^ah). Vi. An improvisation. 
 
 Fantasie (Ger., fahn-tah-ze'). ^ 
 —2. An instrumental piece in free imitation (17th 
 and i8th centuries). — 3. A composition free in 
 form and more or less fantastic in character; a 
 Fantasy.— 4. A pot-pourri or paraphrase. 
 
 Fantasia, con (It.). Fancifully, spiritedly. 
 
 Fantastico (It., fShn - tah'ste - koh). Fantastic, 
 fanciful. 
 
 Farandola (It., fah-rahn-doh'lah). I ^ circle-danc«- 
 
 Farandole (Fr., fah-rahn-dohl'). ' 
 in 6-8 time and very rapid tempo. 
 
 Farce. A one-act opera or operetta of ultra* 
 comical or burlesque character. 
 
 Fastosamente (It., fah-st6h-s5.h-men'teh). Pom- 
 pously ; in a stately style. 
 
 Fastoso (It., fah-stoh'soh). Pompous, stately. 
 
 F-clef. The bass clef : ^i 
 
 Feierlich (Ger., fi'er-liyh). Festive; solemn, grave. 
 
 Fermamente (It., far-m5,h-men't6h). Firmly, vrith 
 decision. 
 
 Fermata (It., far-mah't3,h). ) A hold : ^; a pause 
 
 Fermate (Ger., f4r-mah'te). 1 or interruption. 
 
 Fermezza, con (It., kohn far-met'sah). In a firm, 
 decided, energetic style. 
 
 Fermo (It., far'moh). Firm, decided ; fixed, un- 
 changed. .. Can^o fermo, sameasC.'VNTUS FlRMUS. 
 
 Feme (Ger., far'ne). Distance. . . Wie aus der Ferne, 
 as from a distance. [stop of very soft tone. 
 
 FernflSte (Ger., farn'flo'te). A covered 8-foot organ 
 
 Feroce (It., fa-roh'cheh). \ 
 
 Ferocemente (fa-roh-cheh-men'teh). V Wildly, 
 
 Ferocita, con (k6hn fa-roh-che-tah')- ^ 
 
 fiercely, vehemently. 
 Fervente (It., far-ven'teh). ) pervently, ai^ 
 
 Fervore, con (It., kohn far-voh'reh). ' 
 
 dently, passionately. 
 Fes (Ger., fess). F\,. 
 Feses (Ger., fess'ess). /^double-fiat.
 
 Festivamsnte — Fine 59 
 
 stivamente (It., f^h-ste-vih-men'tSh). I jn „ ^^v 
 stivita, con (k6hn £gh-ste-ve-tahO. ' 
 
 Festivar 
 Fest 
 
 festive style. 
 
 Festivo (It., f6h-ste'v6h. j 
 
 Festlich (Ger., fest'liyh). (-Festive, festal. 
 
 Festoso (It., f6h-stoh's6h). ) 
 
 Feuer, mit(Ger.,mit£ahii'er). I with fire: fiery, 
 
 Feuerig (Ger., fahii'e-iiyh). f impetuous. 
 
 F-holes. The 2y"-shaped sound-holes in the belly 
 of the violin, etc. 
 
 Fiacco (It., fe-ahk'k6h). Languishing, feeble. 
 
 Fiddle. A \io\in. . .Fid Jle-bou\ Fiddlestick^ see BOW. 
 
 Fieramente (It., fe-eh-rah-men'teh). f Wildly, 
 
 Fierezza, con (kohn fe-Sh-ret'sdh). ), boldly. 
 
 Fiero, -a (It., fe-S'roh, -r^h). Wild, fierce; bold, 
 vigorous. 
 
 Fife. An octave cross-flute with 6 holes and with- 
 out keys ; compass d"^ to (2'-*.— Also, a piccolo-stop. 
 
 Fifteenth. A double-octave.— Also, an organ-stop 
 of 2-foot pitch. 
 
 Fifth. An interval of 5 diatonic degrees (see IN- 
 TERVAL). — Also, the 5th degree in any diatonic 
 scale ; the Dominant. ..False Fifths a diminished 
 1*''^^^- [Figurations. 
 
 Figural, Figurate. Having, or consisting of. 
 
 Figuration. Rapid figures or phrases, containing 
 passing- and changing-notes. 
 
 Figure. A distinct group of notes; a motive. — 
 Also, a numeral, as used in thorough-bass. 
 
 Figured, i. Figurate.— 2. Provided with figures, 
 as a bass. 
 
 Filar la voce (It., fe-lar' ISh voh'ch6h). /_ 
 
 Filer la voix (Fr., fe-la' ISh vw^h'). >" ^ P""*^ °°^ 
 a tone, slowly swelling and diminishing. 
 
 Filato (It., fe-lah't6h). Long drawn out. 
 
 Filo di voce (It., fe'16h de voh'cheh). The very 
 softest and lightest vocal tone. 
 
 Finale (It., £e-nah'lSh). The last movement in a 
 sonata or symphony ; the closing number(s) of an 
 act (opera) "or Part "(oratorio). 
 
 Fine (It., fe'nSh). End ; close ; indicates either the 
 end of a "repeat" (after the Da capo ov Dal scgito), 
 or the end of a piece.
 
 6o Fingered octaves— Flat 
 
 Fingered octaves. Octaves plaj^ed, on the piano, 
 with the 1-5 and 1-4 fingers alternately. 
 
 Fingering. 1. The method of applying the fingers 
 to the ke^'s, holes, strings, etc., of musical instru- 
 ments —2. The marks guiding the performer in 
 placing his fingers.. .£n£'/is/i Jlfig-erznj^ (ior the 
 piano), that in which notes taken by the thumb 
 are marked x, with 1234 for the fingers... 
 German (or Continental) jingeritig, the thumb 
 marked i, and the fingers 2345. 
 
 Fino (It., fe'noh). Till, up to, as far as. 
 
 Fioritura (It., fe-6h-re-too'rah). An embellish- 
 ment; an ornamental turn, flourish, or phrase, 
 introduced into a melody, {^\^xr^^. fioriture^ 
 
 First. Of voices or instruments of the same class, 
 the highest ; as ist soprano, ist violin. — In the 
 staff, the lowest ; as first line, first space.— The 
 first string of an instrument is the highest. 
 
 First. The Prime or Unison (interval). 
 
 First-movement form. Same as Sonata-FORM. 
 
 Fis (Ger., fiss). FiJ. 
 
 Fisis (Ger., fiss'iss). i^ double-sharp. r^Q_ 
 
 Fistel, Fistelstimme(Ger. fis'tel-shtim'me). Falset- 
 
 Fixed Do. In the fixed-Do system of solmisation 
 the tone C and all its chromatic derivatives (C^t, 
 C?, 6'X, C??), are called Do, D and its derivatives 
 are called Re, etc., in whatever key or harmony 
 they may appear. 
 
 Fixed-tone instrument. One (like the piano or 
 or^an) the pitch of whose tones cannot be modi- 
 fied at the player's pleasure, like (for example) 
 the tones of the violin. Such an instrument is 
 said to have "fixed intonation." 
 
 Flag. I. A hook ( ^).— 3. Abbreviation for Fla- 
 geolet t (Ger., " flageolet-tone "). 
 
 Flageolet. A small direct flute, a wind-instrument 
 of the whistle family. The French flageolet has 
 a compass of 2 octaves and 3 semitones, from^i 
 to (?'3?.— Also, a small flute-stop in the organ, of 
 1- or 2-foot pitch. ..Flageolet-tones^ Harmonics. 
 
 Flat. The character K which lowers the pitch of 
 the note before which it is set by a semitone ; 
 the Double-flat ^j? lowers its note by 2 semitones. 
 . . .Flat chord, one whose tones are performed si- 
 multaneously; a solid Q\i<:>T&\ opposed to broken. 
 ...Flat fifth, diminished fifth.
 
 Flautando— Foot 61 
 
 Flautando (It., fl^h-66-tahn'd6h). I ^ direction ia 
 
 Flautato (It., flah-66-tah't6h). ) 
 
 violin-music to play near the finger-board, so as 
 to produce a somewhat •' fluty " tune. 
 
 Flauto (It., flah'oo-toh). Flute ; also as the name 
 or organ-stops, as Flauto amabile^ q\.q. ..I-luuto 
 
 traverso, cross-flute. 
 
 [ful. 
 
 Flebile (It., fla'be-leh). Tearful; plaintive, mourn- 
 
 Fliessend (Ger., fle'sent). Flowing, smooth ; scor- 
 f'^"'^o. [(quadruple time. 
 
 Fling. A Scotch dance resembling the Reel, in 
 
 Flor'id. Embellished with runs, passages, figures, 
 graces, etc. [lightly, airily. 
 
 Fluchtig (Ger., fle/yh'tiyh). Flightily, hastily; 
 
 Flue-pipe. See Fife. 
 
 Flute. The orchestral flute {Boehm flute) has a 
 wooden tube of cylindrical bore, with 14 ventages. 
 closed by keys; it is blown through an oval ori- 
 fice near the 'upper end. Compass from c' to c*. 
 This is the so-called Cross-flute, bemg held across 
 the motith ; the Direct flute is blown from the 
 end, like a whistle. 
 
 Flute-stop. A flue-stop with flute-tone. 
 
 Flute-work. In the organ, all flue-stops not be- 
 longing to the Principal-work or Gedackt-vjork. 
 
 Foco (It., fo'koh). Fire. (See FUOCO.) 
 
 Folgend (Ger., fohl'ghent). "Following"; colla 
 j-arte or voce. 
 
 Folia (Span., fSh-le'Sh). I ^ ^ :,^^ ^ance for one 
 
 Follia (It., f6hl-le'ah). * 
 person, in slow tempo and 3-4 time. 
 
 Folk-song. A song of the people, tinged by the 
 musical peculiarities of the nation, and usually 
 in simple, unaffected ballad-form. 
 
 Follower. A Consequent. 
 
 Foot. I. A group of syllables having one accent, 
 like a simple measure in music. — 2. That part of 
 an organ-pipe below the mouth. — 3. The unit of 
 measure in designating the pitch of organ-stops, 
 and of the several octaves in the musical scale. 
 
 An 8-foot (8') stop is one whose longest ^ 
 
 pipe produces the tone Cand is about w : 
 
 8 feet in length, that is, a stop whose 'r~. 
 
 pipes produce tones corresponding in "^ 
 
 pitch to the keys touched ; a 4-fot)t (4') stop is an 
 octave-stop ; a '16-foot (ic'> stop yields tones aa
 
 62 Footing— Freddezza 
 
 octave lower than indicated by the keys touched. 
 —The 8-foot octave embraces the tones from C 
 upwards (see Pitch, absolute). 
 
 Footing. The method of applying the heels and 
 toes to the organ-pedals. [to a given key. 
 
 Foreign chords or tones are such as do not belong 
 
 Forlana (It., fohr-lah'nah). f ^ jj^^^ j^^ji^^ ^^^^^ 
 
 Forlane (Fr., fohr-lahn'). ' 
 in 6-S or 6-4 time. 
 
 Form. The melodic and rhythmic shape and order 
 in which a piece of music is built up. 
 
 Fort (Ger., fort). OfT (organ-music). 
 
 Forte (It., fohr'teh). Loud, strong; usually written 
 f\ pill forte, louder \ piano forte {pf). begin softly 
 and swell rapidly ; poco forte, rather loud ; forte 
 piano ifp), accent strongly, instantly diminishing 
 to piano; fortemente (for-teh-men'teh), loudly, 
 forcibly; forte possibile (pohs-se'be-leh), as loud 
 as possible. . ./^c'r/^-j-/^/ (harmonium), a slide 
 opened by a draw-stop or knee-lever, to produce 
 & forte effect... Forte generate, the full-organ 
 combination-stop. 
 
 Fortepia'no. A pianoforte 
 
 Fortissimo (It., fohr-tis'se-moh). Extremely loud 
 (usually written tf^ or iff). 
 
 Forza, con (It., kohn for'tsah). With force, forcibly. 
 
 Forzandodt., fohr-tsahnMoh). } ^j^j^ ^^^^ 
 
 Forzato at., fohr-tsah'toh). > 
 means that the note or chord is to be strongly 
 accented ; usually written fz. 
 
 Foundation-stop, See STOP. 
 
 Fourniture (Fr., foor-ne-tiir'). Mixture-stop. 
 
 Fourth. An interval embracing 4 degrees.— Also, 
 the 4th degree in the diatonic scale ; the Sub- 
 dominant. 
 
 Fran^aise (Fr., frShn-saz'). A dance in triple time, 
 resembling the country-dance. 
 
 Francamente (It., frahn-kSh-men'teh). Ipreeinde- 
 
 Franchezza, con (kohn frahn-ket'sSh). ' 
 livery ; boldly : frankly, ingenuously. 
 
 Frase larga (It., frah'zeh lar'gSh). •' Broad phrase;*' 
 lar^amente. 
 
 Freddamente (It., fred-dSh-men'tSh). | Coldlv • 
 
 Freddezza, con (k6hn fred-det'sSh). ' 
 coolly, mdifferently.
 
 Freddo— Fugue 
 
 Freddo (It., fred'd6h). Cold ; indifferent. 
 Free fugue. One written with more or less disre- 
 gard of strict rules. ^plete j^g harmony. 
 Free part. One added to a canon or fugue to corn- 
 Free reed. See REED. 
 
 Free style (of composition). That in which the 
 rules of strict counterpoint are relaxed. 
 
 Frei (Ger.. fri). FreG... Fret tm Vortrag, free in 
 
 style (delivery). 
 
 Fremente (It., fra-men'teh). Furiously. 
 French horn, Sixth, Violin-clef. See the nouns. 
 Fret. One of the narrow ridges of wood, metal, or 
 ivory, crossing the fingerboard of the mandolin, 
 guitar, zither, etc., on which the strings ar« 
 '• stopped." 
 Fretta, con (It., k6hn fret'tSh). » 
 
 Frettolosamente (fret - toh - loh - sSh - men't6h). v 
 Frettoloso (It., fret-toh-loh'soh). ) 
 
 Hastily, hurriedly. 
 Frisch (Ger., frish). Brisk, vigorous ; brioso. 
 Frog. Wrong translation of FroscJiy " nut." 
 FrOhlich (Ger., fro'lTyh). Gay, glad, joyous. 
 Frosch (Ger., fr6hsh). Nut (of a bow). 
 Fuga (Lat. and It., foo'gS.h). A fugue. 
 Fuga'ra. An organ-stop having metal flue-pipes of 
 
 8- or 4-f()Ot pitch ; tone sharp and " stringy." 
 Fugato (It., fo6-gah't6h ; "in fugue-style"). A 
 passage or movement consisting of fugal imita- 
 tions, but not worked out as a regular fugue. 
 Fuge (Ger.. foo'gS). Fugue. [exposition. 
 
 Fughetta (It., foo-get'tSh). A short fugue; a fugue- 
 Fugue (fewg). The most highly developed form of 
 contrapuntal imitation, based on the principle of 
 the equalitv of the parts, a theme proposed by 
 one part being taken up successively by all par- 
 ticipating parts, thus bringing each in 'turn mto 
 special prominence. — The elements essential to 
 every fugue are (i) the Subject, (2) the Answer, 
 (3) Countersubject, (4) Stretto ; to these are com- 
 monly added (t) Episodes, (6) an Organ-point, (7) 
 a Coda — Tn a Real Fu,^ue the answer is an exact 
 transposition of the subject; in a Tonal Fiiffue., 
 the subject is modified in the answer in order to 
 lead back to the original key.
 
 64 Fugued, Fuguing— Gai 
 
 Fugued, Fuguing. Written like a fugue, either 
 strict or free. 
 
 Full anthem, one for chorus without soli... J^u/l 
 band, a military band, or an orchestra, having all 
 the customary instruments. . . Full cadence, a per- 
 fect cadence. ..Full Choir (Great, Swell), draw ail 
 stops of Choir (Great, Swell) or^SiW. . .Full chord, 
 a chord having one or more of its original 3 or 4. 
 tones doubled in the octave. . ./■«// orchestra, 
 compare Full ■b\^t>...FuII org^an, with all stops 
 and couplers dva.\vn.. .Full score, see SCORE... 
 Full to Fifteenth, draw all stops but mixtures 
 and reeds. 
 
 Fundamental, r. The root of a chord. — 2. A tone 
 which produces a series of harmonics; a generator 
 (or fundamental bass [note, lorml). . .FundU' 
 mental chord, triad isae Elem. of Notation, p. x). 
 ...Fundamental position, any arrangement of 
 chord-notes in which the root remains the lowest. 
 
 Funebre (Fr., fii-na'br). ^ Funereal, mourn, 
 
 Funebre (It., foo-na'breh). >- f^i, dirge-like. 
 
 Funerale (It,, foo-neh-rah'leh). ' 
 
 Fuoco, con (It., kohn foo-o'koh). ) With fire, fiery, 
 
 Fuocoso at., f66-6h-koh's6h). ) spirited. 
 
 Furia, con (It., kohn foo're-3,h). 1 
 
 Furibondo (foo-re-bohn'doh). ] Furiously, 
 
 Furiosamente(foo-re-6h-sah-men'teh). [ wildly. 
 
 Furioso t.foo-re-oh's6h). J 
 
 Furiant, Furie. A rapid Bohemian dance, with 
 alternating rhythms and changing accentuation. 
 
 Furlana (It., foor-lah'nah.) See FORLAXA. 
 
 Furniture-stop. A mixture-stop. 
 
 Furore (It., foo-roh'reh). Fury, passion ; also, a 
 rage, mania (for anything) . . . Con furore, passion- 
 ately. 
 
 G. The fifth tone and degree in the typical diatonic 
 scale of C major... G. stands for gauche in ni. g. 
 {main gauche, left hand) ; G. O. (or simply Q), for 
 Grand-orgue (Great organ). 
 
 Gagliarda (It., gahl-yar'dah). j. a galliard. 
 
 Gagliarde (Ger., gahl-yar'de). J 
 
 Gai (Fr., ga). Gay, lively, brisk.
 
 Gaiaraente— Gehaucht 65 
 
 Gaiamente (It., gah-yaii-iuen't6h). ' Qailv briskly 
 
 Gaiement (Fr., ga-niahn'). f i ■• ■ > ' 
 
 Gaillarde (Fr., gSh-yardO. A gfalliard. 
 
 Gaio, -a (It., gah'yoh, -y&h). Gay. 
 
 Gajo, etc. See Gaio. 
 
 Gala, di (It., de gaii'lSh). Gaily, merrily. 
 
 Gal'liard. An old French dance for 2 dancers, gay 
 
 and spirited, but not rapid, and in 3-4 time. 
 Galop (Fr., gSh-ldh'). I A lively round dance in 
 
 Galopp (Ger., gSh-lohpO. ^ 2-4 time. 
 Gamba (It., g5.hm'bah). i. A viola da gamba. — 
 
 2. An organ-stop similar in tone. 
 Gamme (Fr., gahm). A scale. 
 Gam'ut. I. The scale.— 2. The staff. 
 Ganz (Ger., gihnts^. i. Whole \ ^anze Note, whole 
 
 note.— 2. VQxy\ganz larigsain^ very slowly. 
 Garbamente (It., gar-bSh-men'teh). \ 
 Garbato (gar-bah't6h). V Gracefully, 
 
 Garbo, con (kohn gar'boh). ) 
 
 elegantly ; in a refined style. 
 Gathering-note. In chanting, a hold on the last 
 
 syllable of the recitation. 
 Gauche (Fr., gohsh). Left. 
 
 Gaudioso (It., gSh-66-de-oh's6h). Joyous, jubilant. 
 Gavotta (It., gah-v6ht'tah). , ^Gavotjan oldFrench 
 Gavotte (Fr., gah-v6ht'j- * 
 
 tlance in strongly marked duple time(^u//<z 
 
 brevf), beginning on the auftakt. 
 G-clef. See Elem. OF Not.\TION, p. iv. 
 Gebunden (Ger., ge-boon'den). Tied ; legato. 
 Gedackt (Ger., g6-da,hkt'). Stopped (of organ-pipes). 
 Gedampft (Ger., gS-dempft'). Damped ; muffled ; 
 
 muted. 
 Gedehnt (Ger., g§-dant'). Sustained, prolonged; 
 
 slow, stately ; largamente: steso. 
 Gefallen, nach (Ger., ndh g^-fShKlen). Ad libitum. 
 Gefailig (Ger., g6-feKlTyh>. Pleasing, graceful. 
 Gefuhl, mit (Ger., mit gS-fu!'). \ With feeling, ex- 
 Gefuhlvoll (Ger., g6-ful'f6hl). »' pressively. 
 Gehalten (Ger., g6-hdhKten). Held, sustained. 
 Gehaucht (Ger., g6-howht'). "Sighed"; very softly 
 
 and lightly sung or played.
 
 66 Gehend— Getragen 
 
 Gehend (Ger., ga'ent). Andante. 
 
 Geige (Ger., gi'ge). V\o\\x\.. . .Geig^enfrinzipal^ 
 
 violin-diapason (stop). 
 Geist (Ger., gist). Spirit, soul ; essence. 
 Gelassen (Ger., ge-lahs'sen). Calm, placid, easy. 
 Gelaufig (Ger., ge-lahii'fiyh). Fluent, easy...(?rf- 
 
 laufigkeit (ge-lahii'fiyh-kit), fluency, velocity. 
 Gemachlich (Ger., ge-infeyh'liyh). Easy, comfort- 
 able ; coinodo. 
 Gemassigt (Ger., g6-ma'siyht). Moderate (in tempo). 
 Gemendo (It., ja-men'd6h). Moaning. 
 Gemessen (Ger., ge-mes'sen). Measured(]y), mod- 
 
 erate(,ly); niodei-ato. 
 Gemshorn (Ger., gems'horn). A flute-stop of 8-, 4-, 
 
 or 2-fooc pitch on the manuals, and 16' on the 
 
 pedal, with mellow, horn-like tone. 
 Gemut(h\ mit (Ger., mit ge-miit'). With feeling; 
 
 soulfully. 
 'Gemut('h)lich (Ger., ge-miit'llyh). Easily and 
 
 cheerily ; disinvoltJ: comodo (of tempo;. [bass. 
 Generalbass (Ger., geh-neh-rahl'bahs). Thorough- 
 Generator. I. A root, or fundamental tone. — 2. A 
 
 tone which produces a series of harmonics. 
 Generoso (It., jeh-neh-roh'soh). Free, ample. 
 Gentile (It., jen-te'leh). \ j^ a grace- 
 
 Gentilezza, con (kohn jen-te-let'sah). r ful, refined 
 Gentilmente (It., jen-tel-men'teh). ' style. 
 German flute. The • cross- flute. .. G^^r^«a« Sixth, 
 
 see EX'lKE.ME. 
 Ges (Ger., gess). G\f. 
 Gesang (Ger., ge-zahng''')- Singing, song; a song; 
 
 melody ; voice (vocal part). 
 Gesangreich (Ger., ge-zahng'"riyh). Very sing- 
 
 ingly ; cantabile. 
 Geschleift (Ger., ge-shlift'). Slurred ; legato. 
 GeschmackvolKGer., ge-shmahk'fohl). Tastefully. 
 Geschwindt (Ger., ge-shvint'). Swift(ly), rapid(ly). 
 Geses (Ger., gess'ess). G double-flat. \zato. 
 
 Gesteigert (Ger., ge-shti'gert). Intensified ; rinfor- 
 Gestossen (Ger., ge-shtoh'sen). i. Staccato.— 2. 
 
 Detache. 
 Getragen (Ger , ge-trah'gen). Sustained; sostenufo.
 
 Gezogen— Gli 67 
 
 Gezogen (Ger., g6-tsoh'gen). Drawn out ; largO' 
 
 ihente^ sostenuto, steso. 
 Ghiribizzoso (It., ge-re-bid-zoh's6h). Whimsical. 
 Giga <It., je'gah). U ji 
 Gigue (Fr., zhig). ' 
 
 Giochevole (It., j6h-ka'v6h-l$h). I Playfully, sport- 
 Gioco, con at., kohn jo'koh). »' i^ely, merrily. 
 Giocondo, -a (It., J6h-k6hn'd6h). \ j^^ ^ ■ 
 
 Giocondamente (joh-k6hn-da.h-men't§h). ) 
 
 cund, joyous style. 
 Giocosamente (j6h-k6h-sSh-men'tdh). / p. ^r ,. 
 Giocoso, -a (It., j6h-koh's6h). > ' ' 
 
 sportively, merrily. 
 Gioia, con (It., kohn jo'ySh). 1 jo^-fun^,^ 
 
 Gioiante (It., joh-yahn'teh). j joyousry', 
 
 Gioiosamente (j6h-y6h-sah-men'teh). f gaily, 
 Gioioso (It., joh-y6h's6h). J merrily. 
 
 Gioja, etc. See GloiA. 
 
 Gioviale (It., j6h-ve-ah'leh). Jovial, cheerful. 
 Giovialita, con (It., kohn j6h-ve-a.h-le-tah'). Jovi- 
 ally, cheerfully. 
 Gis (Ger., giss). Gf^. 
 Gisis (Gen., giss'iss). (j double-sharp. 
 Giubilante (It., joo-be-ia.hn'teh). Jubilant. 
 Giubilazione (It., joo-be-lah-tse-oh'nSh). j 
 Giubilio (It., joo-be-le'6h). v Joy, re- 
 
 Giubilo (It., joo'be-16h). ) 
 
 joicing, jubilation. 
 Giubiloso, -a (It., joo-be-loh's5h, -sSh). Jubilant, 
 
 joyful. 
 Giuoco, etc. See GlOCO. 
 
 Giustamente (It., j66 -stSh-men'tSh). I gxactV 
 Giustezza, con (k6hn joo-stet'sih). i 
 
 with precision. 
 
 Giusto (It., jo5'st6h). Strict, appropriate, proper 
 ^ tempo j^iiisto), exact, correct. — Allegro giusto, 
 moderately fast. 
 
 Glee. A secular composition for 3 or more unac- 
 companied solo voices, peculiar to England. 
 Serious "glees" are written as well as merry ones. 
 
 Gli (It., I'ye). The (masculine olural).
 
 GHssando— Grand 
 
 Glissando (It., glis-sahn'd6h"). i. On bow-instru- 
 ments, (a) demands a flowing, unaccented execu- 
 tion of a passage; if>) same as Portamento. — 2. On 
 the piano, a rapid scale-effect obtained by sliding 
 the thumb, or thumb and one finger, over the 
 keys. Also Glissato, Glissicando, Glissicato. 
 
 Glocke (Ger., gloh'ke). A bell. 
 
 Glockenspiel (Ger., gloh'ken-shpel''). i. vSee CA- 
 RILLON I.— 2. A set of bells or steel bars, tuned 
 diatonically and struck with a small hammer. — 3. 
 An organ-stop having bells instead of pipes. 
 
 Glottis, The aperture between the vocal cords 
 when they are drawn together in singing. 
 
 Gondellied (Ger., gohn'del-let'). j. ^ Barcarole. 
 
 Gondoliera (It., gohn-doh-le-a'rah). ' 
 
 Goose. A harsh break in the tone of the clarinet, 
 oboe, or bassoon. 
 
 Grace. A vocal or instrumental ornament or em- 
 bellishment not essential to the melody or har- 
 mony of a composition. 
 
 Grace-note. A note of embellishment, usually 
 
 written small. 
 Gracile (It., grah'tse-leh). Graceful, delicate. 
 Gradatamente (It., grah-dah-tah-men'teh). By de- 
 grees, gradually. 
 Gradevole (It., grah-da'voh-leh). 't Pleasing- 
 
 Gradevolmente (grah-da-v6hl-men'teh). t 
 
 ly, agreeably. 
 Gradual, i. An antiphon following the epistle.— 2, 
 A book of chantscontaining the graduals, introits, 
 and other antiphons of the R. C. Mass. 
 Gran (It., grahn). j 
 
 Grand' (It., grahnd). !- Large, great, full, corn- 
 Grande (It., grahn'deh). ^ 
 plete. {Grande is the regular form, used after 
 nouns, it is abbreviated to grand' before vowels, 
 and to gran before consonants.) 
 
 Grand. Technical term for Grand Pianoforte. 
 
 Grand (Fr.. grahn). Large, great: i-^W.. .Grand 
 barre, a stop of over 3 -noXefi. . .Grand bourdon, 
 double-bourdon.. Grand choeur, full organ... 
 Grand Jen, {a) full organ; (b) an harmonium-stop 
 ioT iuW power. ..A grand orc/iestre, for full or- 
 chestra.. . .Grand-orgue, {a) full organ; {b) Great 
 organ; (c) pipe-organ.
 
 Grandezza, con— Guide 6g 
 
 Grandezza, con (It., k6hn grahn-det'sSh). . 
 Grandiosity, con (kohn gr5hn-de-6h-se-tah'). -With 
 Grandiose lit., KrShn-de-oh'.sSh). ) 
 
 t4randeuri majestically, pompously, loftily. 
 Grandisonante (It., grahn-de-s6h-nahn'tehi. Loud 
 
 or long soundmg, sonorous; pompous, affected. 
 Granulate (It., grSh-noo-lah'toh). Non legato. 
 Grave. Low in pitch; opposed to Acute. 
 Grave (It., grah'veh). i. Grave or low in pitch.— 2. 
 
 Heavy, slow, ponderous in movement. — 3. 
 
 Serious. 
 Gravemente (It., grSh-veh-men'teh). I Slowly 
 Gravita, con (k6hn grSh-ve-tah'). * 
 
 ponderously; seriously, gravely. 
 Grazia, con (It., kohn grah'tse-ah). j 
 
 Graziosamente (grah-tse-6h-sdh-men'teh). [-Grace- 
 Grazioso, -a (gr^h-tse-oh'soh, -sSh). 1 
 
 tuUy, elegantly. 
 
 Great octave. See Elem. OF NOTATION, p. v. 
 
 Great organ. The chief manual of an organ, and 
 tlie pipes controlled by it. 
 
 Gregorian Chant. Plain Chant, as revised and es- 
 tablished by Pope Gregory I. (d. 604). 
 
 Grido (It., gre'd6h). Cry, shout. 
 
 Grosso (It.. gr6's6h). Great, grand ; full, heavy. 
 
 Grottesco (It., groht-teh'sk6h). Grotesque, comic. 
 
 Ground bass. A continually repeated bass phrase 
 of 4 or 8 measures ; a dasso ostinato. 
 
 Group. I. A short series of rapid notes, e.specially 
 when sung to one syllable.— 2. A section of the 
 orchestra (or score) embracing instruments of 
 one class ; e. g.^ the strings. 
 
 Gruppetto (It., gr66p-pet't5h). Formerly, a trill ; 
 now. a turn ; also, any " group " of grace-notes. 
 
 Gruppo (It., groop'poh). Same as Gruffetto. 
 
 G-string. On the violin, the 4th ; on viola and 
 'cello, 3d : on double-bass, ist. 
 
 Guaracha (Span., gwSh-rah'chah). Lively Spanish 
 
 dance, part in 3-4 or 3-8, part in 2-4 time. 
 Guerriero (It., gwSr-re-a'rcjh). Martial, warlike. 
 Guide. A Direct ; also, a subject or antecedent.
 
 70 Guitar — Harmonic 
 
 Guitar, An instrument of the lute family. The 
 modern Spanish guitar has 6 strinjjs, and a com- 
 pass of 3 octaves and a Fourth, from E to a"^. The 
 music IS written an octave higher than it sounds, 
 in the 6^-clef . 
 
 Gusto (It., goo'stoh). Taste. 
 
 Gut (Ger., goot). Good. 
 
 H 
 
 H. In scores, H. stands for Horn: in organ-musir, 
 
 for Heel; in music for piano (organ), for Hand 
 
 (r. //., /. //.). 
 H (Ger., hah). The note B. 
 Habanera (Span., hah-bah-na'rah). A typical 
 
 Cuban contradance, comprising two 8-measure 
 
 periods in 6-8 time. 
 Halb (Ger., hahlp). Half. 
 Half-cadence, -rest, -shift, -step, -stop, -tone, see 
 
 the nouns. 
 
 Half-note. The note cJ 
 
 Hallelujah (Hebr.). " Praise ye the Lord ! " 
 
 Hammerclavier (Ger., hahm'mer-klah-ver'). Old 
 name for the Pianoforte. 
 
 Hanac'ca. A Moravian dance in 3-4 time, like the 
 Polonaise, but quicker. 
 
 Handle-piano. A mechanical pianoforte on the 
 principle of the barrel-organ. 
 
 Hand-note. Stopped note (on the horn). 
 
 Hand-organ. A portable barrel-organ. 
 
 Harfe (Ger., har'fe). Harp. 
 
 Harmonic, i {.adjective). Pertaining to chords 
 (either consonant or dissonant), and to the theory 
 and practice of harmony. . .Harmonic curve, the 
 curved figure described' by a vibrating string. . . 
 H. figuration, broken chords.../;'', fiute, see 
 H. STOP...//", mark, in music for violin, etc., a 
 sign (°) over a note, calling for an harmonic tone. 
 ...H. note, see H. tone. . .H. reed, see H. STOP. . . 
 H. scale, (a) the succession of harmonic tones ; {b) 
 minor scale with minor Sixth and major Seventh. 
 ...H. stop. Sin organ-stop having pipes double the 
 ordinary leHgth, and pierced midway, so that a 
 16-foot pipe yields an 8-foot tone...//, tone^ or 
 Flageolet-tone, see Harmonic 2 {b).
 
 Harmonic— Harmony 
 
 Harmonic, ^(nouii). (a) One of the series of tones 
 (the so-called partial toues) which usu^illy accom- 
 pany, more or less faintly, the prime tone K gen- 
 erator) produced by a stnnj^, an organ-pipe, the 
 human voice, etc. The prime tone {Juiuiamental, 
 or generator) is the strong tone produced by the 
 vibration of the whole string, or the entire column 
 of air in the pipe ; the partial tones are produced 
 by the vibration of fractional parts of that string 
 or air-column, ib) These same harmonics (har- 
 monic tones)are obtained, on any stringed instru- 
 ment which is stopped (violin, zither), by lightly 
 touching a nodal point of a string. 
 
 Harmon'ica. A graduated set of glass bowls re- 
 volving over a trough filled with water, the 
 moistened glasses being played by applying the 
 fingers. Developed by Benjamin Franklin from 
 the "'musical glasses," and called by him "Ar- 
 monica." [touched (not stopped). 
 
 Harmonic mark. The sign ° set over notes to be 
 
 Harmonicon. i. A mouth-harmonica.— 2. An or- 
 chestrion. — 3. A keyed harmonica combined with 
 a flue-.stop or stops. [harmonious. 
 
 Harmonisch (Ger., har-moh'nish). Harmonic (tid'/); 
 
 Harmonium. See Reed-ORGAN. 
 
 Harmony, i. A musical combination of tones or 
 chords. — 2. A chord, either consonant or dis- 
 sonant. — 3. The harmonic texture of a piece ; as 
 2-part, 3-part harmony. . . Chromatic Jiartnony has 
 chromatic tones and modulations. .. C/fJ'd' liar- 
 mony (in 4 part writing) has the 3 highest parts 
 within the compass of an ocXa.\Q. . .Compound 
 harmojiv has 2 or more essential chord-tones 
 Aonh\eCi... Dispersed, Extended harmony, see 
 Opex Vl.k\>.^\o^\ ...Essential harmony, (a^ the 
 fundamental triads of a key; (/') the harmonic 
 frame of a composition minus all figuration and 
 oxna.m.nxyt'i,... False harmony, {a) the inharnicnic 
 relation ; (b) discord produced by imperfect prep- 
 aration or resolution ; (r) discord produced by 
 wrong notes or chords. . .Figui ed harmony varies 
 the simple chords by figuration of all kinds... 
 Open harmony (in 4-part writing) spreads the 3 
 highest parts beyond the compass of an octave... 
 Pure harmony, music performed with pure u;<>t 
 tempered) intonation, as by a string-quartet, or 
 unaccompanied c\\oxyx'S,. . .Spread Jiarmony, open 
 Yia.vm<.my ...Strict harmony, composition accord- 
 ing to strict rules for the preparation and
 
 72 Harp— Hemidemisemiquaver 
 
 resolution of d\s,sona.-nce?,... Tempered harmony^ 
 music performed with tempered intonation, as 
 on the organ or piano. 
 Harp. A stringed instrument of ancient origin. 
 The modern orchestral harp (Erard's double- 
 action harp) has a nearly 3-cornered wooden 
 frame, the foot of which is formed by an upright 
 fillar meeting the hollow back (the upper side of 
 which bears the soundboard) in the pedestal: the 
 Tipper ends of pillar and back are united by the 
 curving neck. The gut strings are 46 (or 47) in 
 number. Compass, 6J^ octaves, from C-^ to /*> 
 (or ^41,). 
 
 Harp-pedal. The soft pedal. 
 
 Harpsichord. A keyboard stringed instrument in 
 which the strings were twanged by quills or bits 
 of hard leather. See Pianoforte. 
 
 Haupt (Ger , howpt). Head; chief, principal... 
 Hauptmamial, Great-organ manual . . . Haupt- 
 pruizipal, 8-foot diapason (on manual), 16-foot (on 
 ■pQAa.\)...Hauptsatz, principal movement or 
 theme. 
 
 Hautbois (Fr., oh-bwah'). Oboe or hautboy. 
 
 Hautboy (Engl., hoh'bojO- Oboe. 
 
 Havanaise (Fr., ah-vah-naz'). A Habanera. 
 
 Head. i. Point (of bow\ — 2. In the violin, etc., the 
 part comprising peg-box and scroll.-— 3. In the 
 drum, the membrane stretched over one or both 
 ends.— 4. In a note, the oval (or square) part 
 which determines its place on the staff. 
 
 Head-tones, Head-voice. The vocal tones of the 
 head-register. [passionate. 
 
 Heftig (Ger.. hef'tiyh). Vehement, impetuous, 
 
 Heftigkeit, mit (Ger., mit hef'tiyh-kit). Vehe- 
 mently, etc. 
 
 Heimlich (Ger.. him'liyh). Secret, mysterious, 
 misterioso ,- furtive, stealthy. 
 
 Heiter (Ger., hl'ter). Serene; cheerful, glad; gioioso. 
 
 Hel'icon. A brass wind-instrument, used chiefly 
 in military music as a bass ; its tube is bent m a 
 circle, and it is carried over the shoulder. 
 
 Hell (Ger., hel). Clear, bright; limpido. 
 
 Helper. An octave-pipe (organ) set beside and 
 sounding with another of 8-foot pitch, for the 
 sake of brilliancy. r64th-rest. 
 
 Hemidemisemiquaver. A 64th-note. . .i^.-r^i'/, a
 
 Herzij?— Horn-band 73 
 
 Herzig(Ger.,har'tsTyh). Hearty, heartily; tenderly. 
 
 Hes(Ger.,hess). B\f. 
 
 Heses (Ger., hess'ess). B double-flat. 
 
 Hexachord. The 6 tones ut re }>ti fa sol la in Sol* 
 misalion. 
 
 Hidden fifths, octaves. See Oci AVE. 
 
 His (Ger., hiss). B ^. 
 
 Hisis (Ger., hiss'iss). B double-.sharp. 
 
 Hohlfl6te (Ger., hohl'flo'te). In the organ, an open 
 flue-stop whose dark, mellow tone is rather 
 hollow (whence its name); usually of 8- or 4-foot 
 pitch... The Hohlquinte is a mutation stop in the 
 fifth. 
 
 Hold. [In England, usually called Pause.'] The 
 sign ri\ over, or vi/ under, a note or rest, indicat- 
 ing the prolongation of its time-value at the per- 
 former's discretion.— Placed over a bar, the hold 
 indicates a slight pause or breathing-spell before 
 attacking what follows. 
 
 Holding-note. A note sustained in one part while 
 
 the other parts are in motion. 
 
 Homophon'ic. Alike in sound or pitch.— In modern 
 music, a style in which one melody' or part, sup- 
 ported to a greater or less extent by chords or 
 chordal combinations (that is. an dccompajiied 
 vielOi.iv'). predominates, is called homophonic; op- 
 posed to polyp/ionic. 
 
 Homoph'ony. Homophonic music; the homophonic 
 style; opposed to antiphony and polyphony. 
 
 Hook. A stroke attached to the stems of 8th-notes, 
 i6th-notes, etc. 
 
 Horn. The orchestral horn is a brass wind-instru- 
 ment, having a conical tube variously bent upon 
 itself (the smallest horn generally used, in high 
 B\>, has a tube nearly 9 feet long; that an octave 
 lower, nearly 18 feet); wide and flaring bell ; the 
 tone rich, mellow and sonorous. The o\6.Jiatural 
 or French horn yields only the natural tones sup- 
 plemented by stopped tones and crooks, giving 
 a total possible compass of ■>,% octaves, from B^\> 
 to /". — The modern Valve-horn, played like a 
 cornet, is much easier to handle. — The horn is a 
 transposing mstrument. 
 
 Horn-band. A band of trwrnpetev?,.— Russian horn- 
 band, a band of performers on hunting-horns, 
 each of which produces but one tone.
 
 Horner — Immer 
 
 Horner (Ger., hor'ner). Horns {corni). 
 
 Hornpipe. An old English dance in lively tempo, 
 the earlier ones in 3-2 time, the later in 4-4 time. 
 
 Hur'dy-gurdy. A stringed instrument having 2 
 melody-strings, and from 2 to 4 drones. The 
 melody-strings are " stopped " by keys touched 
 by the left hand ; the right hand turns a crank 
 which revolves a rosined wheel, the latter scrap- 
 ing the strings and producing the rough musical 
 tones. 
 
 Hurtig (Ger., hoor'tiyh). Swift, headlong. 
 
 Hydraulic organ. A small kind of organ invented 
 by Ktesibios of Alexandria (180 B. C.). in which 
 the wind-pressure was regulated b}- water. 
 
 Hymn. A religious or sacred song; usually, a 
 metrical poem to be sung by a congregation.— In 
 foreign usage, a national song of lofty character, 
 like the Marseillaise. 
 
 I 
 
 I (It., e; masculine plural). The. 
 
 lam'bus. A metrical foot of 2 syllables, one short 
 and one long, with the accent on the long (^ —). 
 
 I'dyl. A composition of a pastoral or tenderly 
 romantic character, without set form. 
 
 Idilliodt., e-dil'le-6h). J 
 
 Idylle (Fr., e-dil'). t An Idyl. 
 
 Idylle (Ger., e-dil'le). ) 
 
 II (It, el; masculine singular). The... I I piu. the 
 "^'^^'- [tempo; a temfo. 
 
 Im (Ger., im). In the...//« Tetnpo., in the regular 
 
 Imitando (It., e-me-tahn'doh). Imitating. 
 
 Imitation. The repetition of a motive, phrase or 
 theme proposed by one part (the antecedent) in 
 another part (the "consequent), with or without 
 mod.{ficsit\on. . .Ca)ionic imitation, strict imita- 
 tion... /v-^^ imitation., that in which changes of 
 the antecedent are permitted in the consequent. 
 . . .Strict imitation, that in which the consequent 
 answers the antecedent note for note and inter- 
 val for interval. 
 
 Immer (Ger., im'mer). Always; continuously... 
 Immer starker wercieiid, continually growing 
 louder; immer lamrsanter, slower and slower; 
 immer langsatfi, slowly throughout.
 
 Inipaziente— Infino 75 
 
 Impaziente (It., im-pa.h-tse-en't6h). * Impatient, 
 
 Impazientemente (— teh-men't6h). f impatiently. 
 
 Imperfect cadenco, consonance, interval, stop. 
 See the nouns. 
 
 Imperioso (It., im- peh-re - 6h's6h). Imperious, 
 hauyhty, lofty. 
 
 Impeto, con (It., k6hn im'peh-toh). "I 
 
 Impetuosamente (iin-peh t66-oh-s3.h-men'tSh). j 
 
 Impetuosita, con (kohn im-p6h-t66-6h-se-tah'). j' 
 
 Impetuoso (It., im-peh-t66-oh's6h). J* 
 
 Impetuously, impetuous, vehemently. 
 
 Imponente (It., im-p6h-nen'teh). Imposing, im- 
 pressive. 
 
 Impresario (It., im-prgh-sah're-6h). The agent or 
 manager of an opera- or concert-company. 
 
 Impromptu. 1. An improvisation. —2. A composi- 
 tion of loose and extemporaneous form and slight 
 development ; a Fantasia. [extemporizing. 
 
 Improvisation. Off-hand musical performance ; 
 
 In alt, altissimu See ALT, ALTIS3IMO. 
 
 Incalzando (It., i-kahl-tsShu'doh). "Pursuing 
 hotly:'" growing, more vehement. . .Inca/zanafo e 
 string-endo, growing more vehement and rapid. 
 
 Incidental music. Music supplementary to a 
 spoken drama; such as an overture, interludes, 
 songs, etc. 
 
 Inciso (It.. in-che's6h). Incisive ; sharply marked. 
 ...Jncise, "mark the notes sharply." 
 
 Incomplete stop. A half-stop. [cided. 
 
 Indeciso (It., in-deh-che's6h). Irresolute, unde- 
 
 Independent chord, harmony, triad. One which is 
 consonant (contains no dissonance), and is, there- 
 fore, not obliged to change to another chord by 
 progression or resolution. 
 
 Indifferente (It., in-dif-f6h-ren't6h). \ 
 
 Indifferentemente (— tSh-men'teh). -Indif. 
 
 Indifferenza, con (k6hn in-dif-feh-ren'tsdh). ' 
 fcrently, carelessly. 
 
 Indirect resolution. See RESOLUTION. 
 
 Infernale (It., in-far-nah'leh). Infernal. 
 
 Infinite canon. One without a closing cadence, 
 that may be repeated at pleasure. 
 
 Infino (It., in-fe'noh). Up to, as far as, till you reach.
 
 76 Ingenuamente— Intermezzo 
 
 Ingenuamente (It., in-jeh-noo-Sh-men'teh). Nat- 
 urally, ingenuously. 
 
 Inharmonic relation. See FALSE RELATION. 
 
 Iniziale (It., e-ne-tse-ah'leh). Initial ; the first. 
 
 Inner parts. Parts in harmony lying between the 
 highest and lowest. 
 
 Inner pedal. A pedal-point on an inner part. 
 
 Innig (Ger., in'niyh). Heartfelt, sincere, fervent, 
 intense; intimo, con affetto. 
 
 Innigkeit, mit (Ger., mit in'niyh-klt). »_^^j^j^ ^ 
 
 Inniglich (Ger., in'niyh-liyh). J 
 
 emotion, lervently. 
 
 Innocente (It., in-noh-chen'teh). Innocent, unaf- 
 fected. 
 
 Innocentemente (It., in-noh-chen-teh-men'teh). | 
 
 Innocenza, con (It., kohn in-noh-chen'tsah). > 
 Innocently, artlessly. 
 
 Inquieto (It., in-kwe-eh'toh). Unrestful, uneasy. 
 
 Insensibile (It,, in-sen-se'be-leh). Imperceptible, 
 
 Insensibilmente (It., in-sen-se-bel-men'teh). In- 
 sensibly. 
 
 Insistendo (It., in-se-sten'doh). \ Urgent- 
 
 Insistenza, con (It., kohn in-.se-sten'tsah). ) !>'• 
 
 Instandig (Ger., in'shten'diyh). I tt,- <- ^^^^„- 
 
 ^^ . ^^ , .^s r Urgent, pressmg, 
 
 Instante (It., in-stShn'teh). ' 
 
 Instantemente (It., in-stahn-teh-men'teh). Ur- 
 gently. 
 
 Instrumentation. The theory and practice of com- 
 posing, arranging, or adapting music for a body 
 of instruments of different kinds, especially for 
 orchestra, 
 
 Intenzionato (It., in-ten-tse-oh-nah'toh), '-With 
 
 Intenzione, con (It., kohn in-ten-tse-oh'neh), ' 
 stress, emphasis. 
 
 Interlude, i. An intermezzo. — 2. An instrumental 
 strain or passage connecting the lines or stanzas 
 of a hymn, etc. — 3. An instrumental piece plaj^ed 
 between certain portions of the church-service 
 Utiteriudiiitn). 
 
 Intermezzo ( — med'zoh). i. A light mus. entertain- 
 ment alternating with the acts of the early Italian 
 tragedies. — 2. Incidental music in modern dramas. 
 —3. A short movement connecting the main
 
 Interrupted cadence— Intoning 77 
 
 diviciions of a ^.'vniphony.— 4. Many instrumental 
 compositions ta^ke the name Intermezzo for want 
 of a better, not bein^j '" characteristic "' pieces. 
 Interrupted cadence. See Cadence. 
 
 Interruzione, senza (It., sen'tsSh in-t6r-r6(j-tse-oh'- 
 
 neh). Without interruption. 
 
 Interval. The difference in pitch between two 
 tones. Intervals are regularly measured from 
 the lower tone to the higher. An interval is : — 
 Augmented, when wider by achromatic semitone 
 than major or pericct. . .C/i> oma/Zc, when aug- 
 mented or diminished (except augm. Fourth, and 
 dim. Fifth and Seventh). . . Covipound, when wider 
 than an ocUwe. . .Consofiant^ when not requiring 
 resolution... Z^/a/t7«/c, when occurring between 
 2 tones belonging to the same key (except the aug- 
 mented Second and Fifth of the harmonic minor 
 &C'd.\e). . .Dhninished, when a chromatic semitone 
 narrower than major or ■peviect.. .Dissonant, 
 when requiring resolution. . .EjiJiajjnonic, see En- 
 H\KyAOyi\C.. .Extended, or Extreme, when aug- 
 mented. . ./•ViZ/, when diminished. . ./y^/-wtJ«/c-, 
 when both tones are sounded together. . ./wz/^r- 
 fect, when diminished. . ./wf^r/^'a', when the 
 higher tone is lowered, or the lower tone raised, 
 by an octave. . .Major, when equal to the standard 
 Second, Third, Sixth and Seventh of the major 
 Si:a.\e... Melodic, when the two tones are sounded 
 in succession.. .il//'«(7;-, when a chromatic semi- 
 tone narrower than major or perlect. . .Ea> a//tl 
 (with an interval preceding), when its two tones 
 progress in the same direction and at the same 
 interval. . .Perfect (or Perfect major), when equal 
 to the standard Prime, Fourth, t- ifth, and Octave 
 of the major scale.. .Pednndant, when aug- 
 mented . ..Simple, when not wider than an octave. 
 ...Standard, when measured upward from the 
 'keymAe. . .Superfluous, when augmented. 
 
 Intimissimo (It., in-te-mis'se-m6h). Very tenderly, 
 warmly. 
 
 Intimo (It., in'te-moh^ Heartfelt, fervent. 
 
 Intonation. i. The production of tone, either 
 vocal or instrumental.— 2. The method of cliant- 
 ing employed in Plain Chant. — 3. The opening 
 notes leading up to the reciting-tcme of a chant. . . 
 Fixed intonation, see Fl.XEO- luNE. 
 
 Intoning:. The chanting by the minister, in mono- 
 tone, of parts of the Anglican church-service.
 
 78 Intrepidamente— Italian Sixth 
 
 Intrepidamente (It., in-tra-pe-dah-men'teh). { RqI^. 
 
 Intrepidezza, con (kohn in-tra-pe-det'sah). ^ 
 ly, daringly, dashingly. [bold. 
 
 Intrepido, -a (It., in-tra'pe-doh, -dah). Intrepid, 
 
 Introduction. A phrase or division preliminary to 
 and preparatory of a composition or movement. 
 
 Intro'it (Lat. introitus, "entrance "). An antiphon 
 sung while the priest is approaching the altar to 
 celebrate the Mass.— In the modern Anglican 
 Church, an anthem or psalm, sung as the minister 
 approaches the Communion table. 
 
 Invention, A short piece in free contrapuntal 
 style, developing one motive in an impromptu 
 fashion. 
 
 Inversion. The transposition of the notes of an 
 interval or chord, (a) In a simple interval the 
 higher note is set an octave lower, or the lower 
 note an octave higher, ib) A chord is inverted 
 when its lowest note is not the root ; see Elem. 
 of Notation, p. x. {c) In double counterpoint, the 
 transposition of 2 parts, the higher being set 
 below the lower, or vice versa ; this inversion 
 may be by an octave or some other interval, and 
 is called " inversion in the octave," " in the 
 tenth," " in the fifth," etc. {d) An organ-point is 
 inverted when in some other part than the 
 lowest. 
 
 Ira, con (It., kohn e'rah). I_ Wrathfully, passion- 
 
 Irato at., e-rah'toh). *" ately. 
 
 Irlandais, -e (Fr., er-lahn-da', daz'). Hibernian, 
 Iri^h. 
 
 Ironia, con (It., kohn e-roh-ne'ah). \ Ironically, 
 
 Ironicamente (e-roh-ne-kah-men'teh). ) 
 
 Ironico (It., e-ro'ne-koh). Ironical. 
 
 Irregular cadence. See CADENCE. 
 
 Irresoluto (It., ir-reh-soh-loo'toh). Irresolute, un- 
 decided, vacillating. 
 
 Islancio, con (It., kohn e-zlahn'choh). Vehe- 
 mently, impetuously, with dash. 
 
 Istesso nt.. e-stes's6h). ^a.mQ. . .Uistesso tempo, 
 " the same tempo " (or " time "); signifies (a) that 
 the tempo of either the measure or measure-not^ 
 remains the same after a change of time-signa- 
 ture ; or ib) that a movement previously inter- 
 rupted is to be resumed. 
 
 Italian Sixth. See Extreme.
 
 Jack — Kammer 79 
 
 Jack. T. In the harpsichord and clavichord, an 
 upright slip of wood on the rear end of the key- 
 lever, carrying (in the formeria bit of crow-qufll 
 or hard leather set at a right angle so as to pluck 
 or twang the string, or (in the latter) a metallic 
 tangent.— 2. In the pianoforte, the escapement- 
 lever, or hopper. 
 
 Jagdhorn (Ger., ySht'horn). Hunting-horn. 
 
 Jagdstuck (Ger., y5.ht'sht«k). Hunting-piece. 
 
 Jagerchor (Ger., ya'ger-kohr'). Hunters' chorus^. 
 
 Jaleo (vSpan., hah-la'oh). A Spanish dance for one 
 performer, in 3-8 time and moderate tempo. 
 
 Jan'izary music. Shrill and noisy military music, 
 with drums, cymbals, etc., predominating. 
 
 Janko keyboard. A piano-keyboard invented by 
 Paul von Janko of Totis, Hungary, in 1882 ; it 
 has 6 rows of keys so arranged that any given 
 tone can be struck in 3 different places, that is, 
 on every other row. 
 
 Jeu (Fr.. zho). i. Style of playing.— 2. A stop of 
 an organ, etc. ..Grand jeii., or Flein jeu^ full 
 organ, full ^povfer ... Demt'-jeu, half-power. 
 
 Jew's-harp. A small instrument with rigid iron 
 frame, having a thin vibratile metal tongue ; 
 the frame is held between the teeth, and the 
 metallic tongue plucked with the finger. 
 
 Jig. A kind of country-dance, with many modifi- 
 cations of step and gesture, in triple or com- 
 pound time, and rapid tempo.— In the Suite, the 
 Giffiie is usuallv the last movement. 
 
 Jodler (Ger., yohd'ler). A song of the Alps char- 
 acterized bv the frequent alternation of falsetto 
 tones with chest-tones ; a yodel, or warble. 
 
 Jota (Span., hoh'tSh). A national dance of north- 
 ern Spain, danced by couples, in triple time and 
 rapid movement, something like a waltz. 
 
 Tust intonation. Singing or playing music pre- 
 cisely true to pitch; opposed to tempered intona- 
 tion. 
 
 K 
 
 Kammer (Ger., kShm'merV " Chamber "; " court "; 
 A'(7wwfrwMi'//t. chamber-music ;A't^ww/f/v//w.f/^vr, 
 court musician, A'amifier-kantafe, c\\a.mheT-ca.x\.- 
 tata.
 
 8o Kantate — Key-bug^le 
 
 Kantate (Ger., kahn-tah'te). Cantata. 
 
 Kapelle (Ger., kah-pel'le). i. A private band or 
 choir. — 2. An orchestra. 
 
 Kapellmeister (Ger., kah-pel'mi'ster). i. Con- 
 ductor of an orchestra. — 2. Choirmaster. 
 
 Kavatine (Ger., kah-vah-te'n§). Cavatina. 
 
 Keck (Ger., kek). Bold, confident ; pert. 
 
 Keckheit, mit (Ger., mit kek'hit). Boldly, con- 
 fidently. 
 
 Kerau'lophon. An 8-foot partial fliie-stop, having 
 metal pipes surmounted by adjustable rings, and 
 with a hole bored near the top of each pipe. 
 Tone soft and "reedy." 
 
 Kettledrum. An orchestral drum consisting of a 
 hollow brass or copper hemisphere (the kettle) 
 resting on a tripod, with a head of vellum 
 stretched by means of an iron ring and tightened 
 by a set of screws, or by cords and braces. It is 
 generally played in pairs, the larger drum yield- 
 ing any tone from Pto c and the smaller from 
 B\}\.o f. Music now written at actual pitch. 
 
 Key (i). The series of tones forming any given 
 major or minor scale, considered with reference 
 to their harmonic relations, particularly the rela- 
 tion of the other tones to the tonic or keynote. . . 
 Attendant keys, see ATTF.y^DA'Sl .. .Cfiroviatic 
 key, one having sharps or flats in the signature. 
 ...Extreme key, a remote 'kQj .. .Major key, onQ 
 having a major Third and Sixth. . .J/z>?(?r ke\\ 
 one having a minor Third and ^xnXh.. .Natia-al 
 key, one with neither sharps nor flats in the 
 signature. . .Parallel key. (a) a minor key with the 
 same kevnote as the given major kev, or vice 
 versa; (p) a. Relative key (see Relativej....^^- 
 mote key, an indirectly related key. 
 
 Key (2). {a\ A digital or finger-lever in the key- 
 board of a piano or organ. — ib) A pedal or foot- 
 key in the organ or pedal-piano. 
 
 Key (3). A flat padded disk attached to a lever 
 worked by the finger or thumb, closing the sound- 
 holes of various wnnd-instruments. 
 
 Key (4). A wrest, or tuning-key. 
 
 Key-action. In the keyboard of a piano or organ, 
 the keys and the entire mechanism connected 
 with and set in action by them. 
 
 Keyboard. The range of keys on an organ or piano. 
 
 Key-bugle. See BUGLE.
 
 Key-chord— Kraftig- 8x 
 
 Key-chord. The tonic triad. 
 
 Key-harp. An instrument formed like a piano, 
 but havini^ tuning-forks in lieu of strings. In- 
 vented 1819 by Dieiz and Second. 
 
 Keynote. The first note of a key or scale. 
 
 Key-signature. The sharps or flats at the head of 
 the staff. 
 
 Key-stop. A key attached to the fingerboard of a 
 vionn so as to replace the fingers in stopping the 
 str-ngs ; the instrument is then called a key-stop 
 or keyed-stop violin. 
 
 Key-tone. The keynote. 
 
 Key-trumpet. A trumpet provided with keys. 
 
 Kindlich (Ger., kint'liyh). Childlike, artless. 
 
 Kit. Ths small violin used by dancing-masters, 
 about 16 inches long, and tuned c^-g^-cf^. 
 
 Klagend (Ger., klah'ghent). Mournfully, plain- 
 tively. 
 
 Klappe (Ger., klahp'pe). A key {■^...Klappenhorn^ 
 key-bugle. 
 
 Klarinette (Ger., klah-re-net'tS). Clarinet. 
 
 Klavier (Ger., klah-ver'). i. A keyboard.— -2. A 
 keyboard stringed instrument; in the i8th cen- 
 tury, a clavichord; now, a pianoforteof any kind. 
 
 Klavierauszug (,Ger., klSh-ver'ows'tsooh). Piano- 
 arrangement. 
 
 Klaviermassig (Ger., kl3,h-ver'ma'siyh). Suitable 
 for the piano; in piano-style. [stop). 
 
 Kleingedackt (Ger., klin'ge-dihkt'). Flute (organ- 
 
 Knee-stop. A knee-lever under the manual of the 
 reed-organ. There are 3, used {,a) to control the 
 wind-supply, Kb) to open and shut the swell-box, 
 {O to draw all the stops. 
 
 Kokett (Ger., koh-ket'). Coquettish(ly). [cert. 
 
 Konzert (Ger., kohn-tsart'). i. Concerto.— 2. Con- 
 
 Konzertmeister (Ger., k6hn-tsart'mi'ster). Leader, 
 first violin. 
 
 Konzertstuck (Ger., kShn-tsart'sht/Vk). i. A con- 
 cert-piece.— 2. A short concerto in i movement 
 and tree form. 
 
 Koppel (Ger., k6hp'pel). Coupler... A'<:>//^/«'^. off 
 coupler... A'f /A'/ (/;/, draw coupler, couple. 
 
 Kraft, mit (Ger., mit krihft). ( Forceful, vigorous, 
 
 Kraftig (Ger., kref'iTyh). >' energetic; con forza.
 
 Krakow i ak— Langfsam 
 
 Krakowiak. A Cracovienne. 
 
 Kriegerisch (Ger., kre'ge-rish). Martial, warlike. 
 
 Krummhorn (Ger., kroom'horn). An obsolete wood 
 
 wind-instrument with double-reed. Hence, an 
 
 organ-stop of similar tone (mournful). 
 Kurz (Ger.. koorts). Short. . .A^wr^ und bestimmt, 
 
 short and decided. 
 Kyrie (Greek, ku're-eh). " Lord "; the first word 
 
 in the opening division of the Mass. 
 
 L. Stands for left (or li?iks, Ger.) in the direction 
 
 /. //. (left hand). 
 La. I. The 6th Aretinian syllable.— 2. The note A 
 
 in French and Italian.— 3. (It., lah). The. 
 Lage (Ger., lah'ge). Position (of a chord) ; posi- 
 tion, shift (in violin-plajnng). . . Ettffe (weite) Lage^ 
 
 close (open) position or harmony. 
 Lagrimando (It., lah-gre-mahn'doh. Complain- 
 
 ingly, plaintively. 
 Lagrime, con (It., kohn lah'gre-meh). ^ ii^gg^j.£^p» 
 Lagrimoso (lah-gre-moh'soh). ^ 
 
 plaintive, like a lament. 
 Lah stands for La in Tonic Sol-fa. 
 Lamentabile (It., lah-men-tah'be-leh). { 
 Lamentabilmente (— tah-bel-men'teh). | 
 Lamentando (It., — tahn'doh). I Lament- 
 
 Lamentevole (It., — ta'voh-leh). j 
 
 Lamentevolmente ( — teh-vohl-men'teh). 
 Lamentoso (It., — toh'soh). J 
 
 ingly, plaintively, mournfully. 
 
 Lamentazione (It., lah-men-tah-tse-oh'neh). \ * 
 Lamento (It., lah-men'toh). ' 
 
 lament, complaint. 
 
 Landler (Ger.. lent'ler). A slow waltz of South 
 Germany and the Tyrol (whence the French 
 name Tyroliemie\ in 3-4 or 3-8 time,and the rhythm 
 
 ^—. . -.H-— -^ 
 
 4 I I u i ' I ' u ^ 
 
 Langsam (Ger.. lahng^'zahm). S\o^ . . . Langsamer 
 (lahng'"zah-mer), slower.
 
 Languendo— Leading 
 
 Languendo (It., Idhn-gwen'doh). ) Languishing, 
 
 Languente (It., lAhn-^'wen'tC-h). * plaintive. 
 
 Languidamentr, (It., lahn-gwe-dih-men'tfih). \ 
 
 Languido (It , lihn'gwu-d5h). V 
 
 Languore, '.on (It., kohn Idhn-go'rSh). ' 
 
 Langui<^h', lanv^uisliinKlv- 
 
 Largan-.ente (It., lar -gali - men ' tSh). Largely, 
 br<adly ; in a manner cliaracterized by a vigor- 
 ous and su.stained tone and general breadth oC 
 style, without change of tempo. 
 
 Largando (It., lar-g^hn'doh). "Growing broader", 
 that is, slower and tnore marked ; generally a 
 crescendo is implied. 
 
 Large. A Plain-chant note equal to 2 (or 3) J'^ings. 
 
 Larghetto (It., lar-get'toh). The dinnn'Jtive of 
 Laiffo^ and demands a somewhat more rapid 
 tempo, nearly Atuiatitino. 
 
 Larghezza, con (It., k6hn lar-get's^h). Same as 
 Largameute. 
 
 Largo (It., lar'goh). Large, broad ; the slowest 
 tempo-mark, calling for a rlow and stately move- 
 ment with ample breadth of style. . . l^rgo assiif, 
 very slowly and broa'Jly (a'.so Largo di niolto, 
 Molio iargo, or Larghissnno).. .Foco iargo, "with 
 some breadth " ; can ojcur even during an 
 Allegro. 
 
 Larigot (Fr., ISh-re g6h'). Originally, a kind of 
 flageolet ;now, an organ-stop of ij^j-foot pitch. 
 
 Lauda (Latin). A laud (hymn or song of praise)... 
 Laiides, lauds ; together with matins, the first of 
 the 7 Canonical Hours. 
 
 T-aunig (Ger., low'niyh). i. With light, gay humor. 
 —2. With facile, characteristic expression. 
 
 Laute (Ger., low'tS). Lute. 
 
 Lay. A melody or tune. 
 
 Ledt., la; Fr., lu). The. 
 
 Lead. i. The giving-out or proposition of a theme 
 by one part.— 2. A cue. 
 
 Leader, i. Conductor, director.— 2. In the or- 
 chestra, the ist violin ; in a band, the 1st cornet ; 
 in a mixed chorus, the ist soprano.— 3. An ante- 
 cedent. 
 
 Leading. 1 (noun). The melodic progression or 
 conduct of any part.— 2 (adjective). Principal, 
 chief; guiding, d'xTttcVm^. . .Leading-cliord, the
 
 84 Leaning-note— Leger-line 
 
 dominant seventh-chord . . .Leading melody, prin. 
 cipal melody or theme... Leading-motive, see 
 'Le.ITUOTIV .. .Leading-note, -tone, the 7th degree 
 of the major and harmonic minor scales. 
 
 Leaning-note. Appoggiatura. 
 
 Leap. I. In piano-playing, a spring from one note 
 or chord to another. — 2 In harmony, a skip. 
 
 Lebendig (Ger., leh-benMiyh). I Lively, animated. 
 
 Lebhaft (Ger., lab'hahft). J 
 
 . . .Lebhaft, aber nicht zu sehr, livel}', but not too 
 much so. 
 
 Lebhaftigkeit (Ger., lab'hahf-tiyh-kit). Animation; 
 fnit Lebhaftigkeit utid durchaus mit Empfindung 
 und Ausdruck, with animation, and with feeling 
 and expression throughout. 
 
 £«edger-line. A Leger-line. 
 
 Legando (It., leh-gahn'doh). " Binding." i. Lega- 
 to. — 2. An expression-mark calling for the smooth 
 execution of two or more consecutive tones by 
 a single "stroke of the glottis " (vocal), in one 
 bow (violin, etc.), by a single stroke of the tongue 
 (wind-instruments), or legatissimo (on organ or 
 piano. 
 
 Legate (It., leh-gah'teh). Slurred; played or sung 
 smoothly and evenly. 
 
 Legatissimo (It., leh - gah - tis ' se-moh). Very 
 smoothly and evenly. On the piano, in passages 
 marked legatissimo, eo-e^a. finger is to hold its note 
 as long as possible. 
 
 Legato (It., leh-gah'toh). Bound, slurred; a direc-' 
 tion to perform the passage in a smooth and con* 
 nected manner, with no break betwr-en the tones; 
 also indicated by the " legato-mark," a curving 
 line under or over notes to be so executed. 
 
 Legend (le- or lej'end). \ 
 
 Legende (Ger., leh-gen'de). -A vocal or instru- 
 
 Legende (Fr., la-zhahnd'). ' 
 mental composition depicting the course of a 
 short tale of legendary character. 
 
 Legendenton, im (Ger., im leh-gen'den-tohn). In 
 the tone (style) of a legend. 
 
 Leger-line. A short line used for writing notes 
 which lie above or below the staff. . .Leger-space^ 
 a space bounded on either side or both sides by 
 a leger-line. (Pronounced, and often written^ 
 Led' ger.)
 
 L«eg-j3reramente— Licenza 85 
 
 Leggeramente (It., led-jeh-rah-men't^h). j 
 Leggerezza, con (k6hn led-jeh-ret'sSh). /[^rfsklv 
 Leggermente (It., led-jar-men'teh). ' 
 
 Leggero (It., led-ja'roh). Light, airy. 
 Leggiadramente (It., led-jah-drih-men'tSh). Neat* 
 
 ly. ele;<antly, gracefully. [gracefuU 
 
 Leggiadro (It., led - jah ' dr6h). Neat, elegant, 
 Leggiero, etc. (It., led-ja'roh). See Leggeko. 
 Legno, col (It., k5hl lan'yOh). "With the stick"; 
 
 let the stick of the bow fall on the strings. 
 Leicht (Ger., liyht). Light, brisk; easy, facile... 
 
 Leicht bewegt, lightly and swiftly ; with slight 
 
 agitation. 
 Leichtlich fGer., liyht'lTyh'). X^ightly, easily. 
 Leidenschaft, mit (Ger., mit ll'den-shiihft). I with 
 Leidenschaftlich (Ger., li'den-shahft'liyh). ' 
 
 pu.ssion, pa.ssionately. 
 LeidvoU (Ger., lit'fdhl). Sorrowful, mournful. 
 Leise (Ger., li'ze). Low, soft ; piano, [and softer. 
 Leiser (Ger., li'zer). Softer ; immer leiser, softer 
 Leitmotiv (Ger., Ilt'm6h-tef'). Leading-motive; 
 
 any striking musical motive (theme, phrase) 
 
 characterizing or accompanying one of the actors 
 
 in a drama, or some particular idea, emotion, or 
 
 situation in the latter. [quietlv. 
 
 Lenezza, con (It., k6hnleh-net's5.h). Faintly, gently, 
 Leno (It., la'noh). Faint, gentle, quiet. 
 Lentamente (It., Ien-t5h-men't6h). Slowly. 
 Lentando (It., len-tShn'doh). Growing slower. 
 Lentezza, con (It., k5hn len-tet'sSh). Slowly. 
 Lento (It., len'tuh). Slow; calls for a tempo be- 
 tween andante and la rg-o... Adagio non lento^ 
 
 slowly, but not drag.ging. 
 Lesser, i. Minor. — 2. ^\\ot\.,2.% Lesser appoggiaturcu 
 Lesto (It., Ia'st6h). Gay, lively, bri.sk. 
 Liberamente (It., le-bSh-rah-men't^h). Freely, 
 
 boldly. 
 Libretto (It., le-bret't<')h). A "booklet" ; the words 
 
 of an opera, oratorio, etc. The authui is called 
 
 a librettist (It. librettt'sta). 
 Licenza (It., le-chen'tsih). Freedom, license... 
 
 Con alcuna licenza^ with a certain (degree oO 
 
 freedom.
 
 Lieblich— Lustig' 
 
 Lieblich (Ger., lep'liyh). Lovely, sweet, charming. 
 
 Lied (Ger., let). Song. 
 
 Lig'ature. i. A tie ; a syncopation. — 2. A group or 
 
 series of notes to be executed in one breath, to 
 
 one syllable, or as a legato phrase. [distinctly. 
 Limpido (It., lim'pe-doh). "Limpid' ; clearly, 
 Lip. I. The upper and lower lips of a flue-pipe 
 
 are the flat surfaces above and below the mouth. 
 
 —2. Lipping; that is, the art of so adjusting the 
 
 lips to the mouthpiece of a wind-instrument as to 
 
 get a good tone. 
 Liscio (It., le'shoh). Smooth, flowing. 
 L'istesso (It., Ie-stes's6h). The same. 
 Lit'any. A song of supplication, priests and choir 
 
 alternating. 
 Liuto (It., le-oo'toh). A lute. 
 Lo(It.,loh). The. 
 Loco (It., lo'koh). '-Place"; following Sva it 
 
 means, "perform the notes as written." 
 Long. A Plain-Chant note equal to 2 (or 3) breves. 
 Lontananza, in (It., in lohn-tah-nahn'tsah). At a 
 
 distance. [away. 
 
 Lontanissimo (It., lohn-tah-nis'se-moh). Very far 
 Lontano (It., lohn-tah'noh). Far away...Z?a Ion- 
 
 iano, from a distance. 
 Loud pedal. The pianoforte-pedal which lifts the 
 
 dampers; the right pedal. 
 Loure (Fr., loor). A dance in 6-4 or 3-4 time and 
 
 slow tempo, the down-beat strongly marked. 
 Luftig (Ger., loof'tiyh). Airy, light 
 Lugubredt., 166-goo'breh). Mournful. 
 Lunga (It., loon'gah). Long ; sustained, prolonged. 
 
 Written over or under a hold (t) it means that 
 
 the pause is to be decidedly prolonged; often 
 
 written Paicsa lunga, long pause. 
 Lunghe (It.,166n'geh. VlnvaX oilunga). Prolonged. 
 Lusingando (It., loo-zin-gahn'doh). "1 
 
 Lusingante (It., — gahn'teh). 
 
 Lusinghevole (It., — ga'voh-leh). \ Coax- 
 
 Lusinghevolmente (— geh-vohl-men'teh). | 
 Lusinghiero (It.. — ge-a'r6h\ J 
 
 ingly, caressingly, flatteringly, seductively. 
 Lustig (Ger., loos'tiyh). Merry, merrily.
 
 Lute— Maestosamente 87 
 
 Lute. An ancient stringed instrument, mandolin- 
 shaped (like half a pear), with 6 to 13 strings 
 strung pairwise over the fretted fingerboard, and 
 bass strings off the fingerboard attached to a 
 second neck. Formerly popular, but now ob- 
 solete. 
 
 Luttosamente (It., 166t-t6h-sah-men'tSh). ) ^jQuj-n- 
 
 Luttuosamente (166t-t66-6h-s^h-men'tSh). ) 
 fully, plaintively. 
 
 Luttoso (It., 166t-toh's6h). ) Mournful, doleful, 
 
 Luttuoso (16ot-t66-oh's6h). ^ plaintive. 
 
 Lyre. i. An ancient Greek stringed instrument, 
 the body being a soundboard, 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 on the 
 soundboard, and were plucked with a plectrum. 
 —2. The lyre of military bands consists of loosely 
 suspended steel bars' tuned to the scale and 
 struck with a hammer. 
 
 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; opposed to epic ina.rra.tive) and d/-a/na^ic 
 (scenic, accompanied hy action). . .Lyric dratfia, 
 the opera.. . .Lyric opera, one in which the lyric 
 form predominates. . .Z-y/'/'f stage., the operatic 
 stage. 
 
 M 
 
 M. Stands for It. mano or Fr. main (hand); for 
 Manual (organ); and for Metronome (usually 
 M. M.). 
 
 Ma (It., mSh). But ... A/iegro ma non troppo, rap- 
 idly, but not too fast. 
 
 Madrigal. A short lyric poem ; also, a vocal setting 
 of such a poem, in'from 3 to 8 parts, contrapuntal, 
 and usually for unaccompanied chorus; there 
 are also madrigals in simple harmony, in dance- 
 rhythms, etc.. or accompanied by instruments. 
 
 Maesta, con (It., k6hn mSh-^-stah'). ~j 
 
 Maestade, con (It., k6hn mfth-6-stah'd§h). 
 
 Maestevole fit., mah-6-sta'v6h-leh). j- With 
 
 Macstevolmente (— sta yohl-men'tSh). 
 
 Maestosamente ( — st6h-sAh-men'ttih). J 
 
 majesty, with dignity, majestically.
 
 Maestoso— Marcato 
 
 Maestoso (It., mah-e-stoh'soh). Majestic, digni- 
 fied ; in a stj'le characterized by lofty breadth. 
 
 Maestro (It., mah-eh'stroh). Master... Maes/ro di 
 cappel/a, choirmaster; conductor. 
 
 Main (Fr., man). Hand...J/a/« droite {gauche), 
 right Ueft) hand ; often written vi. d., ni. g. 
 
 Maitre (Fr., ma'tr). MslsIqv .. .Maztre de chapelle^ 
 choirmaster ; conductor. 
 
 Majestatisch (Ger., mah-yes-ta'tish). Maestoso. 
 
 Major. "Greater": opposed to minor, "lesser." 
 See Interval. . .Major cadence, one closing on a 
 major triad... il/. chord or triad, one having a 
 major Third and perfect Fifth... iJ/^E/i^r interval, 
 key, 7node, scale, see the nouns. 
 
 Malinconia, con (It., kohn mah-lin-koh-ne'ah). \ 
 
 Malinconicamente (mah-lin-koh-ne-kah-men'teh). i 
 With melancholy expression ; dejectedly. 
 
 Malinconico (It., mah-lin-ko'ne-koh). Melancholy, 
 dejected. (Also Malinconioso, Maliiiconoso.) 
 
 Mancando (It.. mShn-kahn'doh). Decreasing in 
 
 loudness, dying away, 
 
 Mandola (It., mahn-do'lah). A large mandolin. 
 
 Man'dolin(e"). A small kind of lute, the body 
 shaped like half a pear ; with wire strings tuned 
 pairwise, played with a plectrum and stopped 
 on a fingerboard. 
 
 Mandolinata (It., mahn-doh-le-nah'tah). i. A 
 mandolin-piece of quiet character, like a sere- 
 nade.— 2. A direction in piano-playing to play 
 with a mandolin-effect. 
 
 Mandoline (It., mahn-doh-le'noh). A mandolin. 
 
 Mandora, Mandore. Same as Mandola. 
 
 Maniera (It., mS.h-ne-a'rah). Manner, style, meth- 
 od... CV?« dolce maniera., in a suUve, delicate 
 
 style. 
 
 Mano (It., mah'noh). 'iia.-ndi...Mano destra {sini-^ 
 
 stra), right (left) hand. 
 Manual. An organ keyboard ; opposed to pedal. 
 Manua'liter (Lat.) On the manual(s) alone. 
 Marcando (It., mar-kahn'doh, "marking"). 
 Marcate (It., mar-kah'teh, " marked," " mark ! 
 Marcato, -a (It., mar-kah'toh, -tSh, "marked"). 
 
 With distinctness and emphasis. 
 
 ::::(
 
 i march-style. 
 
 Marcatissimo— Measurable music 89 
 
 Marcatissimo (It., mar-kah-tis'se-m5h). With very 
 marked emphasis. 
 
 March. A composition of strong^ly marked rhythm, 
 suitable for timing^ the steps of a body of persons 
 proceeding at a walkinj^ pa.cti.~Marc/i-/orfn is in 
 4-4 time, with reprises of 4, 8. or 16 measures, fol- 
 lowed by a Trio, and ending with a repetition of 
 the march. 
 
 Marche (Fr., marsh). ) ,, . . 
 
 ,- . ,,. . , v., ' March. ,.^//a ?narcza, in 
 
 Marcia (It., mar'chSh). - ' 
 
 Marsch (Ger., marsh). 
 
 Martellato (It., mar-tel-lah't6h). "Hammered"; 
 on the violin, play the notes with a sharp, decided 
 
 stroke (<m\ ; on the piano, strike the keys with a 
 
 heavv, inelastic plunge of the finger, or (in oc- 
 tave-playing) with the arm-staccato. 
 
 Marziale (It,, mar-tse-ah'lSh). Martial, warlike. 
 
 Masque. A kind of musical drama, popular in the 
 i6th and 17th centuries; a spectacular play with 
 vocal and instrumental music. It differed from 
 the opera by the lack of monody. 
 
 Mass. In the R. C. Church, the musical service 
 taking place during the consecration of the ele- 
 ments, with 5 divisions: (i) Kyrie, (2) Gloria (in- 
 cluding the (jratias agimus. Qui tollis, Quoniam, 
 Cum Sancto Spiritu) ; (3) Credo (with the Et in- 
 carnatus, Cruciiixus, Et resurrexit) ; (4) Sanctus 
 and Benedictus (with the Hosanna) ; (5) Agnus 
 Dei (with the Dona nobis) ... //I'^/i mass, one 
 celebrated at church-festivals, with music and 
 incense., ./-frt' muss, one without music. 
 
 MSssig (Ger., mS'siyh). Measured; moderate... 
 Mdssis^ /ansrsatn, moderately slow ; vidssig ge* 
 sclni'ind, moderately fast. 
 
 Master-chord. The dominant c\iort. . .Master* 
 fugue, a long and elaborate iw^xi^.. .Master- 
 note. ]ea.dinii-note...Mastersinger, see Meister- 
 
 SINGKR. 
 
 Mat'ins. The music sung at morning prayer ; the 
 tirst I't the canonical hours. 
 
 Mazurka (Polish, mah-7.of)r'kah). A Polish na. 
 tional dance in triple time and moderate tempo, 
 with a variable accent on the third beat. 
 
 Me stands for Mi, in Tonic Sol-fa. 
 
 Measurable music. Mensurable music.
 
 90 Measure — Melodrama 
 
 Measure, i. The notes and rests comprised be- 
 tween 2 bars ; the metrical unit in a composition, 
 with regular accentuation, familiarly called a 
 '■'■ ha.r^\ ..Measiire-fiote, a note shown by the 
 time-signature to be an even divisor of a meas- 
 ure; thus, I shows that each measure has 3 
 quarter-notes, and the measure-note is then a 
 quarter-note.. .J/^^j-^^r^-r^i'/', see Rest. 
 
 Mechanism. A literal (and bad) translation of the 
 French mecaiiisnie^ which means technical ability 
 or skill, mechanical dexterity or training. 
 
 Medesimo (It., meh-da'ze-moh). The same. 
 
 Mediant. The 3d degree of the scale. 
 
 Meistersinger (Ger., mi'ster-zing'er ; sitignlar and 
 plural). Mastersinger(s): in Germany, the suc- 
 cessors of the Troubadours {Miiuiesdnger). but, 
 UDlike the latter, chiefly artisans. They existed 
 from the 14th century till 1839. 
 
 Melancolia (It., ma-lahn-koh-le'ah) Melancholy. 
 
 Melange (Fr., ma-lahn'zh). A medley, pot-pourri. 
 
 Melis'ma (Greek"). A melodic ornament or grace; 
 co\oxaXViXQ.. — MeUsmat'ic., ornamented, embel- 
 lished ; rnelismatic song-, that in which more than 
 one tone is sung to a syllable; opposed to syllabic 
 song. 
 
 Melodeon. The original American organs wera 
 called Melodeons, or Melodiums. See Reed- 
 ORG.\N'. 
 
 Melodia. An organ-stop resembling the Clara* 
 bella ; a kind of stopped diapason. 
 
 Melodia (It., meh-loh-de'ah"). yielody .. .Mar cata 
 la tuelodta., the melody (should be) marked. 
 
 Melod'ic. i. In the style of a melodv; progressing 
 by single tones.— e. Vocal, singable; as a melodic 
 interval. 
 
 Melodico (It., mgh-loh'de-koh). {Melodious, sing- 
 
 Melodioso (meh-16h-de-oh's6h). ' i°&- 
 
 Melodion. A piano in which steel bars pressed 
 
 against a revolving cylinder took the place of 
 
 strings ; invented by j. C. Dietz, of Emmerich, 
 
 Germany. 
 
 Melodium. A Melodeon. 
 
 Mel'odrama. Originallv. a musical drama; now (i) 
 stage-declamation with a musical accompani- 
 ment; (2) a romantic and sensational drama ia 
 which music plays a subordinate part.
 
 Melody— Meter gt 
 
 Melody. i. The rational progression of single 
 tones: contrasted with Harmony, the rational 
 combination of several tunes. — 2. The leading 
 part (usually the soprano).— 3. An air or tune. 
 
 Md'ograph. Name of various mechanical devices 
 for recordinjf the music played on a pianoforte. 
 
 Melos (Greek, ma'16hs, "song"). The name be- 
 stowed by Wagner on the style of recitative 
 employed in his later musical dramas. r^j^Q^ 
 
 Meme (Fr., mam). Same. ..A la tnente, tempo pri- 
 
 Men, Meno (It., ma'n6h). Less; not so. ..Meno 
 a/Zeg^ro, not so last.— Meno alone stands for meno 
 mosso, not so fast. 
 
 Mensurable notation, so called because its notes 
 were invented in the 12th century on purpose to 
 express exact {measurable) time-values, suc- 
 ceeded Plain Chant, whose notes do not express 
 exact rhythmical values. 
 
 Menuet (Fr., mu-nu-a'). I ^ minuet. 
 
 Menuett (Ger., ma-noo-et'). ' 
 
 Messa (It., mes'sSh). \ 
 
 Messe (Fr., mess). 'Mass. 
 
 Messe (Ger., me.s'sS). ' 
 
 Messa di voce (It., mes'sSh de voh'cheh). The 
 attack of a sustained vocal tone 
 pianissimo, with a swell to for- 
 tissimo, and slow decrease to 
 pianissimo again : 
 
 Mestamente (It., mSh-stSh-men't§h). ) Plaintively, 
 
 Mestizia, con (k6hn meh-ste'tse-Sh). *' grievingly. 
 
 Mesto (It , meh'stoh). Pensive, sad, melancholy. 
 
 Mesurd (Fr., mii-zu-ra'). i. Measured, moderate. 
 —2. In exact time. 
 
 Meter, Metre, i. In music, the symmetrical group- 
 ing of musical rhythms.— 2. In verse, the division 
 into symmetrical lines. The metre of Eny^lish 
 hymns is classified, according to the kind <>f feet 
 used, as iambic, trochaic, or dactylic ; the figures 
 show the number of svllables in each line : 
 
 I.-\MBIC Meikf.-^: Common metre (C.^l^,% 6 Z6\ 
 Lonq- metre <L.M.), 8 88 8; Short metre f.S>M.\ 
 66 8 6. These have regularly 4 lines to each 
 stanza; when d(^)ubled to 8 lines they are called 
 Common metre double ( C . M . D. ), Lon^ metre double 
 (L.M.D.), and Short rnet re double iS.'Sl.D.). They 
 may also have 6 lines in each stanza, and ate 
 then named Common particular metre (C.P.M.), 
 
 m
 
 g2 Metronome — Minaccioso 
 
 8 8 6 8 8 6; Long- particular tnetre (L.P.M.), or 
 Long metre 6 lines, 8 8 8 8 8 8; and Short particu- 
 lar metre (S.P.M.), 6 6 8 6 6 8. Besides the above, 
 there are Sevens and Sixes, 7676; 'J ens, 10 10 10 10 ; 
 Hallelujah tnetre, 6 6 6 6 8 8 (or 6 6 6 6 4 4 4 4), etc. 
 
 Trochaic metres: Sixes, 6666; Sixes and 
 Fives, 6565; Sevens^ 7777; Eights ajid Sevens, 
 8787, etc. 
 
 Dactylic metres : Elevens, n n n u ; Elevens 
 and Tens, n 10 n 10, etc. These are most of the 
 metres in general use. 
 
 Met'ronome. The familiar "time-keeper " of music- 
 students; a double pendulum moved by clock- 
 work, and provided with a slider on a graduated 
 scale marking the number of beats the metro- 
 nome makes per minute. MM. stands for " Mael- 
 zel's Metronome " after the reputed inventor, 
 Maelzel of Vienna (1816). 
 
 Mezzo, -a (It., med'zoh, -zah). i. Half.— Written 
 alone, as an expression-mark, it refers to 
 either an / or a p just preceding, thus meaning 
 "mezzo /^r/^" or " mezzo fiano'\. .Mezzo forte, 
 half -loud... .Mezzo legato, in piano-playing, calls 
 for a light touch with less pressure than in legato, 
 ...Mezzo piano, half-soft (less loud than mezzo 
 forte). ..Mezza voce, " with half the power of the 
 voice"; calls for mezzo forte, both in singing and 
 playing. 
 
 Mezzosoprano (It., med'zoh-soh-prah'noh). The 
 female voice between soprano and alto, partak- 
 ing of the quality of both, and usually of small 
 compass ia-f^, or a-g"^), but very full-toned in 
 the medium register. (Engl. Mezzo-soprano.) 
 
 Mi. The third Aretinian sj'llable ; name of the 
 note .£'in France, Italy, etc. 
 
 Middle-C. The C in the middle of the 
 piano-keyboard : "^ 
 
 Militarmente (It., me-le-tar-men'teh). In military 
 (march-) style; alia tnilitare. 
 
 Military music. Instruments of percussion and 
 wind-mstruments only, admitting the cornett 
 bugle, saxophones, etc. 
 
 Minaccevole (It., me-naht-cha'voh-leh). 
 
 Minaccevolmente ( — cha-vohl-men'teh), 
 
 Minacciando (It., — chahn'doh). • In 
 
 Minacciosamente (— choh-sah-men'teh). 
 
 Minaccioso (It., — choh'soh). ^ 
 
 menacing or threatening manner. 
 
 i
 
 Minim— Mode 93 
 
 Minim. A half-note. . .Minim-rest, a half-rest. 
 
 Minnesanger (Ger., min'n^-zeng'er). I ( Either form 
 
 Minnesinger (Ger., min'ne-zing'er). ' 
 is both sin^'uiar and plural.) The German trou- 
 badours, or lyric poets and singers of the 12th 
 and 13th centuries. 
 
 Minor. Lesser, smaller. See INTERVAL. 
 
 Minstrels. In the middle ages, professional mu- 
 sicians who sang or declaimed poems, often of 
 their own composition, to a simple instrumental 
 accompaniment. 
 
 Minuet'. An early French dance-form. As an art- 
 product it is usually a double minuet with con- 
 trasted sections of 16 measures each, the first sec- 
 tion repeated after the second (the Trio>. It is 
 in triple time and slow, stately movement. 
 
 Minuetto (It., me-noo-et'toh). Minuet. 
 
 Miracle, Miracle-play. See MVSTEKY. 
 
 Missa (Latin). The yi&ss.. .Missa brevis, short 
 mass. ..J//.5\>t/ solemnis. high mass. 
 
 Misteriosamente (It., me-steh-re-6h-s^h-men't§h). \ 
 
 Misterioso (It., me-st6h-re-oh's6h). > 
 
 Mistero. con (It., k6hn me-sta'r6h). ' 
 
 In a style suggestive of mj'stery, or of hidden 
 meaning. 
 
 Misura, alia (It., Shl'lSh me-zoo'rSh). I y^\x.\i the 
 
 Misurato (It., me-zoo-rah'toh). » 
 
 measure ; in exact time. 
 
 Mit (Ger., mit). With. . .il/// Ausdruck, with ex- 
 pression . . . iMit Begleitun^^, accompanied . . Mit 
 
 Beivegun^, with animation, con inoto Mit 
 
 halber Stimme, mezza \oQQ...Mit innigster 
 Empfindung, with deepest emotion., .il/// hrajt^ 
 powerfully, con iov/.a. 
 
 Mixed Cadence. See CADEtiCE. . .Mixed chorus., 
 guar/ety voices, vocal music combining male and 
 female voices. 
 
 Mixture. A compound auxiliary flue-stop with 
 from 3 to 6 ranks of pipes sounding as many har- 
 monics of any note played. 
 
 Mobile (It., mo'be-leh). Readily responsive to 
 emotion or impulse. 
 
 Mode. I. Formerly, an octave-scale: that is, a 
 scale beginning on any tone of our major scale, 
 and running up (.or down) an octave. -j. Now,
 
 94 Moderate— Morbido 
 
 either of the 2 groups of modern scales, major or 
 minor, taken collectivelj-; a piece is in the major 
 mode when written chiefly in major keys; in the 
 minor i?wde, when written chiefly in minor keys. 
 
 Moderate (It., moh-deh-rah'toh). Moderate ; that 
 is, at a moderate tempo, or rate of speed... 
 Allegro moderator moderately fast. 
 
 Moderatamente (It., moh-deh-rah-tah-men'teh). | 
 
 Moderazione, con (kohn moh-deh-rah-tseoh'neh). ' 
 With moderation (of either tempo or emotion). 
 
 Moderno, -a (It., moh-dar'noh, -nah). Modern... 
 Alia ?noderjia, in modern style. [other 
 
 Modulate. To pass from one key or mode into an- 
 
 Modulation. Passage from one key or mode into 
 another. . . Cliromatic modulation^ one effected by 
 use of chromatic intervals... Z)/a/f?«/^ mod., one 
 effected by use of diatonic intervals. . .Bfi/iar- 
 monic mod., one effected by using enharmonic 
 changes to alter the significance of tones or inter- 
 vals.. .Filial mod., one in which the new key is 
 retained, or still another io\\ovis...Passi7ig, 
 Transient, Transitory mod., one in which the 
 original key is speedily regained. 
 
 Moglich (Ger., mo'gliyh). Possible. . .So rasch zvie 
 vioglich, as fast as possible. 
 
 Molio, -a (It., mohl'toh, -tah). Very, much... 
 Molto adagio, vt^ry slowly .. .A/olto allegro, very 
 fast. ..Con molt a passione, wnth great passion, 
 very passionately. . .Di molto or Molto molto. ex- 
 ceedingly, extremely; as crescendo molto moito^ 
 growing'very much louder. 
 
 Mon'ody. A style of composition in which one 
 part, the melody, predominates over the rest, 
 they serving as a support or accompaniment to it. 
 
 Monoph'onous. Capable of producing but one 
 tone at a time. 
 
 Monoph'ony. See MON'ODY. 
 
 Mon'otone. i. A single unaccompanied and un- 
 varied tone. — 2. Recitation (intoning, chanting) 
 on such a tone. 
 
 Moralities. A later form of the Miracle-plays. 
 
 Morbidezza, con (It., kohn mor-be-det'sah). With 
 tenderness ; softly. 
 
 Morbidissimo (It., mor-be-dis'se-moh). Very ten- 
 derly, softly. 
 
 Morbido (It., mor'be-doh). Soft, tender.
 
 Morceau— Motion 
 
 Morceau (Fr., mor-soh'). A piece, composition... 
 Morceau de genre izhahn'r), characteristic piece. 
 
 Mordant (Fr., mc.r-dahn'). I. ^ ^^ace consisting of 
 Mordent (Ger., mor'dent). ' 
 
 the single rapid alternation of a principal note 
 
 with an auxili- aJv 
 
 arya minor sec- V ■ „i„„p,i ~^^'- 
 
 below : ts^-fzziz '^ Played ^m^ 
 
 ond 
 
 hiverted mordent, the alternation of the princi- 
 pal note with the higher auxiliary : 
 
 played z:t 
 
 Moreiido (It., moh-ren'doh). Dying away. 
 
 Mormorando (It., mor-m6h-rahn'd6h). j 
 
 Mormcrevole (It., — ra'voh-leh). .-Murmur- 
 
 Mor.-noroso (It., — roh'soh). ' 
 
 inu, -nurmurous ; in a very gentle, subdued tone. 
 
 Mormorio (It., mor-moh-re'oh). Murmur... CV;wz^ 
 un mormorio, like a murmur. 
 
 Mosso (It., mohs'soh). "Moved." Standing alone, 
 as a tempo-mark, it is the same as ^^ co7i moto."" 
 It means "' rapid " in the phrases meno 7nosso (less 
 rapid), //« ?nosso (more rapid), and foco mosso 
 (somewhat x&v>\d,)... Allegretto poco mosso, a 
 rather lively allegretto, almost allegro. ..il/t7.y.y(; 
 agitato, a fast and agitated movement ; assai 
 ?nosso e agitato, very rapid and agitated. 
 
 Motet'. A sacred vocal composition in contrapun- 
 tal style, and without accompaniment. (Pieces 
 in an't/ietn-style are, however, sometimes called 
 motets.) 
 
 Motet (Fr., moh-ta'). '. Motet 
 
 Motette (Ger., moh-tet'tg). > " 
 
 Motif (Fr., m6h-tef0- Motive. 
 
 Motion. I. The progres.sion or conduct of a single 
 part or melody; his conjunct when progressing 
 by steps, disjunct when progressing by skips.— 
 2. The movement of one part in relation to that 
 of another ; in contrary or opposite motion one 
 part ascends while the other descends ; in oblique 
 motion one part retains its tf)ne while tlie other 
 moves; in parallel motion, both parts move up or 
 down by the same interval ; in similar motion
 
 96 Motive— Mute 
 
 both move iip or down together by dissimilar 
 intervals ; in tnixed motion, two or "more of the 
 above varieties occur at once between several 
 parts. 
 
 Motive. I, A short phrase or figure used in devel' 
 opment or imitation. — 2. A Leading-motive... 
 Measure-motive, one whose accent coincides with 
 that of the ineasure. 
 
 Moto (It., mo'toh). Motion ; speed ; movement, 
 tempo.— Cl>// jnolo, with an animated and ener- 
 getic mowQraent.. .Aloto f>recedente, at the for- 
 mer tempo. ..Fiu {meno) moto, same a.sj>tu (fneno) 
 mosso. 
 
 Motteggiando (It., moht-ted-jahn'doh). In a ban« 
 tering, facetious style. 
 
 Mottetto (It., moht-tet'toh). Motet. 
 
 Mouthpiece. That part of a wind-instrumenl 
 which a player places upon or between his lips. 
 
 Mouvement(Fr., moov-mahn'). Movement ; tempo. 
 
 Movement, i. Tempo. — 2. A principal division or 
 section of a composition. 
 
 Movendo il tempo (It., moh-venMoh el tem'poh). 
 Growing faster. 
 
 Munter (Ger., moon'ter). Livel}', gay, animated. 
 
 Musette (Fr., mii-zet'). i. A small oboe.— 2. A kind 
 of bagpipe ; also, a .short piece imitating this 
 bagpipe, with a drone-bass. — 3. A reed-stop on 
 the organ. [musi'ca, an opera. 
 
 Musica (It., moo'ze-kah\ Music. . .Dram fna per 
 
 Musical box, Music-box. The Swiss music-box 
 has a metal cylinder or barrel, studded with pins, 
 and turned by clockwork: in revolving, the pins 
 catch and twang a comb-like row of steel teeth, 
 each tooth producing a tone. [ment). 
 
 Muta (It., moo'tah). "Change!" (crook or instru- 
 
 Mutation. i. Change of voice. — 2. Change of posi- 
 tion, shifting (violin). 
 
 Mutation-stop. In the organ, any stop (except a 
 mixture) whose pipes produce tones neither in 
 unison nor in octaves with the foundation-stops 
 (8-foot stops) ; that is, all tierce- and quint-stops, 
 and their octaves. 
 
 Mute. I. A heavy piece of metal fitted to the 
 bridge of a violin, etc., to deaden the sound. The 
 direction for putting on the mutes is "con sor- 
 dini " ; for taking them oflf, " senza sordini."— 2. A
 
 Mut(h)ig— Natural 97 
 
 leather-covered pad, pasteboard cone, or wooden 
 cylinder, inserted in the bell of the horn or 
 trumpet to modify the tone. 
 
 Mut(h)ig (Ger., moo'tiyh). Spiritedly, boldly. 
 
 Mysteries. Medieval bible-plays, often with vocal 
 and instrumental music. In the form called 
 Moralities, abstract ideas were personified on 
 the stage. 
 
 N 
 
 Nach (Ger., nSh). After; according to. 
 Nach Belieben (.Ger., nSh b6-le'ben). A piacere. 
 Nachdrucklich iGer., nah'dr/Vk'lTyh). ) vy-jfu g™, 
 Nachdruck, mit (Ger., mit n3,h'dr66k). ' 
 
 phasis, stron^jly marked. 
 Nachgebend (Ger., nSh'ga'bent). \ 
 Nachgiebig (Ger., n5h'j?e'bTyh). ,- Yieldingly, 
 
 Nachlassend (Ger., nilh'lilh'sent). ) 
 
 slower and slower ; rallentaudo. 
 Nachgiebiger (Ger., n3.h'ge'bTyh-er). Still slower. 
 Nachlassig (Ger., nah'les'sTyh). Carelessly. 
 Nachthorn (Ger., n^ht'horn). I ^ ^^^^^^^ .^ 
 
 Nachtschall Ger., naht'shShl). * 
 
 the orjran, having covered pipes of 2-, 4-, or 
 
 8-foot pitch. 
 Nach und nach (Ger., nSh 5ont nSh'). Little by 
 
 little, gradually. 
 Naked Fifth (Fourth^ An harmonic Fifth (Fourth) 
 
 without an added Third. 
 Narrante (It., nSr-rahn'tSh). Narrating ; as if tell- 
 ing a story ; calls for distinct declamation. 
 
 Nasard (Fr., ndh-zar'). \ ^he Twelfth (organ- 
 
 Nasat (Ger.. nSh-zahtO. » 
 stop) of a^^-foot pitch (large sizes 10% and 5,"-^, 
 smaller size i]^). 
 
 Na'son flute. An organ-stop having stopped 
 pipes of mild, suave tone. 
 
 Natural, i. The sign ta. — 2. A white key on the 
 keyhaard. . .A'a/ura/ /larmonics, those produced 
 on an open string. . .A'a/i/ra/ horn, the F'-ench 
 horn without \i\\\^i>. ...\atural interval, one 
 found between any two tones of a diatonic 
 major s,ca,\G. ..A'atural key, C mnjnr. . .Xatural 
 pitc/i, that of any wind-instrument when not
 
 98 Natiirale— Nodal figures 
 
 overblown. . .iVa/«ra/ scale, C major, having 
 neither sharps nor flats. ..Natural tone, any tone 
 obtained, on a wind-instrument with cupped 
 mouthpiece, without using keys, valves, or the 
 slide. 
 Naturale (It., nah-too-rahMeh). \. ^ ^^^^r^X, un- 
 Naturalmente (— rahl-men'teh). ' 
 
 affected style. 
 Neapolitan Sixth. A chord of the Sixth on the 
 
 subdominant in minor, with minor Sixth. 
 Negli (It., nal'ye). In the. 
 Negligente (It., neh-gle-jen'teh). \ 
 
 Negligentemente (— jen-teh-men'teh). /■ In a style 
 Negligenza, con (kohn neh-gle-jen'tsah). ' 
 expressive of negligence, carelessness. 
 Nei (na'e), nel, nell', nella, nelle, nello (It.). In the. 
 Nervoso (It., nar-voh'soh). In a forcible, agitated 
 
 style. 
 Nettamente (It., net-tah-men'teh). \ In a neat, clear, 
 Netto, -a (It., net'toh, -tah). f distinct style. 
 
 Neumes. Signs used, in the early middle ages, to 
 represent tones. [-too slow. 
 
 Nicht (Ger., niyht). '^ot...Nicht zu lait^sarn, not 
 Niente (It., ne-en'teh). Nothing. .. ^/mi'z' nietite, 
 barely audible. [Fifth.— 2. A Larigot. 
 
 Nineteenth, i. The interval of 2 octaves and a 
 Ninth. The interval of an octave, plus a major or 
 
 minor Second. 
 Nobile (It., no'be-leh). ^ lu a refined, 
 
 Nobilita, con (kohn noh-be-le-tah')- /-chaste, lofty 
 Nobilmente (noh-bel-men'teh). ' style. 
 
 Noch (Ger., noh). Still; yet... Noch rascher., still 
 
 faster. 
 
 Nocturne (Fr., nohk-tiirn')- A piece of a dreamily 
 
 romantic or sentimental character, without fixed 
 
 . form. [night. 
 
 Noc'turns. Services of the Church held during the 
 
 No'dal figures. The figures corresponding to the 
 
 '' nodal lines " of a vibrating plate of wood, glass, 
 
 etc.; rendered visible by strewing fine dry sand on 
 
 the plate, this sand being tossed by the vibrating 
 
 portions of the plate to the " nodal lines," which 
 
 are points of perfect or comparative rest, ..AW<?/ 
 
 point., see Node.
 
 Node— O 99 
 
 Node. A point or Hne in a vibrating body (such 
 us a string, sound-board, trumpet, bell), which 
 remains at. rest during the vibration of the other 
 parts of the body. 
 
 Non (It., nohn). Not. fments. 
 
 Nonet'. A composition for nine voices or instru- 
 
 Non'uplet. A group of g notes of equal time- 
 value, executed '.n the time proper to 6 or 8 of 
 the same kind belonging to the regular rhythm. 
 
 Notation. The art of representing musical tones, 
 and their modifications, by means of written 
 characters. 
 
 Note. One of the signs used to express the rela- 
 tive time-value of tones. . .A^o/e affuitist 7ioie^ 
 counterpoint in equal notes... 6?/^/i tiote^ one 
 
 with an open head. : ( ^^ J )• 
 Notturno (It., nSht-toor'noh). A Nocturne. 
 
 Novellette (Ger., noh-vel-let'tS). An instrumental 
 piece free in form, bold in harmony, romantic 
 in character, of considerable length, and with a 
 variety of contrasting themes. 
 
 Nuance (Fr., nii-ahnss'). Shading; change in 
 musical expression, either in the tone-color, tem- 
 po, or degree cf force. 
 
 Number, i. A sub-division of an opera or ora- 
 torio.— 2. A smaller, and more or less complete, 
 portion of a large work, such as a song, aria, 
 interlude, etc.— 3. Any single piece on a program. 
 — 4. An Opus-number. 
 
 Nun's fiddle. See Tromb.\ Marina. 
 
 Nuovo, di (It., de n5(5-o'v6h). / a„„;„ „„^^ 
 
 ' ' ^ Again, anew. 
 
 Nuovamente (n66-6h-v3.h-men't6h). ' 
 
 Nut. I. The ridge over which the strings pass at 
 the end of the fingerboard next the head of a 
 violin, etc. — 2. The sliding projection at the lower 
 «nd of the violin-bow, by means of which the 
 hair is tightened or slackened. — 3. The "lower 
 nut" on the violin is the ridge between the tail- 
 piece and tailpin (or button). 
 
 O. A small circle signifies (</) an open string; (J)) 
 the harmonic mark ; K.C) the diminished Fifth.
 
 O— Oder 
 
 O (It., 6h>. Or. (Written before either vowels or 
 consonants; od is an unusual form.) 
 
 Obbligato (It., ohb-ble-gah'toh). Required, indis- 
 peubable. An obbligato part is a concerted (and 
 therefore essential) instrumental part; especially 
 when accompanying and vying with a vocal solo. 
 
 Obligato (Ger. spelling, 6h-ble-gah'toh). Obbli, 
 
 GATO. 
 
 Oblique (-blek') motion. See MOTION. 
 
 Oboe. [Ger. Oboe (oh-boh'e); It. c>(^c^ (oh'boh-eh).] 
 I. An orchestral in.strument with conical wooden 
 tube,*Q to 14 keys, and a double reed; compass a 
 octaves and a Seventh, from b\fX.o a^. Tone very 
 reedy and penetrating, though mild. Only 2 
 kinds are in ordinary use, the treble oboe (just 
 described), and \.\i& a.\1-o\>OQ. {cor anglais) oiXowQX 
 pitch.— 2. In the organ, an 8-foot reed-stop, with 
 conical pipes surmounted by a bell and cap. 
 
 Ocarina (It., 6-kah-re'nah), " Goose-pipe " ; a 
 bird-shaped wind-instrument of terra cotta, witb 
 finger-holes and a whistle-mouthpiece. 
 
 Octave. I. A series of 8 consecutive diatonic tones. 
 —2. The interval between the ist and 8th tones of 
 such a series.— 3. In the organ, a stop whose pipes 
 sound tones an octave higher than the keys 
 touched; like the '^r'\rvc\-p&.\. . .Concealed, covered^ 
 or hidden octaves (or Fifths), parallel octaves (or 
 Fifths) suggested by the progression of 2 parts in 
 similar motion to the interval of an octave (or 
 Fifth). . .Rule of the octave, a series of harmonies 
 written over the diatonic scale as a bass. . .Short 
 octave, the lowest octave of some old organ- 
 manuals, in which some keys (and pipes) are 
 omitted. 
 
 Octave-coupler. One uniting the 8-foot tones of 
 one keyboard with those an octave higher on 
 another. 
 
 Octave-flute, i. The piccolo.— 2. An organ-stop 
 of 4-foot pitch. 
 
 Octave-scale. See MODE i. 
 
 Octave-stop. See OCTAVE 3. 
 
 Octet'. A composition for 8 voices or instruments. 
 
 Octuor (Fr., ohk-tzV-ohr'). An octet. 
 
 Oc'tuplet. A group of 8 equal notes having the 
 same time-value as 6 notes of the same kind in 
 the regular rhythm. 
 
 Oder (Ger., oh'der). Or ; or else.
 
 Off— Operetta 
 
 Off. In organ-music, a direction to push in a stop 
 or coxipWv... Off t he pitchy false in pitch or in- 
 tonation. 
 
 Offertoire (Fr., 6h-fa^-t\\•ah'r^. \ 
 
 Offertorio (,lt., 6hf-far-t6're-6h). I- Offertory ; in the 
 
 Offerto'rium (Latin). ' 
 
 R. C. Mass, the verses or anthem following the 
 Credo, and sung by the choir while the priest is 
 placing the consecrated elements on the altar, 
 during which the offerings of the congrega- 
 tion are collected. 
 
 Ohne (Ger., oh'nS). Without. 
 
 Omniton'ic. Having or producingall tones ; chro- 
 matic (.instrument). 
 
 Once-accented. See PITCH, ABSOLUTE. 
 
 Ondeggiamento (It., 6hn-ded-jah-men'toh). Un- 
 dulation ; rocking (as by waves). 
 
 Ondeggiante (It., 6hn-ded-j3.hn'teh). Undulating, 
 billowy, rocking. 
 
 One-lined. See PITCH, ABSOLUTE. 
 
 Open diapason, harmony, note, order, pipe, etc., 
 see the nouns. 
 
 Open pedal. The loud piano-pedal. 
 
 Op'era. A form of drama, of Italian origin, in 
 which vocal and instrumental music are essen- 
 tial and predominant. The several acts, usually 
 preceded by instrumental introductions, con- 
 sist of vocal scenes, recitatives, songs, arias, 
 duets, trios, choruses, etc., accompanied by the 
 orchestra. This is the Grand or Heroic opera : 
 a Comedv-opera is a versified comedy set to mu- 
 sic ; a Comic opera has spoken interludes. 
 
 Opira bouffe (Fr., Sh-pa-rih boof )• I Light comic 
 
 Opera buffa (It., oh'pa-rSh b66f'f4h). S 
 opera. 
 
 Opera-comique (Fr., oh-pa-rih k6h-mek'). Comedy- 
 opera. 
 
 Opera seria (It., oh'pa-rSh sS'te-Sh). Serious 
 (grand, heroic, tragic) opera. 
 
 Operetta (It.. 6h-p6h-ret'tah). I ^ ..jj^^j^ opera"; 
 
 Operette (Fr., 6h-pa-ret'). * 
 
 the poem is in a comic, mock-pathetic, parodis- 
 tic, or anvthing but serious vein ; music light 
 and lively, often interrupted by dialogue.
 
 Ophicleide— Organ-point 
 
 Ophicleide (ot'i-klid). The bass instrument of 
 the key-bugle family ; now little used. 
 
 Opposite motion. Contrary motion. 
 
 Oppure (It., ohp-poo'reh). Or ; or else : often writ- 
 ten opp. 
 
 O'pus (Latin). Work; often written Op., or op... 
 Opus-number., one number in the series with 
 which a composer marks his works. 
 
 Orato'rio (It., 6h-rah-t6're-6h). An extended, 
 more or less dramatic, composition for vocal so- 
 los and chorus, with accompaniment by orches- 
 tra or organ (or both), sung without stage-play 
 or scenery. 
 
 Orchester (Ger., or-kes'ter). Orchestra. 
 
 Orchestra (or'kes-trah). A company of musicians 
 performing on the instruments usually employed 
 in opera, oratorio, or symphony ; hence, the in- 
 struments, taken together. 
 
 Orchestral (or-kes'tral, or or'kes-tral). Pertaining 
 to, or resembling, the ovQ.'\\&?,\.r2i.. ..Orchestral 
 piano-plavin^.xh^ style of Lisztand his disciples, 
 who try to imitate orchestral effects on the piano. 
 
 Orchestra'tion f-kes-). The art of writing music 
 for performance by an orchestra ; the science of 
 combining, in an effective manner, the instru- 
 ments constituting the orchestra. 
 
 Orchestrion (or-kes'tre-on). The modern orches- 
 trion is a large stationary barrel-organ, generally 
 played by clockwork. 
 
 Order, The arrangement of the chord-tones above 
 a given bass, open and close order \i^v!\^t\\& same 
 as open and close harmony. 
 
 Organ. The church-organ, or pipe-organ, is a key- 
 board wind-instrument consisting of few or 
 many sets of pipes played from one or more 
 keyboards ; there may be 5 keyboards for the 
 fingers (iHanuals), and there is generally i for the 
 feet (pedal, or pedal-kevboard). The pipes, of 
 which there are two main divisions, flue-pipes 
 and reed-pipes, are arranged in sets (registers, 
 or stops), and made to speak by wind admitted 
 from the bellows on pressing the keys. 
 
 Organo (It., or'gSh-noh). Or^an. ..Organo pleno 
 (Lat.), full organ. 
 
 Or'gan-point. A tone sustained in one part to har- 
 monies executed in the other parts; usually a 
 bass tone, tonic or dominant (or both).
 
 Organ-tone — Ovvero 103 
 
 Organ-tone. The tone of the 8-foot Open Diapa- 
 jiason on the Great Or^an manual is considered 
 as the distinctive "organ-tone.'" (Also called 
 " Diapason-tone ".) 
 
 Or'ganum (Lat.). i. An organ.— 2. The earliest at- 
 tempts at harmonic or polyphonic music, in 
 which 2 parts progressed m parallel Fifths and 
 Fourths. 
 
 Orgel (Ger., ohr'gel). ). Qrgan. 
 
 O'-gue (Fr., ohrg). 1 
 
 Or'nament. A grace, embellishment. 
 
 Osservanza, con (It., k6hn ^hs-sar-vShn'tsSh), 
 With care, observing all signs. 
 
 Osservato (It., 6hs-sar-vah't6h). Carefully ob- 
 served ; stile osservato, strict style. 
 
 Ossia (It.. 6hs-se'3.h). Or ; or else ; indicates an 
 alternative (or facilitated) reading or lingering 
 of a passage. (Also Oppure, Ovvero.) 
 
 Ostinato (It., 6h-ste-nah't6h). Obstinate ; basso 
 ostiuato, a ground bass ; hence, an " ostinato " 
 is the incessant repetition of a theme with a va- 
 rying contrapuntal accompaniment. 
 
 Ottava (It., 6ht-tah'vah\ Octave. ...-///' ottava 
 (written cS^'a-^-^^— ^ or c?-"-^'-^), "at the octave," 
 an octave higher. . .Cc;//' ottava, "with the oc- 
 tave," that is, in octaves. .. 6>/A/z.'a alta, the 
 higher ozl».\^. ..Ottava bassa (^"^ bassa), the 
 lower octave, an octave below. 
 
 Ottetto (It., 6ht-tet't6h). An octet. 
 
 Ou (Fr., 00). Or ; or else. 
 
 Ouverture (Fr., oo-var-tiir'). f Overture. 
 
 Ouvertiire (Ger., oo-var-tii'rS). ' 
 
 Overblow'. With wind-instruments, to force the- 
 wind through the tube in such a way as to cause 
 any harmonic to sound. 
 
 Overstring'. To arrange the strings of a piano in 
 2 sets, one lying over and diagonally crossmg' 
 the other ; a piano so strung is called an over- 
 struttir' piano, in contradistinction to vertical. 
 
 O'vertone. Harmonic tone. 
 
 O'verture A musical mtroduction to an opera>, 
 oratorio, etc. — A concert-overture is an indepen- 
 dent composition in sonata-form. 
 
 Ovvero (It., 6hv-va'r6C Or ; or else.
 
 X04 P— Part-song- 
 
 P. Stands for Pedal {P. or Ped.) ; piano ip), fp or 
 ppp, ptamssimo ; P. P"., pianoforte; //; piano- 
 forte (soft, increasing: to loud); fp, forte-piano 
 (loud, diminishing to soft instantly) ; mp, mezzo- 
 piano (half-soft) ; Pointe (Fr., '• toe ")• 
 
 Padovana (It., pah-doh-vah^nSh). A Pavane. 
 (Also Padovafte, Paduana, Paduane^ etc.) 
 
 Paired notes. Two parallel series of notes played, 
 on the piano, with one hand. 
 
 Pandean (nan'de-an) pipes, Pan's-pipes. A set of 
 graduated reeds or tubes arranged in a row and 
 blown by the mouth ; a very ancient instrument. 
 
 Parallel intervals are formed by the simultaneous 
 progression of two parts in the same direction 
 and at exactly the same interval. 
 
 Parallel key, motion. See KEY, MOTION. 
 
 Pa'raphrase. A transcription or rearrangement 
 of a vocal or instrumental piece for some other 
 instrument or instruments, with variations. 
 
 Parlando (It., par-14hn'd6h). ) . gpeaking ; " sing. 
 
 Parlante (It., par-lShn'tgh). * 
 ing with clear and marked enunciation. — In 
 piano-playing, parlante calls for a clear, crisp 
 7ion legato. 
 
 Parlato (It., par-lah'toh). Spoken. 
 
 Part. I. The series of tones written for and ex- 
 ecuted by a voice or instrument, either as a solo 
 or together with other voices or instruments. — 
 2. A division of a homophonic movement devoted 
 to the exposition of one melody, or musical idea ; 
 like the two-part and three-part song-forms. 
 
 Parte (It.,par'teh). 'PaiVt. . .Colla parte, a direction 
 to accompanists to follow yieldingly and dis- 
 creetly the solo part or voice. 
 
 Partial stop. A half-stop. 
 
 Partial tone. An harmonic tone. 
 
 Partita (It., par-te'tah). A suite. 
 
 Partition. A score. 
 
 Part-music. Concerted or harmonized vocal music. 
 
 Part-singing. The singing of part-music, usually 
 without instrumental accompaniment. 
 
 Part-song. A composition for at least 3 voices in 
 harmony- without accompaniment, and. for equal
 
 Paspy— Patetico 105 
 
 or mixed voices. It is properly a melody with 
 choral harmony, with any reasonable nixmber 
 ot voices to each part. 
 
 Paspy. A passepied. 
 
 Passacaglia, -glio (It., pdhs-sah-cahKySh, -y6h). 
 An old Italian dance in triple time and stately 
 movement, written on a ground bass of 4 mea- 
 sures. 
 
 Passage, i. A portion or section of a piece, 
 usu;dly short.— 2. A rapid repeated figure, either 
 ascending or descending. A scale-passage is 
 generally called a run. 
 
 Passamezzo (It., pahs-sS.h-m§d'z6h). An old Italian 
 dance in duple time, like the Pavane, but faster. 
 
 Passecaille (Fr., pahs-cah'e). Passacaglia. 
 
 Passepied (Fr., pahs-p'ya'). A Paspy ; an old 
 French dance in 3-8 or 6-8 time, with 3 or 4 
 reprises; like the minuet in movement, but 
 quicker. 
 
 Passing-notes or -tones. Notes or tones foreign to 
 the chords which they accompany, and passing 
 by a step from one chord to another. They 
 differ from suspensions in not being prepared, 
 and in entering (.usually) on an unaccented beat. 
 
 Passion, Passion-music. A musical setting of a 
 text descriptive of Christ's sufferings and death 
 (passion). [tSh).") 
 
 Passionatamente (It., pShs-se-Sh-nah-tah-men'- 
 
 Passignato, -a (It., p^hs-se-6h-nah't6h, -tih). 
 
 Passione, con (It., kohn pShs-se-oh'nfih). 
 Passionately, in an impassioned style, fervently. 
 
 Pasticcio (It., pShs-tit/choh). t j^ musical medley 
 
 Pastiche (Fr., pShs-tesh'). ' 
 
 ot extracts from different works, pieced together 
 and provided with new words so as to form a 
 "new" composition. 
 
 Pas'toral, i. A scenic cantata representing pas- 
 toral life ; a pastoral opera.— 2. An instrumental 
 piece imitating in style and instrumentation 
 rural and idyllic scenes. 
 
 Pastorale (It., pihs-tdh-rah'lfih). I. ^ pastoral. 
 
 Pastorale (Fr., pahs-tdh-rShl'). ' 
 
 Pateticamente (It., pSh- t6h - te - kilh - men' tSh). 
 Paihelieally. 
 
 Patetico, -ca (It., pdh-ta'te-koh, -kill). Pathetic.
 
 io6 Patimento — Pedal-tone 
 
 Patimento (It., pah-te-men'toh). Suffering, grief ; 
 con espressto?ie di pacimento, with mournful or 
 plaintive expre.ssion. 
 
 Paura (It., pah-oo'rah). Fear, dismay. 
 
 Pauroso (It., pah-66-roh's6h). Fearful, timid. 
 
 Pausa (It., pah'oo-zah). A rest ; a pause.../'a«j'<7 
 luiiffay long pause ; pausa generale^ pause for all 
 performers. 
 
 Pause. I. A full stop.— 2. A rest.— 3. A hold (/Tv). 
 
 Pavana (It., pah-vah'nah). ^ ^ stately dance of 
 
 Pav'an(e). ' 
 
 Italian or Spanish origin, in slow tempo and alia 
 breve time. 
 
 Paventato (It., pah-ven-tah'toh). / Fearfully, 
 
 Paventoso (It., pah-ven-toh'soh). f timidly. 
 
 Pearly. A style of piano-touch producing a clear, 
 round, smooth effect of tone, especially in scale- 
 passages. 
 
 Pad. Stands for Pedal ; signifies that the right 
 (loud) piano-pedal is to be pressed; or (in organ- 
 music) that notes so marked are to be played on 
 the pedals. 
 
 Ped'al. I. A foot-key on the organ or pedal-piano. 
 — 2. A foot-lever ; as the piano-pedals, or the 
 organ swell-pedal.— 3. A treadle, like those used 
 for blowing the reed-organ. — 4. A stop-knob or 
 lever worked bv the foot (organ).— 5. A contrac- 
 tion for Pedal-point. 
 
 Pedale doppio (It., peh-dah'leh do'pe-oh). Pedal- 
 part in octaves. 
 
 Pedale ogni battuta (It., peh-dah'leh ohn'ye b5.ht- 
 too'tah). " Take pedal with each measure." 
 
 Ped'alier ( — ler). A set of pedals, either (i) so ad- 
 justed as to play the low octaves of the piano, 
 after the manner of organ-pedals, or (2) provided 
 with separate strings and action, to be placed 
 underneath the piano. 
 
 Pedal-note. See PEDAL-TONE. 
 
 Pedal-organ. The set of stops controlled by the 
 organ-pedals. 
 
 Pedal-piano. A pianoforte provided with a 
 pedalier. 
 
 Pedal-point. An organ-point. 
 
 Pedal-tone. A sustained or continuously repeated 
 tone.
 
 Pedanteria, con— Pezzi 107 
 
 Pedanteria, con (It., k6hn pSh-dShn-tSh-re'Sh). | 
 
 Pedantisch (Ger., p5h-dahn'tish). ) 
 
 Pedantically ; in an even, unemotional style. 
 
 Pel (It., pel). For the ; as pel mandolino, for the 
 mandolin. 
 
 Pensiero (It., pen-se-a'roh). A thought. ..Penstero- 
 rf'e'AA/)— , Souvenir of —, Recollections of—. 
 
 Pensieroso (It., pen- se - eh - roh ' s5h). / p • 
 
 Pensoso (It., pen-soh'soh). > 
 
 thouK'htful. 
 
 Pentaton'ic scale. A 5-tone scale, which avoids- 
 seniitonic steps by skipping the 4th and 7th de- 
 grees in major, and the 2d and 6th in minor. 
 
 Per (It., per). For, by, from, in, through. ../V/* 
 rorga)iOy for the organ ; Fer ilflauto solo, for solo 
 flute. 
 
 Percussion, i. The striking or sounding of a dis- 
 sonance. — 2, The striking of one body against 
 another . . . Instruments of percussion are the 
 drums, the tambourine, cymbals, bells, triangle, 
 etc., and the dulcimer and pianoforte. 
 
 Percussion-stop. A reed-organ stop, which strikes 
 the reed a smart blow when sounding it, to ren- 
 der its vibration prompter and stronger. 
 
 Percussive. An instrument of percussion. 
 
 Perdendosi (It., par-den'd6h-se). Dying away ;. 
 
 nwrendo or diminuendo, together (in modern 
 
 music) with a slight rallentando. 
 Perduna. Bourdon (organ-stop). 
 Perfect intervals are the standard octave. Fifth, 
 
 and Fourth. 
 Perigordino (It., peh-re-gor-de'n6h). )_ ^^ ^j^ Flem- 
 P6rigourdine (Fr., pa-re-goor-den'). ^ 
 
 ish dance in 6-8 time. 
 Period. A complete musical thought of 8 (la) or i6- 
 
 measures, ending with a cadence. 
 Perl6 (Fr..par-laO. ' Pearly. 
 
 Perlend (Ger., par'lent). ' 
 Pesante (It., pSh-sShn'tSh). Heavy, ponderous ; 
 
 firm, vigorous. [/*-«, a little. 
 
 Peu a peu (Fr., po Sh po'). Little by little... d/« 
 Pezzi (It., pet'se). Pieces. . ./'ess/ concertati, con- 
 certed pieces . . . Pezzi sfaccuti, any detached 
 
 numbers taken from an opera, etc.
 
 to8 Pezzo — Pibroch 
 
 Pezzo (It., pet'sSh). A piece ; a number (of an 
 opera, etc.)- [tion. 
 
 Phantasie (Ger., fShn-tah-ze'). Fanc}', imagina- 
 
 Phantasiestiick (Ger., fahn-tah-ze'sht«k). A fan- 
 tasia ; in modern music, a short piece of a roman- 
 tic and intensely subjective cast, with no set form. 
 
 Phrase. Half of an 8-measure period.— Also, any- 
 short figure or passage complete in itself and un- 
 broken in continuity. j-^f ^ phrase. 
 
 Phrase-mark. A curved line connecting the notes 
 
 Phrasing, i. The bringing-out into proper relief 
 of the phrases (whether motives, figures, subjects 
 or passages). — 2. The signs of notation devised 
 
 . to further the above end. 
 
 Piacere, a (It., ah p'yah-cha'reh). "At pleasure "; 
 means that the expression of the passage is left 
 to the performer's discretion. 
 
 Piacevole (It., p'yah-cha'voh-leh). Pleasant, agree- 
 able ; calls for a smooth, suave delivery, free 
 from strong accents. 
 
 Piacevolezza, con (It., kohn p'yah-cha-voh-let'- 
 sah). PIACEVOLE. [Piacevole. 
 
 Piacevolmente (It., p'yah -cha - vohl- men ' teh). 
 
 Piacimento (It., p'yah-che-men'toh). PlACERE. 
 
 Piangendo (It., p'yahn-jen'doh). ") 
 
 Piangente (It., p'vahn-jen'teh). ,,„,. 
 
 ^- , \t ■-. -,1 ,-, N P'Weepmg:, 
 
 Piangevole (It., — ja'voh-leh). [ ^^ »» 
 
 Piangevolmente ( — ja-v6hl-men'teh). J 
 tearful!}'" ; in a mournful, plaintive style. 
 
 Pianino (It., pe-ah-ne'noh). An upright piano- 
 forte. 
 
 Piano (It., pe-ah'n6h). Soft, softly (sign p). ..Piano 
 pedal, the soft or left pedal of the pianoforte. 
 
 Piano. Familiar abbreviation of Pianoforte. 
 
 Pianoforte (It., pe-Sh-noh-for'teh ; Engl, pl-an'oh- 
 fort). A keyboard stringed instrument of per- 
 cussion, the tones being produced by hammers 
 striking the strings. The principal parts are the 
 frame, the Soundboard, the Strmj^s, the Action, 
 and the Pedals. The hammer-action was first 
 practically developed by Bartolommeo Cristo- 
 fori of Padua in 1711. 
 
 Piatti (It., p'ySht'te). Cymbals. 
 
 Pibroch (pe'brSh). Variations for the bagpipe.
 
 Piccanteria, con— Pitch log 
 
 Piccanteria, con (It., kohn pik-kShn-t^h-re'Sh). 
 With piquant, sprightly expression. 
 
 Picchettato (It., pik-ket-tah'toh). |_ Dej^^^hed 
 
 Picchiettato (It., pik-ke-et-tah'toh). ) ' ' 
 
 s/acca/o. See PIQUE. 
 
 Piccolo (It., pik'koh-ioh, "little"). The octave- 
 flute, a small flute pitched an octave higher than 
 the orchestral flute. (The Italians call it Flauto 
 piccolo^ or Ottaviiio.) 
 
 Pick. To pluck or twang the strings of a guitar, 
 mandolin, etc. — Also {noun), a plectrum. 
 
 Piece. I. A musical composition.— 2. An instru- 
 ment, taken as a member of an orchestra or band. 
 
 Piece (Fr., p'yess). A piece. ..5"a//<? de pieces, a set 
 of pieces. 
 
 Pieno (It., p'ya'noh). i. Full. — 2. A mixture-stop. 
 
 Pietosamente (It., pe-eh-t6h-s3,h-men't6h). I ,ip-.j 
 
 Pietoso (It., pe-eh-toh's6h). * 
 
 fuUly), moving(ly)" ; demands a sytnpathetic and 
 expressive delivery. 
 
 Piffero (It., pif'feh-roh). i. A fife ; also, a primi- 
 tive kind of oboe or shawm.— 2. Same as BikarA. 
 
 Pince (Fr., p3.n-sa'). i. Plucked ; as the strings of 
 the harp. — 2. Pizzicato (in violin-playing). 
 
 Pipe. I. A rude flageolet or oboe.— 2. An organ- 
 pipe ; in Fltie-pipes X.\\e tone is produced by the 
 vibration of a column of air within a tube or 
 body ; they are f/i^« or covered {stopped, pliij^ged)^ 
 a stopped pipe yielding a tone an octave lower 
 than an open pipe of like length.— In Reed-pipes 
 the tone is produced by a reed. 
 
 Piqud (Fr., pe-ka'). In violin-playing, the mezzo- 
 -staccato called for by a slur with staccato dots ; 
 notes so marked to be played in one bow {picchi* 
 etfato-). 
 
 Piston. See Valve. 
 
 Pitch. The position of a tone in the musical scale. 
 Pitch is relative, or absolute. The relative pitch 
 of a tone is its position (higher or lower) as com- 
 pared with .some other tone. (See Interval.) 
 Its absolute pitch is its fixed position in the entire 
 range of musical tones. 
 
 To indicate absolute pitch, the musical scale is 
 divided into a fixed series of octaves, named and 
 lettered as on p. v, " Elements of Nidation." 
 
 The number of vibrations made by a tone, es- 
 tablishes its absolute pitch ; the standard French
 
 Pitch-pipe — Plus 
 
 pitch (also called Internatio^ial, or low^ pitch) 
 
 gives the tone a^ A ^ : 435 double vibra- 
 
 te 
 
 tions per second. The so-called Coticert-pitck^ 
 or high pitch, much in vogue formerly in con^ic 
 operas, was sometimes a tone (or even more) 
 higher than French pitch. 
 
 'Pitch-pipe. A small wooden or metal reed-pipe 
 which sounds one or more tones of fixed pitch, to 
 give the tone for tunmg an mstrument, or for a 
 choir. 
 
 ■Piu (It., pew). More.— "When fiu stands alone, as 
 a /^w/i?-mark, mosso\?, implied; as an expression- 
 mark, it refers to the next-preceding /"or p... 
 Fiu niosso, piii moto^i&?>i^v .. .Piii mosso ancora, 
 still faster. . . Con un poco piu di tnoto, with a little 
 more movement (that is, somewhat faster). 
 
 Pizzicato (It., pit-se-kah'toh). "Pinched "; plucked 
 with the finger; a direction, in music for bow- 
 instruments, to play the notes by plucking the 
 strings. ( Abbrev. //zz.) 
 
 Placidamente (It., plah-che-d3,h-men'teh). ' piop-^i 
 
 Placidezza, con (kohn plah-che-det'sah). ' 
 ly, tranquilly. 
 
 Placido (It., plah'che-doh). Placid, smooth. 
 
 Placito (It.). See A bene placito. 
 
 Plagal cadence. See Cadenxe. 
 
 Plagal mode. See AUTHENTIC MODE. 
 
 Plain Chant, Plain Song. The unisonous vocal 
 music of the Christian Church, probably dating 
 from the first centuries of the Christian era, the 
 style being still obligatory in the R. C. ritual. 
 
 Plectrum (Latin). A pick ; a small piece of ivory, 
 tortoise-shell, or metal, held between the forefin- 
 ger and thumb, or fitted to the thumb by a ring, 
 and used to pluck or twang the strings of the 
 mandolin, zither, etc. 
 
 Plain (Fr.. plan). Full. 
 
 Plein-jeu (Fr., plan-zho'). i. A stop or combina- 
 tion of stops bringing out the full power of the 
 organ, harmonium, etc.— 2. Same as FOURNI- 
 
 TURE. 
 
 Pluperfect, Augmented (of intervals). 
 Plus (Fr., plii). More.
 
 Po'— Pomposo 
 
 Po' (It., p6 ; contraction of poco). 'L\tt\e ... Con 
 un po' d'espansione, with a certain display of emo- 
 tion. ..Aizando itn po' la voce, raising the voice a 
 little.. .Ritenendo un po\ becoming a trifle slower. 
 
 Poco (It., po'koh). Little -1 poco a poco, little 
 
 by ViX.x.\e...Poco allegro, rather ia.sX. . . . Poco largo, 
 rather slow... Poco meno ; when standing alone 
 as a tempo-mark, mosso is implied ; i. e., poco 
 7neno 7nosso, a little less fast (a little slower)... 
 i^fr<?//«, standing alone, also implies jnosso ("" 9. 
 little faster "). . . Poco pin leu to della prima volta^ 
 somewhat slower than the first time. 
 
 Poi (It., po'e). Then, thereafter. 
 
 Pointe (Fr., pwan't). i. Point or head of a bow.— 
 2. 1 oe (abbrev. p.'). 
 
 Polacca (It., poh-lahk'kah). A Polonaise... ^//a 
 polacca, in the style of a Polonaise. 
 
 Polca (It., pol'kah). Polka. 
 
 Polka (pol'kah ; Bohemian piilkd). A lively round 
 dance in 2-4 time, originating about 1830 as a 
 peasant-dance in Bohemia. 
 
 Polka-mazurka. A form of mazurka accommo- 
 dated to the steps of the polka. 
 
 Polonaise (Fr., p6h-16h-naz'). A dance of Polish 
 origin, in 3-4 time and moderate tempo ; formerly 
 in animated processional style, but now merely a 
 slow promenade opening | ^ «« m m m m\ 
 a ball. Rhythm: | ^ _ ' |» 
 
 last measure 
 
 \m m t 
 
 I - 1 
 
 Polonese (^It., pSh-loh-na'z^h). Same as POLACC.\. 
 
 Polymorphous counterpoint. Counterpoint per- 
 mitting of great variation of the theme. 
 
 Polyphon'ic. i. Consisting of 2 or more independ- 
 ently treated parts; contrapuntal; concerted.— 
 2. Capable of producing 2 or more tones simul- 
 taneously, like the piano, harp or organ. 
 
 Polyph'ony. The combination in harmonious pro- 
 gression of 2 or more independent parts ; the 
 independent treatment of the parts; counter- 
 point, in the widest sense ; concerted music. 
 
 Pompa, con (It., k6hn pdhm'pSh). > 
 
 Pomposamente (p5hm-poh-sah-men't5h). ^ Pom- 
 
 Pomposo (It., p5hm-poh's6h). ' 
 
 pously, loftily ; in a majestic, dignified style.
 
 Ponderoso— PrSchtig 
 
 Ponderoso (It., p6hn-deh-roh's6h). Ponderous J 
 
 in a vigorous, impressive style. 
 Ponticello (It., pohn - te - chel'loh). Bridge.— Sul 
 
 ponticello^ near the bridge. 
 Portamento (It., por-tah-men'toh). A smooth glid- 
 ing from one tone to another; differing from the 
 
 legato in its more deliberate execution, and in 
 
 the actual (though very rapid and slurring) 
 
 sounding of the intermediate tones. 
 Portando (It., por-tahn'doh). "Carrying"; i.e., 
 
 the portamento ^^^cX... For tan do la voce, vocal 
 
 portamento. 
 Portate la voce (It., por-tah'teh lah voh'cheh). 
 
 •'Carry the voice," that is, sin^ portamento. 
 Portunal flute. A flute-stop on the organ, with 
 
 open (seldom stopped) wooden pipes wider at top 
 
 than at the mouth. 
 Posato (It., poh-sah'toh). Sedate, dignified. 
 Posaune (Ger., poh-zow'ne). Trombone. Also, a 
 
 reed-stop in the organ, of 8-foot pitch (manuals) 
 
 or i6-foot pitch (pedal). 
 
 Position, r. The place of the left hand on the fin- 
 gerboard of the violin, etc. In the ist position, 
 the forefinger stops the tone (or semitone) above 
 the open string ; by shifting up, so that the ist 
 finger takes the place previously occupied by 
 the 2d, the 2d position is reached ; and so on. 
 In the half-position the 2d, 3d and 4th fingers oc- 
 cupy the places taken, in the ist position, by 
 the ist. 2d and 3d fingers.— 2. The arrangement 
 of notes in a chord, with reference to the lowest 
 part; in the ist, or fundamental position, the 
 lowest part takes the root ; in the 2d, it takes the 
 third; etc.— 3. Close (open) position, see Har- 
 mony, close 3.nd open. 
 
 Possibile (It., pohs-se'be-leh). Possible ; pianissi- 
 mo possidile, as soft as possible ; il piii presto pos- 
 sibile, as rapid as possible. [^n post-coaches. 
 
 Post'-horn. A horn without valves or keys, used 
 
 Post'lude. A closing voluntary on the organ. 
 
 Posto, di (It.). See Sl.axcio. 
 
 Pot-pourri (Fr., p6h-po6-re'). A musical medley, 
 all kinds of tunes, or parts of tunes, being con- 
 nected in an arbitrary manner. 
 
 Pousse (Fr., p66s-sa'). Up-bow. rallr. 
 
 PrSchtig (Ger., preyh'tiyh). Grandly, majestio-^
 
 Praeludium— Prime 113 
 
 Praelu'dium (Latin). Prelude. 
 
 Precedente (It., pr5h-chSh-den't$h). Preceding. 
 ...AIo/o precedence, in the preceding tempo. 
 
 Precen'tor. A director and manager of the choir, 
 and of the musical services in general. 
 
 Precipitando (It., preh-che-pe-tahn'd6h). 1 
 
 Precipitatamente (— tah-tSh-men'teh). I yjj... 
 
 Precipitate (It., — tah'toh). [ 
 
 Precipitoso (It., ^toh'soh). J 
 
 precipitation, impetuosity, dash. 
 
 Precisione, con (It., pr6h-che-ze-oh'neh). / \V[rh 
 
 Precise (It., preh-che'zoh). i 
 
 Precision. for drama. 
 
 Prel'ude. A musical introduction to a composition 
 
 Preludio (It., preh-loo'de-6n). Prelude. 
 
 Preparation. The preparation of a dissonance 
 consists in the presence, in the preceding cliord 
 and same part, of the tone forming the dis- 
 sonance. 
 
 Pressando (It., pres-sahn'd6h). I Pressing on, ac- 
 
 Pressante (It., pres-sahn'teh). 'i celerating. 
 
 Pressez (Fr., pres-sa')- Accelerate ; go faster. 
 
 Prestamente (It., preh-st3.h-men'teh). Rapidly. 
 
 Prestant (Fr., pres-tahn'). An open flue-stop, 
 usually of 4-foot pitch; equivalent to English 
 J^rtncipal. 
 
 Prestezza, con (It., k6hn prgh-stet'sSh). With 
 rapidity. 
 
 Prestissimamente (It., preh-stis-se-m3,h-men'teh). \ 
 
 Prestissimo (It., preh-stis'se-moh). ' 
 
 Very rapidly. 
 
 Presto (It., pra'stSh). Fast, rapid ; faster than 
 allei^ro... Presto assat\ very, extremely rapid... 
 Presto farlante, "speaking rapidly (volubly)"; 
 a direction in recitatives, etc. 
 
 Prima. See PrimO. 
 
 Pri'mary accent. The down-beat, or thesis ; the 
 accent beginning the measure, directly follow- 
 ing the bar. 
 
 Pri'mary triad. One of the 3 fundamental triads 
 of a key (those on the ist, 5th and 4th degrees). 
 
 Prime. The first note of a scale.
 
 XI4 Primo— Pronunziato 
 
 Primo, -a (It., pre'moh, -mah). First. . .Prima buf- 
 fa^ leading lady in comic opera. . .Prima doftfia^ 
 leading lady in opera. . .Priynavista, at first sight. 
 ...Prima volta, the first time (written J?fia volta^ 
 or simply /, or /) ; indicates that the measure or 
 measures under its bracket are to be played the 
 first time, before the repeat ; whereas, on repeat- 
 ing, those marked Seconda volta (or I Ida volta, or 
 //, or 2) are to be performed instead. 
 
 Primo (It.). A first or leading part, as in a duet. 
 
 Principal. In the organ, a stop of open metal flue- 
 pipes of 4-foot pitch on the manuals and 8-foot 
 pitch on the pedal. (See Prinzipal.) 
 
 Principal chords. The basic chords of a key — the 
 triads on the tonic, dominant, and subdominant, 
 with the dominant seventh-chord. 
 
 Principal-work. See STOP (noun) 2. 
 
 Principio(It.,prin-che'pe-6h). Beginning, first time. 
 ...In principle, at the beginning. . ./•/« ?narcato 
 del principio, more marked than the first time. 
 
 Prinzipal (Ger., prin-tse-pahl'). Open Diapason. 
 
 Processional. A hymn sung in church during the 
 entrance of choir and clergy. 
 
 Program-music. A class of instrumental composi- 
 tions intended to represent distinct moods or 
 phases of emotion, or to depict actual scenes or 
 events; sometimes called " descriptive music." 
 
 Progress. To advance or move on : in melody, from 
 one tone to another ; in hartnojiy, from one chord 
 to another. 
 
 Progression. The advance from one tone to 
 another, or from one chord to another ; the former 
 is 7iielodic, the latter harvionic^ progression. 
 
 Progressive composition. In song-writing, the 
 setting each strophe to different music, follow- 
 ing the changing mood more closely than in the 
 ballad or folk-song, where melody and harmony 
 are generally the same for each verse. 
 
 Progressive stop. A compound organ-stop in 
 which the number of ranks increases as the pitch 
 rises. 
 
 Prontamente (It., prohn-tah-men'teh). / Promptly, 
 
 Pronto (It., prohn'toh). f swiftly. 
 
 Pronunziato (It., proh-noon-tse - ah'toh). Pro- 
 nounced, marked ; beti pronunziato^ well, clearly 
 enunciated.
 
 Psaltery— Quasi 115 
 
 Psaltery fsol'ter-!). An ancient instrument in use 
 to the 17th century; known to the Hebrews as the 
 Kinnor, to the Germans as the Rotta; a kind of 
 harp-zither, with a varying number of strings 
 plucked by the fingers or with a plectrum. 
 
 Pul'satile ( — til) instruments. Instruments of per* 
 cussion. 
 
 Pulse. A beat or accent. 
 
 Punta. (It., p5on'tah). Point (of fhe bow).., 
 Colla punta dell'arco, at the point of the bov/. 
 
 Pyramid'on. An organ-stop having short covered 
 pipes more than 4 times as w^ide at top as at 
 mouth, and of i6' or 32' tone. 
 
 Quadrille (kwo-dril')- A square dance consisting 
 of 5 (or 6) figures named le Pantalon, I'Ete, la 
 Poule, la Pastotirelle {la Trenise), and la Finale. 
 The time alternates between 3-8 (6-8) and 2-4. 
 
 Quadruple counterpoint. See COUNTERPOINT. 
 
 Quadruple rhythm or time. That characterized 
 \>Y 4 beats to the measure. 
 
 Quad'ruplet. A group of 4 equal notes, to be exe« 
 
 cuted in the time of 3 or 6 of U 
 
 the same kind in the regular "y^-^— '^ ^-» ~ 
 rhythm; written: ^ ^ !""} ^^^ ^ j -^ 
 
 Quality of tone. That characteristic peculiarity of 
 any vocal or instrumental tone which distin- 
 guishes it from the tone of any other class of 
 voices or instruments. Also called Tone-color^ 
 Timbre. 
 
 Quart. The interval of a Fourth. 
 
 Quarter-rest. A rest equal in time-value to a 
 
 quarter-note ( 5fi or r). 
 Qu=irteti,te). i. A concerted instrumental compo* 
 
 sition for 4 performers, in symphonic form. — ■ 
 
 2. A composition, movement, or number, either 
 
 vocal or instrumental, in 4 parts. 
 
 Quartole. U quadruplet. 
 
 Quartuplet. ' 
 
 Quasi (It., kwah'ze). As if; as it virere ; neatly | 
 
 approaching. . . Andante quasi allegretto, andantfe 
 
 approaching allegretto.
 
 ii6 Quatre— Raddolcente 
 
 Quatre (Fr., kah'tr). I p^^^^ 
 
 Quattro (It., kwaht'troh). ) * [instrumental. 
 
 Quatuor (Fr., kwah-t«-or'). A quartet, vocal or 
 
 Quaver. An eighth-note. 
 
 Quindecima (It., kwin-da'che-mah). A Fifteenth 
 (either the interval or the organ-stop). . .Alia quin- 
 decima (written simply /jwa>, two octaves higher 
 (or lower). 
 
 Quint. I. The interval of a Fifth.— 2. A 5^-foot 
 organ-stop, sounding a fifth higher than the nor- 
 mal 8-foot pitch. — 3. The .£"-string of the violin. 
 
 Quintade'na. An organ-stop of small, stopped 
 metal pipes, in whose tone the Twelfth (2d har- 
 monic) is prominent. 
 
 Quintaton (Ger., kvin-tah-ton'). In the organ, a 
 covered flue-stop of 8-, 16-, or 32-foot pitch. 
 
 Quintet(te). i. A concerted instrumental composi- 
 tion for five performers, in symphonic form.— 
 2. A composition, movement, or number, vocal 
 or instrumental, in five parts. 
 
 Quintole. A quintuplet. 
 
 Quintuor (P>., kan-ti^-or'). A quintet. [ure. 
 
 Quintuple rhythm, time. Has 5 beats to the meas- 
 
 Quintuplet. A group of 5 equal notes to be ex- 
 ecuted in the time of 4 of the 5 
 
 same kind in the regular rhythm ; r""^^^^^ 
 written : m m m m m 
 
 Quitter (Fr., ke-ia'). To qnit, leave. . .Sans quitter 
 
 la corde, without quitting the string. [concert. 
 
 Quodlibet. A musical medley ; pot-pourri ; Dutch 
 
 R. Stands for right (Ger. rechfe) ; r. h., right hand 
 
 {rechte Hand). In French organ-music R stands 
 
 for clavier de recit (swell manual). 
 Rabbia, con (It., kohn rahb'be-ah). With passion, 
 
 frenzy ; furiously. 
 Raccoglimento, con (It., kohn rahk-kohl-ye-men'- 
 
 toh). Collectedly, coolly ; meditatively. 
 Raccontando(It., rahk-kohn-tahn'doh). Narrating; 
 
 as if telling a story. 
 Raddolcendo (It., rahd-dohl-chenMoh). \ Growing 
 Raddolcente (It., rahd-dohl-chen'teh). i" 
 
 calmer and gentler.
 
 Raddolcito— Recht 117 
 
 Raddolcito(It.,rahd-d6hI-che't6h). Gentler, calmer. 
 
 Radiating pedals. A pedal-keyboard with the 
 pedals set in fan-shaped arranj2:ement, spreading 
 out to the rear, and concave (.somewhat higher at 
 the sides). 
 
 Radical bass. Fundamental bass, root of a chord. 
 
 Radical cadence. See CADENCE, 
 
 Rallentamento (It., rahl-len-ta.h-men't6h). A slack- 
 eninij in tempo. [slower and slower. 
 
 Rallentando (It., rShl -len -tahn'd6h). Growing 
 
 Rallentare (It., rShl-len-tah'rgh). To grow slower; 
 senza rallentare, without slackening the pace. 
 
 Rallentate (It., rShl-len-tah'teh). Go slower. 
 
 Rallentato (It., rihl-len-tah'toh). At a slower pace. 
 
 Rank. A row of organ-pipes. A mixture-stop is 
 said to have 2, 3. or more ranks, according to the 
 number of pipes sounded by each digital (key). 
 
 Rant. An old country-dance, or a reel. 
 
 Ranz des vaches (Fr., rShns da vSh'sh). One of the 
 airs sung, or played on the*alpine horn, in the 
 Swiss Alps as a call to the cattle. 
 
 Rapidamente (It., rSh-pe-dSh-men'teh). \ wjth 
 
 Rapidita, con (It., kohn r5.h-pe-de-tah'). ,- rapidity, 
 
 Rapido (It., rSh'pe-doh). ) rapidly. 
 
 Rasch (Ger., rShsh). Fast, rapid, &w\H...N'och 
 rascher, still f aster... ^c? rasch wie moj^lich, as 
 fast as possible. 
 
 Rattenendodt.). / g^^ RitenenDO, RitenuTO. 
 
 Rattenuto (It.). > 
 
 Rauschquinte (Ger., rowsh'kvin'tS). A mixture- 
 stop of 2 ranks. (Also Rauschflote, -pfei/e^ 'guar- 
 te. -'verk.) [celerating the tempo. 
 
 Ravvivando il tempo (It., rShv-ve-vShn'dcSh). Ac- 
 Ray stands for Re. in Tonic Sol-fa. 
 
 Re (It., ra). ^ second of the Aretinian sv'lables, 
 
 R6 (Fr., ra\ > 
 and the name of the note D in France, Italy, etc. 
 
 Re'bec. A medieval violin, shaped like a half- 
 pear, with 3 gut strings. 
 
 Recessional. A hymn sung in church during the 
 departure of choir and clergy after a service. 
 
 Recht (Ger., rSyht). Right ; rechte Hand, right 
 hand.
 
 fi8 Recital— Reed-pipe 
 
 Reci'tal. A concert at which either (a) all the 
 pieces are executed by one performer, or (d) all 
 pieces performed are by one composer. 
 
 Recitando (It., rehche-tahn'doh). / In declamatory 
 
 Recitante (It., reh-che-tahn'teh). > style. 
 
 Recitative (res'i-ta-tev'). Declamatory singing, 
 free in tempo and rhythm. 
 
 Recitatif (Fr., ra-se-tah-tef). \ 
 
 Recitativ (Ger., ra-tse-tah-tef). > Recitative. 
 
 Recitative (It., reh-che-tah-te'voh). ' 
 
 Recitative. In piano-playing, calls for a crisp de- 
 livery of the melody, free in tempo and rhythm. 
 
 Reciting-note. The tone on which most of each 
 verse in a chant (psalm or canticle) is continu- 
 ously recited ; the dominant. 
 
 Redoubled interval. A compound interval. 
 
 Red'owa. A Bohemian dance, like the Mazurka, 
 though less strongly accented, in 3-4 time and 
 lively tempo. 
 
 Reduce. In organ-music, a direction to decrease 
 the volume of tone by retiring the louder stops. 
 
 Reduction. Rearrangement of a composition for 
 a smaller number of instruments, while preserv- 
 ing its form as far as possible. 
 
 Redundant. Augmented. 
 
 Reed. A thin strip of cane, wood, or metal, so ad- 
 justed before an aperture as nearly to close it, 
 fixed at one end, and set by an air-current in vi- 
 bration, which it communicates either to an en- 
 closed column of air (organ-pipe, oboe), or direct- 
 ly to the free atmosphere, thus producing a 
 musical tone. A /^'ree reed vibrates within the 
 aperture without striking the edges ; a Beating 
 reed strikes on the edges. A Double reed is two 
 beating reeds which strike against each other. 
 
 Reed-instrument. One whose tone is produced by 
 the vibration of a reed in its mouthpiece. 
 
 Reed-organ. A keyboard instrument whose tones 
 are produced by free reeds ; {a) the Har7nonium 
 (invented 1843 by A. Debain of Paris), the bellows 
 forcing compressed air outward through the 
 reeds ; {b) the American organ^ in which a suction- 
 bellows draws the air i7i through them. Either 
 style has a variety of stops of different quality. 
 
 Reed-pipe. See PIPE.
 
 Reed-work— Reprise X19 
 
 Reed-work. See Stop (noun) 2. 
 
 Reel. A lively dance of Scotland and Ireland, 
 
 usually in 4-4 (sometimes 6-4) time, with reprises 
 
 of 8 measures ; danced by 2 couples. 
 Refrain. A BURDEN i. 
 Register, i. A set of pipes or reeds controlled by 
 
 one draw-stop ; a stop (organ-stop).— 2. A portion 
 
 of the vocal compass : as high or loiv register ; 
 
 chest- or //fadf'-register. — 3. A portion, in the 
 
 range of certain instruments, differing in quality 
 
 from the other portions. 
 Registration, i. The art of effectively employing 
 
 and combining the various stops of the organ. — 
 
 2. The combinations of stops employed for any 
 
 given composition. 
 Relation(ship). The degree of affinity between 
 
 keys, chords, and tones. 
 
 Relative key. A minor key is relative to that ma- 
 jor key, the tonic of which lies a minor Third 
 above its own ; a major key is relative to that 
 minor key, the tonic of which lies a minor Third 
 below its own. 
 Religiosamente (It., rSh-le-j6h-sah-men'tSh). I j^ ^ 
 Religioso (It., r6h-le-joh's5h). ) 
 
 devotional style. 
 
 Remote key. An unrelated key. 
 
 a. 6. c. 
 
 Repeat, i. The sign: :r[pi=|E 
 
 a signifying that the music between the double- 
 dotted bars is to be repeated ; b and r, that the 
 preceding and also the following division is to be 
 repeated. — 2. A section or division of music which 
 is repeated. 
 
 Repercussion, i. Repetition of atone or chord. ^ 
 2. In a fugue, the regular reentrance of subject 
 and answer after the episodes immediately fol- 
 lowing the exposition. 
 
 Repetizione (It.,rSh-p6h-te-tse-oh'n6h). See RlPK- 
 tizio.np:. 
 
 Replica (It., ra'ple-kaii). A repeat or reprise... 
 Da capo senza replica, play from beginning 
 without observing the repeats. 
 
 Reprise (Fr., ru-prez'). i. A Repeat 2.-2. The re- 
 vival of a work.— 3. Break 3—4. Refercussiom
 
 Requiem — Rhapsodic 
 
 2.-5. Reentrance of a part or theme after a rest 
 or pause. 
 
 Re'quiem. The first word in the Mass for the 
 dead ; hence, the title of the musical setting of 
 that Mass. Its divisions are (i) Requiem, Kyrie, 
 (2) Dies irae. Requiem, (3) Domine Jesu Chr'iste, 
 (4) Sanctus, Benedictus,(5)Agnus Dei, Lux aeterna. 
 
 Resolution. The progression of a dissonance, 
 whether a simple interval or a chord, to a con- 
 sonance. Direct resolution is immediate progres- 
 sion from the dissonance to the consonance ; In- 
 direct (or delayed^ deferred, retarded) resolution 
 passes through some intermediate dissonance or 
 dissonances before reaching the final restful 
 consonance. 
 
 Res'onance-box (rez'-). A hollow resonant body 
 like that of the violin or zither. 
 
 Response, i. Responsory. — 2. Answer. — 3. The 
 musical reply, by the choir or congregation, to 
 what is said or siing by the priest or officiant. 
 
 Responsory. i. That psalm, or part of one, sung 
 between the missal lessons.— 2. The Gradual.— 
 3. A Respond ; that is, a part of a psalm (formerly 
 an entire psalm) sung between the lessons at the 
 canonical hours. 
 
 Rest. A pause or interval of silence between two 
 tones ; hence, the sign indicating such a pause. 
 (See Elem. of Notation.) 
 
 Restez (Fr., res-ta'). "Stay there!" In music for 
 bow-instruments this direction means (a) "Play 
 on the same string," or {p) "Remain in the same 
 position (shift)." 
 
 Retardation, i. A holding-back, decreasing in 
 speed.— 2. A suspension resolving upward. 
 
 Retarded progression. A suspension resolving 
 upward. 
 
 Retarded resolution. See RESOLUTION. 
 Reveil (Fr., ra-va'c"). » ^^^ Reveille (re-val'. 
 
 Reveille (Ger., ra-vel'yS). ' 
 ye), or military signal for rising. 
 
 Reverse' motion. Contrary motion. 
 
 Reversion. Retrograde imitation. 
 
 Rhapsodic (Fr., rahp-s6h-de'). A Rhapsody ; gen- 
 erallv an instrumental fantasia on folk-songs or 
 on motives taken from primitive national music.
 
 Rhythm— Ripieno 
 
 Rhythm. The measured movement of similar 
 tone-groups ; that is, the effect produced by the 
 systematic j^^rouping- of tones with reference to 
 regularity both in their accentuation and in their 
 successi(jn as equal or unequal m time-value. A 
 Rhythm is, therefore, a tone-group serving as a 
 pattern for succeeding identical groups. 
 
 Ribattuta (It.. re-bSht-too'tah). i. A Beat 3.-2. A 
 device for beginning a trill by dwelling longer on 
 the principal tone than on the auxiliary. 
 
 Ribs. The curved sides of the violin, etc., con- 
 necting belly and back. 
 
 Rig'adoon'. A lively French dance, generally in 
 4-4 time (sometimes 2-2, rarely 6-4) with an auf- 
 takt of a quarter-note ; it consists of 3 or 4 re- 
 prises. 
 
 Rigaudon (Fr., re-goh-dohn'). ) 
 
 Rigodino (It., re-goh-de'noh). v A Rigadoon. 
 
 Rigodone (It., re-goh-doh'neh). ' 
 
 Rigor (It., re-gohr'). \^i^oT, strictness...^/ (or 
 Rigore (It., re-goh'reh). ' 
 
 coti) rij^ofe dt tempo (or a rigor di tempd)^ in 
 
 strict time. 
 
 Rigoroso (It., re-g6h-roh'soh). In strict time. 
 Rilasciando (It., re-lah-shahn'doh). \ R.ALLENTAN- 
 Rilasciante (It., re-lah-shShn'tgh). f DO. 
 Rimettendo (It., re-met-ten'dQh). \ .. Resuming" a 
 Rimettendosi (It., — ten'doh-se). ' 
 
 preceding tempo, whether after accelerating or 
 
 retarding. 
 
 Rinforzando (It., rin-for-t.sShn'dSh). ) ^yj^j^ special 
 
 Rinforzato (It., rin-for-tsah't5h). ' 
 emphasis; indicates a sudden increase in loud- 
 ness, either for a tone or chord, or throughout a 
 phrase or short passage. 
 
 Rinforzare, senza (It., sen'tsSh rin-for-tsah'rShX 
 Without growing louder. 
 
 Ripetizione (It., re-peh-te-tse-oh'n5h). Repetition. 
 
 Ripieno (It., re-p'ya'noh). "Filling uo"; "sup- 
 plementary." I. A ripieno part is one reinforc- 
 ing the leadingorchestral parts bvdoubling them 
 or bv filling in the harmony.— 2. In scores, ripie- 
 no is a direction calling for the entrance of the
 
 Ripigliando— Robusto 
 
 full string-band (or, in military' music, the clari- 
 nets, oboes, etc.).— 3- A combination-stop draw- 
 ing all registers of any given manual. 
 
 Ripigliando (It., re-pel-yahn'doh). Resuming. 
 
 Ripigliare (It., re-pel-yah'reh). To resume. 
 
 Riposatamente (It., re-p6h-sah-tah-men'teh)_ \ 
 
 Riposato (It., re-poh-sah'toh). vIna 
 
 Riposo, con (It., kohn re-p6's6h). ' 
 
 calm, tranquil manner ; reposefully. 
 
 Riprendendo (It., re-pren-den'doh). Resuming; 
 j-iprendendo poco a poco il tempo, gradually re- 
 gaining the preceding rate of speed. 
 
 Riprendere (It., re-pren'deh-reh). To resume; 
 string-endo per ripj-endere il lo tempo, hastening, 
 in order to regain the former tempo. 
 
 Risentito (It., re-sen-te'toh). Energetic, vigorous ; 
 
 expressive. 
 Risolutamente (It., re-s6h-166-tah-men'teh). ") 
 
 Risolutezza, con (It., kohn re-s6h-166-tet'sah). I 
 Risoluto (It., re-soh-loo'toh). j 
 
 Risoluzione, con (It., kohn re-s6h-166-tse-oh'neh). j 
 
 In a resolute, vigorous, decided style. 
 
 Risvegliato (It., re-sval-yah'toh). Lively, animated. 
 
 Ritardando (It., re-tar-dahn'doh). Growing slower 
 and slower. 
 
 Ritardare, senza(It , sen'tsah re-tar-dah'reh). With- 
 out slackening the pace. 
 
 Ritardato (It., re-tar-dah'toh). At a slower pace. 
 Ritenendo (It., re-teh-nen'doh). t r.^llextanbo. 
 Ritenente (It., re-teh-nen'teh). ' 
 Ritenuto (It., re-teh-noo'toh). Held back; at a 
 
 slower rate of speed. 
 Ritmico (It., rit'me-koh). Rhythmical; MiSURATO. 
 Ritmo (It., rit'moh). Rhythm. 
 Ritornello (It., re-tor-nel'16h). ) ^^ ^^^^ ^^^^^^ ^^ ^ 
 
 Ritournelle (Fr.. re-toor-nel')- ' 
 
 song.— 2. A repeat.— 3. In accompanied vocal 
 
 works, an instrumental prelude, interlude, or 
 
 postlude (refrain). 
 Robustamente (It., roh-boo-st5h-men't5h). ^ pj^.^^^^ 
 Robusto (It., r6h-b66'st oh). * 
 
 ly and boldly.
 
 ?oi1 — Rnbato 123 
 
 Roll. I. A tremolo or trill on the drum. The sign 
 in notation is 
 
 tr or „^,^ or pj 
 
 J^ong' roily the prolonged and reiterated drum- 
 signal to troops, for attack or rally. — 2. In (»rKan- 
 playing, a rapid arpeggio. — 3. On the tambourine, 
 the rapid and reiterated hither- and thither- 
 stroke with the knuckles. 
 
 liomance. Originally, a ballad, or popular tale in 
 verse, in the Romance dialect; now, a title for 
 epico-lyrical songs, or of short instrumental 
 pieces of a sentimental or romantic cast, and 
 without special form. — The French romance is a 
 simple love-ditty ; Roviances sans paroles [r6h- 
 mahns'.sahnpah-rohKJ, "Songs without Words." 
 
 Roman'tic. Music of the post-classic period (after 
 Beethoven), in which more attention is paid to 
 the expression of feeling than to the observance 
 of form, is called Romantic. 
 
 Ron'do (It. Rondd [rohn-doh']). An instrumental 
 piece in which the leading theme (I) is repeated, 
 alternating with the others thus : I-II (dominant)- 
 -I-III-I-II(tonic)-Coda.- 
 
 Root. The lowest note of a chord in the funda» 
 mental position. 
 
 Rota. I. A Round, Rondo, etc.— 2. A Crowd. 
 
 Rotondo (It., r5h-t6hn'd6h). Round, full. 
 
 Roulade (Fr., roo-lShd';. A grace consisting of a 
 run or arpeffj^io from one principal melody-tone 
 to another ; a vocal or instrumental flourish. 
 
 Round. 1. A kind of vocal canon at the unison, 
 without coda ; sometimes with an harmonic sup- 
 port or accompaniment, \.\\q pes. 
 
 Roun'del. A ring-dance. 
 
 Roun'delay. A lay or song containing some con- 
 tinued reiteration or refrain. 
 
 Rubando (It., roo-bShnMSh). Performing in a 
 rubato ^X.y\e. . .Affrettando e rubando il tempo. 
 perform with increasing speed, and dwell on ac- 
 cented tones. 
 
 Rubato (It., roo-bSh 't^>h"). "Robbed"; mean* 
 "dwell on, and (often almost insensibly) prolong
 
 124 Ruhig— Saraband 
 
 prominent melody-tones or chords." This re« 
 quires an equivalent acceleration of less promi- 
 nent tones, which are thus " robbed " of a por- 
 tion of their time-value. 
 
 Ruhig (Ger., roo'iyh). Quiet, calm, tranquil. 
 
 Riihrung (Ger., ru'roong"^). Emotion. 
 
 Run. A rapid scale-passage ; in vocal music, usu« 
 ally such a passage sung to one syllable. — The 
 wind in the windchest (organ) runs when it leaks 
 into a groove. 
 
 Rustico (It., roo'ste-koh). Rural, pastoral. 
 
 Ruvidamente (It., roc- ve - dah -men'teh), I j 
 
 Ruvido (It., roo've-doh). ' 
 
 rougn, harsh style. 
 
 Rythme (Fr., rit-ma'). Measured... Bien rythmic 
 well-balanced and elegant in rhythmical eftect. 
 
 S. Stands for Segno in the phrases al Seg-no, dal 
 Segno : for Senza, Sinistra^ Solo^ Soprano, Sordi- 
 ni : and for Subito in the phrase Volti subito 
 (V.S.). 
 
 Sackbut. I. Early form of trombone.— 2. In the 
 Bible, the translation . of sabbek^ supposed to 
 have been a harp-like instrument. 
 
 Saite (Ger., zl'te). A string. 
 
 Sahcet. _ ^^ organ-stop having open metal flue* 
 
 Salicional. ' 
 pipes, usually of 8-toot pitch, also of 4-, 2-, and (on 
 the pedal) 16-foot pitch, with mellow, reedy tone. 
 
 Saltarella, Saltarello (It., sahl-tah-rel'lah, -loh). A 
 second division in many 16th-century dance- 
 tunes, in triple-time, the skipping step marked 
 
 in the rhythm m . m m \m — m — .—Also, an 
 
 Italian dance in 3-4 or 6-8 time. 
 Saltato (It., sahl-tah'toh). See SPRINGING BOW. 
 Salto (It., sahl'toh). Leap ; di salio, by a leap or 
 
 leaps.— Also, skip or " cut." 
 Sanft (Ger., zahnft). Soft, low. 
 Sans (Fr., sahn). Without. 
 Saraband'. A stately dance of Spanish or Orien* 
 
 tal origin. The instrumental S. has usually two
 
 Sarabanda— Scherzhaft 123 
 
 # » 
 
 8-measure reprises, in slow tempo and triple 
 time ; its place in the Suite, as the slowest move- 
 ment, is before the Gigue. 
 
 Sarabanda (It., s&h-ra,h-bS.hn'd&h). > 
 
 Sarabande (Pr., s3.h-rah-bahn'd). >- Saraband. 
 
 Sarabande (,Ger., sah-rah-bahn'de). ) 
 
 Sarrusophone. A brass wind-instrument invented 
 (1863) by and named after the bandmaster Sarrus 
 of Paris, with a double reed. 
 
 Saxhorn. A brass wind-instrument invented in 
 1842 by Adolphe Sax, a Belgian It is essentially 
 an improved key-bugle or ophicleide, having 
 from 3 to 5 valves instead of keys. 
 
 Saxophone. A metal wind-instrument invented 
 about 1840 by Adolphe Sax of Dinant-sur-Meuse, 
 Belgium, having a clarinet mouth-piece with 
 single reed, the key-mechanism and fingering 
 also resembling those of the clarinet. It has a 
 mellow, penetrating tone of veiled quality. 
 
 Saxotromba. A valve-trumpet invented by Sax. 
 
 Sbalzato (It., zbahl-tsah'toh). Dashingly, impetu- 
 ously. 
 
 Scale. I. The series of tones which form (a) any 
 major or minor key {diatonic scale), or {b) the 
 chromatic scale of successive semitonic steps. — 
 2. The compass of a voice or instrument; also, 
 the series of tones producible on a wind-instru- 
 ment. — 3. In the tubes of wind-instruments (espe- 
 cially organ-pipes), the ratio between width of 
 bore and length. [endo. 
 
 Scemando (It., sheh-mShu'doh). Same as DiMl.\U- 
 
 Scena (It., sha'nah). An accompanied dramatic 
 solo, consisting of arioso and recitative passages, 
 and often ending with an aria. 
 
 Schalkhaft (Ger., shShlk^hSft). Roguish, sportive, 
 wanton. 
 
 Schaurig (Ger., show'riyh). In a stvle expressive 
 of (or calculated to inspire) mortal dread; weirdly. 
 
 Scherzando (It., skar-tsShnMoh). 
 
 Scherzante (It., skar-ts3,hn'teh). 
 
 Scherzevole (skar-tsa'v6h-l^h). 
 
 Scherzoso (It., skar-tsoh's6h). 
 sportive, toying manner ; lightly, jestingly. 
 
 Scherzhaft (Ger., sharts'hihft). Sportive ; jocose, 
 burlesque. 
 
 In a playful.
 
 tsim] 
 
 126 Scherzo — Schwindend 
 
 Scherzo (It., skar'tsoh). A joke, jest.— i. Ar in- 
 strumental piece of a light, piquant, humorous 
 character. — 2. A vivacious movement in the 
 symphony, with strongly marked rhythm and 
 sharp and unexpected contrasts in rhythm and 
 harmony ; usually the third movement. 
 
 Schiettamente (It., ske-et-tah-men'teh). 
 
 Schiettezza, con (It., kohn — tet'sah). J- Simply, 
 
 Schietto (It., ske-et'toh). 
 quietly; neatly, deftly. 
 
 Schleppen (Ger.. shlep'pen). To drag, retard... 
 Nicht schleppen, do not drag. 
 
 Schleppend (Ger., shlep'pent). Dragging. 
 
 Schluss (Ger., shlooss). Close, cadence ; end. 
 
 Schmachtend (Ger., shmah'tent). Languishing(ly), 
 
 longing(ly). 
 Schmeichelnd (Ger., shmi'yhelnt). Flatteringly; 
 
 in a coaxing, caressful style. 
 Schmerzhaft (Ger., shmarts'hahft). ) pain£ul(ly) 
 Schmerzlich (Ger., shmirts'Iiyh). ) 
 
 sorrowful(ly), plaintive(ly). 
 
 Schnell (Ger., shnel). Fast, quick, rapid. . .Schneller^ 
 faster ; nach und iiach schtteller, gradually faster. 
 
 Schot'tische (shot'ish). A round dance in 2-4 time, 
 a variety of the Polka. 
 
 Schwach (Ger., shvah). Weak ; soft, faint, low. 
 
 Schwacher (Ger., shveyh'er). Softer, fainter. 
 
 Schwebend CGer., shva'bent). Floating, soaring; 
 buoyant(ly) ; in a lofty, elevated style. 
 
 Schwegelpfeife (Ger., shva'gel-pfl'fe). An open 
 flue-pipe in the organ, of 8- or 4-foot pitch, the 
 pipes slightly tapering at the top. 
 
 Schweizerfiote (Ger., shvi'tser-flo'te). An 8-foot 
 metal flue-stop in the organ, of penetrating tone; 
 the same of 4-foot pitch is called Schvceizerpfeife: 
 of 16-foot pitch, on the pedal, Schweizerflotenbass. 
 
 Schwellen (Ger., shvel'len). Same as AN. 
 
 SCHWELLEN. 
 
 Schwer (Ger., shvar). Heavy, ponderous; difficult. 
 Schwermut(h)ig (Ger., shvar'mu'tiyh). Sad, meU 
 
 ancholy. 
 Schwindend (Ger., shvin'dent). Dying away, 
 
 morendo.
 
 Schwung^, mit— Scozzese, alia 
 
 Schwung, mit (Ger., mit schvadnR"). / Cwine-ine-lv 
 SchwungvoU (Ger, shveSngk/fahi). * s « >« 
 
 buoyantly; with sweep and passion. 
 Scintillante (It., shin-til-lShn'teh). Sparkling:, 
 
 brilliant. 
 Scioltamente(It., sh6hl-tah-men'tgh). j 
 Scioltezza, con (kohn sh6hl-tet'sSh). V Freely, flu- 
 Sciolto, -a (It., sh61-t5h, -tSh). ) 
 
 ently, nimbly. 
 Scivolando (It., she-v6h-iahn'd6h). Same as Gh'sm 
 
 sando, in piano-playing. 
 Scoop. Vocal tones are " scooped " when taken, 
 
 instead of by a firm and just attack, by a rough 
 
 portamento from a lower tone. 
 
 Scordatura (It., sk6hr-dah-too'rah). Solo pitch ; a 
 change in the ordinary tuning of a stringed in- 
 strument, to obtain special effects or easier exe- 
 cution. 
 
 Score. A systematic arrangement of the vocal or 
 instrumental parts of a composition on separate 
 staves one above the other... C/<?Jr or compressed 
 score, a Short &cove... Full or orchestral score, 
 one in which each vocal and instrumental part 
 has a separate s\.a.K. . . Fiano/orte-score, a. piano- 
 arrangement of an orchestral score, the words of 
 any leading vocal parts being inserted above the 
 iniisic without their note^. ..Opett score, a Full 
 ?,cove...Or^a>i-score,\\\ie Pianoforte-score, some- 
 times with a third staff for pedal bass...^7wr/ 
 sco)-e, any abridged arrangement or skeleton 
 transcript ; also, 4-part vocal score on 2 staves... 
 Supplementary score, one appended to the body 
 of the score when all parts cannot be written on 
 one page. . . Vocal score, that of an a-cappella com- 
 position ; also, the vocal parts written out in full, 
 usually on separate staves, the piano accompani- 
 ment being arranged or compressed (from the 
 full instrumental score) on 2 staves below the 
 rest. 
 
 Scoring. Instrumentation, orchestration. 
 
 Scorrendo (It., sk6hr-ren'd6h). } Fluent, flowing, 
 
 Scorrevole (sk6hr-ra'v6h-15h). i' gliding. 
 
 Scotch snap or catch. The rhythmic motive p| 
 found in inany Scotch airs. • •• 
 
 Scozzese, alia (It., Shi ' lih sk6ht - tsS ' z6h). In 
 
 Scotch style,
 
 128 Sdegno, con— Sehnsuchtig 
 
 Sdegno, con (It., kohn zdan'yoh). \ 
 
 Sdegnosamente (zdan-yoh - sah- men'teh). y In a 
 
 Sdegnoso (It., zdan-yoh'soh). ' 
 
 style expressing scorn, disdain, wrath, or indig* 
 nation. [in^^ glissa7ido, 
 
 Sdrucciolando (It., zdr66t-ch6h-lahn'd6h). Slid* 
 
 Se (It., sa). \i...Se bisogna, if necessary... 5<? pi- 
 ace,, if you please. 
 
 Sec (Fr., sek). Dry, simple. 
 
 Secche (It., sek'keh). Plural of Secco. 
 
 Secco (It., sek'koh). Dry, simple ; not dwelt on... 
 Recitativo secco^ one with a simple figured-bass 
 accompaniment. 
 
 Secheresse, avec (Fr., sa-shii-ress'). Dryly; with- 
 out dwelling on or embellishing. 
 
 Second, i. The interval between two conjunct 
 degrees. — 2. The alto part or voice. — 3. Perform- 
 ing a part lower in pitch than first, as second 
 bass, second violins.— 4. Lower in pitch, as second 
 string.— 5. Higher ; as second line of staff. 
 
 Secondary chords. Subordinate chords. 
 
 Secondo, -a (It , seh-kohnMoh. -dab). Second ; also, 
 a second part or performer in a duet. 
 
 Section. A short division (one or more periods) of 
 a composition, having distinct rhythmic and har- 
 monic boundaries; specifically, half a Phrase. 
 
 Secular music. Music other than that intended 
 for worship and devotional purposes. 
 
 Segno (It., san'yoh). A sign. ..^/j-^^w^', to the sign ; 
 Dal segno, from the sign ; — directions to the per- 
 former to turn back and repeat from the place 
 marked by the sign i;^^ to the word Fine^ or to a 
 double-bar with hold i/^). 
 
 Segue (It., sa'gweh). i. Follows; segue Varia,, the 
 aria follows.— 2. Simile. 
 
 Seguendo (It., seh-gwen'doh). > Following.. .5^- 
 
 Seguente fit., seh-gwen'teM. ' 
 guendo il canto, same as col canto, colla voce. 
 
 Seguidilla (Span., sa-gwe-dil'yah). A Spanish 
 dance in triple time, some varieties being slow, 
 others lively ; usually in minor, accompanied by 
 guitar and voice, and at times bj' the castanets. 
 
 Sehnsucht, mit (Ger.. mit zan'zooht). I Longingly* 
 
 Sehnsuchtig (Ger.. zan'zz/yh'tiyh). J 
 in a style expressive of yearning.
 
 Sehr— Serenade 129 
 
 i).[ln; 
 
 Sehr' (Ger., zar). Very. 
 
 Sem'ibreve. A whole note. 
 
 Sem'itone. A half-tone. 
 
 Semplice (It., sem'ple-ch6h). 
 
 Semp lice men te (sem-ple-ch5h-men't5h). 
 
 Semplicita, con (kohn sem-ple-che-tah' 
 pie, natural, unaffected style. [throughout. 
 
 Sempre (It., sem'prSh). Always, continually; 
 
 Sensibile (It., sen-.se'be-15h). Audible; sensitive. 
 . . .A'o/a si'fisidi/f, leading-note. [feeling 
 
 Sensibilita, con (It., kohn sen-se-be-le-tah'J. With 
 
 Sentence. A passage of symmetrical rhythmic 
 form, generally not over 16 measures long, and 
 usually ending with a full tonic cadence. 
 
 Sentimentale (It., sen-te-men-tah'lSh), »_ Feeling- 
 
 Sentimento, con (kohn sen-te-men'toh). ^ 'y- 
 
 Sentito (It., sen-te't5h). With feeling, expression, 
 special emphasis. 
 
 Benza (It., sen'ts^h). Without. (Abbreviated S.) 
 —Sefiza di slenture, without retarding. . .S. misu- 
 ra, " without measure," that is, not in strict time. 
 .. .S. passiorte, without passitm, quietly. ..»S". pt- 
 atti, ''drum alone" (where one performer plays 
 
 the cymbals and bass drum) . . . 6'. rallentare^ 
 
 without retarding. . ..S". sordini^ see Sordino... 
 
 S. suono^ "without tone,' that is, spoken. ..6'. 
 
 tempo, sa-me as senza tnisura. 
 Sept. The interval of a Seventh. 
 Sept-chord. Seventh-chord. 
 Septet(te). A concerted composition for seven 
 
 voices or instruments. 
 Septimole (Ger., sep-te-moh'lg). » ^ septuplet. 
 Septole (Ger., sep-toh'le). > 
 
 Septuor (Fr., sep-tK-ohr'). A septet. 
 Sep'tuplet. A group of 7 equal notes to be per- 
 formed in the time of 4 or 6 of the same kind in 
 
 the regular rhythm. 
 Se'quence. i. The repetition, oftener than twice 
 
 in succession, of a melodic motive. — 2. In the R. 
 
 C. Church, a kind of hymn. 
 Serenade', i. An '* evening song "; especially such 
 
 a song sung by a lover before his lady's window. 
 
 — 2. An instrumental composition imitating the 
 
 above in style.
 
 I30 Serenata— Sextuplet 
 
 Serenata (It., seh-reh-nah'tah). i. A species of 
 dramatic cantata in vogue during the i8th cen- 
 tury. — 2. An instrumental composition midway 
 between Suite and Symphony, but freer in form 
 than either, having 5, 6 or more movements, and 
 in chamber-music style.— 3. See Serenade. 
 
 Serenita, con (It., seh-reh-ne-tah'). ' In a serene, 
 
 Sereno (It., seh-ra'noh). f tranquil style. 
 
 Serieta, con (It., kohn seh-re-eh-tah'). Seriously. 
 
 Serio, -a (It., sa're-6h, -ah). Serious. . .Opera seria, 
 grand or tragic opera.. . 7V«fr<? serio, dramatic 
 ^^"°^' [impressive style. 
 
 Serioso (It., seh-re-oh's6h). In a serious, grave, 
 
 Serpent. A bass wind-instrument invented by 
 Canon Guillaume of Auxerre in 1590. Nearly 
 obsolete. — In the organ, a reed-stop. 
 
 Sesquial'tera. In the organ, either a mutation- 
 stop a Fifth above the fundamental tone, or 
 (usually) a compound stop of from 2 to 5 ranks. 
 
 Sestet. A SEXTET. 
 
 Sestetto (It., ses-tet'toh). A sextet. 
 
 Sestole, Sestolet. A sextuplet. 
 
 Settimino (It., set-te-me'noh). A septet. 
 
 Seventeenth, i. Interval of 2 octaves plus a Third. 
 —2. Same as Tierce (organ-stop). 
 
 Seventh. See INTERVALS. 
 
 Seventh-chord. A chord of the 7th, composed of a 
 root with its Third, Fifth and Seventh. 
 
 Severamente (It., seh-veh-rah-men'teh). \ 
 
 Severita, con (kohn seh-veh-re-tah'). [-Strictly, 
 
 Severo (It., seh-va'roh). ) 
 
 with rigid observance of tempo and expression- 
 marks. 
 
 Sext. I. The interval of a Sixth.— 2. The oflfice of 
 the fourth canonical hour. — 3. A compound organ- 
 stop of 2 ranks (a 12th and a 17th) a Sixth apart. 
 
 Sextet. A concerted composition for six voices or 
 instruments, or for 6 obbligato voices with instru- 
 mental accompaniment. 
 
 Sexto'le, Sex'tolet. A sextuplet. 
 
 Sextuplet. A group of 6 equal notes to be per- 
 formed in the time of 4 of the same kind in the 
 regular rhythm. In the tr2ie sextuplet the ist, 
 3d and 5th notes are accented ; the false sextup- 
 let is simply a double triplet.
 
 Sfogato — Sicilienne 131 
 
 Sfogato (It., .sf6h-gah't6h). "Exhaled"; a direc- 
 
 ti(jn, in vocal music, to sing lightly and airily.— 
 
 Soprano sfogato, a high soprano voice. 
 
 Sforzando (It., sfohr-tsShn'doh). \ /^vritten sf- sf 
 
 Sforzato (It., sfohr-tsah't6h). ) J-^J^ 
 
 >, A, • ). A direction to perform the tone or 
 i chord with special stress, or marked and 
 sudden emphasis. 
 
 Sfumate(It.,sfu6-mah'tSh).lyg U 1^^, jji^^ ^ 
 
 Sfumato (It., sf6o-mah't6h). > 
 vanishing smoke-wreath. 
 
 Shading, i. In the interpretation of a composi- 
 tion, the combination and alternation of any or 
 all the varying degrees of tone-power between 
 fortissimo a.r\d pianissuno.ioT obtaining artistic 
 effect.— 2. The placing of anything so near the 
 top of an organ-pipe as to affect the vibrating 
 column of air within. 
 
 Shake. A trill. . .Sliaked graces^ the shaked Beat, 
 Backfall, Cadent, and Elevation, and the Double 
 Relish (all obsolete). 
 
 Sharp. The sign ^...Double-sharp, the sign X ox^. 
 
 Sharp {adjective), i. (Of tones or instruments.) 
 Too high in pitch.— 2. (Of intervals.) Major or 
 augmented.— 3. (Of keys.) Having a sharp or 
 sharps in the signature.— 4. (Of organ-stops.) 
 Shrill.— 5. (Of digitals ;;!>/«rt?/.) The black keys ; 
 or any white key a semitone above another. 
 
 Shift. In playing the violin, etc., a change by the 
 left hand from the first position ; the 2d position 
 is called the half-shift ., the 3d the whole shijt, and 
 the 4th the double shijt. When out of the ist pos. 
 the player is "on the shift," and shifting up or 
 down, as the case may be. 
 
 Si (It.,se). I. The 7th solmisation-syllable.— 2. One; 
 it. . .Si leva il sordino,\.z.'Ae off the mute. ..Silevano 
 i sordini, take off the mutes. . .Si place, si lif>et, at 
 pleasure.. ..bV >v///t a, repeat.. .^"/ i^<V«<'. proceed. 
 ...Si face, be silent. . . Si volta. turn over. . .Si ha 
 s' immaginar la battuta di%, imagine the time to 
 be %. 
 
 Siciliana (It., se-che-le-ah'nah). \ ^^^^^ ^^ ^^^ gj, 
 
 Sicilienne (Fr., se-se-l'yen'). ' 
 
 cilian peasants; a kind of pastorale in moderately 
 slow tempo and 6-8 or 12-8 time, frequently in 
 minor. . .Alia siciliana, in the style of the above.
 
 132 Signature— Slancio, con 
 
 Signature. The signs set at the head of the staff 
 at the beginning of a piece or movement ; the 
 Key-si'^natiire is the chromatic sign or signs 
 (sharps or flats); the Time-sigiiature is the figures 
 or signs indicating the measure. 
 
 Silenzio (It., se-len'tse-6h). Silence .. .LufiS'O si'/en* 
 zi'o, a long pause. 
 
 Similar motion. See MOTION. 
 
 Simile (It., se'me-leh). Similarly; a direction to 
 perform the following measures or passages in 
 the same style as the preceding .. .Stmi7e-mar^, 
 
 • »-— ' n^eans that a measure or group 
 
 ^2zz ihrz must be repeated. 
 
 Simple. (Of tones or intervals.) Not compound.^ 
 (Of counterpoint, imitation, rhythm, etc.) Not 
 compound or complex, undeveloped, not varied. 
 
 Simplement (Fr., san-pl°-mahn'). Simply tSemJ>/ice, 
 
 Sin'. Abbreviation of SiNO. 
 
 Sinfonia (It., sin-foh-ne^'ah). i. A symphony. — a. 
 An opera-overture. 
 
 Sinfonie (Ger., sin-foh-ne'). Symphony. 
 
 Singbar (Ger., zing^'bar). Singable; cantabile... 
 Seltr sinqbar vorziitragen^ perform in a very 
 singing style. [cafifabile. 
 
 Singend (Ger., zing'ent). Singing, melodious, 
 
 Singhiozzando (It., sin-g'yoht-tsahn'doh). Sob* 
 bing; catching the breath. 
 
 Singstimme (Ger., zing^'shtim'me). The singing- 
 voice ; the voice. 
 
 Sinistra (It., se-ni'strah). "Le^X. ..Mano sinistra 
 (m. s.), left hand. ..C(?//iZ sinistra^ wi\.h the left 
 liand. [(or ^iti') alfitie, to the end. 
 
 Sine (It., se'noh). To, up to, as fair as, till . . . Sino 
 
 Sixteenth-note. See Elem. OF NOTATION, p. ill. 
 
 Sixth. See INTERVALS, page vi. 
 
 Sixty-fourth-note. See Elem. OF NOTATION, p. iii. 
 
 Skip. Melodic progression by an interval wider 
 than a Second ; disjunct progression. 
 
 Slanciante (It., zlahn-chShn'teh). ^4^^^^.^.^^^ o^n 
 
 Slanciato (It., zlShn-chah'toh). > 
 lightly and deftly, or forcibly and vehemently. 
 
 Slancio. con (It., kohn zlahn'choh"). With dash, 
 vehemence; impetuously. (Often ^(3« isiancitf.)
 
 Slancio, di — Snare-drum 133 
 
 Slancio, di (It.) Tlie direct and "hammer-like" 
 attack of a hiyjher or lower tone, contrasted with 
 the •* carry " of the Portamento. (Also di posto.) 
 
 Slargando (It., zlar-pfthn'doh). ] Growing slow- 
 
 Slargandosi (It., zlar-g5.hn'd6h-se). ' ^^• 
 Slargato (It., zlar-gah'toh). Slower; piii sosteniito. 
 Slentando (It., zlen-tan'd6h). Growing slower. 
 
 Slide. I. The movable U-shaped tube in the trom- 
 bone, etc.— 2. In the organ, a slider.— 3. Three or 
 four swiftly ascending or descending scale-tones. 
 — 4. On a violin-bow, that part of the nut which 
 slides along the stick. 
 
 Slide-horn. ) 
 
 Qi;^- i-,-«rr,K^r,» 0"^ pUvcd bv thc use of a slide 
 
 Shde-trombone. V jn^tead of keys or valves. 
 
 Slide-trumpet. ' 
 
 Slur. A curved line under or over two or more 
 notes, signifying that they are to be played 
 le,^ii(o. In vocal music the slur unites notes to 
 be sung in one breath ; the notes so sung are 
 called a siuf. 
 
 Slurred melody. One in which two or more tones 
 are sung to one syllable ; opposed to syllabic 
 
 melody. 
 
 Small octave. See Elem. OF NoT.\'lION, p. v. 
 
 Small orchestra. The usual orchestra minus the 
 trombones, 2 horns, and perhaps the clarinets 
 
 and kettledrums. 
 
 Smaniante (It., zmah-ne-Shn'tgh). I j^ ^^ impetu. 
 Smanioso (It., zmSh-ne-oh'soh). ' 
 ous, passionate style. 
 
 Sminuendo (It., zme-n66-en'd6h). Same as DIMIN- 
 UENDO. 
 
 Sminuito (It., zme-n66-e't6h). More softly. 
 
 Smorendo (It., zm6h-ren'd6h). Dying away. 
 
 Smorfioso (It., zm6hr-fe-oh's5h). With affected 
 
 exprt- ssion. 
 
 Smorzando (It., zmi'jhr-tsShn'doh). \ i^y-^^^ away. 
 Smorzato (It., zmShr-tsih'toh). ' 
 
 Snare-drum, A side-drum, across the lower head 
 of which are stretched several gut strings, the 
 " snares," whose jarring against the head rein- 
 forces the tone.
 
 Soave— Solo quartet 
 
 Soave (It., soh-ah'veh). \ 
 
 Soavemente (It., s6h-ah-veh-men'teh). ^ Suavely, 
 
 Soavita, con (kohn soh-ah-ve-tah'). ^ 
 
 sweetly, softly, flowingly. [choked. 
 
 Soffocato (It., sohf-foh-kah'toh). Muffled, damped ; 
 
 Soggetto (It., sohd-jet'toh). Subject, theme, njy^ 
 
 Sognando (It., sohn-yahn'doh). Dreaming, dream- 
 
 Soh stands for So/, in Tonic Sol-fa. 
 
 Sol (It., sol). The fifth of the Aretinian syllables, 
 and name of the note G in France, Italy, etc. 
 
 Solenne (It., soh-len'neh). j 
 
 Solennemente (soh-len - neh-men'teh). > Solemn, 
 
 Solennita, con (kohn s6h-len-ne-tah'). ' 
 solemnly, with solemnity, in a lofty style. 
 
 Sol-fa'. I. To sing solfeggi, especially to the solmi- 
 sation-syllables. — 2. Solmisation, and the syl- 
 lables sung in it. 
 
 Solfeggio (It. , sohl-fed'joh ; plural solfeggi [-je]). 
 A vocal exercise, either on one vowel, or on the 
 solmisation-syllables, or to words. 
 
 Solid chord. Flat chord. \solito, as usual. 
 
 Solito (It., so'le-toh). Accustomed, habitual.. ..4/ 
 
 Solmisation. A naethod of teaching the scales and 
 intervals by syllables, the invention of which is 
 ascribed to Guido d'Arezzo (born 990?). It was 
 based on the hexachord. or 6-tone scale ; the 
 first six tones of the major scale, c d e f g a, 
 were named ul, re, tm\fa, sol, la. The 7th sylla- 
 ble si, for the leading-tone, was added during the 
 17th century; about the same time, the name ut 
 for C was changed to do, except in France. 
 
 Solo (It., soh'loh). Alone. — A solo is a piece or 
 passage for a single voice or instrument, or in 
 which one voice or instrument predominates. In 
 orchestral scores. " Solo " (or simply " I ") marks 
 a passage where one instrument takes a leading 
 part. In a 2-hand arr. of a piano-concerto. Solo 
 marks the entrances of the solo pianoforte. — Vio- 
 litio solo means either " violin alone " or " first 
 violin " (accompanied). 
 
 Solo organ. A 4th manual controlling solo stops. 
 
 Solo pitch. Same as Scordatura. 
 
 Solo quartet, i. A quartet consisting of 4 singers 
 (4 "solo voices''). — 2. A piece or passage in 4. 
 parts for 4 singers.— 3. A non-concerted piece for 
 4 instruments, one of which has a leading part.
 
 Solo stop— Sopra 135 
 
 Solo stop. See Stof. 
 
 Sombre (Fr., sShn'br). Dark, veiled, obscure. 
 Sommesso, -a (It., s6hm-mes's6h, -sih). Subdued. 
 Sommo, -a (It., s6hin'm6h, -m5.h). Utmost, highest, 
 
 greatest, extreme.— Cf« som?na espressione, with 
 
 intensest feeling. 
 Son (Fr., sohn). Sound ; tone. 
 
 Sonabiledt., s6h-nah'be-16h). I gounding, resound- 
 
 Sonante (It., s5h-nahn'teh). ' 
 ing, sonorous, resonant. 
 
 Sonata (It., soh-nah'tih). An instrumental com- 
 position in 3 or 4 extended movements contrasted 
 in theme, tempo, and mood ; usually for a solo 
 instrument. 
 
 Sonata-form. The usual form of the first move- 
 ment of a sonata (also called " first-movement 
 form "), with 2 distinct themes alternating as fol- 
 lows : ( lb A + B 41 + B [A] -f A + B [in the orig- 
 inal key of A]). N. B. Deviations from this for- 
 mula are not uncommon. 
 
 Sonatina (It., s6h-nah-te'nah), \ 
 
 Sonatina (Fr., s6n-na,h-ten0. r A short sonata in 2 
 
 Sonatina (Ger., soh-n3,h-te'ne). ' 
 or 3 (rarely 4) movements, the first in the charac- 
 
 teristic first-movement form, abbreviated. 
 
 [ing. 
 
 Sonavola (It., s6h-na'v6h-leh). Sonorous, resound- 
 6ong. A short poem with a musical setting char- 
 acterized by a structure in simple periods. There 
 are Folk-sense's and Art-songs : the latter may be 
 either .y/r^M/t: (each strophe sung to the same 
 tune, with a change at most in the final one), or 
 progressively composed [composed-through]. 
 Bong-form. A form of composition, either vocal 
 or instrumental, which has ^ sections and 2 
 themes, the second (contrasting) theme occupying 
 the 2d section. 
 Sono (It., s6'n6h). Sound ; tone. 
 Sonoramente (It., s6h-n6h-rah-men't5h), "] 
 Sonore (It., [//«rd/] soh-no'reh). I _ 
 
 Sonorita, con (It., k6hn s5h-n6h-re-tah0. | ^°"°^* 
 Sonoro, -a (It., s6h-n6'r6h, -rSh). J 
 
 ously, resoundingly, resonantly, ringingly. 
 Sopra (It., soh'prah). On, upon ; above, over ; 
 Higher... In piano-music, sopra written in the 
 part for either hand means that that hand is to
 
 136 Sopran— Soubrette 
 
 play (reach) over the other. ..Sopra una corda, on 
 one string. . .C(7;«(? sopra, as above. . .AW/j parte 
 di sopra, in the higher (or highest) part. 
 
 Sopran (Ger., soh-prahnO- Soprano. 
 
 Soprano Qt., soh-prah'noh). The highest class of 
 the human voice ; the female soprano, or treble, 
 has a normal compass from c^ to a^ ; solo voices 
 often reach above c^, some as high as c* . . . Soprano 
 clef, the C-clef on the first line...^ drammaticOy 
 S. ziiisto, a female soprano of dramatic power... 
 S. leggier 0, a light soprano. . ..S". sfogato, see Sfo- 
 G.\TO... Soprano stritig, the ^-string on the violin. 
 
 Sordamente(It., sohr-dah-men'teh). With a veiled, 
 muffled tone. 
 
 Sordino (It., sohr-de'noh). i. A mute ; con sordini^ 
 with the mutes ; senza sordini, without the 
 mutes ; si levano i sordini, take off the mutes. — 2. 
 Damper (of the piano) ; senza sordini, with 
 damper-pedal ; so used by Beethoven, who wrote 
 con sordini to express the release (raising) of the 
 damper-pedal, instead of ^ . 
 
 Sortita (It., sohr-te'tah). i. A closing voluntarj'.— 
 2. The first number sung by any leading char- 
 acter in an opera. An Aria di sortita is, however, 
 also an air at the conclusion of which the singer 
 makes his exit. [i^j^^ . catching the breath. 
 
 Sospirando (It., soh-spe-rahn'doh). Sighing, sob- 
 
 Sospirevole (It., s6h-spe-ra'v6h-leh). I gig-hing. 
 
 Sospiroso (It., s6h-spe-roh's6h). ' 
 
 deeply ; plaintive, mournful. 
 
 Sostenendo (It., soh-steh-nen'doh). ( See SOSTE- 
 
 Sostenente (It., soh-steh-nen'teh). > NUTO. 
 
 Sostenuto (It., soh-steh-noo'toh). Sustained, pro- 
 longed.— Standing alone, as a tempo-mark, it is 
 inuch the same as Andante ca?itabile: it may also 
 imply a tenuto. or a uniform rate of decreased 
 speed... P/« sostenuto is much the same &?> Meno 
 mosso. — Sostenuto pedal, sustaining pedal. 
 
 Sotto (It., soht'toh). Below, under... In piano- 
 inusic, sotto written in the part for either hand 
 ineans that that hand is to play (reach) under the 
 other. . .Sottovoce (or sotto voce), in an undertone, 
 aside, under the breath. 
 
 Soubrette (Fr., soo-bret'). In comedy and comedy- 
 opera, a inaid-servant or ladv's-'maid of an in- 
 triguing and coquettish character ; also applied 
 to various light roles of similar type.
 
 Sound— Spring'ing bow 137 
 
 Sound. A noise of any kind. The word is often 
 inexactly used instead of "tone" (musical tone). 
 
 Soundboard. The thin plate of wood placed below 
 or behind the strings of various instruments to 
 reintorce and prolong their tones.— In the organ 
 it is the cover of the windchest. 
 
 Sound-bow. The thick rim of a bell, against 
 which the clapper strikes. [instrument. 
 
 Sound-hole. A hole cut in the belly of a stringed 
 
 Soundpost. In the violin, etc., the small cylindri- 
 cal wooden prop set inside the body, between 
 belly and back, just behind (nearly beneath) the 
 treble foot of the bridge. 
 
 Sourdine (Fr., soor-den'). An harmonium-stop 
 which partially cuts off the wind-supply, so that 
 full chords can be played softly. 
 
 Space. In the staff, the interval between two lines 
 or ledger-lines. 
 
 Spasshaft (Ger., shpahs'hSft). Scherzando. 
 
 Spianato, -a (It., sp'ySh-nah'toh, -t^h). Smooth, 
 even, tranquil. 
 
 Spiccato (It., spik-kah'toh). See SPRINGING BOW. 
 
 Spigliatezza (It., spel-ySh-tet'sah). Agility, dex- 
 terity. 
 
 Spinet (spin'et or spT-net'). An obsolete keyboard 
 stringed instrument like a harpsichord, but 
 smaller. 
 
 Spirito, con (It., kohn spe're-t6h). \ 
 
 Spiritosamente (It., spe-re-tSh-sSh-men'tSh). V 
 
 Spiritoso (It., spe-re-toh's6h). ' 
 
 Spiritedly ; with spirit, animation, energy. 
 
 Spitze (Ger., shpit-s6). i. Point (of the bow).— 
 2. Toe (in organ-playing). 
 
 Spitzfiote (Ger., shpits'flo'te). In the organ, an 
 open flue-stop of organ-metal, tin, or wood, of 
 8-, 4-, 2-, or i-foot pitch; tone rather thin, but 
 pure and reedy. 
 
 Spread harmony. See HARMONY. 
 
 Springing bow. In violin-playing, a stvle of bow- 
 ing in which the bow is allowed to drop on the 
 string, making it rebound and quit the string 
 between each two notes. There are two varie- 
 ties : (i) The Spiccato, indicated by dots over the 
 notes, and played near the middle of the bow 
 with a loose wrist, for rapid passages in equal 
 notes, employing the wrist-stroke throughout
 
 138 Squillante— Stilo 
 
 for each detached note ; (2) the Saltato, witn a 
 longer fall and higher rebound, generally em- 
 ployed when several equal staccato notes are 
 to be taken in one bow. 
 Squillante (It., skwil-lahn'teh). Ringing, tinkling. 
 Sta (It., stah). It stands. (See Come sta.) 
 Stabile (It., stah'be-leh). Steady, firm. 
 
 Staccato (It., stahk-kah'toh). Detached, separat- 
 ed ; a stj'le in which the notes played or sung are 
 more or less abruptly disconnected. 
 
 Staccato-mark. A dot (,•) or wedge-shaped 
 
 stroke (1*) over a note, the former indicating a 
 
 less abrupt staccato than the latter ; the Mezzo- 
 staccato is indicated by dotted notes under a 
 slur. 
 
 Staff. The 5 parallel lines used in modern nota- 
 tion ; Plain Chant uses onlj' i,... Staff-notation^ 
 the staff and all musical signs connected with it. 
 ...Grand or G?-eat staff, one of 11 lines. Middle 
 C occupying the sixth. [jy^ draggingly. 
 
 Stanchezza, con (It., kohn stahn-ket'sah). Weari- 
 
 Stanco, -a (It., stahn'koh). Weary, dragging. 
 
 Stark (Ger., shtark). Loud, forcible; forte. 
 
 Starker (Ger., shtar'ker). Louder, stronger ; piil 
 forte. 
 
 Steam-organ. The Calliope. 
 
 Stem. The vertical line attached to a note-head. 
 
 Stentando (It., sten-tahn'doh). Dela\'ing, retard- 
 ing, dragging. 
 
 Stentato (It., sten-tah'toh). Retarded, dragged. 
 
 Step. A melodic progression of a Second.— Also, 
 a 6.e9;vee. . .Chromatic step, progression of a 
 chromatic Second. ..Diatonic step, progression 
 between neighboring tones of any diatonic scale. 
 ...Half-step, step of a seraitonh. . .Whole step^ 
 step of a whole tone. 
 
 Sterbend (Ger., shtar'bent). Dying; morendo. 
 
 Stesso (It., stes'soh). The same...Z^ stesso (or 
 ristesso) movimento, the same movement. 
 
 Stil (Ger., shtel). \ 
 
 Stile (It., ste'leh). V Style... 5//7^ osservato, strict 
 
 Stilo (It., ste'loh). ' 
 style, especially of pure vocal ra^x^\c.. .Stile
 
 Stillgedackt— Stop 139 
 
 rappresentativo, dramatic monodic song with 
 instrumental accompaniment in chords ; the kind 
 of operatic recitative originating towards the 
 close of the i6th century. 
 
 Otillgedackt (Ger., shtil'ge-dahkt'). A soft-toned 
 stopped organ-register. 
 
 Stimme (Ger., shtim'me). i. Voice.— 2. Part; mtt 
 der Stimme^ Colla PARTE. — 3. Organ-stop.^ 
 4. Soundpost. 
 
 Siimmung (Ger., shtim'm66ngk). Tuning, accorda- 
 tiiru : pitch; a mood, frame of \i\\x\6.... Stint' 
 inu)ig halten^ to keep in tnrxG. . .Stifnmungsbi.d, a 
 "mood-picture," short, characteristic piece. 
 
 Stinguendo (It., stin-gwen'doh). Dying away. 
 
 !)tiracchiato (It., ste-rahk-k'yah'toh). / Dragging, 
 
 Stirato (It., ste-rah'toh). f delaying. 
 
 Stiriana (It., ste-re-ah'nah). Styrien.\E. 
 
 Stollen (Ger., shtohl'len). See STROPHE. 
 
 Stop. I. That part of the organ-mechanism which 
 admits and "stops" the flow of wind to the 
 grooves beneath the pipes. — 2. A set or row of 
 organ-pipes of like character, arranged in gradu- 
 ated succession. These are called speaking or 
 sounding stops ; they are classed as Flue-work 
 (having flue-pipes), and Reed-ivork (having reed- 
 pipes) ; the Flue- work has 3 sub-classes, {a) Frin- 
 cipal-work, having cylindrical flue-pipes of dia- 
 pason quality, {b) Gedackt-ivork^ having stopped 
 pipes, and {c) Flute-ivork^ including all flue-stops 
 of a scale too broad or too narrow to produce 
 diapason-tone, together with such stopped pipes 
 as have chimneys, and all 3- or 4-sided wooden 
 i>'\pes. ..Auxiliary-stop, one to be drawn with 
 some other stop or stops, to reinforce the tone of 
 the latter. . .Complete stop., one having at least one 
 pipe for each key of the manual to which it be- 
 longs. ..Compound stop, see MiXTUkP:-STOP. . .Di- 
 vided stop, one the lower half of whose register 
 is controlled by a different stop-knob from the 
 upper, and bears a different na-ine. . .Fliie-sto/>, 
 one composed of flnc-pipsi^. . ./•'oundation-stop, 
 one of normal 8-foot pitch. . .//al/stop, incom- 
 plete or imperfect stop, one producing (about) 
 half the tones of the full scale of its manual... 
 Mechanical stop, one not having a set of pipes, 
 but governing some mechanical device ; such 
 are the couplers, tremulant, bell-signal, etc... 
 Mixture-stop, one with 2 or more ranks of pipes.
 
 «4o Stop-knob— Stravagante 
 
 thus producing- two or more tones for each key 
 (as the Mixture, Carillon, Cornet, Cymbal)... 
 Mutatiott-stop, one producing tones a major 
 Third or perfect Fifth (or a higher octave of 
 either) above the 8-foot stops (as the Tierce, 
 Twelfth, Quint)... /V?r/2a/ .y/(?^, a Half-stop... 
 Pedal-stop, a stop on the 'ped.a.\ .. .Reed-stop, one 
 composed of ve^d-pipes. ..Solo-stop, one adapted 
 for the production of characteristic melodic 
 effects, whether on the solo organ or not. . .Sound- 
 ing or speaking stop, one having pipes and pro- 
 ducing musical tones.— 3. (a) On the violin, etc., 
 the pressure of a finger on a string, to vary the 
 latter's pitch ; a double-stop is when 2 or mors 
 strings are so pressed and sounded simultane- 
 ously; (b) on wind-instruments with finger-holes, 
 the closing of a hole by finger or key to alter the 
 pitch ; {c) on wind-instruments of the trumpet 
 family, the partial closing of the bell by insert- 
 ing the hand. 
 
 Stop-knob. The projecting handle of a STOP i. 
 
 Stopped notes. Tones obtained by stopping ; op- 
 posed to open. 
 
 Stopped pipes. Organ-pipes closed (plugged or 
 covered) at the top ; opposed to open. 
 
 Straccicalando (It., straht-che-cah-Iahn'd6h). Bab- 
 bling, prattling. 
 
 Strain. In general, a song, tune, air, melody ; also, 
 some well-defined passage in, or part of, a piece. 
 —Technically, a period, sentence, or short divi- 
 sion of a composition ; a :notive or theme. 
 
 Strappare (It., strShp-pah'reh). To pluck off ; in 
 piano-playing, to throw off a note or chord by a 
 rapid, light turn of the wrist. 
 
 Strascicando (It., strah-she-cahn'doh). ) r^rae-e-ine" 
 
 Strascinando (It., strah-she-nahn'doh). ' 
 
 dvs.wMxi'^. ..Strascinando Varco, drawing the 
 bow so as to bind the tones. 
 
 Strascinare la voce (It., strah-she-nah'reh ISh voh'- 
 cheh). To sing a foj-tamento with exaggerated 
 dragging or drawling. 
 
 Strathspey (strath-spay')- A lively Scotch dance, 
 somewhat slower than the reel, and also in 4-4 
 time, but progressing in dotted eighth-notes 
 alternating with i6ths, the latter often preceding 
 the former (Scotch snap). 
 
 Stravagante (It., strah-vah-gahn'teh). Extrava- 
 gant, fantastic, whimsical.
 
 Streichinstrumente — Stringere i4X 
 
 Streichinstrumente (Ger., shtrTyh'in-stroo-men'- 
 te>. Bow-instruments. 
 
 Streng (Ger., shtreng''). Severe(lj'). stricl(ly). 
 Strepito, con (It., kohn stra.'pe-t5h). \ 
 
 Strepitosamente (strSh-pe-toh-sah-men'tfeh). Vina 
 Strepitoso (It., strgh-pe-toh's6h). ' 
 
 noisy, boisterous, impetuous style. 
 
 Stretch. On a keyboard instrument, a wide inter- 
 val or spread chord whose tones are to be taken 
 simultaneously by the fingers of one hand. 
 
 Stretta (It., stret'tSh). A closing passage (coda) in 
 swifter tempo than the one preceding... A//a 
 stretta., in the style of a stretta. 
 
 Strette (Fr., stret). A Stketto. 
 
 Strettissimo (It., stret-tis'se-m5h). Very hurriedly. 
 
 Stretto (It., stret't6h). A division of a fugue (usu- 
 ally a final development, for the sake of effect) in 
 which subject and answer follow in such close 
 succession as to overlap. 
 
 Stretto, -a (It., stret'toh, -tSh). Pressed together, 
 
 narrowed; hurried -indante stretto, same as 
 
 Andante agitato... Stret to pedale. the quick, deft 
 shifting or the loud piano-pedal, in a strongly 
 marked chord-passage, so that the harmonies 
 may be at once forcible and distinct. 
 
 Strict style. A style of composition in which 
 Unost) dissonances are regularly prepared and 
 resolved. 
 
 Stridente (It., stre-den't6h). Strident ; rough, 
 harsh ; viartellato. 
 
 String. A tone-producing cord... First string:, 
 the highest of a set . . . Open string, one not stopped 
 or shortened. . .J>V/f^r string, one covered with 
 silver wire .. .Soprano string, the £"-string of the 
 violin.. . 7'/r^.!>/r///i^j, the string-group in the or- 
 chestra. 
 
 Stringed instruments. All instruments whose 
 tones are produced by strings, whether struck, 
 plucked, or bowed. 
 
 Stringendo (It., strin-jen'd6h). Hastening, ac- 
 celerating the movement, usually sviddenly and 
 rapidly, with a crescendo. 
 
 Stringere (It., strin'j^h-rfih"). To hasten; senza 
 stnngere, without hastening.
 
 String-quartet— Subprincipal 
 
 String-quartet, A quartet for ist and 2d violin, 
 viola, and 'cello. — Also, the string-group in the 
 orehestra. 
 
 String-quintet. A quintet for 2 violins, 2 violas, 
 and 'cello ; or for 2 violins, i viola, and 2 'celli ; or 
 for 2 violins, viola, 'cello, and double-bass. — Also, 
 the string-group in the orchestra. 
 
 Stringy. Having the quality of tone, string-tone, 
 peculiar to bow-instruments. 
 
 Strisciando (It., stre-shahn'doh). Gliding, smooth, 
 legato. 
 
 Stro'phic composition. See SONG. 
 
 Stuck (Ger., sht«k). A piece ; a number. 
 
 Stiirmisch (Ger., shttir'mish). Stormy, passionate, 
 impetuous. 
 
 Styrienne (Fr., ste-re-enn'). An air in slow move- 
 ment and 2-4 time, often in minor, with a Jodler 
 (yodel) after each verse ; for vocal or instrumen- 
 tal solo. 
 
 Su (It., soo). On, upon ; by, TL%ax...Arco in su, 
 up-bow. 
 
 Suave (It., soo-ah'veh). \ 
 
 Suavemente (s66-ah-veh-men'teh). y ^^^^^ SOAVE^ 
 
 Suavita, con (kohn so6-ah-ve-tah'). ' 
 
 Subbass', Subbour'don. An organ-stop of 16- oj 
 32-foot pitch, generally on the pedal, and stopped. 
 
 Subdom'inant. The tone below the dominant in a 
 diatonic scale ; the 4th degree. 
 
 Subitamente (It., s66-be-tah-men'teh). I c.jfifipTii-« 
 
 Subito (It., soo'be-toh). C 
 
 without pause. . . / 'o/tz subito^ turn over (the page) 
 quickly. . .p subito (after /), an abrupt change to 
 piano., without gradation. 
 
 Subject. A melodic motive or phrase on which a 
 composition or movement is founded ; a theme. 
 
 Subme'diant. The 3d scale-tone below the tonic; 
 the 6th degree. 
 
 Suboc'tave. i. The octave below a given tonft.— 
 2. The double contra-octave. 
 
 SuborMinate chords. Chords not fundamerital or 
 principal ; the triads on the 2d, 3d, 6th and 7th 
 degrees, and all seventh-chords but the domi- 
 nant 7th. [pitch. 
 
 Subprin'cipal. A subbass pedal-stop of 32-foot
 
 Substitution— Siiss 
 
 '43 
 
 Substitution. In contrapuntal proijression, the 
 resolution or preparation of a dissonance by 
 substituting, for the regular tone of resolution 
 or preparation, its higher or lower octave in 
 some other part. 
 
 Subton'ic. The leading-note. 
 
 Suffocate (It., s66f-f6h-kah't6h). See Soffocato. 
 
 Sugli (It., sooKye). I q^ ^,^^ . ^^^^ ^j^^ 
 
 Sui (It., soo'e). ) 
 
 Suite (Fr., s?Ve't'). A set or series of pieces in va- 
 rious (idealized) dance-forms. The earlier Suites 
 have 4 chief divisions : The Allemande.Courante, 
 Saraband, and Gigue ; other forms introduced 
 at will (niterinezzi) are the Bourree, Branle, Ga- 
 votte, .Minuet, Musette, Passepied, Loure,Pavane, 
 etc.— The modern orchestral Suite is more like a 
 Divertimento. 
 
 Suivez (Fr., sve-va')- i- Same as COLLA PARTE.— 
 
 2. " Continue," " go on." 
 
 Sul, suir, sul'Ia, sul'Ie (It.). On the, near the... 
 
 Sulla cor da La, on the y^-string. . .Sulla tastier a., 
 
 near or by the fingerboard.. .o«/ ponticellty near 
 
 the bridge. 
 Superbamente (It., s66-par-b3.h-men'tSh). '. pj-Qud- 
 Superbo, -a (It., soo-par'boh, -bSh). > 
 
 ly, loftily. [scale. 
 
 Superdom'inant. The 6th degree of a diatonic 
 Super'fluous. Augmented. 
 
 6uperoc'tave. i. An organ-stop of 2-foot pitch.— 
 2. A coupler bringing into action keys an octave 
 above those struck, either on the same manual 
 or another.— 3. The octave above a given tone. 
 
 Superton'ic. The 2d degree of a diatonic scale. 
 
 Supplicando (It., s66p-ple-kahn'd6h). \ 
 
 Supplichevole (It., — ka'voh'lSh). - In a 
 
 SuppHchevolmente (— k6h-v5hl - men 'tSh). ' 
 style expressive of supplication, entreaty, plead. 
 ing. 
 
 Surprise cadence. See CADENCE. 
 
 Suspended cadence. See CADENCE. 
 
 Suspension. A dis»onance caused by suspending' 
 (holding back) a tone or some tone's of a chord 
 while the other tones progrciss. 
 
 Siiss (Ger., ztiss). Sweet(ly),
 
 144 Sustain— Syrinx 
 
 Sustain. To hold during the full time-value (of 
 notes) ; also, to perform in sostenuto or legato 
 style. 
 
 Sustaining-pedal. A piano-pedal which holds up 
 dampers already raised bv depressed keys, thus 
 prolonging the tones of all strings affected. 
 
 Susurrando (It., s66-s66r-rahnM6h). ) jn a whisper- 
 
 Susurrante (It., s66-s66r-rahn'teh). ' 
 ing, murmurous tone. [fainter and fainter. 
 
 Svanirando (It., zvah-ne-rahn'doh). Vanishing ; 
 
 Svegliato (It., zvehl-yah'toh). Lively, animated, 
 brisk. 
 
 Svelto (It., zvel'toh). Light, nimble. 
 
 Swell. I. In the organ, a set of pipes enclosed in 
 a box with movable shutters which may be op- 
 ened and closed by a pedal.— 2. The swell organ 
 (the pipes enclosed, and their keyboard).— 3. A 
 crescendo ( -^^i^IZ ). or crescendo and diminuen- 
 do ( • " Z I — ■ )• [to a separate syllable. 
 
 Syllabic melody. One each tone of which is sung 
 
 Syllabla-name. A syllable taken as the name of a 
 note or tone ; as Do for C. 
 
 Symphonic. Resembl ing, or relating or pertaining 
 to, a symphony. . .5vw///(?«/c ode^ a symphonic 
 composition combining chorus and orchestra... 
 Symphonic poetHy an extended orchestral compo* 
 sition which follows in its development the thread 
 of a story or the ideas of a poem, repeating and 
 interweaving its themes appropriately ; it has no 
 fixed form, nor has it set divisions like those of 
 the symphony. 
 
 Symphony. An orchestral composition in from 3 
 to 5 distinct "movements," or divisions, each 
 with its own theme or themes and its own devel- 
 opment. Usual plan : I. Allegro (first-move- 
 ment form, often with a slow introduction) : 
 II. Adagio ; III. Scherzo ; IV. Allegro or Presto. 
 
 Syn'copate. To eflfaae or shift the accent of a 
 tone or chord falling on a naturally strong beat, 
 by tying it over from the preceding weak beat} 
 the latter then (generally) takes the accent. 
 
 Syncopated pedal. The release of the damper- 
 pedal on striking a chord, followed by immedi« 
 ate depression of the pedal. 
 
 Syncopa'tion. The tying-over a weak beat to tha 
 next strong beat. 
 
 Sy'rinx. Pandean pipes.
 
 T— Tastiera 145 
 
 T stands for Tasto, Tempo, Tenor, Toe (in organ- 
 music), Tre (T. C — ire corde), and Tutti. 
 
 Tab'lature. i. The rules and regulations for the 
 poetr}' and song of the Meistet-singer. — 2. Early 
 musical notation for the lute, viol and organ. 
 
 Tace (It., tah'cheh). \ 
 
 Taci (It., tah'che). y" Is silent "; an instrumental 
 
 Tacit (Latin). ' 
 
 or vocal part so marked is omitted during the 
 movement or passage in question. 
 
 Tail. Same as STEM. 
 
 Takt (Ger., tS.hkt). A beat; a measure ;time...J5/» 
 Takt wie vor/ier z'wei\ one measure like two be- 
 fore (same as Doppio MOViMENTO)...6Vre«^ ?>« 
 Takt, strictly in time. 
 
 Tambourine (-ren'). A small, shallow drum with 
 one head of parchment ; played by striking it 
 with the right hand. Around' the hoop are sev- 
 eral pairs of loose metallic plates csLWadJiii^^les. 
 
 Tam'-tam. i. A gong.— 2. The Hindoo drum. (Also 
 Tom-tojn). 
 
 Tandelnd (Ger., ten'delnt). In a toying, bantering 
 style. 
 
 Tantino (It., tShn-te'noh). A little ; very little. 
 
 Tanto (It., tahn'toh). As much, so much ; too 
 (much). . .Allegro non ianto. not too fast. . .A tan* 
 to possibile, as inuch as possible. 
 
 Tanz (Ger., tShnts). A dance. 
 
 Tarantella (It., tah-rShn-tel'iah). > ^ ^^^^^ ^^ 
 
 Tarantelle (Ger., tih-rahn-tel'le). ' 
 southern Italy, in 6-8 time, the rate of speed 
 gradually increasing, and the mode alternating 
 between major and mmor. — Also, an instrumen- 
 tal piece in 3-8 or 6-8 time, very rapid tempo, and 
 bold and brilliant style. [geringly. 
 
 Tardamente (It., tSr-dah-men'tgh). Slowly, lin- 
 
 Tardando (It., tar-da.hn'd6h). Delaying, retarding. 
 
 Tardato (It., tar-dah't6h). Delayed, slower ; re- 
 tarded. 
 
 Tardo (It., tar'd6h). Slow, lingering. 
 
 Tarentelle (Fr., tah-rShn-tel'). T.-vr.\N'TELLA. 
 
 Tastiera (It., tah-.ste-a.'rah). Keyboard ; finger- 
 board... .i)'«//a /jj//^ra, on (near)'the fingerboard.
 
 146 Tasto— Tempo-mark 
 
 Tasto (It., tah'stoh). Key; fret; touch; finger- 
 board; sill tasto, on (near) the fingerboard... 
 Tasto solo means, that the bass part is to be 
 played, either as written or in octaves, without 
 chords. 
 
 Te stands for Si, in Tonic Sol-fa. 
 
 Technic (tek'nik), Technique (Fr., tek-nek'). All 
 that relates to the purely mechanical part of in- 
 strumental or vocal performance ; mechanical 
 training, skill, dexterity. 
 
 Tedesco, -a (It., teh-deh'skoh, -skah). German... 
 Alia tedesca, in the German style (in waltz- 
 rhythms, with changing tempo). 
 
 Tema (It., ta'mah). Theme. 
 
 Tem'perament. A system of tuning in which 
 tones of verv nearly the same pitch, like C sharp 
 and D flat, are made to sound alike by slightly 
 "tempering" them (that is, slightly raising or 
 lowering them). When applied to all the tones 
 of an instrument (as the piano), this system is 
 called "equal temperament"; when only the 
 keys most used are tuned (as was done formerly), 
 the temperament is "unequal." 
 
 Tempestosamente (It., tem-peh-stoh- 1 
 
 sah-men'teh). > Stormily, 
 
 Tempestoso (It., tem-peh-stoh'soh). J 
 
 passionately, impetuously. 
 
 Tempo (It., tem'p6h). 1. Rate of speed, move- 
 ment.— 2. Time, measure -i tempo, return to 
 
 the preceding pace.../« tempo, same as A TEM- 
 PO ; sempre hi tetnpo, always at the same pace ; in 
 tempo rnisurato, in strict time (after " a piacere'^). 
 . . . Tempo com{m)odo, at a convenient pace. . . />?«• 
 po di Ballo, Bolero, Mitiuetto, etc., in the move- 
 ment of a Ballo, Bolero, etc. . . Tempo giusto, at a 
 proper, appropriate -psiCQ ... Tempo rubato. see 
 ^\jV,K'iO...L'istesso tefnpo, or Lo stesso tempo, 
 the same tempo ; indicates, at a change of 
 rhythm, that the pace remains the same. . .Senza 
 tempo, same as A PI ACE RE. . . Tetnpo prima, at the 
 original pace. 
 
 Tempo-mark. A word or phrase indicating the 
 rate of speed at which a piece should be per- 
 formed. Thus "Adagio, M.M. J= 56," signifies 
 a tranquil movement in which a quarter-note 
 has the time-value of one beat of the metronome 
 set at 56. (See page xvi.)
 
 Tenendo— Text 147 
 
 Tenendo (It., t6h-nen'd6h). Sustaining. 
 Teneramente (It., t6h-neh-ra.h-men'tSh). 1 
 Tenerezza, con (k5hn t6h-nSh-ret'sah). > Tender- 
 Tenero (It., ta'neli-roh). ' 
 
 ly, with tender emotion ; delicately, softly. 
 Tenor, The high natural male voice ; the dramat' 
 ic te?ior, of full and powerful quality, has a 
 range from c to b^'y ; the lyric tenor, sweeter and 
 less powerful, from di'to c"^ (or c^S). — 2. The viola. 
 — 3. A prefix to the names of instruments of sim- 
 ilar compass ; as tenor trombone. 
 
 Tenor C. Small c : <^— ^— 
 
 Tenor-clef. The C-clef on the 4th line. 
 
 Tenore (It., teh-noh'reh). Tenor. 
 
 Tenor violin. The viola. 
 
 Tenth, i. The diatonic interval of an octave plus 
 2 degrees. — 2. Same as Deci.ma 2. 
 
 Tenute (It., tSh-noo'teh). Sustain the notes. 
 
 Tenuto (It., teh-noo'toh). " Held "; means id) gen- 
 erally, that a tone so marked is to be sustained 
 for its full time-value ; (b) occasionally, legato. .. 
 Forte tenuto {f ten.), forte throughout... Tenuto- 
 viark, a short stroke over a note. 
 
 Tepidamente (It., teh - pe -ddh - men'tSh). Luke- 
 warmly ; in an even, unimpassioned style. 
 
 Ternary. Composed of, or progressing by, threes. 
 . . . Ternary form. Rondo-form. . . Ternary meas- 
 ure, simple triple time. [-^ larigot combined. 
 Tertian. An organ-stop consisting of a tierce and 
 Terz (Ger., tarts). J ^^^ interval of a Third. 
 Terza (It., tar'tsSh). ' 
 
 Ferzett (Ger., tar-t.setO. ' properly, a vocal trio 
 
 Terzetto (It., tar-tset'toh). ) 
 (seldom an instrumental one). 
 
 Tessitura (It., tes-se-too'rah). The range covered 
 by the main body of the tones of a given part, 
 not including infrequent high or low tones. In 
 English we say that the part " lies " high or low. 
 
 Tet'rachord. The interval of a perfect Fourth -, tha 
 four scale-tones contained in a perfect Fourth. 
 
 Tetral'ogy. A connected series of 4 stage-works 
 or oratorios. 
 
 Text. Word* to which music is set.
 
 148 Thematic composition- Time 
 
 Thematic composition. A style based on the con- 
 trapuntal treatment or development of one or 
 more themes. (Invention, Fugue, Canon.) 
 
 Theme. A Subject.— Specifically, a theme is an 
 extended and rounded-off subject with accompa- 
 niment, in period-form, proposed as a ground- 
 work for elaborate variations (7Va«« con varia- 
 zioni). Qute. 
 
 Theor'bo. A kind of large, double-necked bass 
 
 Thesis. Down-beat, strong beat. 
 
 Third, An interval embracing 3 degrees. Also, 
 the third degree of the scale, the Mediant. 
 
 Thirteenth. An interval embracing an octave 
 and a Sixth ; a compound Sixth. r^jj 
 
 Thirty-second-note. See ELEM. OF NOTATION, p. 
 
 Thorough-bass. A kind of musical shorthand in 
 which chords are indicated by figures written 
 
 . over a bass part. 
 
 Three-lined octave. See Elem. OF NOTATION, p, v. 
 
 Three-step. The ordinary (Vienna) waltz. 
 
 Three-time, 3-time. Triple time. i-p ^ 
 
 Thrice-accented octave. See Elem. OF NOTATION, 
 
 Thumb-position. The high positions in 'cello- 
 playing, where the thumb quits the neck of the 
 instrument. 
 
 Tie. A curved line joining 2 notes of like pitch 
 which are to be sounded as one note equal to 
 their united time-value. 
 
 Tied notes, i. Notes joined by a tie. — 2. Notes 
 whose hooks are run together P^^i p^^ 
 in one or more thick strokes : mmmm mtmmJ 
 
 Tierce, i. A Third. — 2. In the organ, a mutation- 
 stop pitched 2'/^ octaves above the Diapason. — 
 3. One of the Canonical Hours. 
 
 Timbale (Fr., tan-bahlO. kettledrum. 
 
 Timballo (It., tim-bahl'loh). » 
 
 Timbre (Fr., tSn'br). Quality of tone. 
 
 Timbrel (Hebrew). A tambourine or tabor. 
 
 Time. r. The division of the measure into equal 
 fractional parts of a whole note ( ^ ), thus regu- 
 lating the accents and rhythmic flow of music. 
 The sign for time is the time-signature (see be- 
 low). There are 2 classes of time. Duple and 
 Triple. In Duple time the number of beats to the 
 measure is divisible by 2 ; in Triple time., by 3.
 
 Timidamente— Tonpue 149 
 
 ^ 
 
 There are also 2 sub-classes, Compound Duple 
 time and Cotnf'ound Triple time ; in the former 
 each beat contains a dotted note (or its equiva- 
 lent in other notes or rests) divisible by 3 ; in the 
 latter, not only the number of beats in each 
 measure is divisible by 3, but also each beat, as 
 above, 
 Timidamente (It., te-me-d3,h-men't§h). 
 Timidezza, con (kuhn te-me-det'sSh). 
 Timido (It., te'me-d6h). 
 Timore, con (It., k6hn te-moh'r$h). f ^° 
 
 Timorosamente (It., te-m^h-roh-sSh-men'tSh). | 
 Timoroso (It., te-m5h-roh's6h). J 
 
 a style expressive of timidity, hesitation, or fear. 
 Timpani (It., //«rtz/; tim^pSh-ne). Kettledrums... 
 Timpani coper ti, muffled drums. fpressively. 
 
 Tinto, con (It., k6hn tin'toh). With shading; ex- 
 Toccata (It., tohk-kah'tSh). A composition for 
 organ or harpsichord (piano), free and bold in 
 style, consisting of runs and passages alternating 
 with fugued or contrapuntal work, generally in 
 equal notes, with a flowing, animated, and rapid 
 movement. ftave-scale. 
 
 Ton (Ger., tohn). A tone ; key ; mode ; pitch ; oc- 
 To'nal. Pertaining to tones, or to a tone, mode, 
 or key. . . Tonal futrue, see FUGUK. . Tonal imita- 
 tion, imitation within the key c* a composi- 
 tion ; non-modulating imitation. 
 Tonal'ity. The term Tonality h>»6 a broader 
 meaning and wider scojie than Kev. Key denotes 
 simply the mode of a piece, and the pitch of that 
 mode ; strictly speaking, it refersonlv to harmo- 
 nies constructed from the tones of its own dia- 
 tonic scale, based on the tonic chord as the start- 
 ing-point and point to which they return ; where- 
 as Tonalitv includes any and every harmony re- 
 lated to this tonic chord. So long as no actual 
 change of tonic (modulation) occurs. fous. 
 
 Tonante (It., toh-nAhn't6h\ Thundering, thunder- 
 Tonart (Ger., tohn'art). Key (tonality). 
 Tone. See ACOUSTICS. . .Half-tone, a minor, or 
 chromatic, Second. . . Whole tone, a major Second. 
 Tone'-color. Quality of tone. 
 
 Tongue (noun). A reed : (verb) to employ the 
 tongue in producing, modifying, or irterru'pting 
 the tones of certain wind-instruments.
 
 I50 Tonguing— Transcendental 
 
 Tonguing. The production of tone-effects on 
 wind-instruments by the aid of the tongue... 
 Single-ton^uin,i^^ the effect obtained by the re- 
 peated tongue-thrust to the nearly inaudible 
 consonant t ox d \ Doiible-tonguing^ that obtained 
 by the repetition oi t k\ Triple-tongning^ \>y t k 
 t \ etc. 
 
 Ton'ic. I. The keynote of a scale.— 2. The triad 
 on the keynote (tonic chord). . . Tonic pedal^ organ- 
 point on 'the keynote. .. 7"i3«iV section, a. section 
 or sentence in the key in which the composition 
 began, with a cadence to the tonic of that key. 
 
 Ton'ic Sol-fa'. A method of teaching vocal music, 
 invented by Miss Sarah Ann Glover of Norwich, 
 England, about 1812. Pupils are taught to recog- 
 nize the tones of the scale by observing the men- 
 tal impressions peculiar to each tone. It is based 
 on the Movable-Do system, and uses fne sylla- 
 bles doh, raj/, me.fah, so/i, lah, te. 
 
 Tornando (It., tohr-nahn'doh). Returning ; tor- 
 naiido-al primo tempo, or ternando cotne prirna^ 
 returning to (resuming) the original tempo. 
 
 Tostamente (It., toh-stah-meu'teh). Rapidly and 
 boldly. 
 
 Tostissimamente (It., toh-st'a-se-mah-men'teh). > 
 
 Tostissimo (It., toh-stis'b6-moh). ) 
 
 Extremely fast. 
 
 Tosto (It., to'stoh). Swi't bold; soon. ..Allegro 
 inolto, pin tosto presto, very fast, nearly presto. 
 
 Touch. 1. The method and manner of applying thti 
 fingers to the ke\ s of keyboard instruments.— 
 2. The amount and kind of resistance overcoma 
 by the fingers in depressing the keys of an organ 
 or piano ; a? ■». heavy or light touch, an elastic 
 touch. 
 Tragicamente <Tt,, trah-je-kah-men'teh). Trag- 
 ically. 
 Tranquillamenve (It., trahn-kwil-iah-men'teh). ^ 
 Tranquillezza, con (kohn trahn-kwil-let'sah). I 
 Tranquillita, ^on (kohn trahn-kwil-le-tah'). 1 
 
 Tranquillo (K., trahn-kwil'loh). J 
 
 Tranquill}', quietly, calmly. 
 
 Transcendental. The piano-style of Liszt and his 
 followers ; so-called because i«r/^z5i-/«^ the play- 
 ing of former pianists, and overpassing Vn.^ limits 
 of the piano by imitating the orchestra.
 
 Transcription— Tremolo 
 
 Transcription. The arrangement or adaptation of 
 a piece for some voice or instrument other than 
 that for which it was originally intended. 
 
 Transient. Passing; not principal ; interm^afate. 
 ...Transient chord, ■a.n intermediate chord for- 
 eign both to the key left and that reached... 
 Transient modulation, a temporary modulation, 
 soon followed by a return to the key left. 
 
 Transition, i. Modulation, especially a transient 
 one.— 2. In Tonic Sol-fa, a modulation without 
 change of mode. ^in a different key. 
 
 Transpose. To perform or write out a composition 
 
 Transposing instruments, i. Instruments whose 
 natural scale is always written in C major, re- 
 gardless of the actual pitch. — 2. Instruments 
 having some device by which the action or 
 strings can be shifted so that higher or lower 
 tones are produced than when they are in the 
 normal position. 
 
 Transverse flute. Cross-flute. (See Flute.) 
 
 Trascinando (It., trah-she-nahn'd6h). Dragging, 
 delaying. 
 
 Trasporto, con (It., k5hn trah-spor'toh). With 
 transport, ecstatically. [tarded 
 
 Trattenuto (It., traht-t6h-noo't6h). Held back, re- 
 
 Traurig (Ger., trow'riyh). Sad, melancholy. 
 
 TraversflSte (Ger., trah-vars'flo'tS). The cross- 
 flute; or, a 4-foot organ-stop resembling it in 
 timbre. 
 
 Tre (It., tra). Three... ^ /r*?, for three voices or 
 instruments; a tre voci, for (in) three parts... 
 Tre corde, see Una corda. 
 
 Treble. Soprano. .. 7>^(^/^ i:/</", the 6^-clef : 
 Treibend (Ger., tri'bent). Urging, hastening. 
 Tremando (It., tr6h-mahnM6h). j 
 Tremante (It., trSh-mibn'teh). [• ^efflct^""^™"'"* 
 Tiemolando(treh-m6h-iahn'd6h). J 
 
 Tremolo (It., tra'm6h-16h). A quivering, flutter- 
 ing. 1. In singing, a tremulous, unsteady tone. — 
 
 2. On bow-instruments, an effect ^ 
 
 produced by the very rapid alter- ySL c^z 
 
 nation of down-bow and up-bow, ^y^l^ 
 written : tJ ^^ 
 
 3. On the piano, the rapid alternation of the 
 tones of a chord. — 4. The effect produced by the
 
 ES2 Tremoloso— Trochee 
 
 tremolo-stop^ or tremulant (organ). — 5. The 
 Tremulant. ^lous^ flutterinj,- effect. 
 
 Tremoloso (It., treh-moh-loh'soh). With a tremu- 
 
 Tremulant. The tremolo-stop in an organ. 
 
 Tres (Fr., tra). Very ; molto. 
 
 Triad. A "three-tone " chord composed of a given 
 tone (the Root) with its Third and Fifth in as- 
 cending order in the scale. 
 
 Triangle. A steel rod bent into triangular shape, 
 with one corner left slightly open ; it is struck 
 with a metal wand. 
 
 Trichord piano. One having 3 strings (unisons) to 
 each tone throughout the greater part of its 
 compass. 
 
 Trill. The even and rapid alternation of two 
 tones a major or minor Second apart; the 
 lower tone is the prt?ictpal note, the higher tone 
 the auxiliary. Sign tr or tr --*^--— ^. 
 
 Triller (Ger., tril'ler). U ^.^.^jj 
 
 Trillo (It., tril'loh). * 
 
 Trio (It., tre'oh). i. A piece for 3 voices or in 3 
 parts.— 2. In minuets, marches, etc., the trio or 
 alternativo is a division set between the first 
 theme and its repetition, and contrasting with it 
 by a more tranquil movement and cantabile style. 
 
 Triole (Ger., tre-oh'le). [triplet. 
 
 Triolet (Fr., tre-oh-la'). ' 
 
 Trionfale (It., tre-ohn-fah'leh). Triumphal. 
 
 Trionfante (It., tre-ohn-fahn'teh). Triumphant, 
 
 Triple counterpoint, time, tonguing. See the 
 nouns. 
 
 Triplet. A group of 3 equal notes to be perfermed 
 
 in the time of 2 of like value in the regular 
 
 rhythm; 3 ""'^""^ p 
 
 m m m m m m m 
 
 ■written : | | I or I I I or | 
 
 Tristezza, con (It., kohn tri-stet'sah). I j stvle 
 
 Tristo, -a (It., tri'stoh). ^ 
 
 expressive of sadness, melancholy. 
 
 Tritone. The interval of 3 whole tones, 
 or the augmented Fourth : 
 
 Trochee (tro'ke). A metrical foot of two syllables, 
 long and short, accent on the first •. ^- >-'.
 
 Tromba— Tuning 
 
 •I'romba (It., tr5hm'bah). A trumpet. . .Tromda 
 marina (mah-re'n5.1i), the Marine trumpet, Sea- 
 trumpet, an ancient single-stringed bow-instru- 
 ment the tone being so powerful that it was 
 formerly used in the English navy for signalling. 
 
 Trombone. A metal wind-instrument of the 
 trumpet family, whose distinguishing feature is 
 the U-shaped slide, by which the tones are modi- 
 fied in pitch. Its ordmary compass is 2J4 octaves. 
 
 Tronco, -a (It., trohn'kSh, -kSh). Cut off short ; 
 stopped abruptly. 
 
 Troppo (It., trop'poh). Too, too mnch... Allegro^ 
 ma 7ion troppo^ rapid, but not too fast. 
 
 Troubadours. A class of poets and musicians orig- 
 inating in Provence, and flourishing in France, 
 vSpain awd Italy from the nth century till to- 
 ward the close of the 13th. 
 
 Trub(e)(Ger.,trup, trii'be). Gloomy, dismal ; sad, 
 melancholy. 
 
 Trumpet. A metal wind-instrument with cupped 
 mouth-piece and small bell ; the tone is brilliant, 
 penetrating, and of great carrying power. It is 
 a transposing instrument ; the ordinary compass 
 is about 2 octaves.— In the organ the Trumpet is 
 an 8-foot reed-stop of powerful tone. 
 
 Tuba. 1. The straight trumpet of the Romans. — 
 2. A name applied to the 3 lowest members of 
 the Saxhorn family ; they are metal wind-in- 
 struments of ponderous tone, with a compass of 
 some 4 octaves. — 3. In the organ, a reed-stop 
 {tuba mirabilis) on a heavy pressure of wind, of 
 very powerful and thrilling tone. 
 
 Tumultuoso (It., too-m661-too-oh's6h). Vehement, 
 impetuous ; agitated. 
 
 Tune. An air, melody ; a term chiefly applied to 
 shert, simple pieces or familiar melodies. 
 
 Tuning. 1. The process of bringing an instrument 
 into tune. — 2. The accordatura of a stringed 
 instrument. . . Tum'ng-cofie, a hollow cone of met- 
 al, for tuning metal flue-pipes in the organ... 
 Tuning-crook, s. Ckook ■^...Tuninjir.fork. a two- 
 pronged instrument of metal, yielding one fixed 
 tone (usually a^ or c'). . . Tuning-hammer^ a hand- 
 wrench for tuning pianos. . . Tuning-horn, a Tun- 
 ing-cone. .. Zmw/w.ji;^-^^'' ^ Tuning- hammer. . . 
 Tuning-slide, a sliding U-shajjed section of the 
 tube in certain brass instruments, used to adjust 
 their pitch to that of other instruments.
 
 154 Turco— Uno 
 
 Turco, -a (It., toor'koh, -kah). Turkish. ..^//a tur. 
 ca, in Turkish style, with a noisy and somewhat 
 monotonous harrnonic accompaniment. 
 
 Turn. A melodic grace consisting (usually) of 4 
 notes, a principal note (twice struck) with its 
 higher and lower auxiliary. Sign snj . 
 
 Tutto, -a (It., toot'toh, -tah). All, whole ; C07i tutta 
 la for za^ or tut fa forza, with full power or 
 strength. . . Tiitti (toot'te), in scores, indicates the 
 entrance of the whole body of instrumentalist^ 
 or vocalists after a Solo. . . Tutto arco, whole bow. 
 
 Twelfth. I. The interval of an octave plus q 
 Fifth ; a compound Fifth.— 2. A mutation-stop in 
 the organ, pitched a Twelfth higher than the 
 Diapason. 
 
 Twenty-second. A triple octave. 
 
 Twice-accented. See TWO-LINED. 
 
 Two-lined octave. See Elem. OF NOTATION, p. v. 
 
 Two-time, 2-time. Duple time. 
 
 Tym'pano. Same as Timpano. 
 
 Tyrolienne (Fr., te-roh-FyenO. A Tyrolese danca 
 or dance-song, a peculiar feature of the latter 
 being the yodel, especially as a refrain.— Hence, 
 a modern round dance in 3-4 time and easy 
 movement. 
 
 u 
 
 tjben (Ger., ii'ben). To practise. 
 
 ijber (Ger., ii'ber). Over, above. 
 
 ijbermassig (Ger., u'ber-ma'siyh). Augmented. 
 
 tJbung (Ger., li'boong^). Exercise ; practice. 
 
 Uguale (It., 00-gwah'leh). Equal, like, similar. 
 
 Ugualita, con (It., kohn oo-gwah-le-tah'). \ Equal- 
 
 Ugualmente (It., 00-gwahl-men'teh). ' 
 
 ly, similarly; evenly, smoothly, tranquilly. 
 
 Umano, -a (It., oo-mah'noh, -nS.h). Human.., 
 Voce imiana^ Vox humana ; Cor anglais. 
 
 Umore, con (It., kohn oo-moh'reh). With humor. 
 
 Un (Fr., on). \ One ; a or an. . . 6^« pen plus lent^ a 
 
 Une (Fr., tin). ) li"le slower. 
 
 Un (It., oon). f Qjjg. s,oxSin...U7iacorda, 
 
 Uno, -a (oo'noh, -nah). ' 
 with the soic pedal; Tre corde then means, re- 
 lease the soft pedal.
 
 Unaccented octave— Unvocal 155 
 
 Unaccented octave. The small octave. 
 
 Un'da ma'ns (Latin, "Wave of the sea"). In the 
 orgiin, an 8-foot flue-stop pitched a trifle lower 
 than the surrounding- foundation-stops, the inter- 
 ference of its tone with theirs producing beats 
 and a wavy, undulatory effect of tone. 
 
 Undec'uplet. A group of u equal notes to be per- 
 formed in the time of 8 (or 6) notes of like value 
 in the regular rhythm. 
 
 Undulazione (It, 66n-doo-13.h-tse-oh'n6h). On bow- 
 instruments, the vibrato effect (Vibrato i). 
 
 Unequal temperament. See Tempp:kament. 
 
 Unequal voices. Voices different in compass and 
 quality ; mixed voices. 
 
 Ungebunden (Ger., 66n'ge -boon Men). Uncon- 
 strained ; rnit tingebtindenem Huvior^ with un- 
 constrained huraor, burlatido. 
 
 Ungeduldig (Ger., oon'ge-dool'diyh). Impatient(ly). 
 
 Ungestiim ((ier., oon'ge-shtflm'). Impetuous(ly). 
 
 Ungherese (It., 66n-ga-ra'seh). Hungarian. 
 
 Unison. A tone of the same pitch as a given tone; 
 also, a higher or lower octave of the given tone. 
 —In the piano, a group of 2 or 3 strings tuned to 
 the same pitch and struck by one hammer, is 
 called a um'son; a string in such a group is called 
 a iiniso7i-strinff. 
 
 Unisono (It., oo-ne'soh-noh). Unison. ..^//'««i- 
 sono^ progressing in unison with or in octaves 
 with. [together. 
 
 Unitamente (It., oo-ne-t3.h-men'teh). Unitedly, 
 
 Uniti (It., oo-ne'te). This signifies, after "■divi'si,''* 
 that the instruments or voices again perform 
 their parts in unison. 
 
 Unito, -a (It., oo-ne'toh, -t3.h). United, joined. 
 
 Uno (It.). See UN. 
 
 Unruhig (Ger., 63n'roo'iyh). Restless(ly), unqui- 
 et(ly). 
 
 Unschuldig (Ger., 66n'sh661'diyh). Innocent(ly). 
 
 Unter (Ger., 66n'ter). Under, below, sub-. 
 
 Untersatz (Ger., 66n'ter-za,hts'). Subbass. 
 
 Unvo'cal. i. Not suitable for singing.— 2. Not vi» 
 brating with tone ; unvocal air is breath escaping 
 with a more or less audible sigh or hiss, due to 
 unskilful management of the voice.
 
 156 Up-beat— Varie 
 
 Up'-beat, I. The raising of the hand in beating 
 time. — 2. An unaccented part of a measure (see 
 
 AUFTAKT). 
 
 Up'-bow. The stroke of the bow in the direction 
 from point to nut ; the Up-bow mark is V or A- 
 
 Ut. I. The first of the solmisation syllables.— 2- 
 Name of the note Cin France (pronounced iit). 
 
 V stands for Vide^ Violino^ Voltt, and Voce: Vv.^ 
 for Vwlini. 
 
 Va (It., vah). Go on, continue. .. Fa crescendo, go 
 on increasing (in loudness). 
 
 Vacillando (It., vah-che-lahnMoh). | Vacillatine • 
 
 Vacillante (It., vah-che-lahn'teh). 1 ^ ' 
 
 means that the passage is to be performed in a 
 wavering, hesitating style. 
 
 Vago (It., vah'goh). Vague, dreamy. 
 
 Valse (Fr., vahls). ^ &\t7.. . .Valse chantee, waltz- 
 song. .. Fa/i-^ de salon, a j-a/tJn-piece in walta- 
 time for the piano. 
 
 Value. The value (better time-value) of a note or 
 rest is its length or duration as compared {a) with 
 other notes in the same movement, or (b) with 
 the standard whole note iS" or any fractional note. 
 
 Valve. In brass wind-instruments, a device for 
 diverting the air-current from the main tube into 
 an additional side-tube, thus lengthening the 
 air-column and lowering the pitch of the instru- 
 ment's entire scale. There are jPi'slon-valves 
 and Rotary valves. 
 
 Valzer (It., vahl'tser). Waltz. 
 
 Variamente (It., vah-re-ah-men'teh). Variously, 
 differently. 
 
 Variante (U., vah-re-Shn'teh). j. a variant ; a differ- 
 
 Variante (Fr., vah-re-ahn't'). ' 
 ent (optional) reading. (See OssiA.) 
 
 Variation. One of a set or series of transforma- 
 tions of a theme (see THEME) by means of har- 
 monic, rhythmic, and melodic changes and em- 
 bellishments. 
 
 Variazioni (It., v5h-re-Sh-tse-oh'ne). Variations. 
 
 Varie fFr.. vah-re-a'). Varied. . .Air or thime varie, 
 same as Tetna con variazioni.
 
 Varsoviana — Verse-anthem 157 
 
 Varsoviana (It., var-s6h-ve-ah'n3,h). / . ,i„„„„ ;„ 
 ^ ' r •^ dance in 
 
 Varsovienne (Fr., var-s6h-v'yen'). ' 
 moderate tempo and 3-4 time, with an aicftakt of 
 a quarter-note, the down-beat of everj' second 
 measure being strongly marked. 
 
 Vaudeville (Fr., voh-d'-vel'). A light comedy, 
 often a parody, in which dialogue and pantomime 
 alternate with witty and satirical couplets gen- 
 erally set to well known popular airs. 
 
 Veemente (It., veh-eh-men't6h). \ ygj^g. 
 
 Veemenza, con (kohn v§h-gh-men'tsSh). ' 
 mently, passionately. 
 
 Veil. A voice the tone of which is not quite clear 
 and bell-like, but somewhat obscured, is said to 
 have a "■ veil," or to be " veiled." 
 
 Velato, -a (It., veh-lah't6h, -tih). Veiled. 
 
 Vellutato (It., vel-loo-tah'toh). Velvety. 
 
 Veloce (It., veh-loh'cheh). Rapid, swift ; oftea 
 means that a passage is to be performed faster 
 than those before and after, then being the oppo. 
 site of litenuto. 
 
 Velocemente (It., veh-15h-cheh-men'tSh). ) ij„„;(j. 
 
 Velocita, con (kohn veh-15h-che-tah'). ' 
 
 ly, swiftly. [men'teh). 
 
 Velocissimamente (It., veh-16h-chis-se-mah- l_ 
 
 Velocissimo (It., veh-loh-chis'se-moh). 
 ia>t, with extreme rapidity. 
 
 V^en'til. A valve. 
 
 Venusto (It., veh-noo'stoh). Graceful, elegant. 
 
 Vergnugt (Ger., far-gniiyht')- Cheerful(ly), cheery 
 (cheerily). 
 
 Verhallend (Ger., far-h5.hl'lent). Dying away. 
 
 VerlSschend (Ger., f^r-lo'shent). Dying away. 
 
 Verschiebung, mit (Ger., mit far-she'b66ng''). 
 With shifting (soft) pedal, U.VA CORDA ; ohne 
 I erschubung, Tkk COKDE, [dying away. 
 
 Verschwindcnd (Ger., ftfr-shvin'dent). Vanishing, 
 
 Verse, i. In sacred vocal music, a portion of aik 
 anthem or service for a solo voice or solo voices. 
 —2. A stanza. 
 
 Verse-anthem. One in which the verses (soli, du- 
 tts, trios, quartets) predominate over the cho- 
 ruses. .. r^rjtf-.ytfrt//(:^, a choral service for solo 
 voices. 
 
 ^Verjr
 
 158 Verset— Viola 
 
 Ver'set. i. A short verse, usually forming but. one 
 sentence with its response ; for example : 
 Vers. O Lord, save Thy people, 
 Resp. And bless Thine inheritance. 
 —2. A short prelude or interlude for organ. 
 
 Ver'sicle. A Verset 1. [humor, depressed. 
 
 Verstimmt (Ger., far-shtimt'). Out of tune ; out of 
 
 Verweilend (Ger., far-vi'lent). Delaying ; r/'/^ww/c. 
 
 Vespers. Even-song ; the 6th of the Canonical 
 Hours. 
 
 Vezzosamente (It., vet-ts6h-sah-men't6h). [ j^ ^ 
 
 Vezzoso (It., vet-tsoh'soh). ' 
 
 graceful, elegant style. 
 
 Vibrante (It., ve-brahn'teh). With a vibrating, 
 agitated effect of tone. 
 
 Vibrato (It., ve-brah'toh). 1. On bow-instruments, 
 the wavering effect of tone obtained by rapidly 
 shaking the finger on the string which it is stop- 
 ping.— 2. In singing, (a) a tremulous effect caused 
 by very rapid partial interruptions of the tone; 
 {b) strongly I accented, and diminishing in 
 intensity : <S5 (also instrumental effect). 
 
 Vicendevole (It., ve-chen-da'v6h-leh). Changea- 
 
 bly, inconstantly. 
 Vicino (It., ve-che'noh). Near ; fiii vtcino, nearer 
 
 (as of sounds coming nearer and growing louder). 
 
 Vide (Latin). j. See . . . Vi - - de, written in scores, 
 
 Vidi (It., ve'de). ' 
 means that a "cut " is to be made, and directs 
 the performers to skip from Vi- over to de. 
 
 Viel (Ger., fel). Much, great... Mi^ vielem Nach- 
 druck, with strong emphasis. 
 
 Vigore, con (It., ve-goh'reh). ) 
 
 Vigorosamente (ve-g6h-r6h-s3,h-men'teh). vWith 
 
 Vigoroso (It., ve-g6h-roh's6h. ' 
 
 vigor, energy. 
 
 Viol. A very ancient type of bow-instrument, dif- 
 fering from the violin family by having a. fretted 
 fingerboard, a variable number of strings (usu- 
 ally 6), and in, the shape of the body. It was 
 made in 4 sizes, like the violin, by which it was 
 superseded in the orchestra, etc. 
 
 Viola (It., ve-6'lah). i. The tenor violin. — 2. A 
 \\o\,.. Viola da ga7nba^ "leg-viol," a large viol
 
 Viole— Vista 
 
 »59 
 
 In a 
 
 held, like the 'cello, between the knees." Vw/a 
 d'amore, a kind of tenor viol. 
 
 Viole (Fr., v'yohl'). A viol ; a viola. 
 
 Violentamente (It., ve-6h-len-tah-men'tel>) 
 
 Violento (It., ve-6h-len'toh). 
 violent, impetuous style. 
 
 Violin'. The familir.r 4-stringed how-instrument, 
 the leading orchestral instruni'^n* ; •constructed 
 in 4 sizes (.the so-called string-quartec of the or- 
 chestra), tuned as follows : 
 
 Violin. Viola. Violoncello. 
 
 Double-bass. 
 
 ryHtten.) 
 
 g 
 
 zt iq: -*- 
 
 The ordinary compass of the violin is from ^ 
 to a'^\ soloists'go several notes higher. 
 
 Violina. A metal flue-stop in the organ, of stringy 
 timbre^ usually of 4-foot pitch. 
 
 Violinata (It., ve-oh-le-nah't&h). i. A piece for 
 violin.— i. A piece for another instrument, imitat- 
 ing che riolin-style. 
 
 Violi.n-clef. The g-clef gn= .—French violm-clef, 
 
 the 6^-clef set on the lowest line of the staff. 
 V\olin-diapason. A diapason-stop of stringy tone. 
 Violino (It., ve-5h-le'n5h). Violin. [diapason. 
 
 Violon (Fr., v'yoh-lohn'). i. Violin.— 2. Violin- 
 Violoncello (It., ve-5h-16hn-chel'16h). A 4-stringed 
 
 bow-instrument of violin-type (.see VIOLIN), held, 
 
 while playing, between the knees ; familiarly 
 
 called the 'cello. 
 Violone (It., ve-6h-loh'n§h). i. The bas.s-viol.— 
 
 2. An organ-stop on the pedal, of 16-foot pitch 
 
 and violoncello-like timbre. 
 Virginal. A small kind of harpsichord. 
 Virtuoso, -a (It., ver-too-oh'soh, -sdh). A finished 
 
 instrumentalist or vocalist. [(first) sieht 
 
 Viata (It., vi'stah). Sight... ^ {prima) vista, at
 
 i6o Vistamente — Volatine 
 
 Vistamente (It., vi-stah-men'teh). /_ Briskly, ani- 
 Visto, -a (It., vi'stoh, -stah). »' matedly. 
 
 Vivace (It., ve-vah'cheh). Lively, animated, brisk. 
 As a tempo-mark standing by'itself. Vivace calls 
 for a movement equalling or exceeding Allegro 
 in rapidity. [ Vivace, about Allegretto. 
 
 Vivacetto (It., ve-vah-chet'toh). Less lively than 
 Vivacemente (It., ve-vah-cheh-men'teh). \ 
 Vivacezza, con (kohn ve-vah-chet'sah). >• Lively, 
 Vivacita, con (kohn ve-vah-che-tah'). ' 
 
 spirited, animated, brisk ; vivace. py^ presto. 
 
 Vivacissimo (It., ve-vah-chis'se-moh). Very live- 
 
 Vivente (It., ve-ven'teh). , 
 
 ... ., ,^. -, - -.w,, ( Lively, spiritedly, brisk- 
 Vivido (It., ve've-doh). f ly 
 
 Vivo (It., ve'voh). ' 
 
 Vo'cal. Pertaining to the voice; suitable for the 
 singing- voice... Fb^a/ cords. Wvq 2 opposed liga- 
 ments set in the larynx, whose vibration, caused 
 by expelling air from the lungs, produces vocal 
 ton^?,... Vocal glottis, t\iQ aperture between the 
 vocal cords while singing. .. Fbca/ score., see 
 Score. 
 
 Vocalise (Fr., voh-cah-lez'). A vocal exercise or 
 etude, sung to the vowels or solmisation-syllables. 
 
 Voce (It., voh'cheh ; plural Voci [voh'che]). Voice ; 
 part. . .A due {t re) voci, for 2 (3) parts or voices ; in 
 2 (3) parts....l/^zza voce., Sotto voce, see Mezza, 
 SOTTO. 
 
 Voice. I. The singing-voice, divided into six prin- 
 cipal classes : Soprano, Mezzo-soprano, Contralto 
 (Alto), Tenor, Baritone, and Bass.— 2. The word 
 voice is often used instead of " part," in imitation 
 of foreign usage ; the practice cannot be recom- 
 mended. 
 
 Voice-part. i. A vocal part.— 2. A Part [improper 
 usage]. 
 
 Voicing. Tuning (said of organ-pipes). 
 
 Voix (Fr., v'wah). Voice; part...^ deux {trois) 
 voix, for 2 (3) voices ; in 2 (3) parts. 
 
 Volante (It., voh-lahn'teh). Flying; light, swift. 
 
 Volata (It., voh-lah'tah). j 
 
 Volate (Ger., voh-lah'te). VA short vocal run or 
 
 Volatine (Fr., voh-lah-ten')- ^ 
 trill ; a run or division ; a light, rapid series of 
 notes.
 
 Volatina— Waits i6i 
 
 Volatina (,It., voh-iaii-te'iulh). A short Volata. 
 Volkslied (Ger., f6hlks'let). FolksonK^. 
 Volkst(h)umlich (Ger., fohlks'tiini'lTyh). Like a 
 
 German fo'ksong, or popular music. 
 Volkston, im (Ger., im fohlks'tohn). In the stj'le 
 
 of a folksong, or popular music. 
 Vol! (Ger., f6hl). YwW. . .Voiles Orc/ieste?-. full ov- 
 
 chestva.. . Fol/es Werk, full organ... J/// volletu 
 
 Chore, with full chorus. 
 Volta (It., vohl'tah). A turn or time. ..Prima 7>o/la 
 
 (or J/;ia volta, Jma, la, I., /.), first time ; Sectcuda 
 
 vol til (or llda volta, etc.), second time; una volta, 
 
 once ; due volte, twice. 
 Volteggiando (It., vohl-ted-jShn'^loh). Crossing 
 
 hands on a keyboard. [instantly. 
 
 Volti subito (It., vohl'te soo'be-toh). Turn over 
 Volubilmente (It., voh-loo-bel-men'teh). Fluent- 
 ly, flowingly. 
 Vol'untary. An organ-solo before, during, or after 
 
 divine service ; or, a choral piece opening service. 
 Voluttuoso (It., v5hl-166t-too-oh's6h). Voluptuous. 
 Vom (Ger., f6hm). From \\\e...Vo7n Anfaiig, Da 
 
 CAPO. 
 
 Vorher (Ger., fohr-har'). Before, previous(ly). 
 
 Vorig (Ger., fohr'iyh). Preceding, previous ; as 
 I'origes Zeitmass, tempo precedente. 
 
 Vorspiel (Ger., fohr'shpel). Prelude, introduction; 
 overture. 
 
 Vortrag (Ger., fohr'trah). Rendering, interpreta- 
 tion, performance, style, delivery, execution. 
 
 Vorwarts (Ger., fohr'varts). Forwards ; etivas vor- 
 '.vlirts geliend, somewhat isisteT, poco piii 7iiosso. 
 
 Vox (Latin). Voice. . . Vox ang-elica (angelic voice), 
 a 4-foot stop corresponding to the 8-foot Vox hu- 
 mana...F<'.r liiimana (human voice), an 8-foot 
 reed-stop in the organ, the tone of which has a 
 (fancied) resemblance to the human voice. 
 
 w 
 
 Waits (also Waytes, IVayt^htes, etc.). Originally, 
 English street watchmen, who gave notice of 
 their coming by sounding horns, etc.; later, 
 town-musicians ; and. still later, various irregu- 
 lar bands of indifferent music-makers.
 
 Waldflote— Wind-instruments 
 
 Waldflote (Ger., vahlt'flo'te). An open metal flue- 
 stop in the organ, of 2- or 4-foot pitch and suave, 
 
 full tone. 
 
 [without valve 
 
 Waldhorn (Ger. vahlt'horn). The French horn 
 
 Waltz. A round dance in 3-4 time, varying in 
 tempo from slow to moderately ia.sx.... Waltz- 
 song, a song in waltz-rhythm. 
 
 Walzer (.Ger., vahl'tser). Waltz. 
 
 Warble. See JODLER. 
 
 Warme, mit (Ger., mit var'me). With warmth, 
 warmly ; mit grosser Wdrtne, with great warmth. 
 
 Wehmut(h), mit (Ger., mit va'moot). I j^ ^ g, j^ ^^^ 
 
 Wehmut(h)ig (Ger., va'raii'tiyh). ) 
 pressive of sadness or melancholy. 
 
 Welch (Ger., viyh). Soft, tender; mellow, suave. 
 
 Well-tempered. In equal, and therefore satis- 
 factory, temperament. 
 
 Wenig (Ger., va'niyh). Little ; ein klein wenig 
 lajigsatner, a very little slower. 
 
 Whipping bow. A form of violin-technicin which 
 the bow is made to fall with a certain vehemence 
 on the strings. Chiefly employed when one 
 wishes to mark sharply single tones in rapid 
 tempo, as : 
 
 <s- <s* 
 
 One with an open head: ( 
 The note(C7 
 
 See Shift. 
 
 I. The step of a whole tone 
 
 White note. 
 
 Whole note. 
 
 Whole shift. 
 
 Whole step. 
 whole tone. 
 
 Whole tone. A major Second. 
 
 Wie (Ger., ve). As. — Wi'e oben, as above* wt'e 
 vorher, as before, as at first; wie aus der Feme, 
 as from a distance. 
 
 Wiegend. (Ger., ve'ghent). Swaying, rocking. 
 
 Wind'-band. i. A companv of performers on wind- 
 instruments. — 2. The wind-instruments in the 
 orchestra ; also, the players on, or parts written 
 for, the same. 
 
 Wind'-instruments. Instruments whose tones are 
 produced by wind (that is, compressed air).
 
 Wolf-Zierlich 163 
 
 Wolf. I. The discord produced when playing, in 
 certain keys, on an organ tuned in unequal 
 temperament. — 2. In bow-instruments, an im- 
 perfect or jarring vibration caused by sounding 
 some particular tone or tones. 
 
 Wood'-wind. The group of wooden wind-instru- 
 ments in an orchestra ; or the players on them. 
 
 Working-out. See Development. 
 
 Wuchtig (Ger., v6<5h'tiyh). Weighty, weightily, 
 ponderousdy), with strong emphasis. 
 
 Wurde, mit (,Ger., mit viir'de). / With dignity; 
 
 WQrdevoU (Ger., viirMg-fdhl'). > loftily. 
 
 W^ut(h)end (Ger., vii'tent). Furious(ly), frantic- 
 (ally). 
 
 Xylophone. A verj' ancient instrument, consisting 
 of a row of flat wooden bars fastened horizontally 
 to two stretched cords, tuned to the tones of the 
 scale, and struck (played on) with two mallets ; 
 a wooden dulcimer. 
 
 Y 
 
 Yodel, Yodler. See JODLER. 
 
 Zart (Ger., tsShrt). Tender, soft, delicate, dolce : 
 
 slender... J/// zarten Stimmeti, with soft-toned 
 
 ^^'*P^- [flute-stop of very delicate tone. 
 
 ZartflOte (Ger., tsShrt'flo'te). In the organ, a 4-foot 
 
 Zartlich (Ger., tsahrt'liyh). Tender(ly), caress- 
 
 ing(ly). 
 Zeffiroso (It., dzef-fe-roh's6h). Zephyr-like. 
 Zelo, con (It., k6hn dza'16h). 1 
 
 Zelosamente (It., dz5h-16h-sah-men'teh). [-Zealous- 
 Zeloso (It., dzgh-loh's6h). ' 
 
 ly, enthusiastically, with energy and fire. 
 Ziemlich (Ger., tsem'liyh). Somewhat, rather... 
 Ziemlich be7ves^t und frei in I'ortrag, quite ani- 
 mated and free in delivery (style). 
 Zierlich (Ger., tser'llyh). Neat(ly), delicate(ly); 
 graceful(ly).
 
 164 Zimbalon— Zwischenspiel 
 
 Zimbalon. An improved dulcimer much employed 
 in Hungarian music, provided with dampers, and 
 having a chromatic scale of 4 octaves : £ to -e^. 
 
 Zingara, alia (It., ahl'lah tsin'gah-rah). I In Gypsy 
 
 Zingarese, alia (ahl'lah tsin-gah-ra'zeh>. ' sty.e. 
 
 Zither (Ger., tsit'ter). The inodern zither has 3a 
 or more strings stretched over a shallow wooden 
 resonance-box, which has a fretted fingerboard 
 on the side next the player ; above the finger- 
 board are 5 melody-strings, plucked with q 
 metal "ring" worn on the right thumb. 
 
 Zitternd (Ger., tsit'ternt). Trembling, tremulous. 
 
 Zogernd (Ger., tso'gernt). Hesitating, retarding. 
 
 Zu (Ger., tsoo). Too ; to. [crescefii/o. 
 
 Zunehmend (Ger., tsoo'na' ment). Increasing* 
 
 Zuriickgehend (Ger., tsoo-r«k'ga'ent). Recurning 
 (to a preceding slower tempo). 
 
 Zuriickhaltend (Ger., tsoo-rMk'hahl'tent,. Holding 
 back, ritardando. 
 
 Zwei (Ger., tsvi). Two. 
 
 Zweihandig (Ger., tsvi'hen'diyh). P,'r 2 hands 
 
 Zweistimmig (Ger., tsvi'shtim'miyh). For 2 voices ; 
 in or for 2 parts. 
 
 Zwischensatz (Ger., tsvish'en-zahl^;')• Episode 
 
 Zwischenspiel (Ger., t?vish'en-slii/elO. Interlude 
 intermezzo. 
 
 I
 
 Brief Biographies of Prominent Musicians 
 
 Abt (Shpt), Franz, song-writer ; b. Eilenburg, 1819; 
 
 ^- ^^^5- [poser ; b. Paris, 1802 ; d. 1856. 
 
 Adam (dh-dShnO, Adolphe-Charles, opera-com- 
 Alard (Sh-lar'), Jean-Delphin, violinist ; b. Bay- 
 
 onne, 1815 ; d. 1888. [Glasgow, 1864. 
 
 d'Albert (daiil-bar'), Eugen, pianist, composer; b. 
 Arditi (ar-de'te), Luigi, composer ; b. Crescentino, 
 
 18-2 ; d. 1903. [^b Novgorod, 1861. 
 
 Arensky (Sh-ren'ske), Anton, pianist, composer; 
 Arne, Thos. Augustine, composer; b. London, 
 
 1710; d. 177S. [linist, b. Brussels, 1815 ; d.1845. 
 
 Artot (ar-toh), Alexandre-Joseph Montagney, vio- 
 Auber (6h-bar'), Daniel-Fran^ois-Esprit, opera- 
 composer; b. Caen, 1782; d. 1871. 
 Audran (oh-dr3.hn), Edmond, operetta-composer,* 
 
 b. Lyons, 1842 ; d. igoi. 
 Bach (b5h\ Johann Sebastian, organist, composer; 
 
 b. Eisenach, rJSs ; d. 1750. 
 Bach, Karl Philipp Emanuel, organist, composer ; 
 
 b. Weimar, 1714 ; d. 1788. 
 Baillot (bSh-yohO, Pierre, violinist; b. Passy, 
 
 France. 1771'; d- 1842. [Dublin, 1808 ; d. 1870. 
 
 Balfe (balf), Michael Wm., opera-composer; b. 
 Bargiel (bar'ghe-el), Woldemar, composer; b. 
 
 Berlin, ,828 ; d. 1897. [Engl., 1838 ; d. 1896. 
 
 Barnby, .Sir Joseph, composer, organist ; b. York, 
 Beach, Mrs. H. H. A., composer; b. Henniker, 
 
 X. H., 1867. [Ij Bonn, 1770; d. 1827. 
 
 Beethoven (bat'hoh'fn), Ludwig van, composer; 
 Bellini (bel-lG'ne), Vincenzo, opera-composer; b. 
 
 Catania, Sicily, i8oi ; d. 1835. 
 Ben'del, Franz, pianist; b. Schonlinde, Bohemia, 
 
 1833; d. 1874. I'd. ,885. 
 
 Ben'edict, Sir Julius, composer; b. Stuttgart, 1804; 
 Ben'nett, Sir Wm. Sterndale, composer; b. Shef- 
 field, iSi6;d. 1675. [1802 ;d. 1870. 
 Beriot (ba-re-oh'), Charles de, violinist: b. Louvam, 
 Berlioz (bar-le-6hz). Hector, composer; b. Cote- 
 
 Saint-.Andre, 1803 ; d. 1869. rj 1876. 
 
 Bertini(.bar-te'ne), Henri, pianist; b. London, 1798;
 
 i66 Brief Biographies of Prominent Musicians 
 
 Best, "Wm. Thomas, organist; b. Carlisle, 1826; d. 
 
 ^897. [1786; d. 1855. 
 
 Bishop, Sir Henry Rowley, composer; b. London, 
 Bizet (be-za'), Georges, opera-composer ; b. Paris, 
 
 1838; d. 1875. 
 
 Boieldieu (bwah-el-d'yo')i Frangois-Adrien, opera- 
 composer ; b. Rouen, 1775; d. 1834. 
 
 Boito (boh-e'toh), Arrigo, opera-composer ; b. 
 Padua, 1842. 
 
 Bononcini (boh-nohn-che'ne), Giovanni, opera- 
 composer ; b. Modena, 1660 ; d. i75o(?). 
 
 Borodin (boh-roh-den') Alexander, composer ; b. 
 St. Petersburg, 1834; d. 1887. 
 
 Brahms (brahmss), Johannes, composer; b. Ham- 
 burg, 1833 ; d. 1897. ["ter, 1844. 
 
 Bridge, Sir John F., composer; b. Oldbury, Worces- 
 
 Brockway, Howard A., composer; b. Brooklyn, 
 N. Y., 1870. 
 
 Bruch (brooh), Max, composer; b. Cologne, 1838. 
 
 Bruckner (brook'ner), Anton, composer; b. Ans- 
 felden, 1824 ; d. 1896. [ravia, 1846. 
 
 BruU Cbrul), Ignaz, composer; b. Prossnitz, Mo- 
 Buck, Dudley, composer; b. Hartford, Conn., 1839. 
 
 Bull, John, organist, composer; b. Somersetshire, 
 Engl., 1563 ; d. 1628. 
 
 Bull, Die, violinist; b. Bergen, Norw., 1810; d. 1880. 
 
 Billow (bu'loh), Hans Guido von, pianist ; b. 
 Dresden, 1830; d. 1894. 
 
 Bungert (boong'ert), August, opera-composer; b. 
 Miilheim-on-Ruhr, 1846. 
 
 Busoni (boo-soh'ne), Ferruccio Benvenuto, pianist, 
 composer ; b. Empoli, 1866. 
 
 Byrd, Wm., composer ; b. London, i538(?) ; d. 1623. 
 
 Cal'dicott, Alfred James, composer ; b, Worcester, 
 Engl., 1842 ; d. 1897. 
 
 Carissimi (kah-ris'se-me), Giacomo, composer; b. 
 Marino, i6o4(?) ; d. 1674. 
 
 Chadwick, George Whitfield, composer; b. Low- 
 ell, Mass., 1854. 
 
 Chaminade (shah-me-nahd'), Cecile, composer; b. 
 
 Paris, 1861. 
 Cherubini, Luigi (ka-roo-be'ne), composer; b. 
 
 Florence, 1760; d. 1842.
 
 Brief Biographies of Prominent Musicians 167 
 
 Chopin (sh6h-pan\ Fr6d6ric, composer ; b. Zela- 
 zowa Wola, Poland, 1810; d. 184Q. 
 
 Cimarosa (che-raSh-roh's&h), Domenico, compos- 
 er ; b. Aversa, 1749 ; d. 1801. ^^^.^ . ^j ^g^^. 
 
 Clementi (cla-men'te), Muzio, pianist ; b. Rome, 
 
 Concone (k6hn-koh'neh), Giuseppe, vocal teacher; 
 b. Turin, ,8xo(?) ; d. 186,. [,653 . d. ,7,3. 
 
 Corelli (k6h-rel'le), Arcangelo, violinist ; b. Imola, 
 
 Costa, Sir Michael, opera-composer ; b. Naples, 
 i8io(?); d. 1884. [is, 1668; d. 1733. 
 
 Couperin (koo-p'-rSn), Frangois, composer; b. Par- 
 
 Cov^en, Frederic Hymen, composer; b. Kings- 
 ton, Jamaica, 1852. [Mannheim, 1771 ; d. 1858. 
 
 Cramer (krah'mer), Johann Baptist, pianist; b. 
 
 Cui (kwe), Cesar, composer ; b. Vilna, Russia, 1835. 
 
 Czerny (tchar'ne), Karl, pianist ; b. Vienna, 1791 ; 
 ^- ^^57- [sen, 1832 ; d. 1885. 
 
 Dam'rosch, Leopold, conductor, composer; b. Po- 
 
 Damrosch, Frank, conductor ; b. Breslau, 1859. 
 
 Damrosch, Walter, conductor, composer ; b. Bres- 
 lau, 1862. [poser ; b. Bagneres, 1818. 
 
 Dancla (dfthn-clSh), Jean-Bapt.-Ch., violinist, com- 
 
 Dargomyzsky (dar-go]i-m?Vsh'ke), Alex., pianist, 
 composer; b. Toula, Russia, 1813 ; d. 1869. 
 
 David (dah'vid), Ferdinand, violinist; b. Ham- 
 burg, 1810; d. 1873. [Cadenet, 1810; d. 1876. 
 David (dah-vidO, Fdlicien-C6sar, composer ; b. 
 
 De Koven, Reginald, operetta-composer ; b. Mid- 
 dletown. Conn., 1859. 
 
 Delibes (di5-leb'), L60, opera-composer; b. St. Ger- 
 main-du-Val, 1836; d. 1891. 
 
 Diabelli (de -Sh - bel'le), Antonio, composer; b. 
 Mattsee, 1781 ; d. 1858. r^ ^g g 
 
 Dohler (do'ler), Theodor, pianist; b. Naples, 1814; 
 
 Donizetti (doh-ne-tset'te), Gaetano, opera-com- 
 poser ; b. Bergamo, 1797 ; d. 1848. fiSst;. 
 
 Draeseke (dra'ze-k6), Felix, composer ; b. Koburg, 
 
 Dreyschock (dri'.sh6hk), Alexander, pianist ; b. 
 Zack, Boh., 1818 ; d. i86q. [^ay, France, 1834. 
 
 Dubois (dii-bwSh'), Theodore, composer ; b. Ros- 
 
 Dussek (doo'shek), Johann Ladislaus, pianist ; h 
 Tschaslau, Boh., 1761 ; d, 1812.
 
 i68 Brief Biographies of Prominent Musicians 
 
 Dvoi'ak (dvor'shahk), Antonin, composer ; b. Mtihl- 
 
 hausen, Boh., 1841 ; d. 1904. [,813 ; d. 1893. 
 
 Dwight, John Sullivan, writer ; b. Boston, Mass., 
 Ehlert (a'lert), Louis, writer, composer ; b. Konigs- 
 
 berg, 1825 ; d. 1884. 
 Ehrlich (ar'liyh), Alfred Heinrich, pianist, writer; 
 
 b. Vienna, 1822 ; d. 1899. 
 Ernst (arnst), Heinrich Wilhelm, violinist; b. 
 
 Briinn, 18.4 ; d. 1865. ^jielg., 1784 ; d.1871. 
 
 Fetis (fa-tess), Frangcis-Jos., writer; b. Mons, 
 Field, John, pianist, composer; b. Dublin, 1782 ; d. 
 
 ^^37. [i860. 
 
 Fielitz (fe'lits), Alex, von, composer; b. Leipzig, 
 Fiorillo (f yoh - ril ' loh), Federigo, violinist; b. 
 
 Brunswick, 1743 i <^- 1812. 
 Flotow (floh'toh), Friedrich von, opera-composer; 
 
 b. Teutendorf, 1812 ; d. 18S3. j-jg^^^ 
 
 Foerster, Adolph Martin, composer; b. Pittsburg, 
 Foote, Arthur Wm., composer; b. Salem, Mass., 
 
 ^S53- [1826 ;d. 1864. 
 
 Foster, Stephen Collins, composer ; b. Pittsburg, 
 Franck (frahnk), Cesar-Auguste, composer; b. 
 
 Liege, 1822; d. 1890. [-^8^5. ^ ,892. 
 
 Franz (frahnts), Robert, song-composer; b. Halle, 
 Frescobaldi (freh-skoh-bahl'de), Girolamo, organ' 
 
 ist ; b. Ferrara, 1583; d. 1644. 
 Gade (gah'deh), Niels Wilhelm, composer ; b. 
 
 Copenhagen, 1817 ; d. 1890. [drid, 1805. 
 
 Garcia (gar'shah), Manuel, vocal teacher; b. Ma- 
 Garrett, George Mursell, organist; b. Wmchester, 
 
 Engl., 1834; d. 1897. [b. Huysse, Bel.g., 1828. 
 
 Gevaert (gu'-vahrt), Frangois-Auguste, composer ; 
 Gibbons, Orlando, composer ; b. Cambridge, Engl., 
 
 1583 ; cl. 1625. [b. Nancy, 1844. 
 
 Gig'out (zhe-goo'), Eugene, organist, composer; 
 Glazounow (glah-tsoo'nohv), Alex., composer; b. 
 
 St. Petersburg, 1865. 
 Glinka (glin'kah), Michael, opera-composer; b. 
 
 near .Sinolensk, 1804 : d. 1857. 
 Gluck (glook), Christoph Wilibald von, opera- 
 composer; b. Weidenwang, 1714; d. 1787. 
 Godard (goh-dar')- Benjamin, opera-composer; b, 
 
 Paris, 1849 ; d. 1895.
 
 Brief Biographies of Prominent Musicians i6g 
 
 Goetschius (got'she-66ss), Percy, theorist ; b. Pat- 
 erson, N. J.. 1S53. 
 
 Goetz (gots), Hermann, composer ; b. Kiinigsberg, 
 1S40 ; d. 1876. [thely, Hungary, 1830. 
 
 Goldmark (gohlt'mark), Karl, composer; b. Kesz- 
 
 Gomes (goh'iness), Antonio Carlos, opera-com- 
 poser ; b. Campinas, Hrazil, 1839; d. 1896. 
 
 Gottschalk, Louis Moreau, pianist ; b. New Or- 
 leans, 1829 ; d. 1S69. [Paris, 1818 ; d. 1893. 
 
 Gounod (goo-noh), Charles, opera-composer; b. 
 
 Gouvy (goo-vei, Louis-Theodore, composer; b. 
 Goffontaine, 1819; d. iSyS. 
 
 Graun (grown), Karl Heinrich, composer; b. 
 Wahrenbruck, 1701 ; d. 1759. [j^^j . j. 1813. 
 
 Gr6try (gra-tre), Andre, opera-composer; b. Liege, 
 
 Grieg (greg), Edvard Hagerup, composer; b. 
 Hergen, 1843- [1820; d. igoo. 
 
 Grove, Sir George, writer; b. Clapham, Surrey, 
 
 Guilmant (gel-mihii), Alex,, organist, composer; 
 b. Boulogne, 1837. [Paris, 1799; d, 1862. 
 
 Halevy (hSh-la-ve), Jacques, opera-composer; b. 
 
 Halle, Sir Charles, pianist, conductor; b. Hagen, 
 Westph., iSiQ ; d. 1895. [Halle, 1685 ; d. 1759. 
 
 Handel (hen'del), Georg Friedrich, composer; b. 
 
 Hanslick thShnss'lick), Eduard, writer ; b. Prague, 
 liis ; d. 1904. 
 
 d'Hardelot (dar-d'-16h), Guy, song-composer; b. 
 near Boulogne (coulemporary ). 
 
 Hauptmann (howpt'mahn), Moritz, theorist, com- 
 poser ; b. Dresden, 1792; d. 1868. [1732; d. 1809. 
 
 Haydn Uii'dn), Josef, composer; b. Rohrau, Austria, 
 
 Heller, Stephen, pianist, composer; b. Pesth, 1815; 
 d- 1S88. [Breslau, 1850. 
 
 Henschel (hen'shel), Georg, composer, singer; b. 
 
 Henselt (lien'selt), Adolf von, pianist, composer; 
 
 b. vScnwabach, Bav., 1814; d. liSg. 
 Herbert, Victor, composer; b. Dublin, 1859. 
 
 H6rold (ha-ruhld), Louis, opera-composer; b. 
 Pans. 1 791 ; d. 1833. [,888. 
 
 Herz I harts), Henri, pianist; b. Vienna, iSob ; d. 
 Hiller, Ferdinand von, composer; b. Frankfort, 
 i3ii ; d. 1885. [,831. 
 
 Hoffman, Richard, pianist; b. Manchester, Engl.,
 
 l^o Brief Biographies of Prominent Musicians 
 
 Hofmann, Heinrich, opera-composer; b. Berlin, 
 1842; d. 1902. [J847; d. 1Q03. 
 
 Holmes, Augusta Mary Anne, composer; b. Paris, 
 
 Hullah, John Fyke, writer, vocal teacher; b. 
 Worcester, Engl., 1812 ; d. 1884. 
 
 Hummel (hoom'mel), Johann Nepomuk, pianist; 
 b. Pressburg, 1778 ; d. 1837. 
 
 Humperdinck (hoom'per-dink), Engeibert, com- 
 poser; b. Siegburg, near Bonn, 1854. 
 
 Hunten (hzVn'ten), Franz, composer; b. Koblenz, 
 1793 ; d. 1878. [_t,, Newark, N. J., 1862. 
 
 Huss (hooss), Henry Holden, pianist, composer ; 
 
 d'Indy (dan-de), Paul Vincent, pianist, composer ; 
 b. Paris, 1851. [b. Breslau, 1831 ; d. 1902. 
 
 Jadassohn (yah'dahs-zohn), Salomon, composer ; 
 
 Jaell (yah'el), Alfred, pianist; b. Trieste, 1832; d. 
 1S82. [berg, 1837; d. 1879. 
 
 Jensen (yen'sen), Adolf, song-composer ; b. Konigs- 
 
 Joachim ( voh'ah-kim), Joseph, violinist ; b. Kittsee, 
 near Pressburg, 1831. 
 
 Jomelli (3'6h-meFle), Nicola, opera-composer; b. 
 Aversa, 1714; d. 1774. 
 
 Joncieres (zhohn-s'ySr), F61ix de, opera-composer ; 
 b. Paris, 1839 ; d. 1903. [Conn., 1850. 
 
 Jordan, Jules, tenor, composer; b. Willimantic, 
 
 Josef'fy (yoh-zef'fe), Rafael, pianist ; b. Hunfalu, 
 Hungary, 1853. 
 
 Kalkbrenner (k&hlk'bren-ner), Friedrich, pianist, 
 composer; b. Germany, 1788; d. 1849. 
 
 Kalliwoda (kah-le-voh'dah), Johann W., violinist; 
 b. Prague, 1801 ; d. 1866. 
 
 Keler-Bela (ka'ler ba'lah), Albert, dance-com- 
 poser; b. Bartfeld, Hungarj', 1820; d. 1882. 
 
 Kelley, Edgar Stillman, writer, composer; b. 
 Sparta, Wis., 1857. [^82^ . ^ jgg.. 
 
 Kiel (kel), Friedrich, composer; b. Puderbach, 
 
 Kienzl (ken'tsl), Wilhelm, opera-composer; b. 
 
 Waizenkirchen, Austria, 1857. 
 Kirchner (keryh'ner), Theodor, composer ; b. 
 
 Chemnitz, 1824 ; d. 1003. |-j8j8 . ^ jggg^ 
 
 Kjerulf (che'roolf), Halfdan, composer ; b. Norway, 
 Klein (klin), Bruno Oscar, organist, composer; b. 
 
 Osnabruck, 1858.
 
 Brief Biographies of Prominent Musicians 171 
 
 Klindworth (klint'vohrt), Karl, pianist; b. Han- 
 over, 1830. 
 
 Klughardt (kloog'hart), August; b. Kothen, 1847; 
 ^- 1902. [wick, 1820; d. 1886. 
 
 Xehler (ko'ler), Louis, pianist, composer : b. Bruns- 
 
 Kontski (k5hnl'ske), ApoUinaire de, violinist; b. 
 Warsaw, 1825 i ^- 1879. 
 
 Koschat (k5h'sh5.ht), Thomas, composer ; b. Vikt- 
 ring, near Klagenfurt, 1825. 
 
 Kreutzer (krShu'tseri, Conradin, opera-composer; 
 b. Mosskirch, 1780; d. 1849. [d. 1831. 
 
 Kreutzer, Rodolphe, violinist; b. Versailles, 1766; 
 
 Kucken (kwk'en), Friedrich Wilhelm, song-com- 
 poser; b. Bleckede, Han., 1810; d. 1882. 
 
 Kuhlau (koo'low), Friedrich, composer; b. Uelzen, 
 17S6; d. 1832. 
 
 Kullak Ck.66\nS.hk), Theodor, pianist ; b. Krotoschin, 
 Posen, 1818 ; d. 1882. [-.g^^ . d. 1890. 
 
 Lachner (ISh'ner), Franz, composer ; b. Rain, Bav., 
 
 Lachner, Ignaz, composer; b. Rain, 1807 ; d. 1895. 
 
 Lachner, Vincenz, composer ; b. Rain, 1811 ; d. 1893. 
 
 Lalo (lah-loh), Edouard, composer; b. Lille, 1823; 
 d. 1892. [J837. 
 
 Lang, Benj, Johnson, pianist; b. Salem, Mass., 
 
 Lanner (lahn'ner), Joseph, dance-composer; b. 
 Oberdobling, 1801 ; d. 1843. 
 
 Lassen (ia,hs'senj, Eduard, composer; b. Copen- 
 hagen, 1830; d. 1904. [-j^jo; d. 1594. 
 
 Lasso (IShs'soh), Orlando di, composer; b. Mons, 
 
 Lecocq (lu-k5hk'), Charles, operetta-composer ; b. 
 Paris, 1832. 
 
 Leoncavallo (la - 6hn-k5h - v3.hl'16h), Ruggiero, 
 opera-composer; b. Naples, 1858. 
 
 Leschetizky (le-she-tit'ske), Theodor, pianist; b. 
 Lancut, Poland, 1830. [Petersburg, 1855. 
 
 Liadow (I'yah'dohf), Anatole, composer ; b St. 
 
 Liebling (lep'ling"), Emil, pianist ; b. Pless, Silesia, 
 1851. 
 
 Lind, Jenny, soprano; b. Stockholm, 1820; d. 1887. 
 
 Liszt (list), Franz, pianist, composer ; b. Raiding, 
 Hungary, 1811 ; d. 1886. 
 
 Lortzing (lohr'tsing''), Albert, opera-composer; b. 
 Berlin, 1801 ; d. 1851.
 
 172 Brief Biographies of Prominent Musicians 
 
 Loschhorn (losh'horn), Albert, pianist; b. Berlin, 
 1819. 
 
 Lowe (lo've), Carl, composer; b. Lobejiin, near 
 Halle, 1796; d. 1869. 
 
 Lully (liil-le), Jean-Baptiste, opera-comooser ; b. 
 Fh^rence, 1633 ; d. 1687. 
 
 MacCunn, Hamish, composer; b. Greenock, 1868. 
 
 MacDowell, Edward Alex., composer; b. New 
 York, 1861. ["don, 1813 ; d. 1887. 
 
 Macfarren, Sir George Alex,, composer; b. Lon- 
 
 Mackenzie, Sir Alex. Campbell, composer; b. 
 Edinburgh, 1847. [b. Palermo, 1822. 
 
 Marchesi (tnar-ka'ze), Salvatore, baritone, teacher; 
 
 Marmontel (mar- mohn - tel'), Antoine-Frangois, 
 pianist; b. Clermont-Ferrand, 1816 ; d. 1898. 
 
 Marschner (marsh'ner), Heinrich, opera - com- 
 poser ; b. Zittau, 1795 ; d. 1861. [Capua, 1856. 
 
 Martucci (mar-toot'che), Giuseppe, composer; b. 
 
 Marzo (mar'tsoh), Eduardo, composer; b. Naples 
 (contemporary). [Leghorn, 1863. 
 
 Mascagni (mah'skahn'ye), Pietro, composer ; b. 
 
 Mason, Dr. Wm., pianist, composer; b. Boston, 
 Mass., 1829. [Monteaux, 1842. 
 
 Massenet (mah-s'-naO, Jules, opera-composer ; b. 
 
 Mehul (ma-«l), Etienne-Nicolas, opera-composer; 
 b. Givet, 1763 ; d. 1817. [Australia, 1865. 
 
 Melba (mel'bah), Nellie, soprano ; b. Melbourne, 
 
 Mendelssohn, Felix, composer ; b. Hamburg, 1809; 
 d. 1347. 
 
 Mercadante (mar-cah-dahn'teh), Saverio, opera- 
 composer; b. Altamura, 1795; d. 1870. 
 
 Meyerbeer (nii'er-bar\ Giacomo, opera-composer; 
 b. Berlin, i/gi ; d. 1864. 
 
 Me3'er-Helmund (hel'moont), Erik, composer; b. 
 St. Petersburg, 1861. 
 
 Meyer-Olbersleben (ohl'bers-la'ben). Max, com- 
 poser; b. Olbersleben, 1830. 
 
 Millocker (mil'lok-ker). Karl, operetta-composer; 
 b. Vienna, 1842 ; d. 1899. 
 
 Molique (moh-lekO, "Wilhelm Bernhard, violinist; 
 b. Nuremberg, 1803 ; d. 1869. 
 
 Monteverde (mohn-teh-var'deh), Claudio, com- 
 poser ; b. Cremona, 1567 ; d. 1643.
 
 Brief Biographies of Prominent Musicians 173 
 Morley, Thomas, contrapuntist; b. England, i557(?); 
 
 d. l6c.4- 
 
 Moscheles (ini'h ' sh6 - less), Ignaz, pianist, com- 
 poser; b. Prague, 1794; d. 1870. 
 
 Moszkowski (mohsh-k5hv'ske), Moritz, pianist, 
 composer ; b. Breslau, 1854. 
 
 Mozart (moh'tsart), Wolfgang Amadeus, com- 
 poser; b. Salzburg, 1756; d. 1791. 
 
 Ness'ler, Victor E., opera-composer; b. Balden- 
 heim, Alsatia, 1841 ; d. 1890. 
 
 Neva'da, Emma, soprano ; b. Nevada, U. S., i86o(?). 
 
 Nev'in, Ethelbert Woodbridge, pianist, composer ; 
 b. Edgeworth, Pa., 1S62 ; d. 1902. 
 
 Nicolai (ne'c6h-li). Otto, opera - composer ; b. 
 Konigsberg. 1810; d. 1849. 
 
 Offenbach (6hf ' fn - bSh), Jacques, operetta-com- 
 poser ; b. Cologne, 1819 ; d. 1880. 
 
 Pacini (pSh-che'ne), Giovanni, opera-composer; b. 
 Catania, 1796; d. 1867. 
 
 Paderewski (pSh-dS-reff'ske), Ignace Jan, pianist; 
 b. Podolia, Poland, 1859. [Genoa, 1782 ; d. 1840. 
 
 Paganini (pah-gih-ne'ne), Niccolo, violinist; b. 
 
 Paine, John Knowles, composer ; b. Portland, Me., 
 ^^39- [poser ; b. Taranto. 1741 ; d. 1816. 
 
 Paisiello (pSh-e-ze-el'loh), Giovanni, opera-com- 
 
 Palestrina (pah-lS-stre'nSh), composer; b. Pale- 
 strina, i5i5<?); d- 1504- [Breslau, 1807; d. 1887. 
 
 Panofka (pa.h-n5hf'kah), Heinrich, violinist; b. 
 
 Panseron (pahn-s'-r5hn'), Auguste-Mathieu, vocal 
 teacher; b. Paris, 1796; d. 1859. [Mass., 1863. 
 
 Parker, Horatio ^Vm;, composer; b. Auburndale, 
 
 Patti, Adelina. soprano; b. Madrid, 1843. 
 
 Parry, Sir Charles H. H., composer; b. Bourne- 
 mouth, 1848. [Wiesbaden, 1845. 
 
 Perabo (p6r'5h-bo), Ernst, pianist, composer ; b. 
 
 Pergolesi (par-g6h-ia'ze), Giovanni Battista, com- 
 poser; b. Jesi, 1710; d. 1736. 
 
 Philipp (fe-lep), Isidor, pianist; b. Pesth, 1863. 
 
 Piccinni (pit-chin'ne), Nicola, opera-composer; b. 
 Hari, 1728; d. 1800. [burg, i8n; d. 1874. 
 
 Plaidy (pla'de), Louis, piano-teacher ; b. Hubertus- 
 
 Pleyel (pla-el'), Ignace-Joseph, composer, piano- 
 mfr. ; b. Ruppertsthal (Vienna), 1757 ; d. 1831.
 
 174 Brief Biographies of Prominent Musicians 
 
 Ponchielli (pohn-k'yel'le), Amilcare, opera-com- 
 poser ; b. near Cremona, 1834 ; d. 1886. [1841; 
 
 Popper (pohp'per), David, violoncellist ; b. Prague, 
 
 Prout, Ebenezer, composer, theorist; b. Oundle, 
 Northamptonshire^, 1835. [b, Lucca, 1858. 
 
 Puccini (poot-che'ne), Giacomo, opera-composer; 
 
 Pugno (piin-yoh), Raoul, pianist ; b. Montrouge, 
 1852. 
 
 Pur'cell, Henry, composer ; b. London, 1658 ; d. 1695. 
 
 Raff, Joachim, composer ; b. Lachen, Switz., 1822; 
 d. 1882. 
 
 Rameau (rah-moh'). Jean- Philippe, opera-com- 
 poser; b. Dijon, 1683; d. 1764. 
 
 Rand'egger, Alberto, composer; b. Trieste, 1832. 
 
 Reinecke (ri'ne-ke), Carl, pianist, composer; b. 
 Altona, 1824. [seilles, 1823. 
 
 Reyer (ra-yar), Louis, opera-composer ; b. Mar- 
 
 Rheinberger (rin'bar-ger), Joseph, composer; b. 
 Vaduz, 1837 ; d. 1901. 
 
 Richter (riyh'ter), Ernst Fr., theorist; b. Gross- 
 Schonau, 1808 ; d. 1879. 
 
 Richter, Hans, conductor; b. Raab, Hungary, 1843. 
 
 Riemann (re'mahn), Hugo, writer ; b. Grossmehlra, 
 1849. [1784 ; d. 1838. 
 
 Ries (ress), Ferdinand, pianist, composer ; b. Bonn, 
 
 Rimbault, Edward Francis, writer ; b. London, 
 1816; d. 1876. [vin^ Russia. 1844. 
 
 Rimsky-Kor'sakov, Nicolas, composer; b. Tikh- 
 
 Rinck, Johann, organist; b. Elgersburg, Thuringia, 
 1770; d. 1846. [d. 1830. 
 
 Rode (rohd), Pierre, violinist; b. Bordeaux, 1774; 
 
 Rossini (rohs-se'ne), Gioachino, opera-composer; 
 b. Pesaro, 1794: d. 1868. 
 
 Rubinstein (roo'bin-stin), Anton, pianist, com- 
 poser ; b. Wechwotynecz, 1830 ; d. 1894. 
 
 Ruckauf (r?Vk'owf), Anton, song - composer ; b. 
 Prague, 1855 ; d. 1903. 
 
 Sacchini (sahk-ke'ne), Antonio M, G., opera-com- 
 poser ; b. Pozzuoli, 1734 ; d. 1786. [Paris 1835. 
 
 Saint-Saens (sSn-sa-ahnO, Camille, composer; b. 
 
 Sarasate (sah-rah-sah'teh), Pablo de, violinist ; b. 
 Pamplona, Spain^. 1844. [France, 1852. 
 
 Sauret (soh-ra'), Emile, violinist; b. Dun-le-Roi,
 
 Brief Biographies of Prominent Musicians 175 
 
 Scarlatti (skar-lSht'te), Alessandro, composer ; b. 
 Trapani, 1659; d. 1725. 
 
 Scarlatti, Domenico, harpsichordist, composer; b. 
 Naples, 16831?) ; d. 1757, 
 
 Scharwenka (shar-veng'k^h), Philipp, composer; 
 b. Samter, Posen, 1847. [18-0. 
 
 Scharwenka, Xaver, pianist, composer ; b. Samter, 
 
 Schubert (shoo'bert), Franz Peter, composer; b. 
 Lichtenllial, 1797 ; d. 182S. 
 
 Schumann (shoo'mShn), Robert, composer; b. 
 Zwickau, 1810; d. 1856. 
 
 Schumann, Clara, pianist ; b. Leipzig, 1819 ; d. 1896. 
 
 Schytte (sh/Vl'te), Ludvig, pianist, composer; b. 
 Aaihus, Jutland, 1850. [cow, 1872, 
 
 Scriabine (skre-ah'ben), Alex., composer; b. Mos- 
 
 Seiss (ziss), Isidor, pianist ; b. Dresden, 1840. 
 
 Sgambati (zgahm-bah'te), Giovanni, pianist ; b. 
 Rome, 1S43. [Conn., 1858. 
 
 Shelley, Harry Rowe, composer; b. New Haven, 
 
 Sherwood, William Hall, pianist ; b. Lyons, N. Y., 
 1S54. 
 
 Sieber (zee'ber), Ferdinand, vocal teacher; b. 
 Vienna, 1822 ; d. 1805. 
 
 Sinding, Christian, composer; b. Kongberg, Nor- 
 way, 1S56. 
 
 Sitt (zit), Hans, violinist ; b. Prague, 1850. 
 
 Sivori (se-voh're), Ernesto Camillo, violinist ; b. 
 Genoa, 1815 ; d. 1894. 
 
 Smetana (sma'tah-nSh), Friedrich, opera-com- 
 poser; b. Leitomischl, Boh., 1824; d. 1884. 
 
 Sousa (soo'zSh), John Philip, band-master, com- 
 poser; b. Washington, D. C, 1S56. [1817. 
 
 Spindler, Fritz, pianist, composer; b. Wiirzbach, 
 
 Spohr, Ludwig, violinist, composer ; b. Brunswick, 
 1784 ; d. 1859. 
 
 Spontini (sp6hn-te'ne), Gasparo, opera-composer; 
 b. Majolati, 1774; d. 1851. 
 
 Stainer, Sir John, organist, composer; b. London, 
 184..; d. I., I. fjg^^_ 
 
 Stanford, Charles Villiers, composer; b. Dublin, 
 
 Steibelt (sti'belt), Daniel, pianist; b. Berlin, 1765; 
 '^- '823- [d. ,849. 
 
 Strauss, Johann (Sr.), composer; b. Vienna, 1804;
 
 176 Brief Biographies of Prominent Musicians 
 
 Strauss, Johann (Jr.), composer; b. Vienna, 18255 
 d. i8q9. 
 
 Strauss, Richard, composer ; b. Munich, 1864. 
 
 Sullivan, Sir Arthur, operetta-composer ; b. Lon- 
 don, 1842; d. 1900. [^ Spalato, 1820; d. 1895. 
 
 Suppe (s66p-pa'), Franr von, operetta-composer; 
 
 Svendsen, Johan, violinist, composer ; b. Christi- 
 ania, 1840. [16^2; d. 1770. 
 
 Tartini (tar-te'ne), Giuseppe, violinist ; b. Pirano, 
 
 Tausig (tow'ziyh), Carl, pianist ; b. Warsaw, 1841 ; 
 d- 1871. [Kamsko-_Wotkinsk, 1840; d. 1893. 
 
 Tchaikovsky (chi-kohv'ske), Peter, composer; b. 
 
 Thalberg (tahl'barg), Sigismund, pianist, com- 
 poser; b. Geneva, 1812 ; d. 1871. 
 
 Thomas (toh-mah'), Ambroise, opera-composer ; b. 
 Metz, 1811 ; d. 1896. [land, 1835 ; d. 1905. 
 
 Thomas, Theodore, conductor ; b. Esens, E. Fries- 
 Thomas, Arthur Goring, composer; b. near East- 
 bourne, Sussex, 1851. 
 
 Vaccai (vahk-kah'e), Niccolo, vocal teacher, com- 
 poser ; b. Tolentino, 1793; d. 1848. 
 
 Van der Stucken, Frank, composer ; b. Fredericks- 
 burg, Tex., 1858. [Roncole, 1813 ; d. 1901. 
 
 Verdi (var'de), Giuseppe, opera-composer ; b. Le 
 
 Vieuxtemps (v'yo-tahn), Henri, violinist; b. Ver- 
 viers, Belg., 1820; d. 1881. 
 
 Viotti (ve-6ht'te), Giovanni Battista, violinist, 
 composer ; b. Fontaneto da Po, 1753 ; d. 1824. 
 
 Vogrich (voh'gritch), Max, pianist, composer; b. 
 Szeben, Transj'lv., 1852. 
 
 Volkmann (fohlk'mahn), Robert, composer ; b. 
 Lommatzsch, 1815 ; d. 18S3. 
 
 Wagner (vahg'ner). Richard, dramatic composer; 
 b. Leipzig, 1813 ; d. 1883. 
 
 ■Weber (va'bei), Carl Maria von, opera-composer; 
 b. Eutin, 1786 ; d. 1826. [Zara, Dalm., 1863. 
 
 Weingartner (vin'gart'ner). Felix, composer; b. 
 
 Weitzmann (vits'mahn), Carl Friedrich, theorist;' 
 b. Berlin, 1808 ; d. 1S80. [Mass., 1842. 
 
 Whiting, Geo. Elbridge, composer; b. Holliston, 
 
 Wider (ve-dohr'j, Charles, organist, composer; b. 
 Lyons, 1845. [Lublin^ Poland, 1835 ; d. 1880. 
 
 Wieniawski (v'ya-ne-ahv'ske), Henri, violinist; b.
 
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 176 Brief Biographies of Prominent Musicians 
 
 Strauss, Johann (Jr.), composer; b. Vienna, 1825} 
 d. 1899. 
 
 Strauss, Richard, composer ; b. Munich, 1864. 
 
 Sullivan, Sir Arthur, operetta-composer; b. Lon- 
 don, 1842 ; d. 1900. ^b. Spalato, 1820 ; d. 1895. 
 
 Suppe (s66p-pa'), Franz von, operetta-composer; 
 
 Svendsen, Johan, violinist, composer ; b. Christi- 
 ania, 1840. ^ [1692 ; d. 1770. 
 
 Tartini (tar-te'ne), Giuseppe, violinist ; b. Pirano, 
 
 Tausig (tow'ziyh), Carl, pianist ; b. Warsaw^, 1841 ; 
 '^- ^^71- [Kamsko-_Wotkinsk, 1840; d. 1893. 
 
 Tchaikovsky (chi-kohv'ske), Peter, composer; b. 
 
 Thalberg (tahl'barg), Sigismund, pianist, com- 
 poser; b. Geneva, 1812 ; d. 1871. 
 
 Thomas (toh-mah'), Ambroise, opera-composer ; b. 
 Metz, 1811 ; d. i8g6. [land. 1835 ; d. 1905. 
 
 Thomas, Theodore, conductor ; b. Esens, E. Fries- 
 Thomas, Arthur Goring, composer; b. near East- 
 bourne, Sussex, 1851. 
 
 Vaccai (vahk-kah'e), Niccolo, vocal teacher, com- 
 poser ; b. Tolentino, 1790; d. 1848. 
 
 Van der Stucken, Frank, composer ; b. Fredericks- 
 burg, Tex., 1858. [Roncole, 1813 ; d. 1901. 
 
 Verdi (var'de), Giuseppe, opera-composer; b. Le 
 
 Vieuxtemps (v'vo-tahn), Henri, violinist; b. Ver- 
 viers, Belg., 1820; d. 1881. 
 
 Viotti (ve-6ht'te), Giovanni Battista, violinist, 
 composer ; b. Fontaneto da Po, 1753 ; d. 1824. 
 
 Vogrich (voh'gritch), Max, pianist, composer; b. 
 Szeben, Transj'lv., 1852. 
 
 Volkmann (fohlk'mahn), Robert, composer ; b. 
 Lommatzsch, 1815 ; d. 18S3. 
 
 Wagner (vahg'ner), Richard, dramatic composer ; 
 b. Leipzig, 1813 ; d. 1883. 
 
 Weber (va'bei), Carl Maria von, opera-composer; 
 b. Eutin, 1786 ; d. 1826. [zara, Dalm., 1863. 
 
 Weingartner (vin'gart'ner), Felix, composer; b. 
 
 W^eitzmann (vits'raahn), Carl Friedrich, theorist;* 
 b. Berlin. 1808 ; d. 1880. [Mass., 1842. 
 
 Whiting, Geo. Elbridge, composer; b. Holliston, 
 
 Widor (ve-dohrO, Charles, organist, composer; b. 
 Lyons, 1845. [Lublin, Poland, 1835 ; d. 1880. 
 
 Wieniawski (v'ya-ne-ahv'ske), Henri, violinist; b.
 
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