B ornia lal y Ex Libris C. K. OGDEN * :v^><< THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES i4 ♦ ^}^^^D^ /^Ic J- ■ HAMILTON'S DICTIONAIiY 3,500 MUSICAL TERMS. JOHN BISHOP. 130th EDITION. Price One Shilling. ROBERT COCKS & CO., 6, NEW BURLNGTON ST. JiJuxic Publishers to Her Most Gracious Majesty Queen Victoria, and H.R.H. the Prince of Wales. ^ P^ fHB TIME TABLE. ^ O is e:iual to 2 0| or 4 P or 8 j^ or 1 6 f or 3 2 1 or 64 fi •°lT=2,«...4f,.8^..16|..52j si: 2?... 4* HAMILTON 8s CELEBRATED DICTIONARY, ooMrkiRiKo XM izpLAKATioa or 3,500 ITALIAN, FRENCH, GERMAN, ENGLISH, AMJ> OTHBK ALSO A COPIOUS LIST OF MT7SICAL CHARACTERS, 8U0H AS ARB FOUND IN THB WOWS OT Adam, Aguado, AlbreehUberger Auber, Baeh (J. S.), Baillot, Betthoven, Bellini, JJerbiguier, Bertini, Burgmuller, Biikop (John), Boehia-, Brunntr, Brieeialdi, Campagnoli, Candli, Chopin, Choron, Chaidieu, Cherubini, Cl An accompanist. ACCOMPAGNATEUR (French).) ^ ACCOMPANIMENT. A part added to a principal, by way of enhancing the eflfect of the composition. .\ccompaiii^ ments are sometimes ad libitum, that is, they may be dis- pensed with in the performance; and sometimes obbligat<^ *liat is, indispensable to the proper eflfect of the wlioJe. ACCORD. (French). A chord. ACCORDARE (Italian). To tune. AD a ACCORDA ^"O {Italian). Tuning. ACCORDAIORE {Italian). ) ^ ^^^^^^^^ ACCORDEUR {French). ) ACCORDATURA (Italian). The scale of notes, according to which the open strings of any instrument are tuned. Thus, C, G, D, A, form the acc-ordatura of the tenor a. id of the violoncello ; G, D, A, E, that of the violin ; E, A, D. G, B, E, that of the guitar, &c. ACCORDER (French). To tune an instrument. ACCORDO (/7a/ia«)- A chord. ACCRESCIUTO {Italian). Augmented, in speaking o* intervals. ACCRESCIMENTO {Italian). An increase, or augmentation. ACIITELNOTE {German^ A quaver. A CHULxA. A Portuguese dance resenihhng the Fan- dango. A CINQUE {Italian). For five voices or instruments. ACOUSTICS. The general theory of sound. ACTE DE CADENCE {French). A cadence. ACUTE. High as to pitch ; elevated in the general -cale c. sounds. ADAGIO {Italian). A very slow degree of movement, de- manding much taste and expression in the performance. ADAGIO ASSAI or MOLTO {Italian). Very alov* ant expressive. ADAGIO CANTABILE E SOSTENUTO {Italian). Verj slow, singing, and sustained. ADAGIO PATETICO {Italian). Slow, with pathetio ex- pression. ADAGISSIMO {Italian). Extremely slow. ADDITATO (Italian). Fingered. ADDITIONAL KEYS. The keys of a pianoforte or other instrument which extend beyond F in alt fi 3 i AG \ OEMI \'()IX {French). \ Synonymous with metxa voc*. A DEMI JEU (French). ) see that term. \ DEUX TEMPS {French). Two equal times or mea^uie- iiotes in a bar. A DEUX (French). For two voices or instruments. \DJUNCT NOTES. Unaccented auxiliary notes. .ID LIBITUM (Latin), ^t will, or discretion. This expres- sion implies that the time of some particular passage is ieA to the pleasure of the performer ; or that he is at liberty to introduce whatever embellishments his fancy may suggest ADORNAMENTO (Italian). An ornament. .1 DUE (Italian). For two voices or instruments. \ DUR (German). The Key of A major. .EQUISONANS^ Of the same or like sound; an unison. £QUISONANT/ .ESTHETICS (From the Greek). The doctrine of Uste ai applied to the 6ne arts. .\EUSSERSTE STIMMEN (German plural). The extreme parts. AFFANNOSO, con (Italian). With mournful expressica AFFETTUOSO (Italian). n AFFETTUOSAMENTE (Italian.) y'^^ tenderness and AFFETTO, con (Italian). ) P**^°^- AFFLIZIONE, con (Italian). Sorrowfully, with affliction. AFFRETTANDO (Italian), "i Accelerating, hurrying ths AFFRETTATE (Italian). / time. A FOFA. A Portuguese dance resembling the Fandango. AGE VOLE (Italian), Without labour, light, easy, agreeably AGILITA, con (Italian). With lightness and agility. AGITATO (Italian). \ ^ ^ AGITAZIONE. con (/^a/ia«). / ^^^^ "^'^^^°"' ^"^^^""^J' AGNUS DEI (Latin). One of the principal movements oi .\L A A GRAND CHOa'R {French). For the full chorus, ii opposition to the passages for the soli parts only. A GRAND ORCHESTRE (French). For the full orchestra AGREMENS {French plural). Embellishments. AIR (French). An air, or song ; as Air Ecoswii, a Scotci air. AIRS TENDRES (French). Amatory Airs. A IS (German). A sharp. A LA MESURE (French). In time; synonymous with th* Italian words A tempo. ALBER'i'I BASS. A species of arpeggioed bass, so callce' from its having been first employed by Domenico AibertL A LIVRE OUVERT (French). This phrase signiSe* tt perform a piece of music at first sight. ALLIEVO (Italian). A pupil. AL (Italian). n ALLO (Italian)- I ^ , ■ , , , ' > To the ; sometmies, m the style of. ALL' (Italian), j ALL.A (Italian).* ALL A BREVE (Italian). A quick species of oonanion time, formerly used in church nmsic. ALLA CACCIA. In the hunting style. CAPPELLA. In the church style. MARCTA. In the march style. MODERNA. In the modern style. MILITARE. In the military style. POLACCA. In the style of a Polish dance. RUSSE. In the style of Russian music. SICILIAN A. In the style of the Sicilian shepherd' dance. SCOZZESE. In the Scotch style. TEDESCA. In the German style TURTA. In the Turkish style. 6 AL ALL A VENEZIANA. In the Venetian style. ZOrPA. In a constrained and liriping style STRETTA {Italian). Increasing the time; nccele- rating the degree of movement. ALL' ANTICA. In the ancient style. ESPAGNUOLA. In the Spanish style. INGLESE. In the English style. ITALIANA. In the Italian style. ALLEGRAMENTE {Italian). With quickness. ALLEGRETTO {Italian). Somewhat cheerful, but not so quick as Allegro. ALLEGRETTO SCHERZANDO {Italian). Moderately playful and vivacious. ALLEGREZZA {llalian). Joy: &s, con allegrezza, ]oy(u]\y, animatedly. ALLEGRISSIMO {Italian). Extremely quick and lively. ALLEGRO {Italian). Quick, lively. A terra implying a rapid and vivacious movement, but which is frequently modi- fied by the addition of other words : as, ALLEGRO AGITATO. Quick, with anxiety and agitation ASSAI. Very quick. . COMODO. With a convenient degree ci quickness. __ CON BRIO. Quick, .vth brilliancy. ■ CON FUOCO. Quick, with fire. CON MOTO. Quick, with more than the usual degree of movemert. CON SPIRITO. Quick, with spirit DI BRAVURA. Quick, dashing and oiilliant FURIOSO. Quick, with fury. • MA GRAZIOSO. Quick, but gracefully. MA NON TROPPO. \ Quick, but not to er MA NON PRESTO, i cess. AL 7 ALLEGRO MOLTO, or DI MOLTO. Verj quick VELOCE. Quick, with rapidity. VIVACE. With vivacity. VIVO. Quick, with unusual briskness. A.LLEMANDE (French). A dance peculiar to GerniaDj and Switzerland. ALL' IMPROVVISTA (iifa/«a»).'i Extemporaneously, with- ALL' IMPROVVISO (Italian). J out premeditation. AL LOCO (Italian). To some previous place; a term of reference, ALLONGER (French). To lengthen: as allongez Varchet lengthen the stroke of the bow. ALL' OTTAVA (Italian). In the octave. An expression often met with in scores, to signify that one part is to play an octave above or below another. ALL' UinSONO (Italian). In unison, or sometimes, by extension, in octaves. ALMA REDEMPTORIS (Latin). A hymn to the Virgin. AL RIGORE DI TEMPO (Italian). In strict time. AL ROVES CIO (Italian). By reverse ^ contrary mo- tion. AL SEGNO, ) ^ , , cr. • -^ .u . .1. AL SEG. (abbrev.) } ^' ^^'' '^''^'^'' ^' '^^"^^'' ^^"^ ^^' performer must return to a similar character in the course of the movement, and play from that place to the word fine, or the mark ^^ over a double bar. ALT. (abbrev). ^ High in the scale of sounds— O/^flva ^llta, ALTA (Italiaii). ) an octave higher. ALTERATIO (Latin). A term formerly applied to the doubling the value of a note. ALTERATO (7' The tenor violm. ALl-VIOLJl. [German). ) ALTO {Italian). In vocal music, indicates the counter-tenor, or highest male voice. It also indicates the part for the tenor in instrumental music. ALTO CLEF. The C clef on the third line of the stave. ALTRA (Italia7i).\ ALTRO (Italian).] ^*^'^'*- ALTRI (Italian plur.). Others. ALT-SCHLUSSEL (German), j The C clef on the third ALT-ZEICHEN (Gerjnaji). f line. ALZAMENTE DI MANO (Italian). The elevation of the hand in beating time. AMABILE (Italian). | AMABILITA, con (Italiayi).} Amiably. AMAREZZA, con (Italian). With bitterness and affliction. AMATEUR (French). A non-professional lover of music. AMBROSIAN CHANT. The chant introduced by St Ambrose into the church at Milan, in the fourth century. AMBUBAJE. This, among the ancient Greeks, was the name of a society of strolling flute-players. AME (French). The sound-post of a violin, tenor, &c. ». MEZZA VOCE (Italian). In a subdued tone. A MOLL (Geiman). The key of A minor. AMOREVOLMENTE (Italian). With extreme affection. AMOROSAMENTE (Italian). In a tender and affectionaU ncsanrier. AN AMOROSO (Italian). % AMOREVOLE {ItaUan). I Affectionately, tenderly. AMORE, con {Italian). J AMPKIMACER. A musical foot, composed of rne loiia; one short, and one long note. AMPHIBRACH. A musical foot, comprising or,5 thort, ore long, and one short note. ANACREONTIC. In the Bacchanalian sty's. ANALYSE (French). An analysis. ANAPEST. A musical foot, containing two short notes and a long one. ANAPHORA. This term formerly signified the immediate repetition of a passage. ANCORA (Italian). Again, once more. AN CHE {French). The reed or mouth-piece of the oboe, clarionet, &c. ANCIA (Italian). The ree-d of the oboe, bassoon, &c. ANDAMENTO (Italian). An accessary idea or episode in 8 fugue. ANDANTE (Italian). Implies a movement somewhat slow and sedate, but in a gentle and soothing style. This term if often modified, both as to time and style, by the addition of other words ; as, ANDANTE AFFETTUOSO. Slow, but pathetically. CANTABILE. Slow, but in a singing style. CON MOTO. Slow, but with emotion. GRAZIOSO. Slow, but gracefully. MAESTOSO. Slow, with majesty. . — NON TROPi O. Slow, but not too much so. PASTORALE. Slow, and with pastoral sim plicity. A.NDANTINO (Italian). Somewhat slower than /^.'.f/^/n/c AN ANFaNGSGRUNDE {Gcrmnni The elements or princioles. ANFANGS RITORNELL {German). An introductory symphony to an air, &c. ANGLAISF (French). A tune adapted for a country danae, in tlie Englisli style. ANGOSCIAMFNTO, con {Italian). With anxiety, appre- hensively. ANHALTENDE CADENZ (German). A pedal note or organ -point. ANHANG (German). An adjunctive member to a rausicil sentence ; a sort of coda. ANIMA, con (Italian). ^ ANIMATO (Italian). I ^^'^^^ animation, in a spirited ANIMOSO (Italian). J "^^""^'•- ANLAGE (German). The plan or outline of a composition. ANLEITUNG (German). An introduction ; this term often occurs in the titles to German publications. ANONER (French.) To perform in a hesitating manner. ANSATZ (German). The mouth-piece of a wind instru- ment. ANSCHLAG (German). The percussion of a discord. ANSPRACHE {German). Intonation. ANTECEDENT. The subject of a fugue, or of a point ol imitati(m. ANTHEM. A composition in the sacred style, the words o/ which are generally selected from the Psalms. ANTIBACCHIUS. A musical foot composed cf two long notes and a short one. ANTICIPATION. j A taking of a note or chord ANTICIPAZTONE (Italian). / previous to its natural and expected place. ANTICO, air (Italian). In the ancient style AK 11 aNTIIMIOXE. Responses ir.ade by one part of the choiif to anollier, or by the congregation to the priest, in the Catholic divine service. APEPiTO (Itd/ian). Open; an adjective sometimes used to indicate the employment of the damper pedal. A PIACERE {Italian). "^ At the pleasure of the per- A PIACIMENTO (//fl//a«)J former, ^ee Ad libitum. A PLOMB {French.) With exactitude as to time. A POCO A POCO {Italian). By degrees; by little and little. A POCO PIU LENTO {Italian). A little slower. A POCO PIU MOSSO {Italian). A little quicker APPASSIONATO (//«/.,„). . ,vith intensity of APPASSIONAMENTO (Iia'iau). V .- , ' ' i leelnig. APPASSIOXATAMENTE {Italian). ) APPLICATUR {Gernia)i). A position or shift on the violin, violoncello, &:c. APPOGGIATURA {Italian). A note of embellishment, generally written in a small character. APPOGGIATO {Italian). Dwelt, leaned upon. A QUATRE MAINS (F;e»c/0.)^ For four hands Apiano- \ QUATRO MANI {Italian). ) forte duet. A QUATTRO {Italian.) For four voices or instru- ments. ARCATO {Italian). Bowed, played with the bow. ARCHEGGIAMENTO {Italian) The management of the bow, in playing the violin, &c. ARCHET (Frencli). The bow. ARCO, {Italian) The bow. In violin, violoncello, and tenoi music, /Irco, or Coll' Arco, implies that the notes are again to be played v.ith the bow, instead of Pizzicato, that i;;, twitched by the fingers. 12 AR AIICHLUTE. X A strii) A liCHlLVTH {French). K the! ARCILIUTO (Italian). J siderec .\IICHLUTE. '^ A stringed inslniment renembllnp Theorbo, and by some con (Italian). J stidered synonymous with it. ARDITO (IlaUai)). Boldly, energetically. ARETINIAN SYLLABLEwS. The syllables ut,re,mi,Ja. sol, la, used by Guido d'Arezzo for his system of hexachordn. ARIA (Italian). An air or song. There are several spocie-s o: airs ; as, ARIA BUFFA. A comic air. D'ABILITA. An air of difficult execution. CONCERTATA. An air with elaborate orcliostri! accompaniment"?. DI BRAVURA. An air requiring great volubility of execution. DI CANTABILE. An air in a graceful, singing. and flowing style. FUGATA. An air, the accompaniments to which arc written in the fugue style. PARLANTE. An air more declamatory than me- lodious. TEDESCA. An air in the German style. ARIE AGIUNTE (Ilalian plu.). Airs added to, or intro- duced in any opera, or. subsequent performances, ARIETTA (Italian). \ . u . ■ a a ^ ' > A short air or melody. aRIETTINA (Italian). ) ARIETTA ALLA VENEZIANA (Italian). Little airs ir the style of the Venetian Barcarolles. ARIOSO (Italian). In the style of .in air ; vocal, melodious. ARMER la CLEF (French). This exoression relates ir the placing of the sharps or flats requisite for the key of the piece immediately after the clef. ARMONIA (Italian). Harmony. ARMONICA (Italian). A musical instrument, general', constructed of gla^i. AT M AHMONIOSO (/(„/■«„) iHarmomousIy. AllMONIOSAMENTE {Italian). ) ^ ARMONISTA {Italian). One who understands harmony. All PA {Italian). The harp. ARPA DOPPIA {Italian). The double.action harp. ARPEGGIANDO {Italian). \ Passages formed of the notei ARPEGGIATO {Italian). > of chords taken in rapid ARPEGGIO {Italian). ) f.uccession, in imitation o' the harp, are said to be in Arpeggio. The employment of cither term also signifies that certain chords are to be lo played. ARSIS and THESIS {Greek). The elevation and depression of the hand in beating time. ART DE L'ARCHET {French.) The art of bowing. ARTICOr.ARE {Italian). To articulate all the notes dis- tinctly. ARTICOLATO [Italian). Articulated, distinctly enounced. .\RTISTA {Italiayi).^ An artist. As a musical term, this is ARTISTE {French).) usually applied only to first-rate per. formers or composers. AS {German). Aflat: as, AS DUR. A flat major. AS MOLL. A flat minor. ASPERGES ME {Latin). The opening of the mass. ASFREZZA {Italian). With dryness, coarsely. ASSAI {Italian). Very, extremely. This adverb is always joined to some other word, of which it extends the significa- tion: as, Adagio assai, very slow; Allegro assai, very quici^ A sue ARBITRIO {Italian).^ Synonymous terms with aa A SUO COM'SIODO {Italian).) libitum; indicating that the tin>e, &c. are left to the will of the performer. A TABLE SEC {French), A term relating to tfte practice of Tocal exercises unaccompanied by an instrumenL 14 AU A TEMPO {Italian). \ In time. A term used to denotf A TEM. (abbrev.) ) that, after some sliort relaxalioc in the time, the performer must return to the origmai degree of movement. A TEMPO DI GAVOTTA (Ilalian). In the time of a gavot; moderately quick. A TEMPO GIUSTO {Italian). In strict and equal time. A TEMPO ORDINARIO {Italian) In an ordmaiy oj moderate degree of movement. A TRE, or A 3 {Italian), "i For three vo/oes or instru A TROIS {French). ] ments. ATTACCA {Italian). ^ Implies taal the performer ATTACCA SUBITO {Italian). J must directly comin'mce the following movement. ATTACCATO SUBITO {Italian). To be commenced im- mediately. ATTENDANT KEYS. The relative key ; thekey ofthe domi- nantand its relative, and ofthe subdominant and its relative ATTO {Italian). Any act of an opera; as Alto prima, Ai.o secondo — act the first, act the second. ATTORI {Italian plttr. mas.). "» The principal singers in ATTRICE {Italim plur.fem.).) an opera. AUBADE {French). Amorningconcert given in the open air. AUDACE, con {Italian). With boldness. AUFHALTUNG {German). A suspension. AUFLOSUNG {German). The resolution of a discord. AUFSCHLAG {German). The unaccented part o. a )ar. AUFSTRICH (Germflw). An up-bovv. AUFTAKT {German). See Aufschlag. AUGMENTATION. In counterpoint and fugue this terno implies that a subject is imitated in notes of greater length.* • See Cherubini's Course of Counterpoint and Fugue, in 2 vols. 8vo., Recond Edition, published by Messrs Corks and Co., price Ifts- BA Ifi AUGMENx^D intervals. Those v»hich i.re a semi. tone greater than major or peri'ect intervals. A UNA COUDA (Italian). On one string. AUS (German). From, out of; occurs in German titles, &c. AUSARBEITUNG (German). The elaboration or last finish of a musical composition. AUSDEHNUNG (German). Extension, expansion. AUSDRUCK (German), Expression. AUSFUHRUNG (German). Performance. AUSHALTUNG (German). The sustaining a note. AUSHALTUNGSZEICHEN (German). The charades called a pause. AUSWEIC-HUNG (German). Modulation. AUTENTICO (Italian). Authentic. AUTHENTIC. A name given to those church fi.,des whose melody was confined within tiic limits of the wiiic (or final) and its octave. AUTHENTIC CADENCE. A perfect c^.aence. AUXILIARY NOTES. Those standing on the next degree above or below an essential note wheu they do not proceed from one essential note to another. AUXILIARY SCALES. The scales of me attendant or relative keys are so called by sorr.e authors. AVE MARIA (Latin). A hyirn to the Virgin. A VISTA (Italian). At sight , a prima vista, at first sight. AZIONE SACRA (ItalianX A sacred drama. B. BACCHIA. A Kamsciatdale dance, in | time. BACCHIUS. A musical foot consisting of one short and two long notes. BACCIOCOLO (Italian). K musical instrument cTiumon in some parts -A Tus^'any 16 BA BACHELOR OF Ml;»iC. The first musical degree taken at our universities. Abbreviated, Mus, Bac, BADINAGE {FTench.) Playfulness. BAISSER (French). To lower or flatten in pitch. BALKEN [German). The bass-bar of a violin, &c. BALLAD. A short and familiar song. BALLATA (Italian). \ * K ii BALLATETTA (Italian.) / ^ ^^"^^* BALLET (French). "i A theatrical representation of some BALLETTO (Italian), j story or fable, by means of dance OF metrical action, accompanied with music. In England, the second or concluding piece of the evening's entertain- ment at the Italian Opera House is generally a ballet. BALLET-MASTER. The artist whose province it is to superintend the rehearsals and performance of the ballet} and who not unfrequently invents the fable and its details himself. BALLI INGLESI (Italian plu.) English country dances. BALLI DELLA STIRIA (Italian plu.). Styrian dances resembling waltzes. BALLI UNGARESI (Italian plu.). Hungarian dances in £ time, usually accented on the weak part of the bar. BALLO (Italian). A dance, or dance tune. BANDA (Italian). A band. BANDORE. "i An ancient stringed instrument of BANDORA (Italian).) the lute species. BAR. Lines drawn across the stave to divide the music in small and equal portions of duration ; each of these small portipus in !iiemselves is also called a bar. '^-aftLAROLLE (Italian). Airs sung by the Venetian Gondoliers, or boatmen, while following their avocationg. These melodies possess a simple and artless beauty, equally delightful to the unpracti"*^ and to the most cultivated ea». BA '' BARD. A poet and musician. BARITONE CLEF. The F clef placed on the third line. BARITON {French), x A male voice., intermediate, in re- BARITONE. I spect to pitch, between the base BARITONO (Italian). ) and the tenor voices. Phillips and Tamburini are fine examples of this species of voice. BAROCO (Italian). \ Terms applied to music having a BAROQUE (French). ) confused harmony, an unnatura" melody, and full of modulations and discords. BARRE (French). In guitar playing, a temporary nut, formed by placing the fore- finger of the left hand across the strings. BARRE DE MESURE (French). A bar-line. BARRE DE REPETITION (French). A dotted double bar. BAS-DESSUS (French). mezzo-soprano or second treble voice. BASE. The lowest part in a musical composition. BASSA (Italian). Low ; Ottava bassa (or Sva ba-ssa), an octave lower. BASS. The lowest part in a musical composition. BASSE (French). The bass part, whether vocal or instrumental CHANTANTE (French). The vocal bass. CHIFFREE (French). The figured bass. CONTRAINTE (French). A ground-bass. FONDAMENTALE (French). The fundament&J bass, FIGURES (French). The figured bass. BASSETTO (Italian). The little bass. BASSGEIGE (German). The violoncello. BASSO {Italian). The base part, vocal or instrumental BUFFO (Italian). A bass singer in a comic oDera CANTANTE (Italian). The vocal bass. CONCERTANTE. The principal bass. COXTINUO. The continued has-;. 8 BE BaSSO FIGURATv. (Italian). The figured bass. . FONDAMENTALE (Italian). The fundamental b.i-s NUMERATO (Italian). The figured bass. OSTINATO (Italian). A ground-bass. RIPIENO. The bass of the full or tutti parts. BASSON (French). A bassoon. BASS-SCHLUSSEL (German).^ BASS-ZEICHEN (German). / The bass clef. BASTANTE (Italian). Enough; suflScient. BATON DE MESURE (French). The roll of paper 05 other material with which the conductor of an orchestrs marks the time. BATTEMENT (French). . That species of shake called a BATTIMENTO (Italian). { beat. BATTRE LA MESURE (French). To mark the time by beating with the hand or with a stick, &c. To beat time. BATTUTA (Italian). Time; the accented part of the bar. BAU (German). The structure, speaking of musical instru- ments, &c.* B CANCELLATUM (Latin). A sharp (ft). B DUR (German). The key of B flat major. BEAT. One of the principal graces in music. BEATING TIME. Marking the divisions of th^ bar bj means of the hand or foot. BECARRE (French). A natural (tj). BEC (French).) ) D\?nr>r\ / r. ;• \ > The mouth-piece of a clarionet. BKCCO (ItahanJ. ) ^ BECCO POLACCO (Italian). The name of a large spe- cies of bagpipe used in some parts of Italy. BEGEISTERUNG (German) Exaltation, excitement, poet- ical enthusiasm. • See Otto's Treatise on the Structure and Preservatioi! of the Vio)ia \nd all bow instruaients. enlarged by J. Bishop, price 3s, BI 19 BEGLEITENDii STIMMEN (German piur,) The acoom panying parts. BEGLEITER {German). An accompanist, BEGLEITUNG (German). An accompaniment. BELL of a trumpet, horn, &c., is the wide lower opening a* which the sound is emitted. BELLEZZA, con (Italian). With beamy of expression. BELLICOSAMENTE (Italian). In a martial style. BELL METRONOME. A metronome with the addition of a small bell which strikes at the commencement of e.ioh bar.* BEMOLISER (French). | To flatten notes, either at the BEMOLIZZARE (Italian).) clef or in the course of « composition. BEMOL (French). "k ., v BEMOLLE (Italian), j ^ ^**' ^^ >* BEN (Italian). 1 BENE(7/a/ia«). J ^'* BENEDICTUS (Latin). A movement belonging to a niuus. or Catholic morning service. BENE PLACITO (Italian.) At will BEN MARCATO (Italian). Well marked. This expres- sion indicates that the passage »»!ust be executed in a clea? distinct, and strongly accented manner \iEQV\DRO (Italian). \ .. BEQUARRE (French).} ^ ""'"'"^' ^h)' BRSCHREIBUNG (German). A description. QEYSPEIL (German). An example. \U.\'^C A (Italian). A minim. iilCINIUM (Latin). A composition in two parts. • These useful instruments are sold for the Proprietor bj Messrs. "-^kf *a(l Co., price 49..s.; Metronomes without the l^ell, price "463. > A semiquaver. BO BINARY MEASURE. Common time. BINDUNG {German). Syncopation. BINDUNGSZETCHEN {German). A tie or bin(i BIRN {German). That pait of a clarionet ana basset- horn into which the mouthpiece is inserted. BIS {Latin). Twice. A term which indicates that a certain passage, distinguislied by a curve drawn over or under i*., must be performed twice', this abbreviation saves writing the pass?_^e over again. BISCHERO {Italian). A peg of a violin, violoncello, 9ic. BISCROMA {Italian). BISCROME {French). BIS DIAPASON. A double octave. BIS UNCA. The old name for a semiquaver. BIZZARO {Italian). A term which denotes that tht move- ment to which this is prefixed is written in an irregular and fantastic style. BLANCHE {French). A minim. BLASEBALGE {German). The bellows of an organ. SLASINSTRUMENT {German). A wind instrument 6LASMUSIK {German). Music for wind instruments. B MOLL {German) The key of B fiat minor. BOCAL {French). \ The mouth-pioce of a horn, troia- BOCCHINO {Italian). ) bone, or serpent. BODEN {German). The back of a violin, tenor, &c. BOGEN {German). The bow. BOGENFUHRUNG {German). The management of ibe bow. BOGENINSTRUMENT {German). A bow instrument BOGENSTRICH {German). A stroke of the bow. BOLERO. A Spanish dance with castanets. BOMBARDE {French). ) An old wind-instrument of the BOMBARUO {Italian). } hautboy sDeci«% BU 21 1 doul BOURDON (French). f organ. BOURREE (French). A lively dance in common linae &6 ginning with an odd crotchet. BQUADRATUM (i^«^-)U natural ( t}). B QUADRUM (Latin). ) ^^^ BRANLE (French). An old dance. BRATSCHE (German). The tenor violin. BRAVA, (Italian feminine). \ Exclamations of approba- BRAVI, (Italian plural). > tion used at the Italian BRAVO, (Italian masculine). J theatres. BRAVURA (Italian). A composition requiring great spirit and volubility of execution. BREVE. A note twice the length of the semibreve, seldonc used in modern music. BRILLANTE (Italian and French). An expression indi- -•ating a shewy and sparkling style of performance. BRIO (Italian). \ BRIOSO (Italian). \ With brilliancy and spirit. BRIO, con (Italian). ) BRIS^fi (French). Sprinkled, broken into an arpeggio, in treating of chords. BRODERIES (French). Embellishments. B ROTUNDUM (Latin). Aflat (b). BRUSCAMENTE (Italian). Abruptly, coarsely. BUFFA (Italian). ") Comic. An actor or singer who takes BUFFO (Italian), i the light and humorous parts in the Italian comic opera. This epithet is also applied to thp pieces themselves, as opera huffa, a comic opera. BURLANDO (Italian.) Playfully, in a jesting manner. BURLESCO (Italian). With comic and even farcical bo- mour. 22 CA BURLETTA (ItaltMn), A light species of mutieal dranrwv somewhat in the nature of the English farce. CABALETTa (Italian). A simple melody of a pleasmg and attractive character. CACCIA, alia {Italian^ In the hunting stjie CACOPHONY. A discordant combination of sounds, form- ihg no regular harmony. CADENCE (French). A shake; also a cadence in harmony, as cadence parfaite, a perfect cadence ; cadence rompue. ao interrupted cadence. CADENCE. A close in melody or harmony. An orna- mental and extemporaneous passage introduced at the close cf a song or piece of music. CADENCE INTERROMPUE (French)^ An interrupter ROMPUE (French). J cadence. IMPARFAITE {French). An imperfect cadence. PARFAITE (French). A perfect cadence. CADENZA (Italian). A cadence, or close, at the termi- nation of a song or other movement, introducing some fanciful and extemporaneous embellishment. In modern music the cadenza is generally written in small notes. CADENZA D'INGANNO (/fo/tan). An interrupted cadence. C-ffiSURA (Latin.) The rhythmic termination of anr passage consisting of more than one musical foot. Th^ last accented note of a phrase, sectirn or period. CAI.ANDO (Italian). Gradually diminishing in tone anJ quickness ; becoming softer and slower by degrees. CALASCIONE (Italian). A species of guitar. CALCANDO (Italian.) Pressing upon, hurrying the tinif CALMA, eon (Italian). CALMATG (Ital ^V* ] With tranquillity and repose. ian). ) CA 23 CALORE, con (Italian). •»„,., , • , - . « . T ^^r^r,^ ,T .. s > With much warm n and animation. CALOROSO {Italian). } CAMBIARE (Italian). To change. CAMERA (I/alian). The chamber; as, mxisica di camera, chamber-music. CAMINANDO [Italian). Flowing; with gentle atsd easT progression. CAMPANELLA {Italian).^ CAMPANELLO {Italian).] ^ ^'"^^ ^^" CAMPANELLINO {Italian). A very little bell. CANARIE (French). ^ 3 6 CANARIES. I ^ '°''^ °^ J^^' ^" 8 ^' 8 *'™*- CANCRIZANS. Retrograde movement. CANON. A species of uninterrupted imitation. CANONE (Italian.). A canon or catch for several voicee o; instruments. CANONE AL SOSPIRO (//a/ian). A canon, the parts ol which come in at the distance of a crotchet rest from each othet- CANONE APERTO (Italian). An open canon. CHIUSO (Italian). A close or hidden canoa CANTABILE (Italian). In a graceful and singing style. CANTANDO (Kalian). In a singing manner. CANTANTE (Italian). A part to be executed by tlie voiec CANTARE (Italian). To sing ; as, CANTARE A ARIA (Italian). To sing without confining oneself to the music as written. CANTARE A ORECCHIO (Italian). To sing by ear. CANTARE DI MANIERA (Italian.) To sing with grace and expression. :;AN tare MANIERATA (Itelisr,). To sing with a pro- fusion of embellishments, without taste or discernment. V ANTATA (Italian). A vocal composition, of «*•'*"" rrovemr-ut':. onTnrjrising airs and recitatives. . A. N ']■ A T K J C E '^Italian ). A i,..;^:* tingp- 24 CA CANTATI LLA (Z^a/^an). i CANTATINA {Italian). ] ^ '^°'^ ^*"^*^*' CANTICA {Latin). \ CANTICI {JtaUan). ] Canticles or del jtional .onga CANTICLE. A hymn or divine song. CANTICUM {Latin). A canticle or divine song. CANTILENA {Italian). The melody, air, or principal par! in any composition ; generally the highest vocal part. CANTO {Italian). The highest vocal part in choral mudc. CANTO FERMO {Italian). A chant or melody; as alsc any subject consisting of a few long, plain notes, given aa a theme for counterpoint. CANTO FIGURATO {Italian). A figured melody. GREGORIANO {Italian). The Gregorian chant LLANO {Spanish). \ f The plain song or chant PIANO {Italian). PRIMO {Italian). The first treble. SECONDO {Italian). The second treble. CANTOR {Italian), -k . CANTORE (Italian). / *^"^^^* CANTORIS. A term used in cathedral music* to indicate the passages intended to be taken by those singers who are placed on that side of the building where the Cantor or Precentor sits; i. e. on the left-hand side on entering the choir from the nave. CANTUS {Latin). A song, chant, or melody, as: CANTUS AMBROSIANUS. The melodies or chants intF«- duced into the church by St. Ambrose. -^ FIRMUS (Latin). The plain song, or chant. GREGORIANUS. The chants collected by St Gregory. * See Warren's splendid edition of Dr. Boyce's Collection of Catbedra! Music, 3 vols., folio, price 6 guineas CA CANTUS FIGURATUS (Lafin). -Embellis melodies or chants. CANZONE (Italian). An air in two or three parts. CANZONET (Italian) ) ^ , CANZONETTA ilialiau). j A short canzone, or song CAPO (Italian). The head or beginning. CAPOTASTO (Italian). Tlie nut of the finger-board of a violin, violoncello, &c. CAPPELLA, alia (Italian). In the church sty «. CAPRICCIETTO (Italian). A short capriccio. CAPRICCIO (Italian). A fanciful and irregular specie! ol composition, CAPRICCIOSO (Italian). \ CAPRICCIO, a (Italian), i ^^ ^ ^^'^^^^"^^ capricious styU CAPRICE (Frenc/O- A capriccio. CARATTERE (Italian). Character ; as, con molto caratters, with much character and emphasis. CAREZZANDO (Italian). In a caressing atyle. CARICATO (Italiayi). With exaggerated expression. CARILLONNEUR (French). A performer on the carillon*. CARILLONS (French). A set of musical bells, or cniniesr as also short simple airs adapted for such belln. CARITA, con (Italian). With tenderness and feeling. CAROL. The name given to the old ditties sung at Christmas tide. CASSA GRANDE (Italian). The great drum. CASTANETS. | Pieces of hard wood of a peculiar shape C ASTAG V^ ETS. / which are struck together and used to ac- company dance-tunes in Spain and other southern countries CASTANETAS, (Spanish). \ ^^ CASTANUELAS (Spanish). } ^^' '^'^^Snets. CATCH. A vocal piece in several parts, of e bumoroot vbaraeter. 26 CH CATENA DI TRII.LI {Italian). A chain or succession ot shakes. CAVATINA {Italian). An air of one movement or part only, occasionally preceded by a recitative. C BARRfi {French). The character ^ indicating alia breve time. ^ C DUR {German). The key of C major. CEBELL. The name of an old air written in common time. CELERE {Italian^ "iuick, rapid. CELERITA, con (Italian). With celerity ; quick. CELESTE {French). Indicates the employment of the pedal, in some pianofortes, which acts on the celestina stop. CEMBALO {ItaUan). The harpsichord. CES {German) C flat. CHACONNE {French). An air constructed on a ground bass : a Spanish dance. CHALUMEAU {French). An ancient rustic flute. When this word occurs in music written for the clarionet, it signifies that the passage to which it refers must be played an octave lower. CHANGEABLE. Said of those chants which may be per- formed either in the major or minor key of the tonic in which they are written. CHANGING NOTES. Passing no^^s on the accented parts of a bar. CHANSON {French). A song. CHANSONNETTE {French). A short or little song. CHAN'l. A simple melody, generally harmonised in fotL parts, to which the daily psalms are sung h\ cathedrals, &a See Single Chant and Double Chant. CHANT (French). A song or melody; the vocal part. ^HANl GREGORIKN {French). The Greyorian Chant CH 27 CHANT SUR L.E LIVRE {French). A barbarous kind ol counterpoint on the plain chant, performed by several voices, each singing extempore. CHANTANT {French). In a singing and melodious style, CHANTERELLE {French). The highest or most acuU string of the violin. CHANTEUR {French). A male singer. CHANTEUSE {French). A female singer. CHASSE [French). In the hunting style. CHE {Italian). Than; as, poco piii lento che andante^ rathei slower than andante. CHELYS {Greek). The lute. CHEVALET {French). The bridge of a violin, tenor, or violoncello. CHEVILLE {French). The peg of a violin, tenor, &e. CHIAREZZA, con {Italian). With clearness and neat.oess. CHIARO Italian). Clear, as regards sound or tone. CHIAROSCURO {Italian). Light and shade, in raodifica tions of forte and piano. CHIAVE {Italian). A clef. CHIESA {Italian). The church. CHIFFRES {French). Figures, in speaking of thorough-bass. CHIROGYMNASTE. A square board on which are placed various mechanical contrivances for erercising the fingers o/ the pianist. CHIROPLAST. A guide for the hand in pianoforte playing. CHITARRA {Italian). A guitar. CHIUDENDO {Italian). Closing; ending with. CHCEUR {French). The choir, or chorus. CHORS ANGER {German). A chorus singer. CHOIR. That portion of a chapel or cathedral set apart for the singers in divine vdrship ; as also the singerr- themsplve* "iiken collectively. OS 28 GL CHOIR-ORGAN. The smaller or softer toned organ, used to accompany the principal singers in solos, duets, &c. CHOR {German). Choir, chorus; as, Arie und Chor, air and chorus. CHORAL, Belonging to the choir ; full, or for many voices CHORAL. {German). A psalm-tune. CHORALMASSIG {German.) In the style of a psalm-tune. CHORD. A combination of several sounds forming harmon} CHORIAMB US. A musical foot, accented thus— \^ \^ —, CHORISTER. A men-.ber of the choir. CHORUS. A band or company of singers. CHROMATIC. Proceeding by semitones, or formed bj means of semitones, CHROMATIQUE {French). Chromatic, proceeding by semi- tones. CHURCH MODES. The ancient modes called by the fol- lowing names: Dorian, Phrygian, Lydian, Mixolydian, Bolian, Ionian or lastian. CIaCONNE {Italian). A chaconne ; a Spanish dance. CIMBALLES {French plu.). Cymbals, a military instrument CIS {German). C sharp ; as DUR. C sharp major. MOLL. C sharp minor. CISC IS {German). C double sharp. CITHARA. An ancient instrument of the harp kind, CITOLE. An instrument of the dulcimer species, and p bably synonymous with it, CITTERN. An old instrument resembling the lute. CIVETTERIA {{Italian). Coquettishly. CLARIBELLA. The name of an organ-stop tuned in uni' son with the Biapasonb. CLARICHORI). i A small keyed instrument of the spine* CLAVICHORD < '^•■"l CLARINETTISTA {Italian). ^ A performer on tbt CLARINETTISTE (French). ) rionet. CLARINETTO (Italian). A clarionet. GLARING (Italian). An octave or small trumpet, CLARION (French). An octave trumpet. Also an orgafi stop an octave higher than the trumpet stop. CLAVECIN (French.) a CLAVICEMBALUM (Latin). I The harpsichord. CLAVICEMBALO (Italian). ) CLAVIER (Fretich, German). The key -board of a piano oi organ. CLEF (French). A clef. CLEF DE FA (French). The F clef Q CLEF DE SOL (French). The G clef CLEF D'UT (French). The C clef CLEFS. Characters used to determine the name and pitci. if the notes ; they are of three kinds : treble, tenor, and bass. CLOCHETTE (French). A little belL C MOLL (German). C minor. CODA (Italian). A few bars added at the close of a compo- sition beyond its natural termination. CODETTA (Italian). A short passage serv in^r to ccunerl one period or movenrient with another. COI (Italian plur.). COL (Italian). COLL' (Italian). \ With the ; as col arco, vvith the bov/. COLL A (Italian). COLLO, {Italian). COI VIOLIN I {ItalKfn). With the violins. 30 CO COL BASSO {Italian). With the bass. COL CANTO {Italian). | With the melody or voice. Thess COLLA VOCE {Italian). ) expressions imply that the ac- companist must follow the singer in regard to time, COLLA PARTE {Italian). Implies that the accompanist must follow the principal part in regard to time. COLL' \RCO {Italian). With the bow. COL LEGNO DELL' ARCO {Italian). With the bow- stick. COLOFONIA {Italian). \ JOLOPIION {French). / ^«"*^ COAIE {ItaliMi). As. COME PRIMA {Italian). As befere. COMES {Latin). The answer of a fugue. COME ^OVKk {Italian). As above or before. COME STA {Italian). As it stands. COMMA {Italian). A small interval, treated of in the doc trine of musical ratios. COMMEN9ANT {French). A beginner in music, &c. CO^IMODO, con {Italian). 1 COMMODAMENTE {Italian.) f ^"^^^^J^' ""'"^ ^om^o'ure. COMMON CHORD. A chord consisting of a bass note together with its third and fifth, to which the octave is often added. COMMON TIMES. Those which have an even number of parts in a bar. COMPIACEVOLE {Italian). Pleasing; attractive. COMPLIN {Latin). Evening service, during Lent, in the Catholic Church. COMPOSITEUR {French). ^ CO.MPOSITORE {Italian).} ^ composer. GOA.IPOSITION. Any musical production is «!0 called ''he ait nf'"-venting music. CO m COMPOSIZIONE {Italian). A. musical composition. COMPOSIZIONE DI TAVOLINO (i^o^ian). Table mu«c» as glees, catches, &c. COMPOSTO {Italian). Composed. COMPOUND INTERVALS. Such as exceed the extent of an octave. COMPOUND TIMES. Those measures which contain two or three principal accents; as §> y, §, &c. TON (Italian). With; as, AFFETTO (Italian). In an affecting manner. AFFLIZI0NE(7f«^mn).^ AMAREZZA (Italian). } ^^^^ ^^^^ion. distress. — — ANIMA (Italian). With animation and feeling. AUDACE (Italian). With boldness. BRIO (Italian). With brilliancy and spirit. CELERITA (Italian). With celerity. CONCENTO (//^/fa«). Concord ; agreement. A selection o;f pieces is sometimes so called. CONCENTRARE (Italian). To concentrate; to veil the sounds with mystery. CONCERTANTE (Italian). Apiece of music for an orches- tra, in which several of the instruments have occasional solos. It is also used adjectively, as, duo concertante, a duet which each part is alternately principal and subordi- nate. CONCERTINA (Italian). A small sexangular musical in- strument held in the hands. The sounds are produced from metal tongues by pressing the fingers upon the keys which are situated on both sides of the instrument, and at the same time moving the bellows to obtain the necessary supply W wind. 32 CO CONCERTINO (Italian). This term always denotes a prin. cipal part in a concerto, or other full piece ; as, violin» prima concertino, first principal violin : violino secondo concertino, second principal violin. CONCERTO (Italian). A composition intended to display the powers of some particular instrument, with orchestral accompaniments. CONCERTO GROSSO (Italian). A composition for many instruments, some principal, some auxiliary. CONCERTO SPIRITUALE (Italian). A miscellaneoui concert, chiefly of sacred music. CONCERT-SPIELER (German), A solo-player. CONCERT-STUCK (German). A concerted piece, a con- certo. CONCINNOUS. Harmonizing ; coinciding in effect. CONCITATO (Italian). Perturbed, agitated. CON COMMODO (Italian). In a convenient degr«e ol movement. CONCORD. An agreeable combination of sounds. CON DILIGENZA (Italian). Diligently, in a studied manner. DISCREZIONE (Italian). With discretion. DISP ERAZIONE (//a/ia«). With despair. DOLCEZZA (Italian). With sweetness. DOLORE (Italian) \ Mournfully, with grief nd DUOLO (Italian). j pathos. ELEGANZA (Italian). With elegance. - — ENERGIA (7/a/m7j). With energy. ENTUSIASMO (Italian). With enthusiasm — - ESPRESSIONE (Italian). With expression. FACILITA (Italian). With facility. FORZA (Italian). With force ; vehemently. - FUOCO I Italian). With fire and aniraatioft CO 38 CON FURIA (ItaHan). Furiously, with vehemence. FURORE (Italian). With agitation an'» fury. GENTILEZZA {Italian). With grace an t eleganofc. GIUSTEZZA {Italian). With precision. GRAVITA (Italian). With gravity. GRAZIA (Italian). With grace. ^— GUSTO (Italian). With taste. IMPETO (Italian). With impetuosity. IMPETO DOLOROSO (//a/ian). With pathetic foxue and energy. INNOCENZA (Italian). In an artless and innocent style. LEGGIEREZZA (Italian). With lightness and delicacy LENTEZZA (Italian). W-Ui slowness. MODERAZIOXE (//a/m??). With a moderate degree of uickness. MOLTO PASSIONE (Italian). With great passion and feeling. MOLTO SENTIMENTO (Italian). With a high degree of feeling. MORBIDEZZA (//a/m«). With excess of delicacy. MOTO (Italian). In an agitated style ; with spirit NEGLIGENZA (Italian). Negligently; without re- straint. CONNOISSEUR (French). One who possesses a knowledge of, and is a judge of, music. CON OSSERVANZA (Italian). With scrupulous exact- ness in regard to time. PIACEVOLEZZA (Italian). In a pieasmg ai . graceful style. PRECIPITAZIONE (i/a«aw). In a hurried mnnnt:r. PRECISIONE {Italian) With distinctness an>\ nr<». cisiua- 84 CO CON RESTEZZA {Italian). With rapidity. RABBI A (Italian). With rage, furiously. RAPIDIT?\ (Italian). With rapidity RISOLUZIONE {Italian). With boldness and reso lution. SDEGNO {Italian). In a fiery and indignant style. COMSECUTIVE. A term applied to a series of similar in tervals or chords. CON SEMPLICITA {Italian). With simplicity. SENSIBILITA {Italian). With sensibility and feel- ing. SENTIMENTO {Italian). With feeling and senti- ment. CONSEQUENT. The answer of a fugue oi of a point oi imitation. CONSERVATOIRE {French). I a public school of music. CONSERVATORIO {Italian). ) CONSOLANTE {Italian). In a cheering and encouraging manner. CON SOLENNITA {Italian). With solemnity. CONSONANCE. An interval agreeable to the ear. CON SONORITA {Italian). With a full, vibrating kind of tone. CON SORDINI {Italian). With mutes. SPIRITO {Italian). With quickness and spirit. SUAVITA (Italian). With sweetness and delicacy. TENEREZZA (Italian). With tenderness. TEPIDITA (Italian). With coldness and indifference. TIMIDEZZA (Italian). With timidity. CONTINUATO (Italian). Continued or held down or on, speaking of notes. CONTRA-BASSO (Itaiian). The double basa GO Sft OONTRA-FAGOTTO {Italian). A double basscon. CONTRALTO (Italian). A counter-tenor voice. The highest species of male voice, and the lowest of female voices. CONTRA PPUNTISTA (Italian). One skilled in counter. point. CONTRAPPUNTO (Italian). Counterpoint, the first and most necessary step towards a knowledge of musical corapo- sition. — — — ^— — ^— Sopra il soggetto, counterpomt above the subject Sotto il soggetto, counterpoint below the subject. CONTRAPPUNTO ALLA MENTE (Italian). SeeCHANi SUR LE LIVRE. DOPPIO (Italian). Double counter. poin; CONTRAPUNCKT (German;. Counterpoint CONTRAPUNTIST. One v/bo understands counterpoint. CONTRARY MOTION. Motion in an opposite direction to some other part. CONTRASSOGGETTO (Italian). The counter-subject of a fugue. CON TRASPORTO (Italtan . In an angry and passionate manner. JONTRA VIOLONE (Itactan). CONTRE-BASSE (French: CONTRE DANSE (French, A quadrille or country dance. CONTREPOINT (French: Count^point. CONTREPOINTISTE (French). A contrapuntist. CONTRESUJET (French) The counter-subject of a fugue. CONTRETEMPS (French) Syncopation. CON VARIAZIONE (ItrJ^n). With Variations. > A double bass. 36 CO CON VEEMENZA (Italian). Forcibly, vehemently. VIOLENZA (Ila'ian) With violence VIVEZZA (Italian). With animation, vivaciously ZELO (Italian). With zeal. COPULA (Latin) That movement in an organ by which two rows of keys can be connected together, or the pedals with the keys. COR (French). A horn. CORALE (Italian). The plain chant CORANTE (Italian). A slow dance in g or | time, CORD A (Italian). \ A string: as, sopra una corda, or aur CORDE {French).) une cor de, on one stving COR DE CHASSE (French). A French horn. COR DE SIGNAL (French). A bugle. CORDIERA (Italian). The tailpiece of a violin, tenor, &c CORIPHCEUS (Lati. ^ The leader of the dances. CORNAMUSA (Italian). The bagpipe. CORNET. The name if an organ stop consisting ol seTeral ranks of pipes. CORNET (Italian) j ^ ^^ ^ ^^^^ CORNETTO (Italian). ^ ^ ^ ^ CORNET A PISTONS (French). A species of trumpet with valves. CORNI (Italian). The horns. CORNO (Italian). A horn. CORNO Dl BASSETTO (Italian) A basset-horn. DI CACCIA ^Italian). A French horn. INGLESE (Italian). An English horn. CORO (Italian). A chorus, or piece for many vo.cea CORONA (Italian) A pause, marked T\ CORRENTE (ItaUan\ An old dance tune in triple time. CORY PHfiE (French). The leader oi ^he groups of dancers. COTILLON (French). A lively and <»Jiimated dance in § time CR 37 COULE (Frencn). A group of two notes connected by a slur. COUNTERPOINT. The art of composition. COUNTER-TENOR. The highest adult male voice, and the lowest female voice. CLEF. The C clef on the third line of the stave. COUPS D'ARCHET (French). Strokes of the bow ; ways of bowing. COURANTE (French). An old dance tune in triple time. COVERED CONSECUTIVES. See Hidden Comsecu TIVES. CREDO (Latin). I believe. One of the principal move- noents of the mass. CREMONA (Italian). A small town in Italy, celebrated as having been the residence of the great violin makers, Amati, Straduarius, Guarnerius, &c. CREMONA. 'I An organ reed-stop tuned in unison with the CREMORNE.J diapasons. CRESCENDO, or ORES. (Italian). With a gradually in- creasing power of tone. CROCHE (French). A quaver. CROCHET (French.) The hook of a quaver or other shorter note. CROOKS. Sm.all curved tubes applied to horns, trumpets &c. to change their pitch. CROMA (Italian). A qua¥er. CROMATICA (Italian). Chromatic. CROTCHET. A note equal in duration to one hal! cd ■' minim. CROWLE. An old Englisih wind instrument CRUCIFIXUS (Latin). Part of the Cre^. 38 DA C.KWTH. A singular Welsh instruinent with gix strings, ui played upon with a bow. C SCHLUSSEL (Gemaw). The C del CUM SANCTO SPIRITU {Latin). Part of the Gloria. GUSTOS (Latin). A direct. CYMEaLS. Those metal plates used in military bands, and which on being struck together produce a clashing sound. D. DA (Italian). By, for, from, &c. DA CAMERA (Italian). In the style of chamber music, DA CAPELLA (Italian). In the church style. DA CAPO or D. C. (Italian). From the beginning. An expression which is often written at the end of a movement^ to indicate that the performer must return to and finish with the first strain. DA CAPO AL FINE (Italian). An expression placed at the end of a movement, signifying that the performer must return to the first part, and conclude where the word Fine is placed. DACTYL. A musical foot composed of one long and twc short notes. DACTYLION. A machine invented by H. Herz for strengthening the fingers, and rendering them independent in pianoforte playing. DAL (Italian). By: as Dal Segno, from the sign ; a mark of repetition. DAMPER PEDAL That pedal in a pianoforte which raises the dampers fiom the strings. DANSE (French.) A dance. DA TEATRO (Italian). For the theatre. DAUER (German). The duration c len^jth of notes D DUE (German). D mt^or DEBILE (Itanan). | Weakly, feebly. DEBOLE (Italian), j ^' ' DECANI. A term employed in cathedral music, implying the passages to which it is affixed must be taken by those singers who are placed on that side of the building where the Dean sits: i. e. on the right-hand side on entering the choir from the nave. DECISSIMO (Italian). With extreme decision. DECISO (Italian,. With decision, boldly. DECKE (German). The oeliy of a violin, violoncello, &c. DECORATION (French). This occurs in the sense of «i> nature in some French works on music. DECRESCENDO (Italian). Gradually decreasing in powei of tone. DEGRF. (French). A degree of the staff. DELIBERATAMENTE (Italian). 1 deliberately. DELIBERATO (Italian). ) DELICATEZZA, con (Italian). With delicacy of expression. DELL' (Italian). \ DELLA (Italian), lofthe. DELLO (Italian). J DELICATO (Italian). "k DELICATEMENTE (Italian)- / Delicately. DELICATISSIMO (Italian). With extreme delicacy. DELYN. The name by which the Welsh call their harp. DEMANCHER (French). To change the position of the hand ; to shift on the violin and similar instruments. DEMI (French). A halt DEMI-CADENCE (French^ 'ja harmony, a haltcadence, or cadence on the dominant of the key DEMI- PAUSE (French), A minim rest. DEMIQUART DE SOUPIR. (.Frenc/J^. A Hemisemiqua- rtr rcBt. 40 DI ')EMISEMIQUAVER. A short note, equal in duration t« one-half the quaver. DEMI-SOUPIR (French). A quaver rest, DEMI -TON (French). A semitone. DE PROFUNDIS (Latin). One of the seven penitentiA psalms. DERIVATIVES. Chords derived from others by inversion. DES (Gennan). D flat. ')ESCANT. \n extemporaneous or other counterpoint an * given subj cc. DESCENDANT (French). In descending. DES DUR (German), D flat major. DES MOLL. D flat minor. DESSUS (French.) The treble or upper vocal part. DESTRA (Italian). | The right hand. D EXTRA (Latin), i DEIjTSCHE FLOTE (German). A German flute. DEVOZIONE (Italian). Devotion; as, con devozione, de« voutly ; vrith religious feeling. DI {Italian). Of. DIALOGO (Italian). A dialogue. A piece or passage in which two or more parts are so constructed as to respond to one another. ^lAPASON. An octave. A term applied to certain essen- tial stops in an organ, which extend throughout the whole scale of the instrument. Of these there are several sorts: as, open diapason, stopt diapason, double diapaaon, ^c* DIAPENTE (Greek). A perfect fifth. DIATESSERON (Greek). A perfect fourth. DIATONIC (Greek). Naturally; that is, according to the degrees of the major or minor scale, or by tones and iemi- tones only. * See EainiltoD's Catecbism on the Organ, price is. also, Hopkitf tx^A r.mbault •»» tie Orcon, Sit. td. DI 4! DIESARE {Italwn). \ To sharpen notes, either at the cieri Dlt!,SEK {French). } or in the course of a composition. DIES IRiE (Latin). A princ'nal movement in a re- quiem. DIESIS (Greek). A small interval used in the matheniatica computation of intervals. inEZE (French.) A sharp (jf). DI GRADO (Italian). By degrees, in opposition to moving by skips. DILETTANTE (French). A lover of music. DILUENDO (Italian). A gradual dying away of the tone till it arrives at extinctioUc DIMINISHED. Somewhat less than perfect, as applied to intervals, chords, &c. DIMINISHED INTERVALS. Those which are a semi tone less than minor or perfect intervals; DIMINU:^ (Frewc/0. -» Diminished, in speaking of inter- DIxMINUITO (Italian). ] vals. DIMINUENDO (Italian). \ This term implies that the DIM. (abbrev.) ) quantity or intensity of tone must be gradually diminished. DIMINUTION. Imitation of a given subject by means of notes of shorter duration. DT MOLTO (Italian), An expression which serves to aug- ment the signification of the word to which it is added ; as allegro di molto, very quick. DIRECTEUR (French). The director or conductor of a musical performance, DIRECT MOTION. Similar motion. DIRGE. A funeral song. DIS (German). D sharp. DI SALTO {Italian). By skips; in opposition to di ^rado which si^fies to move by degrees. 12 DO DISCANT. See Descant. It also implies the upper part DISCORD. A dissonant combination of sounds. DIS-DIAPASON. A double octave. DIS-MOLL (German). D sharp minor. DISPERATO (Italian). ■» Despairingly; with ex^ DISPERAZIONE, con (Italian). ) treme emotion. DISPERSED HARMONY. Harmony in which the notet forming the different chords are separated from each other by wide intervals. DISSONANCE. An interval or chord displeasing to the ear. DISSONANT. An inharmonious combination of sounds. DITO (Italian). The finger. DITONE (Italian). ^ The major third or interval of two DITONUS (Latin). / whole tones. DIVERTIMENTO (Italian). A short, light composition, written in a familiar and pleasing style. DIVERTISSExMENT (French). Certain airs and dances resembling a short ballet, introduced between the acts of the French or Italian opera. Also a composition in a light and pleasing style. DIVISI (Italian plu.) This word is occasionally met with in orchestral parts when a passage is written in octaves or other intervals. It implies that one-half of the performers must play the upper notes, and the others the lower ones. DIVISION. A series of notes sung to one syllable. For- merly, this term implied a kind of variation upon a given subject, DIVOTO (Italian). Devoutly ; in a solemn style. DIVOZIONE, con (Italian). With religious feehng. D MOLL (Gervian). D minor. \)0 (Italian). A syllable apnlied in solfaing to the note C DO IS DOCTOR OF MUSIC A degree conferred by oat of the Universitiet. Abbreviated Mas. Doc. DOIGTfe (Fronch). Fingered. DOIGTER (French). The fingering. DDL. (abbrev.) ^ Implies a soft and sweet style of per- DOLCE (Italian). / formance. DOLCE MANIERA (Italian). A delicate and beautiful style of delivery. DOLCEMENTE (Italian). In a sweet and graceful style. DOLCEZZA, con (Italian). With sweetness and softness, DOLCIANO (Italian). . DOLCINO (Italian). [^ A small bassoon formerly much in DULCIAN (French), i use. DULCINO (Italian). ^ DOLCISSIMO (Italian). With extreme sweetness. DOLENTE (Italian). ^ DOLORE, eon (Italian). > Sorrowfully, pathetically. DUOLO, con (Italian). ) DOLENTEMENTP: (Italian). Dolefully; plaintively. DOLENTISSIMO (Italian). With excess of grief. DOLOROSAMENTE (Italian). | Indicate a soft and pathe- DOLOROSO (Italian). / tic style. DOMINANT. A name given by theorists to the fifth note of the scale. DOMINANTE (Fretich). The dominant or fifth note of the scale, so called from its governing the key-note in har- mony. DOMINE SALVUM FAC (Latin). A prayer for the reijfn- ing Sovereign, sung after the mass. DONA NOBIS PACEM (Latin). The concluding move ment of the mass or Catholic morning service. DOPO (Italian). Aft-.- 44 DO DOPPEL {German). Double; as, DOPPELGRIFFE {German.) Duuble stop on tha \ioIin, &c. DOPPELSCHLAG {German). A turn. DOPPIO (Italian). Double: as, DOPPIO MOVIMENTO {Italian). Double tiaie; that is, as fast again. DOPPIO TEMPO {Italian). Double time. DORIAN. The name of one of the ancient modes. DOT. A character which, when placed after a note o. rest, increases its duration by the half of its original value. DOUBLE. An old term for a variation used by Scarlatti and others. DOUBLE BEMOL {French). Double flat. DOUBLE BAR. Two thick strokes drawn through the staff. DOUBLE CHANT. A simple harmonized melody extend- ing to two verses of a psalm as sung in cathedrals, &c. DOUBLE COUNTERPOINT. A counterpoint which ad- mits of the parts being inverted.* DOUBLE CROCHE {French). A semiquaver. DOUBLE DIEZE {French). Double sharp. DOUBLE DRUM. A large drum used in military bands and beaten !rt both ends. DOUBLE FUGUE. A fugue on two subjects. DOUBLE TONGUEING. A mode cf articulating quick notes, used by flutists, DOUBLETTE {French). An organ stop, called by us the fifteenth. DOUX. {French). Softly, sweetly. • See UamiMeD't Catechifin on Double Ccunterpuint and Fugop. DU 46 DRAMA \ ^ , . , DRAME {Frencn). \ ^ P°^"» accommodated to acfion DRAMMA {Italian. ) ) ^ P^^^' * ^^"^^'^y' * ''^S'^^' DRAMATIQUE (French). ^ DRAMMATICO (Italian). / Dfa^a^^®- DRAMMA BURLESCA (Italian). A comic or h-umorout drama. DREYKLANG (German). A chord of three sounds, a triad DREYSTIMMIG (German). In three parts. DRITTA (Ilalian). The right hand. DRIVING NOTES. Long notes placed between shorter ones in the same bar, and accented contrary to the usual rhythmic flow. DROITE (French). Right; as, maine droite, right hand. DRONE, The largest of the three tubes of the bag-pipe. It sounds oniy one deep note, which serves as a perpetual bass to any tune. DRUM. A well-known instrument of percussion. Also the tympanum of the ear by which sound is communicated to the auditory nerves. DRUM- MAJOR. The chief drummer in a regiment DUE (Italian). In two parts; generally preceded by a; as, a due, for two. DUE CORDE (Italian). On two strings. DUE CORI, a (Italian). For two choirs. DUETTINO (Italian). A short duet. DUETTO {Italian). A duet, DUE VOLTE (Italian). Twice. DULCIANA. An organ stop, of a soft and sweet quality of tone. DULCIMER. A triangular chest strung with wires which are struck with a little rod held in each hand. DUO Civilian). A composition for two voices or instnunent^ 46 ED DUOLO, con (ItaHan). With pathoi. DUR (German). Major, in relation to keys and modes; at C dur, C major. DURATE {Italian). ^ DURAMENTE {Italian). I Harshly, coari^ly DURO {Italian). J DURCHFUHRUNG {German). Developmeut. DURCHGEHEND {German). Transient, passing. DURfiE (French). Length or duration of notes. DUREZZA {Italian). Harshness. DUTCH CONCERT. A term of riJIcule, and applied to cases where each musician plays his own tune, or in his own time. DUX {Latin). The subject of a fugue. ..} ED. j flute and violin ; nobilmente ed animato, with gran- deur and spirit ECCEDENTE {Italian). Augmented, with regard to intervals. ECCLESIASTICAL MODES. See Church Modes. ECCO {Italian), n A repetition or imitation of a previous ECHO {French). > passage, with some remarkable modifi- ECO {Italian.) ) cation in regard to tone: vhis term it often found in organ music. ECHELLE (French). The scale or ^araut. ECLISSES {French plural). The sides or hoops of a violin, &c. ECOLE {French). A school or course of instruction. ECOSSAIS {French). "» A dance, tu' -, or air, in the Scotch ECOSSAISE (French.) / style. E DUR ( Gt-rman)' E mioor. EN EGLISE {French). Church; as, mustque d'eglise, ch music. EGUALE {ItaUan).) ^ EGUALIANZA, con (//a/mn). | Equably ; smoothly. EGUALMENTE {Italian). * . EIGHTH-NOTE. A quaver (J^). EINFACH (German). Simple. EINGANG {German). An introduction. EINHEIT {German). Unity. EINLEITUNG {German). An introduction. EINLEITUNGSSATZ {German). An introductory move meni. EINSCHNITT {German). A phrase or imperfect musica sentence. EIS {German). E sharp. EISTEDDVOD {Welsh). An assemblage of bards. ELEGANTEMENTE {ItaUan).>. ELEGANTE {Italian). I With elegance, gracefUlly iLh'EGA.^ZA, con [Italian). ) ELEVE (French). A pupil. EMBOUCHURE (French). The mouth-piece of a flute^ hautboy, or other wind instrument. E MOLL (German.) E mmor. EMPFINDUNG (German). Emotion, passion. EMPHASIS. A particular stress or marked accent on any note, generally indicated by ^s*, A, or sf. ENCORE (French). An expression employed by the au- dience at theatres and concerts, to signify their desire that a song or other composition, should be repeated. ENERGICAMENTE (Italian).^ ENERGIA, co7i (Italian). > With energy. BNERGICO (Italian). ^ RJiVLlEiR, (French). To inoreMe the tone. 4S EQ ENGE {Gtrman). Close, condensed. ENHARMONIC. One of the ancient gen*rtt< a teal« which proceeds by quarter tones. ENHARMONIQUE {French). Enharmonic. ENSEIGNEMENT {French). Instruction. ENSEIGNER {French). To instruct. ENSEMBLE [French). A term applied to music in parts, when the several performers appear to be so animated by one and the same feeling, that the whole is given with that per- fect smoothnss, both as regards time and style, as to leave nothing farther to be desired. ENTR* ACTE {French). Music played between the acts oi the drama. ENTRATA {Italian). An introduction. ENTUSIASMO, con {Italian). With enthusiasm. ENTWURF {German). Sketch or rough draught of a com- position. EOLIAN. The name of one of the ancient modes. ilPICEDIUM {Greek). A funeral song, or dirge. EPINETTE {French). A spinet, an old keyed instrument. EPISODE. A portion of a composition not founded on the principal subject. EPITHALAMIUM (Greek). A nuptial song, or ode. E POX {Italian). And then ; as, e pot la coda, and then tb-? coda. EQUAL VOICES. Compositions for equal voices are those in which either all male or all female voices are em- ployed. EQUISONANT. Of the same or like sound: a unison This term is often used in guitar playing, to express the dif- ferent ways of stopping the same note. EQUIVOCAL. A term applied to such chords as, by a r.-ere •ha&ge in the notation, may belong to several keys. ET 49 ERHOHUNG (German). The raising the pitch of a note by a sharp. KRNIEDRIGUN'^ (German). The depression of a note by means of a flat. EROTIC. Amatory. ERWEITERT (German). Expanded, extended. ES (German). E flat. ESSAI {French). An essay. ESATTA (Italian). Exact. ES DUR (German). E flat major. ESECUZIONE (Italian). Execution. ESEGUIRE (Italian). To execute or perform either vocally or on an instrument. ESERCIZJ (Italian plural). Exercises, whether vocai oi instrumental. ESES (German). E double flat. ES MOLL (German). E flat minor. ESPACE (French). A space of the stave. ESPAGNUOLO, air (Italian). In the Spanish style. ESPRESSIVO (Italian). \ ^.,, ^ ' > With expression. ESPRESSIONE, con (Italian). ) ^ ESSEMPIO (Italian). An example. ESSENTIAL NOTES. The notes forming any chord. ESTINGUENDO (Italian).^ Becoming extinct, dying away ESTINTO (Italian). ) in regard to time and tone. ESTRAVAGANZA (Italian). Extravagant and wild, as tc composition and performance. ESTREMAMENTE (Italian). Extremely. ESTRIBILHO. A favourite Portuguese song in § time. ET (Lati7,\ And. ET INCARNATUS EST (Latin). A portion of the Credo. ETOUFFE (French). Stifled, damped, in harp playing. BT RESURREXIT (Latin). Part of the Credo. BO FA ETUDE (French). A study. ET VITAM (Latin). A part of the Credo. EUPHONY. Sweetness. EVOLUTIO (^Latin). Inversion. EXECUTER (French). To execute or perform either vocallj or on an instrument. EXPRESSION. A performer is said to play with expression when he carefully observes the various modifications oi forte and piano, legato and staccato, &c. and when, in addition to the above, he imparts to the composition which he is per- forming a particular charm arising from the impulse of his own feelings. EXTEMPORE (Latin). Unpremeditated, extemporaneous. EXTEMPORIZE. To perform unpremeditatedly. EXTENDED HARMONY. See Dispersed Harmony. EXTRANEOUS. Foreign, far-fetched. EXTRANEOUS MODULATION. A modulation into some other than the original key and its relatives. EXTREME. A term relating to intervals in an augmented state. By some authors it is used in conjunction with the word sharp or flat ; extreme sharp answering^ to augmented, and extreme flat to diminished. F. FA. A syllable applied, in solfaing, to the note F. FA- BURDEN. \ A term applied to several FALSO BORDONE (ItaHan). V ancient species of coun- FAUX BOURDON (Fremh). J terpoint. With regard to modern times, it usually signifies a succession of chords of the sixth, where the interval of the sixth is formed by the extreme parts, and that of the third by the inner part FA n FACILITA (ItaHan). A facilitation, an easier adaption. FACILMENTE (Italian). Easily, with facility. FAGOTTISTA (Italian). A performer on the bassoon. FAGOTTO (Italian). A bassoon. FAGOTTONE (Italian). A double bassoon. FA LA. The refrain or burden of many old songs. FALSE CADENCE. A cadence in which the triad on th« dominant is followed by that on the submediant or sixth de- gree of the scale. FALSE FIFTH. An imperfect or diminished fifth: as. C sharp — G. FALSE RELATION. That progression where a note which has occurred in one chord is found chromatically altered in a different part in the following chord. FALSETTO (Italian). Certain notes of a man's voice which are above its natural compass, and which can only be pro- duced artificially. FANDANGO. An expressive Spanish dance in ^ time, gene- rally accompanied with castanets. FANFARE (French). A trumpet tune. FANTAISIE (French). ^ A species of composition in which FANTASIA (Italian). ) the author gives free scope to his ideas, without regard to those systematic and symmetrieaJ forms which regulate other compositions. \\NTASTICAMENTE (ItaUan). In a fantastic style, ^ANTASTICO (Italian). 1 ^^^^^^^.^ FANTASTIQUE (French),) FARANDOULE. The name of a lively Freaca dajjce in | tiroie. FARSA IN MUSICA (Italian). A kind of little comic opera in one act. FASCIE (Italian plural). The sides or hoops r? a vtolm^ tenor, &c. F 2 52 m FASTOSO {ttalian,. With a lofty and splendid ttylf oi execution. F DUR (German). The key of 1- major. FERMO (Italian). Firm, resolute. PERM ATA {Italian). A pause. FERMAMENTE (Italian). | ^.^^ ^^^^^^^ ^^, ,^j^ FERMATO (Italian), > FEROCE (Italian). \ Fiercely, with an expression of FEROCITA, con (Italian). ) ferocity. FES (German). F flat. FIACCO (Italian). .Weak, feeme. FIASCO (Italian). A failure. FIATO (Italian). The breath. FIDICINAL. Of the violin species. FIERAMENTE (Italiav^A In a bold and energetic manner) FIERO (Italian). ) with vehemence. FIFRE (French). A fife. FIFTEENTH. An organ-stop, tuned two octaves above the Diapasons; also an interval of two octaves. FIGURATO (Italian), "l Figured; as Basso Jigurato, a FIGURfi (French). | figured bass. FIGURED BASS. A bass having figures placed ovei the notes to indicate the harmon>. FILAR LA VOCE (Italian). To gradually augment and diminish the sound of the voice. FINALE. The last piece of any act of an opera, or of a con- cert; or the last movement of a symphony or sonata, in th« German styl». FIN (French), y The end. This expressi 5n is generally used FINE (Italian),) to indicate the termination of a muticaJ composition. FINGERS ATZ (German). Fingering. FINITO (Italian). Concluded, terminated. FL sa FIN QUI {Italiav). To this place. FINTO {Italian). Feigned, interrupted, in regard lo ca dences, &c. FIORITURE {Italian.) Embellishments in singing; divi- sions of rapid notes. FIS {Germav). F sharp. FIS DUR [(ierman). The key of F sharp major. FISFIS (Gemr77,). F double sharp. FIS MOLL {(ferman). The key of F sharp minor. FISTULA {Latin). A pipe, or flute in general f ITHELE. The ancient name of the fiddle. FLAUTANDO {Italian), "i With a flute-like tone. This term FLAUTATO {Italian), j is sometimes met with in violin music, and the desired quality of tone is obtained by drawing the bow smoothly and gently across the strings, over tha< end of the finger-board nearest the bridge. CLAUTINO {Italian). An octave flute. f LAUTISTA {Italian). A performer on the fiute. FLAUTO {Italian). A flute. FLAUTO PICCOLO {Italian). An octave flute, or a flageolet. FLAUTO TRAVERSO {Italian). The German flute. FLEBILE (/.a«a«) | m a mournful style. FLEBILMENTE {Italian). § ^ FLESSIBILITA, con {Italian). With flexibility. F- LOG HER {German plur). The sound-holes of a violin, tenor, flra FLON-FLON. The burden of certain old vaudevilles. The term is now applied in contempt to any aii resembling them in style. FLORID. Ornamental, figured, embellished. FLUGEL (Gtrwum). A harpsichord. PLUT£.A.B£C (French). Ac English flute U FR FLUTE ALLEMANDE (French). | xhe German flut.. TRAVERSIERE (French) i F MOLL (German). The key of F minor. FOCOSO (Italian), With fire. FOLLIA (Spanish). A Spanish air, or dance-tune, so called. FORTE (Italian). ^ FOR. (abbrev.) / ^°''^- FORLANA (Italian), "i ^ ^.^^^ y^^^^j^^ ^^^^^ j^ g ^.^^ FORLANE (French). S FORTEMENT (French). Loudly, with force. FORTE-PIANO (Italian). The piano is so called by reason of its capability of modifying the intensity of the sounds. FORTISSIMO (Italian). Very loud. FORTSETZUNG (German). A continuation. FORZANDO (Italian).\ This term implies that the wcteisto FORZ. (abbrev.) ) be marked with particular emphasis or force. FORZA (Italian). "i Force; as, con /or«a, with force, te- FORZATO (Italian), j hcmently. FRANCHEZZA, con (Italian). With freedom ,• boldly. FRASI (Italian plu). Phrases, short musical sentences. FREDDAMENTE (Italian). . ^.^^ ^^j^^^^^ FREDDEZZA, con (Italian). J FREDON (French). A flourish, or other extemporaneoui embellishment. FRENCH SIXTH, The name of a chord composed of ^ «Ba)or third, extreme fourth, and extreme sixth ; as F$ D C 4l V'RETS, Small projecting divisons placed across the finger- boards of guitars, mtes, &c., to indicate where the note* are to be stopped- FRETTA, con {Italian). Increasing the time. FREY (German). Free; &s/reye Schreibart, the free style of composition. FROSCH {German) The nut of a bow for the Tiolin, tenor bass, &c. F SCHLUSSEL {German). The F clef. FUGA [Italian). A fugue. FUGA DOPPIA {Italian). A double fugue, or fugue on two subjects. FUGATO [Italian). In the fugue or strict style FUGHETTA {Italian). A short fugue. FUGUE. A composition in the strict style, in which ft sub- ject being proposed by one part, is repeated and imitated by the other parts in succession and according to certain laws.* FUGUE RENVERSfiE {French). A fugue, the answer oi which is made in contrary motion to that of the sub- ject. FUHRER {German). The subject of a fugue. FULL. For all the voices or instruments. In cathedral music it implies that the passage is to be sung by both sides of the choir. FULL ANTHEM. An anthem in four or more parts, with- out verses, to be sung in chorus. FULL SCORE, A score containing the whole of the vocal and instrumental parts of a composition. FULL SERVICE. A service without any verse parU • hee Hamilton's Catechism on Fugue, as also Albrechtsberger's an.1 Chenibiui's Treatises on Composition 56 GA FUNDlMENlAL BASS. A bass formed of the roote oi chords only. A bass of this sort is not meant to be played, but merely to serve as a test of the correct progression of the harmony. FUNEBRE {French and Italian). "I Funeral ; as, marcke FUNEREO {Italian), ) funibre, a funerai march. FUNZIONI {Italian plu.) Sacred musical performances in general, as oratorios, masses, &e. FUOCO, con [Italian). "With fire, with intense inimption. FURIA, con {Italian). ^ FURIBONDO {Italian). I With extreme vehemence i KURIOSAMENTE {Italian), f furiously. FURIOSO {Italian). J FURLANO (Italian). An antiquated dance. FURNITURE. An organ-stop, consisting of several ranin of pipes. FURORE, eon {Italian). With fury, with great agitation. FUSA {Latin). A quavex. FUSELLA {Latin). The name formerly applied to the demj- semiquaver. G. ^^-,r,r, / „ , X > In a cheerful and livelv style. GAIEME^TE {French). J ' GAI {French), n GAIO {Italian). I Gaily, cheerfully. GAJO {Italian).) GAGLIARDA {Italian).^. GAILLARDE {French). > A lively dance-tune, m tnple OALLIARD ' GE 67 GALANiEMLinTK {Italian). Gallantly, boldly. GALOPADE {Ftem.-h). A galop, a quick German dance tune. GALOP (Germafi). ~j A quick species of dance, generailj GALOPPE {French.) / in 2 time. GAM ME (French). The scale of any key. GAMUT. The scale of notes belonging to any key. GANZE (German). Whole: as, game note, a whole note o» semibreve ; ganze ton, a whole tone. GARBO, con (Italian). With simplicity, without pretension aflfectedly. GARRIRE {Italian). To warble like a bird. GAUCHE {French.) Left; as main gauche, left h&nd. GAVOT. A lively dance in common time. GAVOTTA (Italian). A gavot, a lively species of iance G DUR (German). The key of G major. GEBROCHENE AKKORDE (German plural). Broken chords; arpeggios. GEBUNDEN (German). Connected, syncopated, in regarij to the style of playing or writing. GEDACHT (German). Stopped, in opposition to the opee pipes in an organ. GEFAHRTE (German). The answer of a fugue. GEFUHL, mit (German). With feeling and sentiment GEGENBEWEGUNG (German), Contrary motion. GEHEND (German). This word signifies a degree of mo^- raent similar to that implied by Andante. GEIGE (Gerwiaw). The violin. GENERA (Latin plu.) 1 The difTerent modes of dividing the GENUS (Latin). 3 octave, as by tones and semi- tones conjointly ; by semitones only ; and, theoretically, by quarter-tones only. The first is called the diatonic or natural genus; the second, the chromatic or artificial genus; and «)*• laat. the eahArtueBus ffenuf r>8 GL (tKNERALBASS ^German). Thorougn-basa. (tP:NEROSO {Italian). Nobly; in a dignified mannei. GENRE {French). Style. Also genus; as, GENRE CHROMATfQUE (Fre««/i). The chromatic genoi GENTJLEZZA, con (Italian). With grace and elegance. GERADE BEWEGUNG {German). Simiiar motion. GERADE TAKTART {German). Common time. GERMAN SIXTH. The name applied by some writera to a chord composed of a major third, perfect fifth, and extreme sixth ; as, A.% G E C GES {German). G flat. GESANG {German). Singing, or the art of singing; aJMi t song. GESCHWIND {German), auick; as, GESCHWIND MARSCH {German). A quick maruh. GES DUR German). The key of G flat major. GIGA {Italian). \ . .. ,. , . . , „ '^ , I A Jig, or lively species ot dance. GIGUE (French). / ^ ^' ' ^ GIOCOSAMENTE (/fa/iow). ^ Humorousiy, with soornre- GIOCOSO {Italian). ] ness. GIOJOSO {Italian). Joyously; with buoyant hilarity. GIOVALE {Italian). Jovially. GIS {German). G sharp. GIS MOLL {German). The key of G sharp minor. GIUOCO {Italian). A stop of an organ. GIUSTAMENTE (Italian). Justly; with precision. GIUSTO {Italian). In just and exact time. OLEE. A composition for three or more voices, genera; i\ Ift a cheerful style.* * 0*f }IoT«ley's or Clementi's Collections for fine •f^et^mADS. 6R 69 GLI (Italian plu.) The; as, gli stromenti, the instruments. GLISSANDO (Italian). In a gliding manner. GLISSICATO (Italian) In a gentle and gliding manner. GLISSER (French). To glide along the key-board by turn- ing the nails towards the edges of the keys. GLORIA (Latin) A principal movement of the mass or catholic service. G MOLL (German). The key cf G minor. GONG. An Indian pulsatile instrument, consisting of a large circular plate of bell -metal. GORGHEGGI {Italian plu.) Rapid divisions, as exercise. for the voice in singing. GRACES. Occasional embellishments, sometimes indiciL- by the composer, sometimes spontaneously introduced bytho performer. The most important of these are the appoggia- tura, the turn, and the shake.* GRADAZIONE, con (Italian). With gradation; gradually. GRADO (Italian). A degree. Di grado implies that a melody moves by degrees ascending and descending, and not di salto, by skips of larger intervals. GRADUALE (Latin). Part of the Catholic service, sung between the Epistle and Gospel. GRADUELLEMENT (French). Gradually, by degrees. GRADUAL MODULATION. Modulation in which, be^ fore the modulating chord, some chord is taken which may be considered as belonging either to the key we are in, or thai to which we are going. GRAN (Italian). \ GRANDE (Italian).] ^''^''' «^"^^- GRANDIOSO (Italian). -) ^ , , , GRAN GUSTO (Italian). ] ^" " ^^"^^ ^""^ ^^^^^^ "^^^ * See Hamilton's Musical Grammar. 9^ OR GRAND MESURE A DEUX TEMS (French), fh time. ^'^ GRAPPA {Italian). The brace or character serving to con- nect two or more staves. GRATIAS AGIMUS {Latin). Part of the Gloria. GRAVEMENTE (Italian). With gravity; dignified and solemn. GRAVE (Italian). A very slow and solemn movement ; alsc a deep, low pitch in the scale of sounds. GRAVITA, con [Ttalian). With gravity. GRAZIA, con (Italian). \ ^ ^ . GRAZrOSAMENTE(/^««an). \ ^^ ^ A^^^^g ^^ fi^rwef-^ GRAZIOSO (Italian). ) ^^y^*^* GREAT ORGAN. In an organ with three rows of keyi this is usually the middle row; it is so called from contain- ing the greatest number of stops, as also from the pipe? being voiced louder than those in the swell or the choh organ. GREGORIANISCHE GESANG {German). The Grego rian chant. CxREGORIAN MUSIC. Sacred compositions introduce* mto the Catholic service by Pope Gregory. GREGORIAN TONES. This term sometimes refers to the Chants used for the Psalms in the Roman Catholic service, and at others to the ancient modes or tones o» which those chants are based. (See Church Modes). GRIFFBRET (German). The finger-board of a violm violoncello, &c. GROS-FA. The name formerly applied to old church muNe in square notes, semibreves, and minims. GROSSE (German). Major, in regard to intervals GROSSE CAISSE (French). The great druHL GROSSE SONATE {German plur.) Grand sonata*. HA «1 GROSSO {Italian). Ureal, granrf, ftilK as. oncerto grouo, a concert for many instruments. GROS TAMBOUR (French). The great drum. GROUND. A bass, consisting of a few simple notes, in- tended as a theme on which, at each r-^petition, a new melody is constructed. GR^UP. An assemblage of several short notes tied toget'je^ GRUNDSTIMME (GerTwan). The bass. GRUNDTON (German). The bass njip. GRUPPETTO (Italian). A group of notes ; a turn GRUPPO (Italian). A turn, or grace. G SCHLUSSEL (German). The C clef. GUARACHA. A Spanish dance. GUDDOK. The name of a rustic violin with three strings used among the Russian peasantry. GUERRIERO (Italian). In a martial and warlike style. GUIDA (Italian). A guide : as guida armonica, a guide Ic harmony. GUIDA (Italian). | ^^^ character called a direct. GUIDON (French), f GUIDONIAN SYLLABLES. See Aretinia» Svli^ BLES. GUSTO, con, (Italian). \ „^. ^ GUSTOSO / ^''^ *"'*'' elegantly. GUTTURAL. Formed too much in the throat H. H. This letter is used by the Germans for B natunl HACKBRETT (Germmn.) The dulcimer. UALBTON [German). A semitone. 62 HA HALBCADENZ {German). A half cadence, a oadenc* the dominant. HALBNOTE (German). \ . . . HALLELUJAH. A Hebrew word signifying "Praise tb? Lord." HALS (German). The neck of a violin, tenor, &c, HAND-GUIDE.* An instrument invented by Kalkbrenner, to insure a good position of the hands and arms on the piano- forte. HARDIMENT {French). With boldness and animation. HARFE {German). A harp. HARMONIPHON. A little instrument, with a keyboard like a pianoforte, invented in 1837, and intended to supply the place of the hautboys in the orchestra. The sounds are pro- duced from small metal tongues, acted upon by blowing through a flexible tube. HARMONICA. A musical instrument, the tones of which are produced from globular glasses. HARMONICI {Italian plural). Harmonics in violin music. HARMONIE {French and German.). Harmony in general, also music expressly composed for a military band. HARMONICS. Certain indistinct sounds which, by atten- tively listening to the vibrations of any deep-toned musical string, may be heard to accompany the principal sound. Harmonics are also certain artificial notes produced from the fiolin, violoncello, harp, &c., and which somewhat resemble : the tones of a flageolet. HARMONIST; One acquainted with the laws of harmony * This ingenious and useful iQstrament may be had of Mmbts. Cocks e manufacturera. HB (R HARMONY. The art of combining several sounds, so as ic form chords, and of treating the combinations thus fonned.* HARPSICHORD. An instrument much used before the in< ▼ention of the pianoforte: its strings were of wire, and it was furnished with one and sometimes with two rows ol keys. I ART (German). Major, in regard to keys and modes. .TAUPT {German). Principal; as, .'lAUPTMANUAL {German). The set of Keys belonging to the great organ. .lAUPTNOTE {German). \ The principal note of a shake, oi :IAUPT-T0N (G'ernirtw). / that over which the mark /r is placed. TAUPTPERIOD {German). A capita] period. flAUPTSATZ {German). The principal subject or theme. KAUPTSCHLUSS {German.) A final cadence, •lAUPTSTIMMK {German). A principal part. ;TAUPTWERK (German). The great organ. 'lAUSSE {French). The nut of a violin or other bow- flAUSSER {French). To raise or sharpen the pitch. \\ AVI {French). Acute, high, shrill: as. ilAUT CONTRE {French). High, or counter tenor. DESSUS {French). First treble. !I DUR {German). B major. flEMIDIAPENTE {Greek). The diminished or imperfec fiAh. ilEPTACHORD. A scale or system of seven not5s HERABSTRICH {German). \ ^ ^^^,^.^,^.^. rIERSTRICH {German). ) • Bee Kamilton's Catechism of Harmony an.-' Thorough Bm*. G2 M IM HEX ACHORD. A scale or system of six notes. HIDDEN CONSECUTIVES. Such as occur in passing, b| similar motion, from an imperfect to a perfect concord, oi from one perfect concord to another of a different kind. HINAUFSTRICH (German).^ . , ^ HmSTRICR (German). ) " "P" °'^' HIS {German). B sharp. H MOLL {German). The key of B minor. HOCHZEITMARSCH {German). A nuptial march. HOMOPHONY. In unison. HOPSWALZER {German). Quick waltzes. HORNPIPE. The name of an old dance in triple time Modern tunes of this name are usually in common time. HOSANNA (Latin). Part of the Sanctus. HULFSNOTE ((?er»2a«).\^, .,. , . ,, ^^■'^ ^r.rT,^-.-r ,2 . f Tfac auxiliary note of a shake. HULFSTON {German). ) ^ HURTIG {German). Quick. Implying a degree of move- ment similar to that indicated by the word Allegro. HYPER {Greek). Above. HYPO (Greek). Below. IAMBUS. A musical foot, consisting of one short and one long note. lASTI AN: The name of one of the ancient modes. IL (Italian). The ; as, il violino, the violin. IL PIU (Italian). The most. MBOCCATURA {Italian). The mouthpiece of a wind- "nstrument. IMITANDO (Italian). Imitating ; as, imitando la voce, lad- fating the inflections of the voice. n w IMITAZIONE {Italian). An imitation. IMPAZIENTEMENTE (Italian). Impatiently. IMPERFECT. Less than perfect in respect to intervals ana chords. IMPERFECT CADENCE. A cadence in which the triad on the tonic or key-note is followed by that on the do- minant. IMPERFECT CONSONANCES. The major and minor third, and the major and minor sixth. IMPETO, con (Italian). v IMPETUOSAMENTE(L'a^m«). I With impetuosity ; impe- IMPETUOSITA, con (Italian). [ tuously. IMPETUOSO (Italian). * [MPONENTE (Italian). Imposingly, haughtily. [MPRESSARIO (Italian). The conductor or mana^fcr d an opera or concert. fMPROMPTU (French). An extemporaneous production. IMPROVVISAMENTE (Italian). Extemporaneously. [MPROVVISARE (Italian). To compose or sing extern- poraneously. IMPROVVISATORI (Italian plur). Persons gifted witt the power of reciting or singing verses extemporane- ously. IN (Italian). In : as, in tempo, in time. IN ALT (Italian). Notes are said to be in alt when situated above the F on the fifth line of the treble stave. !N ALTISSIMO (Italian). An epithet applied to tiiosc notes which are situated above the F over ihe thirH £ddi- tionai or ledger line in the treble. INCISORE DI NOTE (Italian). An engrayer of mnsio. iNCORDARE (Italian). To string an instrument. f.NDECISO [Italian). In rxn undecided manBcr. INT^TFFERENZA, am {Ualian). With indiifereuwi m IN INFANTILF Italian). Child-like; infantine; the tbio quality of tone observable in the upper notes of some female voices. INFERNALE {Italian). Infernal. INFLATILE. Wind instruments, as flutes, clarionets, &€► are so termed. INFLECTION. Any change or modification in the pitch or tone of the voice. INGANNO {Italian). A deception. It is generally, applied to interrupted cadences, though occasionally also to any unusual resolution of a discord, or unexpected modulation. INNOCENTEMENTE (Italian), ^ , , j • , INNOCENTE (Italian). U° ^l INNOCENZA, con (Italian). ) "^ ®* INQUIETO (Italian). Perturbed, uneasy, with disquietude INSEGNAMENTO (Italian). Instruction. INSENSIBILMENTE (Italian). Insensibly; by small degrees. INSTRUMENT 1 ARCHET (Freneh). A bow instru^ ment. INSTRUMENT 1 VENT {"^reneh). A wind instrument. INTERLUDE. ^ An intermediate strain or move INTERLUDIUM {Latin), f ment. INTERMEZZI (Italian plural) Interludes or detached dances introduced between the acts of an opera. INTERMEZZO (Italian). Intermediate, placed between two others. INTERRUZIONE (Italian). An interruption: as, senec interruzione, play on without interruption. INTERVAL. The distance, or difference of pitc;^, between two notes. INTERVALLE (French), "i iNTERVALI.O (Italian), | ^n interva' e7 INTONAZIONE {Italian).) ting musical sounds, particu- larly in singing. INTRADA (Italian). \ A short introductory move- INTRODUZIONE {Italian). / ment INTREPIDAMENTE (Italian). } „..,, . . ,.^ ^ > vVith intrepidity. INTREPIDEZZA, con (Italian. ) ^ ^ INTRODUCIMENTO (Italian). An introduction. INTROITUS (Latin'). The conrmenoement of the mass ot Catholic divine service. INVERSION. A change of position with regard to inter- vals and chords ; so that the upper notes are placed below, and the lower notes above, &c. INVITATORIUM (Latin). In the Roman Catholic Church this is the name given to the antiphone or response to the Psalm, '* Venite exultemtts." INVOCAZIONE (Italian). A prayer or invocation. IONIAN. See Iastian. IRATAMENTE (Italian). ) . .. IRATO (Italian). f ^"^^ IRLANDAIS (French). \ An air or dance-tune in tbe IRLANDAISE (French). / Irish style. IRONIC AMENTE (Italian). Ironically. IRRESOLUTO (Italian). Irresolutely, hesitatingly, duW* ously. ISTESSO (Italian). The same; as, istesso tempos the Sftiae time. rSTRUMENTAZIONE (Italian). Instrumentatioa ITALIAN SIXTH. The name given by some autiow U) a chord composed of a major third and augo^nte*! «iztnt as, 68 KB 11 A LIEN ME, d I' (French). In the Italian style. ITE, MISSA EST {Latin). The termination of the timm, sung by the priest to Gregorian music. JAEGER CHOR {German). Hunting chorus. JEUX {French plural). Stops in organ playing i m, jtUM forts, loud stops; ^randjeu, full organ. JIG, A brisk and lively air. 'ONGLEURS {French plural). Itinerant musicians were /■'rmerly so called. JUSTE {French). Perfect with rrgard to intervals. JUSTESSE {French). Exactness or purity of intonation. K. KALAMAIKA. A lively Hungarian dance in 4 time. KAMMER {German). Chamber; as, KAMMER-CONCERT. A chamber concert. MUSIK. Chamber-music. KAPELLMEISTER {German). A chapel-master. KECKHEIT {German). Boldness; as, mit Keckheit voret- tragen, with a bold and vigorous style of performance. KEMAN. A Turkish violin with three strings. KEY. The lever by which the notes of a pianoforte or orgars are made to sound. Flutes, hautboys, and other wind-instru- ments, have also their keys, by which certain holes are ODened or shut. A key is also an assemblage of notes, '>ach of which has a fixed and distinct relation to one particuJ ar note, wb' cli for thia leason, is called the key-note.* « 8«e Ford* oa tbe Kn In llnii*. LA es KEYBOARD. The row of keys of a pianoforte or organ when spoken of collectively, is so termed. KEY-NCTE. A note to which a series of other subordinate notes ueaF» <* Satinet relation. KIRCHEN-MUSIK {German). Church music. KIT. A small or pocket violin, used by dancing-masters. KLANG (German). Sound. KLANGESCHLECHT (German). A genu*: as, chroma- tisches klangeschkcht, the chromatic genus. KLAPPE (German). A key belonging to auy wind instru- strument. KLAPPEN FLUGELHORN (German). The keyed bugle KLAPPTROMPETE (German). A keyed trumpet. KLEIN (German). Minor, in regard to intervals. KREQZ (German). The character called a sAarp. KURZ (German). Short. KYRIE (Greek). Lord. In the Catholic service, the first movement of the mass begins with music set to the words Kyrie eleison, Christe eleison, Lord have mercy upon us, Christ have mercy upon us. L. 1 J jT > Indicates the left hand in pianoforte music. » LA. A syllable applied in solfaing to the note A. LA (Italian and French). The ; as, la vooe, the voice. LA CHASSE (French). A piece of music in the hunting style. LACRIMOSO (Italian), y ^ ^^ ^ ^ , ■r A ^T.T■^/rr^or^ / j. i- \ J" ^^ a moumful, dolorous style LAGRIMOSO (Italian). J t»'AME (French) The sound- post of a violin, tenor, &c. 70 U LAMENTABILB (Italian). LAMENTABILMENTE (Italian) LAMENTANDO (Italian). f Plaintively, mourn- LAMENTEVOLMENTE (Italian), ( fully, AMENTIVOLE (Italian), ^AMENTOSO (Italian). LANDLER (German). A country-dance or air in a rastk and popular style, generally in § time. T.ANDU. See Lundu. LANGSAM (German). Slowly. LANGUEMENTE (Italian).^ LANGUENDO (Italian). / * *' LANGUENTE (/M«.»n ^.^, LANGUIDO (Italian). ) ^ "LARGAMENTE (Italian). "I In a full, free, broad style of LARGHEZZA (Italian). / performance . LARGE. The name of a note shaped thus ES found in ancient music. It is equal to eight semibreves. LARGEMENT (French). Very slow. LARGHETTO (Italian). Indicates a time slow and mea- sured in its movement, but less so than largo. LARGHISSIMO (Italian). Extremely slow. LARGO (Italian). A very slow and solemn degree of move- ment. LARIGOT (French). An organ-stop, tuned an octave above the twelfth. LAUDAMUS (Latin). We praise Thee. A part of the mass. LAVF (German). That part of a violin, teror, &c., into which the pegs are inserted ; also a rapid svf ession of notes. LAUTE (German). The lute. LE (Italian plural). The an, le vocit the voices. U 7* LEADING NOTE. The seventh note of the scale of any key, when at the distance of » semitone below the kty- note. LEBHAFT German). Lively. LE^ON (French). A le»son or instructive composition for some instrument. LEDGER LINES, or LEGER LINES. Those temporary lines which are occasional v drawn above or below the stave, in order to obtain additional situations for the heads of the notes. LEGATISSIMO (Italian). Exceedingly smooth and con- nected. LEGATO (^Italian). In a smooth and connected manner. LEGfiREMENT (French). With lightness and gaiet . LEGGIARDO (Italian). Light, gentle. LEGGIERAMENTE (Italian). Lightly, gently. LEGGIEREZZA, con (Italian).}^ ^Vith lightness and facility LEGGIERO (Italian). j of execution. LEGGIERISSIMO (Italian). With the utmost lightuess and facility. LEGNO, col (Italian). With the bowstick. LEICHT (German). Easy. LENTANDO (Italian). With increasing sloimesa LENTEMENT (French). ^ LENTEMENTE (ItaUan). V In slow time. LENTO (Italian). ) LENTEUR. avec (French).^ With sIowmss, in a sedate and LENTBZZA, con (Italian).} lingerir ; pace. CiETTURA (Italian). Reading, as in the case of muuc. LIAISON (French). Smoothness of connection ; also a bin^ or tie. LIBERAMENTE (Itaiimm). Freely, easUy. 71 U) LIBB£TTO {lialiaH). The book of the words of an luliai opera is so called. LI^ (^French). Smoothly, connectedly. Synonymous witk legato. '.^lED {German). A song. LIGATURE. The old name for a tie or bind. LIGNE {French). >. LINE A {Italian). V A line of the stave. LINIE {GerviaJi). ) LINK {German). Left; as, linke Hand, the left hand. LIRE {French). £o read, as regards music. L'lSTESSO MOVIMENTO {Italian).) In the same liuu L'ISTESSO TEMPO {Italian). t as the previo.is movement. LIUTO {Italian). The lute. LOBGESANG {German). A hymn , a song of praise. LOCO {Latin). This words implies that a passage is lo b« played just as it is written in regard to pitch : it generaily occurs after %va alta, or Sva bassa. LONG. The name of a note formerly in use, equal to (oui seniibreves. ^OURE {French). An old-fashioned French dance. LUGUBRE {Italian). Mournfully, sadly. LUNDU. A Portuguese dance in J or g time. LUNGA PAUSA {Italian). An expression signify intt iJiaf the performer must cease playing for a considerable ume LLSINGANDO {Italian). LUSINGATO {Italian). LUSINGHEVOLE {Italian). f Soothingly, perMW LUSINGHEVOLMENTE {Italian). ( sively LUSINGHIERO {Italian) LUSJNGHIERE {Italian), MA 7ir LL'TE. A stringed inBtrument, formerly much esteemed. LYOIAN. The name of one of the ancient modes. LYRA {Italian). The lyre, a well-known musical instm- ment. LYRIC. Poetry adapted for and intended to be set to music M. MA {Ilaiian). But; as, allegro ma non troppo, quick, but not too much so. MADRIGAL. l An elaborate composition foi M-ADKIGALE (Italian).) voices in five or six parts, m the an lent style of imitation and fugae. MAESTA, con (Italian). ) With majestic and dignified ezpres- MAESTOSO (Italian). ) sion. MAESTRO DEL CORO (Italian). The master of the choir. MAESTRO DI CAPELLA (Italian). Chapel- master, or director of the chapel nausic in the Catholic senrice. MAGGIOEE (Italian). \ Major, greater, — in opposition to \iAJE\jR (French). / minor, less, — in respect to scales, intervals, modes, &c. AI AGNIFICAT. A canticle, sung by the Virgin in the house of Zachariah. A part of the Vespers in the Catholic evening service. MAIN (French.) The hand ; as, DROITS (French). The right hand, GAUCHE (French). The left hand. MAITRE DE CHAPELLE (French). Chapel-master. MAJOR. Greater, in rtspect to intervals and modes. MAJOR MODE. Ont? of the two modern modes; that u which the third from the key-note is major. 74 MA MALINCONIA (/A.«a»). . f„ ^ ^^,^„^^^ MALINCONICAMSNTE (//a/ean > ^. j^ MALINCONICO (/fa«an). ^ MANCANDO {Italian). Indicates a aaiutl decrease u^ tl quantity of tone. MANCHE (French). The neck of a violin. MANDOLINE (French). \ An instrument wit four seringa MANDOLINO (//aKan)./ and with frets, like guitar-^ is tuned like the violin. MANICO (Italian). The neck of a violin, tenor, & MANIEREN (German plural). Graces, embellishment*. 'hlAHO (Italian). The hand; as, DRITTA (Italian). The right hand. SINISTRA (Italian). The left hand. MANUAL (German). The key-board. MARCATO (Italian). In a marked and emphatic styi MARCATISSIMO (Italian). Very strongly marked. MARCHE (French). In harmony, a symmetrical sequ of chords. MARCHE (French).\ MARCIA (Italian). > A march. MARSCH {German).) MARTELLANDO (Italian). Strongly marking, cr an !t were, hammering the notes. MARTELLARE (Italian). To strike the notes so as to imitate the blow of a hammer. MARTELL ATO (Italian). Forcibly marked ; hammered. MARZIALE (Italian). In a martial style. MASK. ^ A sort of musical drama or operetta performed Masque, i by characters in masks. MASS. A Catholic musical service, eonsisti.ig of several movements. MB 7S MASSIG {German). Modefiiw.v r«**i massig tongsam, mo- derately slow. MASURE (German). \ MASURECK {German). 1 a quick Polish dance, in g time, MASVRKA (German). I with a peculiar rhythmic con- MAZOURK (German.) t struction, somewhat like tnat MAZURECK (Geman). \ of the polacca. MAZURKA (German). J MATINS. The early morning service of the Catholic Church. MAXIMA. See Large. MEAN. The name formerly given to the tenor pan of a composition. MEDESIMO (Italian). The same ; as, MEDESIMO 'J'EMPO (Italian). In the same time. MEDIANT. I The mediant or third note of tne MEDIANTE (French).) scale. MELANGE (French). A composition founded on sever- favourite airs ; a medley. MELODIA (Italian). 1 j^^j^ MELODIE (French). / MELODIOSA { Italian). Melodious. MELODRAMi^. "\ A species of pantomimk MELODRAME (French). > drama, in which much o MELODRAMMA (Italian). * the interest depends unr» descriptive inslrumental music. MELODY. A well-ordered progression of single sounas. MELOPCEIA (Greek). Melody. SIEME (French). The same ; as, MEME MOUVEMENT (French). In the same tiro* MEN (Italian). 1 , MENO (Italian), i ^^^ ' "' MEN FORTE (Italian). Less loud. as MB MEN PRESTO Italian). Less quick. MEN PIANO {Italian). Somewhat softer MENO VIVO {Italian). With less spirit MENUET (French). A minuet. MESSA {Italian). A mass or Catholic niuaical service. MESSA CONCERTATA (Italian). A concerted maw. MESSA DI VOCE {Italian). A swelling and diminUhtn^ of the voice on a long holding note.* MESSE (French). A mass, or Catholic musical service. MESTO (Italian). Mournfully, sadly, pathetically. MESTOSO (Italian). Sadly, pensively. MESURE (French). The bar or measures MESURE A DEUX TEMS (French). Common time. MESURE A TROIS TEMS (French). Triple time. METALLICO (Italian). Of a metallic quality. ^ETHODE (French). A treatise or book of instructions. METRONOME (French). An ingenious imirument for in- dicating the exact time of a musical piecw, by means of a pendulum, which may be shortened or l€^igtl.ened at p;e»- sure.f METRUM (German). The measure or tini*. MEZZA BRAVURA (Italian). A song a Dvoderate diffi. culty as to execution. MANICA (Italian). The half-sUft, On only one strmff. MONOCORDO {Italian). / ' * MONODIA (Italian).\ A term anciently applied to a melody MONO DIE {Italian). > intended to be performed by a MONODY. ) single voice. MONTANT {French). Ascending. MORCEAU (French). A piece or musical composition of any kind. MORDENTE (Italian). A beat or transient shake. MORENDO (Italian). Gradually subsiding in regard to tone and time ; dying ^'.^^ay. MORISCO (Italian). In the Moorish style. MORMORAN DO (ItaUan). With a gentle, murmuring sound. MOSSO (Italian). Movement; as, piii mosao, with more movement, quicker ; meno numo, slower, MOSTRA (Italian). A direct MOTET ) A sacred composition of the anthem MOTETTO (Italian). ) kind. MOTIVO (Italian) The principal gubject of an air, ot other musical composition. \!r>TO. pov (ItalianX With agitation, »*^«*«U8ly 80 NA MOTO CONTRARIO {Italian). In contrary mo? ..ent- A term used in counterpoint to imply that the melody of one part moves in an opposite direction to that of another. MOTTEGGIANDO {Italian). Jeeringly, jocosely. MOTUS {Latin). Motion; as, CONTRARIUS {Latin). Contrary molioii. OBLIQUUS {Latin). Oblique motion. RECTUS {Latin). Similar or direct raGti^i . MOVIMENTO (Italian). Time, movement. MUSETTE {French). A small kind of bagpipe /Is. an air of a sweet and pastoral character. MUSIC. The language of sounds. MUSICO {Italian). A musician ; also the name app^ed to those male vocalists who formerly sang the soprano parts in operas, &c. MUTE. A small instrument which is occasionally place-i on the bridge of a violin, tenor, or violoncello, to damp o: 2i- minish the tone of the instrument, by checking its y\\ \ • \jl N. NACCARE {Italian). The castagnets. NACHAHMUNG {German). Imitation. NACHDRUCK {German). Emphasis, accent NACHSPIEL {German). A postlude, or piece pkve4 "ifWn some other. NACHSTVERWANDTE TONE {German). Nearest reii- tive keys. ASAL TONE. In singing, this term implies that tr.'. voi j* ii deteriorated by passing through the nosiriU NO 81 NASARD. An organ-stop, tuned a twelfth above the Din- pasons. NATURAL. A character marked £)> used to contradict • sharp or flat. NATURAL MODULATION. That which is confined t« the key of the piece and its relatives. NEAPO].ITAN SIXTH. A chord composed of a mmoi third and minor sixth, which is situated on the fourth degree of the scale. In the key of C major or minor this chord is as follows : D b Ab F NEBENGEDANKEN (German plural). Accessory and subordinate ideas. NEGLIGENTE (Italian). . NegligenUy. without NEGLIGENTEMENTE (Italian). > ! . NEGLIGENZA, con (Italian). ) * ""*'" ' NEGLI (Italian). NEI (Italian). NEL (Italian), NELL A (Itidian). ^ ^" '^^• NELLE (Italian), NELLO (Italian). NETTAMENTE (Italian), \ ^^^^. NETTO//to«an). / NEUVIEME (French). The interval of a ninto NIEDERSCHLAG (German). The accented part of a bai NOBILE (Italian). \ ,„.,, , , a a „^„^^,,J^ ^« ^ With nobleness and grandeur NOBILMENTB {Italian). / NOCTURNE (French). See Notturno. NOELS. The name gWen by the French to the&r Christman Carols. NOIRE {Fremk). A mrotefaat OS HV WON (Italian). An adverb of negation, generally associa*e"twee: two parts, where ttie one ascenas or descends, other remains stationary. OBOE {Italian). The hautboy, or hautboys. OBOISTA {Italian). A performer on the obop. OCTAVE. An interval of eight notei. OCTUOR (French). A piece in eight parts. ODEUM {Greek). A place for tLe public performance ni music ; a concert room or hall. (EUVRE {French). Opera or work ; as, oeuvre premier, the first work, &c. OFFERTOIRE {French). ^ OFFERTORIUM {Latin). '/ P^^* ^^ *^« ^* ^' ™°"^"'8 OFFERTORY. J ''''"'^- OHNE {German) Without: as, ohne hegkitungen, "- thout accompaniments. ONDEGGIAMENTO {Italian). With a waving, tremulous motion of the sound ; as also, on the violin, tenor, &c. a close shake. OPEN DIAPASON. An organ stop, so -jailed trom its pipes being open at the top. It is tuned to the same pitch as the pianoforte, &c. OPEN HARMONY. Harmony in which the notes art separated hy wide intervals. 84 OR OPERA (Italian). A musical drama, consisting of recita- tives, airs, choruses, &c. combined with scenery, decorations, and action. This term is also applied to any publication ot work of an author. OPERA BUFFA (Italian). A comic opera. — ^— — SEMI-SERIA (Italian). A semi-serious opera. — — — SERIA (Italian). A serious or tragic opera. OPERETTA (Italian). A short or little opera. OPHICLEIDE. A brass instrument lately introduced mto this country, of a loud tone and a deep pitch. It is cniefly used in military music. ORATORIO (Italian). A musical dramo, founded on some Scriptural story, performed without the aid of scenery and action. ORCHESTRA (Italian). That enclosed part of the theatre, between the stage and the audience, which is occupied by the musicians or instrumental performers. Sometimes, ajso, it is applied to designate, collectively, the performers t'nem- selves ; as, a full orchestra, a thin orchestra. ORDINARIO (Italian). Usual ; as, a tempo ordinario, xu the usual time. ORECCHIA (Italian). \ rrr. ^ ' > llie ear. ORECCHIO (Italian).) ORECCHIA MUSICALE (Italian). \ . . , ^ > A musical ear. OREILLE MUSICALE (Fruich). ) ORGAN. -j A well-known and highly appreci- ORG AND (Italian), I ated musical instrument, chiefly ORGEL (German), j used in ch\;rches, and other places ORGUE (French). J of divine worship.* ORGANI VOCALI (Italian). The vocal organs. • For a history and description of this most noble of all ins ee HamlltonV Organ Catechism, new edition by Joseph ^ariwi. PA ORGAN-POINT. A pedal note, or staticnar> Lass. ORGANUM (Latin). An ancient species of counterpoint fourths, fifths, and octave^ ORGELGEHAUSE (German). The case of an organ. ORGEL SCHULE {German). A school or method for th organ. ORGEL STUCKE (German). Pieces for the organ. ORGELPUNKT (German). An organ-point or pedal "ote. ORNAMENTl (Italian).^ Graces; as the appoggiatura, ORNEMENS (French). ) turn, shake, &c. OSSERVANZA, con (Italian). With scrupulous exactness in regard to time. OSSIA (Italian). Or else ; as ossia piU facile, or else in this more easy manner. OSTINATO (Italian). Persevered in, adhered tt, continued in despite of circumstances. OTTAVA, or Sva (Italian). An octave. This word >a generally joined with alta or bassa: the first signifies that the passage to which it is applied must be played an octave higher than it is written ; the second that it must be played an octave lower. OTTAVINA (Italian). The little or higher octave. OTTETTO (Italian). A composition in eight parts. OUIE (French). The hearing. OUVERTURE (French). ^ An overture, or introductory OVERTURA (Italian). J symphony to a dramatic per- formance. PANDEAN PIPES. ") One of the most ancient and simple of PAN'S PIPES. i musical instruments ; made of reeds of different lengths, stopped at the bottom, and blown by iii«atb at the top. 86 PA PANTALON (Ftench). One cf the movements of the quad- rille. Also the name of an instrument of the dulcimer species, but larger, and played in the same manner. PARALLEL MOTION. When two parts continue on the same degree and only repeat the same sounds, they are said to be in parallel motion. PARFAIT (French). Perfect, with regard to iutenrals, fifc. PARLANDO (Italian). In a speaking or deolamatoiy manner. PARLANTE (Italian). Accented, as if with words, in « declamatory style. PARTE (Italian). A part in vocal or instrumental miuic. CANTANTE (Italian). The singing or ?ocal part PARTIE (French). A part in a composition. PARTIMENTI (Italian plural). Preparatory exerciaea for the study of harmony and accompaniment-* PARTITION (French). ^ PARTITUR (German). I A score or entire draught of • PARTITURA (Italian), j composition in several part*. PARTIZIONE (Itmlian).^ " AS (French). A dance ; as pas seul, pas de detiz, a danee bj «ne, or by two performers ; pas redouble, a quick step. PASSACAGLIO (Italian).\ , , , . 3 . PASSACAILLE (French).} ^ ^^°^ ^^^^^ ^" ^ ^^™^- FASSAGGIO (Italian). A passage or series of quick notea. PASSEPIED. An old French dance in | or J time. PASSING NOTES. Notes foreign to the harmony, but which serve to connect those which are essential. See the Exercise' ji F6ti8' " BUmtntary and dbridy4c Uttktd V aarmony and Acf.umpaniwtwt-^ extr 'he ParttBeotk d renaroU, Sala, k9, PB 87 PASSIONATAMENrE (Italutn).) In an impassioned man PASSIONATE {Italian ) ner. PASSIONATO {Italian). | , ,,,,,^ ,ith pathos. ?ASS10NE, co« (/fa/ian). i ^ » r ASSIONE {Italian). The passion, or seven last words of our Saviour, set to music. PATETICO (/.a/ean). | p.^.^i.^Uy. PATHETIQUE {French). / PASTICCIO {Italian).^ An opera made up of songs by dif- PASTICHE {French). ) ferent masters. PASTORALE {Italiaji). "i In a pastoral s/,yle. Also, a soft PASTORELLA {Italian).) and rural movement. PASTOURELLE {French) One of the movements of the quadrille. PAUKEN {German plnr.). The kettle drums. PAUSA {Italian). A rest. PAUSA GENERALE (//a/ian).| A pause for all the per- PAUSE GfiN^RALE {French).) formers. PAUSE {French). A semibreve, or whole bar's rest. PAUSE {German). A rest. PAUSE. A musical character, consisting of a dot surmounted by a curve, which serves to protract the duration of a note or rest beyond its natural value. PA VANE {French). An antiquated French dance of a serious cast. PEDALE {Italian), A pedal or stationary bass. In piano music, this term implies that the performer must pres3 down the pedal which takes off the dampers. PEDALE {German). That set of keys belonging to an organ T^hieh are played on by the feet.* * 8«e Andri and Hamilton's Treatise on the Management of tta t « 88 PH PEDALi (Italian). The pedals in piano or organ music. PEDALIERA. (Italian). The pedal keys of an organ, spokec of collectively. PENTACHORD. A scale of five diatonic degrees. PENTATONON (Greek). An interval of five whole tones, or the augmented sixth. PER (Italian). For or by; as per il violino, for the violin. PERCUSSIONE (Italian), Percussion, or the act of strik- ing a note or chord. PERDENDO (Italian). \ These terms imply a gradual di- PERDENDOSI (Italian). > minution, both in the quantity PERDEN (abbrev.) J of tone and speed of move- ment. PERFECT. A term applied by theorists to certain intervals «nd chords. PERFECT CADENCE. A complete and satisfactory close in both the harmony and melody. PERFECT CONCORDS. | The perfect fourth, fifth, PERFECT CONSONANCES, i and eighth. PERFETTO (Italian). Perfect, with regard to intervals, &c PERIOD. X . , , . , . .^*,^,^^^ T- ,v I A complete musical sentence contam F^RIODE( French). \ . ^ ^^^^^^^Vr^ i\f mg several members. PERIODO (^Italian).} ^ PERIODENBAU (German). The construction of n.usica periods. PES ANTE (Italian). With importance and weight, impres- sively. PETITE MESURE A DEUX TEMS (French). % time, PEU (French). A little. PEZZE (Italian plur.). Fragments, select detached pieces d music. PHONICS. The art of treatinjf musical sounds, either singl:/ or in combination. PI m PHRASE. A short musical nentenee containing an incom- plete idea.* PHRYGIAN. The name of one of the ancient modes. PIACERE (Italian). Will, pleasure: as, d piaeere at th« performer's pleasure in regard to time. PIACEVOLE (Italian). ^ . ,, . PIACEVOLEZZA, con (Italian). ] ^^^^^*'^/^ '\\ f,* PIACEVOLMENTE (W. i -g and graceful style. PIANGENDO (Italian). Plaintively. PIANGEVOLE (Italian). 1 Despondingly, dole- Pi ANGEVOLMENTE (Italian). ) fully. PIANISSIMO or pp. (Italian). Extremely soft. PIANO, or p. (Italian). Sjoju A QUEUE (French). A grand pianoforte. CARRfi (French). A square pianoforte. PIANOFORTE SCHOOL. A copious book of instruction for the piano. PIANOFORTE SCORE. A score containing the vocw parts of a composition, with a pianoforte arrangement of the instrumental parts. PIANOGRAPHE. A highly ingenious machine," invented by M. Guerin, which on being attached to the pianoforte indi- cates, on paper prepared for the purpose, anything played by the pianist. PIATTI (Italian plur.) The cymbals. PICCIOLO (/fa/ian). ^ Little : as, violino picciolo, a small PICCOLO {Italian). ) violin : flauto-piccolo, a small iijta PICHETTATO, (Italian).^ In violin playing, these term^ PIQUE (French). ) signify that species of 5/accafo indicated by dots surmounted with a slur. * See Hamilton's Musical Graminai, as also his Catechiam ou tb( liiTcntion, Exposition, Developiuent, and Concatenation of Musical 90 PL PIEDS (French). The feet: as, avec les pieds, with the Cm^ in organ playing. PIENA (Italian). Full: as d piena orchestra, for a fuU orchestra. PIENO (Italian). Full. PIETOSAMENTE (Italian).\ PIETOSO (Italian). / ^^**» P^^^' compas.ionataly. PIFFERO (Italian). A fife. PIU (Italian). An adverb of augmentation : as FORTE. Louder. LENTO. Slower. PIANO. Softer. PRESTO; Quicker. PfU TOSTO (Italian). Rather; as, ALLEGRO. Rather quick. PIVA (Italian). A bagpipe. PIZZICATO or PIZZ. (Italian). In violin or violoncello music, is applied to notes which are to be twitched with th* finger, instead of being played with the bow. PLACIDAMENTE (Italian). With »)lacidity, quietly. PLAGAL. The name applied to those church modes whose melody was confined within the limits of the dominant and its octave. PLAGAL-CADENCE. The triad on the key-note preceded by that on the subdominant. PLAIN CHANT (French). Plain song or chant. PLANTIVO {Italian). Expressively, plaintively. PLAQUfe (French). Struck ai once, in speaking of chords. PLECTRUM. A piece of quill or ivory, used to twitch the strings of the mandoline, &c. instead of the fingers. PLEIN JEU (French). Full organ. PLUS (French).) More : as, plus anime^ with greater PO 9! PNEUMATIC. A term applied to wind instruments in gene rai. POCHETTE {French). A kit or small violin used by dancing masters. POCHETTINO {Italum,), > A little: A&ritard. unpoclmilinc POC HETTO {Italian) ) play somewhat slower. POCO {Italian). A little, rather, somewhat . .s ANIMATO. Rather animated. MENO. Somewhat less. PIANO. Somewhat soft. PIU. Somewhat more. PRESTO. Rather quick. POCO A POCO {Italian). By degrees, gradually; as, CRESCENDO. Louder and louder by degrees. DIMINUENDO. Softer and softer by degrees. POGGIATO {Italian). Dwelt upon, impressive. POl {Italian). Then; as piano poi forte, soit, then ioud. POINT (French). A dot. POINT D'ORGQE {French), A ps-ise ; also a pedal p;.- - sage. POINTEE {French). Dotted, in speaking of the duralirii :.' notes. POLACCA {Italian). * A slow Polish dance in ^ time, of POLONAISE {French). ? a peculiar rhythmical coi.str^...:- POLONOISE {French).) tion, as the melodial n.<-mt.:s usually terminate on the third crotchet of the bar. POLKA. A tolerably quick Dohemiun dance In 3 time. POLYMHRPHOUS. Having many ferms : g'.v ,-.\v ,i,,4 in reference to canons. POMPOSO (Italian). In a grand aud j&ompous maf iics/ 92 PR PONTIOELLO (ItdUa ^ The bridge, in speakinjj of tht violin, guitar, &c. PONCTUATION MUSIC ALE (French). MusicaJ puno tuation or phrasing. PORTANDO LA VOCE {Ualian). Sustaining th? voice. PORTAMENTO [Italian). The manner of fustainiug aiid conducting the voice. A gliding from one note to another. PORTAR LA VOCE {Italian). | ^^ ^^^^^^ ^^^ ^.^^^^ PORTER LA VOIX {French). ) PORT-DE-VOIX {French). An appoggiatura. PORTiiE {French). The stave on which the notes &ie written. POSATO {Italian). Quietly, steadily. POSAV NE {Germafi). The trombone. POSITION (French). A position or shift, on the violin, tenor, or violoncello. POSITIF(FW0. iThechoirorg^n. POSITIV {German). ) POSSIiilLE {Italian). Possible; as il pih forte posiibile, m loud as possible. POST-HORN {German). A sort of bugle; also a niovemem suited to, and imitating the notes of such an instrument. POTPOURRI {French). A capriccio or fantasia on favofitt. airs. POULE {French). One of the movements of the quadrille. POUR {French). For. POUSSfi {French). In violin or violoncello music this term is used to indicate an up- bow, PRALL-TRILLER {German). A transient shake marked thus W PRATICO {Italian). Practical. PRECENTOR. The leader of the choir PT^TTOHIERA {Italian) A prayer. PR 9d . /-In a hii PRfiClPITAMi^^NTE (^Italian) PRECIPITATO (Italian). PRECJ.PITAZIONE, con {Ilaliar' '^ ^" * hurried n.«r.;.v: PRECIPITOSO (/fa/mn). PRECIPITI: {French). Hurried, accelerated. PRECISIONE {Italian). With precision, exactitude. PRELUDIO (Italian). \ A prelude or introductory move- PRELUDIUM (Latin).) ment. PREMlllRE (French). First; aspremierefois, &r^t tim^ PREPARATION. A term in harmony relating to disso nances. It consists in causing the dissonant note to be heara as a consonance in the preceding chord in the same part of the harmony. PREPARAZIONE (Italian). The preparation of a dissa- nance. PRESTAMENTE (Italian). Hurriedly, rapidlj, PRESTEZZA (Italian). Rapidity, quickness ; as, con pr^ tezza, with rapidity. PRESTISSIMO (Italian). The most rapid degree of move- ment. PRESTO (Italian). Very quick. PRIMA BUFFA (Italian). First comic actress and singe* DONNA (Italian). The principal female singer in an Italian opera. VISTA (Italian). At first sight VOLTA (Italian). First time. PRIMO (Italian). First; as, violino primo,&c&tvio\m; tewipt primo, in the first or original time. — BUFFO (Italian). First comic actor and sitt^. MUSICO (Italian). Principal male singer. PRINCIPAL. An organ stop tuned an octave above toe diapasons.* ' 6ee Hamilton's Organ Cateehlou for a dMcrl^aM af iB 6^ •pawToiu itoft. ?4 W PIIINCIPALE {Ital^n). Principal; ab, vifyhuo tlie principal violin. FRINCIPALMENTE (Italian). Principallv PROBE (German).), ^ rehearsal. PROVA (Italian). ) PRONUNZIARE (Italian). To pronounce. PROPOSTA (Italian). The subject of a fugue. PSALM. ) . , \ A sacred song. PSEAUME (French). ) P U N KT ( Gerwian) . A dot. PU LSATI LE, A term applied to such instruments as are roaai' to sound by being struck upon, as a drum, a tambourine, fire, PUNKTIRTE NOTEN (German). Dotted notes. "UNTA (Italian). The point; as, colla punta delV arc*, W*^ the point or tip of the bow. PUNTATO (Kalian). Pointed, detached. PUPITRE (French), A music- desk. aiADRICINIUM. A composition in fom parts. QUADRILLE [French). A French dance, or rather, a set of five consecutive dance movements, called Le Paniahn, La Poule, L'Ete, La Trenise on La Pasfourelle, La Finale. QUADRUPLE COUNTERPOINT. Counterpoint in fouT parts, all of which are invertinle. QUADRUPLE CROCHE f French). A semideniisemi- quaver. QUARTA (Italian). \ n^u ■ . i . *• .u ^TT A T^r^T^ ,-r, , ■, ^ V r The interval of a fourth QUARTE (French and German) • QUARTA TONI (Italian). | The subdominant, or fourtk aUARTE DU TON (French), f notn of the "sale. QUARTE R-NOTF A crotchet (t ClfTART DE TON (French). X That alig.u >yfferf«c« The mterval of a fifth. QUINTE (French and German). ) QUINTETT. ^ ^ composition for five voices dt QUINTETTO (Italian). \ i„3t,,^ents. QUINTUOR (Fre}ich). ^ QUI TOLLIS (Latin). A movement of the Gloria. QUODLIBET. A term sometimes applied to a certain speciet of composition written in a comic style. QUONIAM TU SOLUS (Latin). Part of the Gloria. R. R. or R. H. indicates the right hand in pianoforte music RABBIA, con (Italian). With rage, furiously. RADDOLCENDO (luMa.). ^ ,^1,,, augmented ,oftn«. RADDOLCENTE liiManV I 96 RE RADDOPPiaMENTu {Italian). \ The doubling of an ifi. REDOUBLEMENT (French). / terval. RADICAL BASS. The fundamental bass. RALLKNTANDO (Italian). Implies a gradual dniit-VtA*. in the speed of the movement, and a corresponding decrease in the quantity of tone. RANZ DES VACHES (French). Airs played upon their pipes by the Swiss herdsmen, to assemble their herds and keep thetn together on their return home. RAPIDAMENTE (Italian). \ RAPIDITA, con (Italian). > Rapidly, with rapidity. RAPIDO {Italia?)). i RATTENENDO (Italian). Restraining or holding oack the time. RAVVIVANDO (Italian). Reviving, reanimating, accela- rating ; as ruvvivando il tempo, animating or quickening tl.e time. RE. A syllable applied in solfaing to the note D. REBEC. A Moorish instrument with two strings, to which the Spaniards added a third. RECHEAT. The name by which huntsmen designate those sounds which are played on the horn to recal the hounds from a false scent. RECHT (German). Right; as, rechte Hand, the right hand RECITANDO (Italian). In the style of recitation ; decla matory. RSCITANTE (Italian). In the style of a recitative. RECITATIF (French). A recitative. RECITATIVO (Italian). A recitative or musical declamatj . . SECCO (Italian). Unaccompanied rpei tive. STROMENTATO (Italian). Recit. AOoomDanied by the orchestra. R£ ft R E ED The modth-piece of the hautboy, English horn, and bassoon, formed of two pieces of cane joined in a peculiar manner. Also the flat piece of cane placed on the beak of the clarinet, and the small pieces of metal through which th« wind passes into sume organ pipes. R££L. A lively Scotch dance. REFRAIN {French y. A burden, or tag-end to a lODg. REGINA CCEJ 1 {Latin). A hymn to the Virgin. REGISTER {Gcnmiji). An organ stop. REGLE {^French). > A rule or precept for composition or REGOLA (Italimn), S performance. REGLE DE L'OCTAVE (French). A formula vrhioh shews the methc^ of harmonizing or accompanying the as- cending or descending scale taken as a bass. REGULAR MOTION. Similar motion. REHEARSAL. A trial or practice, previous to a publw ptt« formance. RELATIVE KEYS. Keys which differ only by hafing is their scales one sharp or flat more or fewer. RELIGIOSAMENTE (Italian). 1 With religious feeling j RELIGIOSO (Italian). ) a devotional manner. RENVERSEMENT (French). An inversioi. RENVOI (French). A mark of repetition. RfiP:^TITION (Frer^h). A rehearsal. REPETIZIONE (Italian). Repetition ; as, Mnsa repgthtiontt without repetition. REPLICA (Italian). Repetition; as senza rtpliea^ without repetition ; con replica, with '•epetition. REPLICATO (Italian). Repeated. RfiPGNSE (French). The answer of a fugue. HEPRISE (French). A ^petition or return to 'cmom ore part. 86 RI REPRISE D'UN OPERA (French). The representation of an opera which has not been given for some time. REQUIEM (Latin). A musical service for the dead. RESOLUTION. The concord which necessarily follows a preceding discord is called its resolution. RESPIRO (Italian). A semiquaver rest. RESTS. The characters which indicate silence in music. RETARDATION. The continuation of one or more notes of a chord into the following chord. RETROGRADO (Italian). In retrograde movement. RETTO (Italian). Direct; as, rmto retto, direct or simiiai motion. RHAPSODIE (French). A rhapsody, a capriccio. RHYTHM. The theory of musical cadence, at applied to melody. RICERCARl (Italian plural). Difficult exerciaes for the voice or for some instrument. RICERCATA (Italian). A fugue replete with contrapuntal artifices. RICORDANZA (Italian). With recollection, remembrance, RIDOTTO (Italian). Adapted, arranged ; also, an entertain- ment consisting of singing and dancing. RIFFIORIMENTl {Italian plural). Extemporaneous em- bellishments. RIGADOON. An antiquated French dance in triple time. RINFORZANDO (Italian).^ RINFORZATO (Italian). I With additional tone and em- RINFORZO (Italian). t phasis. RINF. or RF. (abbrev). ' RIPIENO (Italian). A term applied to such parts in con- certed music, as are intended to fill up and augment th« effect of the tutti, or full chorus of voices or instrument!. Ri Pll£SA ' ft^iiai^)' A ooack of repetition. RO RISOLUTAMENTE (/. ^.,,. ^ a i ^^r.^T ^r^^ ., . V I With boldness and resolu- RISOLUTO iltaUan). V RISOLUZIONE, con (Italian). ) ^^*°"' RISOLUTISSIMO (Italian). "With extreme resolution. RISOLUZIONE (Italian). The resolution of a discord. RISPOSTA (Italian). The answer of a fugue. RISVEGLIATO (Italian). With much animation. RISVEGLIARE (Italian). To re-animate the execution. RITARDANDO (//a/iara).) Implies a gradual retarding or RITARDATO (Italian). J slacitening of the time, with a corresponding diminution in point of tone. RITARDO (Italian). A retardation. RITENENDO (Italian). . ^ ^^^^ ^ ,^„,,,, ,, RITENENTE (Italian). \ the speed of the' movement RITENUTO (Italian). J RITORNELLO (Italian). A short symphony or introduc- tion to an air ; as also the symphonies between the members or periods of the air. The same term is applied, also, to the lutti partg, introductory to, and between the solos of a con- certo. RIVOLGIMENTO {Ifaliav}. The inversion or the parts iu double counterpoint. RIVOLTATO (Italian). Inverted. RIVOLTO (Italian). An inversion. ROHR (German). A reed. ROHRWERK (German). Reed-work: the reed-»topu • an organ taken collectively. ROLLO (Italian). ^ ^, „ , . Dnr T AATT^r^ / r^ ;• \ \ The roU ^/i dj&, iE ADC and tarn- kOLLANDO (Italian). V ROULEMENT (French). J ^o'^^"^®- ROMANCE (French).^ A short lyric tale, set to nvjsic. cr ROMANZA (Italian).} simple and elegant melody suitable to inch word* RtT ROMANESQUE (French). A dance time ; called also Gal Hard. ROMISCHE GESANG {German). The plain chant of the Catholic service. RONDE {French). A semibreve. RONDEAU {French). \ A rondo or composition of several RONDO {Italian). ) strains or members, at the end of each of which the first part or subject is repeated. RONDILETTA (Italian). >. RO^BmETTO (Italian). L short rondo. RONDINO (Italian). | RONDOLETTO (Italian). ' ROOT. The fundamental note of an)' chord. IIOSALIA (ItaliaJi). The repetition of a passage severiJ limes over, each time ascending one degree. ROTE., The old name of the hurdy-gurdy. ROTONDO (Italian). Round or full, as regards tone. ROULADE (French). A division or rapid flight of notes. ROUND. A soi>t of canon in the unison. ROUNDELAY, A sort of antique poem, in va'-ioua parts of which a leturn is made to the first verse or couplet A poetical rondc. ROVESCIO, (Itnlian). Inverted, reverted RUBATO (ItaliMi). Robbed, borrowed. The terms tempo rubato are applied to a s*^yle of performance in which some notes are held longer than their legitimate time, while others are curtailed ol their proportionate duration, in order that, on the whole, the aggregate value of the bar may not be disturbed. RUCKUNG (German). Syncopation. RUHEPUNCT yGerman). A point of repose inmeiody{ a eadeuc . 1 8C 101 RUSSE (Frtnek). RttSsUn i —, A la Rnsse, in the Ruasiaa SACKBUT. An old-fashioned instrument, retemoling « trombone. SAGGIO (Italian). An essay. SAITE (German). A string of a musical instrument. SAITENHALTER (German). The tail-piece of a violiu, tenor, &c. SALMO (Italian). A psalm. SALTANDO (Italian). Proceeding by skips or bounds. SALTERELLA. See Sartarella. SALTERIO (Italian).)^ ^ ^^ ^^^, ^, SALTERO (Italian). ) "^ SALTO (Italian). A leap or skip. SALVE REGINA i^Latiji). A hymn to the Virgin. SANCTUS (Latin). A principal movement of the mass o* "^^iholic service. SANFT (German). Soft; as, mit sanften Stimmen, with a^f* stops, in organ music. SANGER (Gtr77?an). Awt^,. SANS (French). vrithout; as, ions pedales, without the pedals, in organ playing. SARA BAND A (Itauan ^ A saraband, an antique- 'ow SARABANDE {Frcncli).^ dance-tune. SART/ RELLA (ltuUan).\ . ^. ,., , *, '^ > A Neapolitan dance. SARTARELLO (Italian)-) S.\TTEL (German). The nut of a violin finger-bo?rfl, -^ ?HARRA DOPPIA (Italian). A douMe bar W«n>, A scale or ganou* 102 BO SCALD. Among the Northern nations, implies a bard ^ poet-musician. SCENA (Italian). A scene or portion of an opera. An ad is generally composed of several scenes. SCHERZANDO (Italian). SCHERZANTE (Italian). SCHERZEVOLMENTE (Italian). I In a light, playful, «CHERZO (Italian). \ and sportive man- 5CHERZ0SAMENTE (Italian). \ ner. SCHERZOSO (Italian). SCHERZ. (abbrev.) SCHERZANDISSIMO (Italian). In an exceedingly play- ful style. SCHOTTISCHE (German). The name given to a rather slo modern dance in 4 time; SCHLEIFEZEICHEN (German). A slur. SCHUSTERFLECK (German). Synonymous with RosaiK See that word. SCHLUSSEL (German). The clef. 8CHNARRPFEIFEN (German). Reed work, reed stops, SCHNELL WALZER (German) Quick waltzes. SCHREIBART (German). Style. SCHUliE (German). A school or method for learning an} instrument, &c. SCHWACH (German). Piano, or soft. SCHWEIGE (German J. A leHt. SCIOLTAMENTE (Italian). With freedom and agility. SCIOLTO (Italian). With Ireedom and boldness. SCOLARO (Italian). A scliolar. SCORE. An assemblage of the difTerent parts uf a composi- tion, written on separate stave."^ placed below each other. See •ILL Score an,' Pianoforte Score. m 108 SCOZZIiSE (^Italian). Tn the Scotch style. SDEGNO, con (Italian). >. j„ ^ g ^„, ^^ SDEGNOSAMENTE (Italian). V j^ SDEGNOSO (Italian). ' SDRUCCIOI.ARE (Italian). To slide ; as by turning me finger-nails towards the keys of the pianoforte, and drawing the hand rapidly up or down. SDRUCCIOLATO (Italian). Sliding the fingers along the keys or strings of an instrument. SEC (French). \ i^ a. dry or unornamented manner. SECCO {Italian). ) SECHZEHNTHEIL NOTE (German). A semiquave SECONDE (French). Second: as leconde fois, second time. SECONDA (//«/^--).\ The second. SECONDO (Italian).} SECUNDE (German). The interval of a second. SEGNO, or .^- (Italian). A sign; as al segno, return to the sign ; dal segno, repeat from the sign. SEGUENDO (//«^-).|F,„,,j,g. SKGUENTE (Italian) J SEGUE (Italian). \ Now follows, or as follows. Example?: SEGUITO (Italian), J segue il core, the chorus follows ; segue la finale, the finale now follows. It is also used in the sense of in similar or like manner, to shew that a subsequent passage is to be played like that N^hicii pre- cedes it. SEGUIDILLA (Spanish). A favourite Spanish dance of three beats in a bar. SEITENBEWEGUNG (German). Oblique motion. SEIZIEME DE SOUPIR (French). A sernider With simplicity. SE 105 SEPTETT. \ A composition for seven voices or instrii- SEPTUOR./ ments. SEPTIEME (French).) «,, . , ^ ^ } The intenra. of a seventn. SEPTIME (Gerwtan). / SEQUENCE. A series of similar chords or intervals, &c 5EQUENZA (Italian), A sequence, or succession of similai chords on a uniform bass. SERENADE {French).^A serenade or evening concert in SERENATA {Italian).) the open air. This term is also used to designate any musical composition on an amorous subject, consisting of sons:, recitative, and chorus; or any light and pleasing instrumental composition consisting ot several movements. 3ERIA (Italian). Serious, tragic ; as, opera seria, a serums opera. SERIOSO {Italian). In a serious style. SERPEGGIANDO (Italian). Gently and silently creeping onwards, quietly advancing. SERPENT. \ A military instrument, of a 3ERPENT0N0 (Italian). ) coarse, deep tone, somewhat resembling a serpent in its figure. SERVICE. Certain portions of the Protestant Ritual when set to music are so called. SESQUI ALTERA. The name of an organ- stop composed of several ranks of pipes. SESTA (Italian). The interval of a sixth. 3E TETTO (/^a/earj). ) A vocal or instnmiental composition SESTETT. / in six parts. SETTIMA [Italian). The interval of a seventh. SETZART (German). Style of composition. SETZKUNST (German). The art of musical composition. SEVERAMENTE {Italian).\ , , • , . ,„„„^,„-: ^ "^ > In a strict and severe style. SEVERITA, cm (Italian). ) ^ 106 81 SEXTE {German). The interval o! a sixth. SEXTUOR. A composition for six voices or instrum^firte. SFORZANDO (Italian). \ Implies that a particular note is to SFORZATO (Italian). ] be played with emphasis and force. SFUGGITO (Italian). Avoided; as, Cadenza sfuggUa, an avoided (i. e., a broken) cadence. SHAWM. A wind instrument of the ancient Hebrews. SI. A syllable applied in solfaing to the note B. SICILIANA (Italian). A movement of a slow, soothing^ pastoral character, in g time, resembling the dance peculiar to the peasantry of Sicily. 8IEGUE. Properly Segue, which see. SIGNATURE (French). The signature. SIGNE (French). The 'S', or direct. SILENCE (French). A rest. SIMII-AR MOTION. That in which two or Jiiore narts always ascend or descend at the same time. SIMILE (Italian). Similarly, in like manner. SIMPLE INTKllVALS. Such as do not exceed an octave. SIMPLE TIMES. Those measures which contain but one principal accent; as, 4, ^, g, &c. SINFONIA (Italian). ^ A sympliony or orchestral composi SINFONIE (German). i tion in many parts. SINGHIOZZANDO (Italian). Sobbingly. SINGLE CHANT. A simple harmonized melody ey*>od- ing only to one verse of a psalm as sung in catne* drals, &e. SIHGSCHULE (German). A singing school. SINGSTIMMEN (German plural). The voices; the vecaJ parts. SINISTRA (Ualii^. The laa 80 101 SINO {Italian), i As far at : u, mn Jitoeo ««' :/ fine, witfc SIN (Italian). ) spirit to the end. SI REPLICA {Italian). Repeat, SISTRUM. An ancient Egyptian instniment oi percusaiou St TACE {Italian). Be silent. SIX POUR QUATRE {French). A double triplet, or six notes to be played in the time of four. SIXTE {French). The interval of a sixth. / i^ . SIXTEENTH NOTE. A semiquaver vJ^J SLENTANDO {Italian). A gradual diminution in the dm« :«. speed of the movement. LUR. A curved line drawn over two or more notes to indi- cate that they must be smoothly connected. 8MANICARE {Italian). To shift or change the position of the hand, in playing the violin and similar instruments. SMANIOSO (Italian). With fury. SMINUENDO (Italian). Gradually diminishing the sound. SMORFIOSO (Italian). In an affected manner. SMORZANDO (Italian). ^ A gradual diminution a« to 8M0RZAT0 (Italian), i tone. 80 AVE (Italian). | j^ ^ ^^^ ^^^^^^ ^^jj^^^^ ^^ SOAVEMENTE (Italian).} SOGGETTO (Italian). The subject or theme. SOL. A syllable applied in solfaing to the not« O- SOLA (Italian). Alone. SOLENNEMENTE {Italian).^ ^.^^ ,,,en,nity. SOLENNITA, con (Italian), j SOLFA. I The practice of solfeggi by means of the syU SOLFAING./ lables do, re, mi, ta, sol, la, »i, jorrespo*- ing to the notes C, D, E, F, G, A, B. SOLFEGE (French). \ . . ^ o_-.__,^_,_ ,-^ ,. , ,. I An exercise or ereroisea for 1^ SOLFEGGI (Italian plural). > SOLFEGGIO (italmm\, ' '°''^** loe so SOLI (Italian plmral). Implies ttiat two or more principal parts play or ting together ; snch parts, of coarse, are oef*> doubled. SOLLECITO (Italian). In an ardent, solicitous, and pen. sive style. SOLMIZATION. The same as solfaing. SOLO (Italian). Alone. SOLO (Italian). A composition, or even a passage for a single voice or instrument, with oi without accompaniments. SONATA (ItaHan).^ A composition consisting of several SON ATE (French).} movements, generally for a single principal instrument, with or without accompaniments. SONATINA (Italian).^ . .^^ ^. ^^„„ _„ ^^ , , ^ ' > A snort and easy sonata. 80NATINE (French).) SONNET. A short poem of only fourtef n lined. gONORAMENTE (Italian). . ^ , .. ^ „ SONORITA,co„ (Italian). i^^O'^^^^- ^-^ « ^» '» SONORITY (i.r.«c/.). • br^g kmd of tone. SONORE (French), ) „ / i w ^ SONORO (Italian).) ^ SONS HARMONIQUEH (Prsnekpiwal). Harmonic sounds or notes. SONS PLEINS (French pdaGi). Terms which often occui in flute music, and winch mdicate that the notes must be blown with a very full rcund tone. SOPRA (Italian), Abo^e: as, e&me sopta, as above ; contra- punto sopra il soggetto, counterpoint abo^e the subject SOPRANO (Italian). Ihe highest spec es of female voice. SORDAMENTE (Italian). Damped, mufHed. SORDINI (Italian plur.) JVlutes; as cai sorrfi«j, with mutes, sema sordini, without muies, on the violin, tenor, &c. SORDINO (Italian). A mate ot damper applied ^r the bridge of the violin, nor, Slo* ST lo9 SOSPIRANDO (Italian). With apprehension, despondingly. SOSPENSIONE (Italian). A suspension. SOSPIRO (Italian). A erotchot rest. SOSTENENDO (Italian). \ ^ . - a *• • ,i V /I Sustained, continuous in regard SOSTENUTO (Italian). > . , ^ I to tone. SOST. (abbrev.) ' SOTTO (Italian). Below; as contrapunto sotto il soggetto, counterpoint below the subject. OTTO VOCE (Italian). In an under-tone. SOUPIR (French). A crotchet rest. SOUSDOMINANTE {F>ench). The subdominant or fourth of the scale. SOUSMEDIANTE (French). The submediant or sixth oi the scale. SOUSTONIQUE (French). The seventh of the scale or sub- tonic. SOUVENIRS (French plural). Recollections, rerainia- cences. SPAZIO [Italian). A space of the stave. SPIANATO (Italian). Smooth, even. SPICCATO (Italian). Pointedly, distinctly. In viohu music, this term implies that the notes are to be played with the point of the bow. SPIELEN (German). To play upon an instrument SPINET. > cTiTKrirT-rA / ts i- \ ^ An old keyed instrument SPINETIA (Italian)' 3 ^'?IKIT0, con (Italian). x SPIRITOSAMENTE (Italian). Iwith spixit. SPIRITOSO (Italian). ) SPIRITUALE (Itilian). Sacred. SPONDEE. A musical foot consisting of two l«ng STA (Italian). \ . .^ ^ no ST mTABAT mater ^Lutin). A hymn on the Crucifixion S€ A CC ATISSI MO (Italian). Very detached. STA-iCATO {Italian). This term implies that the notes to be played distinct, short, and detached from one anot> by rests. STANGHETT ^ (Italian). A bar line. STARK (German) Forte, loud; as, mit starken Stimmen,w loud stops, in organ j-'aying. STAVE. The five pawJIel lines on which the notes are placed. STEG (German). The bridge of a violin, violoncello, &c. STEM. The thin stroke which is c&awn from the head of a note. STENTATO (Italian). In a loud, bawling maac^r, lor some particular effect. STESSO (Italian). The same. STH^NOCHIRE. A machine for strengthening and i/cnart- ing flexibility to the fingers, being a compound of the Dae- tylion and the Handguide. STIBACCHIATO (Italian). Dragging, relaxing in the time. STICCATO (Italian). A musical instrument, the sounds of which are produced by striking on little bars of wood. STILO (Italian). Style, either of composition, cut of perform. ance. STIMME (German). This word has various significations; as (a) the voice ; (b) the sound-post of a violin, &c.; (c) a part in vocal or instrumental music; and (d) a stop of an organ. fXIMMSTOCK (German). The sound-post of a violin, &c. STINGUENDO (Italian). Gradually diminishing the tone. TXJLIN. A portion of a movemeni divided off* by a double ST in STOPT DIAPASON. The name of an organ-stop; so called from having its pipes stopped at the top with a wooden plug. by which it is tuned. It is of the same pitch as the Open Diapason. STRASCINANDO (Italian), x p. . , • • *v * '' I Dragging, relaxing m the STRASCINATO {Italian). V / . , ^ ' I degree of movement STRASCINIO, con {Italianu ) * STRATHSPEY. A lively Sco*>ch dance in common time. STRENG (German). Strict, in relation to style. STREPITOSAMENTE {Italian). ^ , • u • * _ ,, -* I In a noisy, boisterous STREPITO, con {Italian). > i manner. 3TREPIT0S0 {Italian). ) STRETTO {Italian). The knot. That part of a fugue lo which the subject and answer succeed one anothei at a verv short interval of time.* In modern music, it sometimes » used to imply an acceleration of the time near the close ol the piece. STRICHARTEN {German plural). Different ways of bod- ing. STRINGENDO (Italian). Ac^*f.erating the degree of moTe- ment. STRISCIANDO (Italian). Dragging in the time. STROMENTI (Italian plural). Musical instruments id general as, stromenti di vento, wind instruments, &c.t STUDIO (Itadan). A vocal or instrumental exercise intende letters instead of notes. TABOR. A little drum used to accompany the pipe in rustic dances. lABRET. One of the anciert Hebrew instruments men' tioned in Scripture. * See Hamilton's Cateehisrn on the Orgao 114 TA TACET (Latin). A word which implies that during a roovt ment, or part of a movejuent, some particular instrument ir to be silent: as flauto tacet, the flutfc is not to play. TAILLE (French). The tenor voice or part. TAIL-PIECE. That piece of wood to which the strings of bow-instruments are fastened. TAKT (German). The bar. TAKTART (German). The species of time or measure. TAKTSTRICH (German). The lines which mark the di» sion of a piece into bars ; the bar-line. TALON (French). The heel of the bow, that part near ths nut. TAMBOUR (French). A military or great drum. TAMBOURINE. A well-known pulsatile instrument, like the head of a drum, with jingles placed round it to increasE the noise TAMBURO (Italian). A drum. TAMBURONE (Italian). The great drum. TAMTAM. An Indian instrument of percussion like oc tambourine. TANTO (Italia7i). Not so much ; not too much. TANTUM ERGO (Latin). A hymn sung at the Benedict icr in the Catholic service. TARDANDO (Italian). See Ritardando. TARDO (Italian). Slowly, in a dragging manner. TARANTELLA (Italian). A peculiar sort of aance, »uf>- posed to have the virtue of curing the bite ^f a venomous species of spider, called the tarantella. TASTATUR ((?er7nan).\^, , ^ . r . r , ^ » . cT^^-r^T^ . \ ,. X r The key board of a pianoforte, &c. TASTIERA (Italian). J ^ r . ASTO SOLO, These words are used in organ and piano- forte music, to indicate that certain bass notes are not to be accompanied by chord* in the right hand. TED ESC A, a//a (/<«/?«;,).) , ,, ,, _^_„, , /in the Crerman style. TEDESCO, al (Italian). ) ^ TE DEUM {Latin). A hymn of thanksgiving. TEMA {Itnliaii). A subject or theme. TEMPERAMENT {Frejich). Temperament, a term used it? the mathematical theory of sound, in tuning, &c.» TEMPESTOSO {Italian). In a tempestuous manner, vio- lently agitated. TEMPO (Italian). The degree of movement. a or in {Italian). In time. An expression use I after some relaxation in the measure, to indicate a return to the original degree of movement. .^. COMMODO {Italian). In a convenient degree ol movement. ~ — DI BALLO {Italian) In the time of a dance. — DI GAVOTTA {Italian). In gavot time. " DI MARCIA {Italian). In march time. DI MENUETTO [Italian). In the time of a minuet. DI VALSE (Italian). In the time of a wdtz. • GIUSTO {Italian). In strict time. — PRIMO {ItaliaJi). In the first or original time. -— RUBATO {Italian). Implies a slight deviation in the measure for the sake of expression, by pro* tracting one note and curtailing another, so that the time of each bar is not ahered in the aggregate. TEMPS (Fre«c/i).\ Time ; also the various parts or division'' TEMS {French). ) of the bar; as, TEMPS FOIBLE (French). The weak parts of the ba?. 8«*' Hamilton's Art o»' '^•'»««ig ■■}' 116 TF .EMPS FORT {ttKJMtk). The str wg p.rcs or the bar. — — — FRAPPfe (French). Thf accented pans, or dowf> beats. LfiVfe (French), The unaccented parts, or up- beats. TENDREMENT {French). Affectionately, tenderly. TENEBRiE (Latin ilural). The Catholic evening serriec during holy week. TENERAMENTE (Italian). TENEREZZA, con (Italian). )> Tenderly. TENERO (Italian). TENIR (Frejich). To hold, as a violin, a bow, &c. TENORE (Italian). The tenor voice or tenor singer; t liigh male voice. TENORSCHLUSSEL (German). ^ ^^^ ^^^^^ ^j^^ TENORZEICHEN (German). ) TENSILE, Such instruments as have strings are so called. TENUTE (Italian). \ Implies that a note or notes must oe TENUTO (Italian). > held on, sustained, or kept dowr TEN. (abbrev.) ) the full time. TEORETICO (/ The mterval of a thuu. fERZA (Italian), i IKRZETTO {Italian). A short trio or piece for tk' or instruments. I E^l^ Z I N A ( ftalm^). A triplet. rElRACHORD A system of four sounds n ii: THFJ./jFj {German plural). Parts or oapitai diviBions of the bar. THEJ/"^' (French). A subject THEORBO. An ancient stringed InBtrutnent ot itie lutu kind THEORIE (French). Theory. THEORICIEN (French). A theorist. One acquainted with the theory of music. / ^\ THIRTY-SECOND-NOTE. A demise miquaver VgT/ THOROUGH BASS. The art of accompanying a figured bass on the piano or organ.* TIBIA (Latin). The ancient name of wind instruments with holes, such as the flute. TIERCE (French). The interval of a third. Also the name of an organ-stop tuned a major third higher than the Fif- teenth. TIERCE DE PICARDIE (French). A term applied to the concluding chord of a piece of music in a minor key, when its third is made major by an accidental sharp or natural. TIMBALLES (French). The kettle-drums. TIMBRE (French). The quality of sound produced by voice or instrument. TIMBREL. Ar ancient Hebrew instrument like a tai»' bourine. riMOROSO (Italian). With timidity ar-^ me. I'IMPANI (Italian slur.). The kettJe-druuis. riNTINNAPULUM (Latin). A little bell. TIPcANNA. A Spanish national air. TIRASSE (French, The pedals of an or»aii which act :,-^^ -non the bass keys. '' 8«e livtr^^^nr^'f^ ^-♦<" bism on Harmonv and Thorough 118 TR riRA TUTTO (Italian). A pedal or draw- stop «l as c-gan which, acting upon all the stops, at once eniuies the player to obtain the full power of the instrument. TIRfi (French). Drawn. This term is used in violin music to denote a down bow. TOCCATA (Italian). A movement of difficult execution for a single instrument, generally the pianoforte. TOCCATINA (Italian). A short toccata. TON (French). A tone, or interval of a major second. Alao the pitch of any note. TON (French). The key; as, le ton d'ut, the key of C. TON ART (German). Mode. TONAUSWEICHUNG (German). Modulation. TONATILLAS (Spanish). National Spanish airs sung to . guitar accompaniment. TONFUHRUNG (German). Modulation. TONIC. The key-note is so called by theorists. TONIQUE (French). The tonic or key-note of a piece. TONKUNST (German). The science of music. TONLEITER (German). The scale. TONSCK'^TSS (Geman). A cadence. TONS DE u'EGLISE (French) The Church luodes or tonev TONSETZER (German). A composer. TONSTUCK (German). A musical composition. 'lONSTUFE (German). A degree of the stave. TONWISSENSCHAFT (German). The science oi music TOUCHES (Frencli). The keys of the piano or org^u. TRACHEA (Latin). The windpipe. TRADOTTO (Italian). Arranged, adapted. TilAlT (French). A run or passage. TRAITE (Ftench). ■) A treatise either on the practice w TRA 1 TATO (Italian), j the theory of music TR 119 TRANQUILLAMENTE (Italian). ^ TRANQUILEZZA, cm {Italian). 1 Tiarxqullly, compo^ TRANQUILLITA, co?i {Italian). j sedly. TRANQUILLO (Italian). f TRANSIENT MODULATION. That which continues but a short time. TRANSPOSED. Removed into another key. TRAVERSIERE (Fre«cA).\ ^, ^ . „^ .^ . } The German flute, TRAVERSO (Italian). / TRE (Italian). Three ; as a tre, for three voices or instru- ments. TREBLE. The acute part, that which in general contains the melody. TREMENDO (Italian). With a tremendous expression, horribly. TREMANDO (Italian). ^ Imply the reiteration of a TREMOLANDO (Italian). I note or chord with great ra- 1 REMOLATE (Italian), j pidity, so as to produce a i'REMOLO (Italian). ^ tremulous kind of motion. TRENISE (French). One of the movements of the quad- rille. TRIAD. A chord of three notes, a common chord. TRIBRACH. A musical foot composed of three short notes. TRICINIUM. A composition in three parts. TRILLANDO (Italian). A succession of shakes on diifereni notes. TRILLE (French). a TRILLER (German). I A shake. TRILLO (Italian). ) TRILL ERKETTE (German). A chain of shakes. TRILLETTE (French). A short trill or shake. TRINKLIED (German). A Bacchanalian o: drinking song. 120 TE TRIO {Italian). A piece for three voieea or instrumeDls. This term also denotes a second movement to a waltz, marcb, mit;uet, &c. which always leads back to a repetition of the first or principal movement. TRIOLET {French). A triplet. TRIPLE CROC HE {French), A demisemiquaver. TRIPLE COUNTERPOINT. Counterpoint in three parla, all of which are invertible. TRIPLE TIMES. Such as have an orfrf number of parts ia a bar. TRIPLET. A group of three notes arising from the divisicn of a note into three equal parts of the next inferior dura- tion. TRISAGION. A hymn in which the word holy isrepeatcu, three times in succession. TRITONE. ^ TRITONO {Italian). \ A superfluous or augmented fourth. TRITONUS Latin). ^ TROCHEE. A dissyllabic foot, composed of one long ani one short syllable. TROMBA Jtalian). A trumpet. DI BASSO {Italian). The bass trumpet. MARINA (Italian). The trumpet marine, a species of monochord. TROMBETTA {Italian). A small sized trumpet TROMBONE {Italian). A very powerful and rough- toned instrumei.l; of the trumpet kind, but much larger, and with a sliding tut e. TROM BONNE {Fre7ieh'\ The trombone. TROMPETTE {French) The trumpeU TROur. A quick march TR.OPPO {Italinri). Top nmich; pt, r.on troppo aUegro, not too quick UB 121 TROMMEL {German). The great drum. TROMP DE BEARN (French). The Jew's harp. TROPPO CARICATA (/^aHan). Too greatly overburdencct; as an air with too many or too heavy accompaniments. &c TROUBADOUR (French). An itinerant bard, or musician* poet, in the times of chivalry. TRUGSCHLUSS (German). An interrupted cadence. rUONI ECCLESIASTICI (Italian plu). The ecclesiastical modes or tones. TURCA, alia (Italian). In the Turkish style. TUTTA FORZA (Italian). With the utmost vehemence, as loud as possible. TUTTE CORDE {Italian plur). Upon all the strings. This term is sometimes met with in music for the piano, to imply that the pedal which shifts the movement must no longer :-4 pressed down. TUTTA (Italian). \ All, the whole: as, tutto arco, with the iian).\ lian). ) TUTTO (Italian). / whole length of the bow. TUTTE (Italian plural). ) Ail. A term used to point out TUTTI (Italian plural). ) those passages where all the voices or instruments, or both, are to be introduced. TWELFTH. The name of an organ-stop tuned twelve notes above the diapasons. Also, an interval of twelve degrees. lYROLIENNE (French). A dance peculiar to to the inha- bitants of the Tyrol. u. UBERMASSIG (German), Augmented, superfluous in re- gard to intervala. UBUNG {German). An exercise or study fov any mnsioal instrument. UDITO [Ilalinn). The sense of hearing. UDITORE [Italian). An auditor, a hearer. UGUALE {Italiav). | Squall/, all alike. UGUALMENTE {Italian). ) UMANA {Italian). Human: as. voce umana, the human voice. UMKEHRUNG ( German). Inversion, in speaking of chorus. UN {Italian). ^ UNA {Italian). > A ; as, un poco, a little. UNO (Italian).) UNA CORD A {Italian). Implies that a passage is to b^ played upon only one string. UNCA {Latin). The old name for a quav^'. UNEQUAL VOICES. Those compositions in which male and female voices are employee are said to be for unequal voices. UNESSENTIAL NOTES. Those which form no part of the harmony. JNGERADE TAKTART {German). Triple time. UNHARMONISCHER QUERSTAND {Germayi). A false relation. UNISONI {Italian plural). This term implies that two. three, or more parts, are to play in Duison with each other; or, if this be not practicable at least iii ^JCtaves, UNISON O {Ilalian). A unison. UT. A monosyllable used by the French, to name and solfa the note C. UT QUEANT LAXIS {Latin). The commencing word* of tlie hymn to St. John the Baptist, from which hynm Gu'idt is said to have taken the syllables, ut, re, mi, fa, sol, ia. for his systt'in of solnji^ation. VE 12a V. IS used by the ' Italians as an abbreviation of the word Violin; as are W. for Violiui or Violins VA (Italian). Go on: a«, va crescendo, continue to increaae in loudness. VAGO (Italian). With a vague expression. VALCE {Italian).'^ A waltz; as, Valse de Poiseau, a bird VALSE (French). ) waltz*. VALSE A DEUX TEMS (French). A modern waltz, in which the dancers make two steps in each meaoure. '/ARIAMENTO (Italian). In a varied and free style of execution. VARIAZIONI (Italian plural). Variations upon an air or theme. Vx\RIE (French). Varied; as, air varie, an air with vara tions. VALEUR (French). Duration or value of the notes. VAUDEVILLE (French). A s'hort interesting dramatic er.- tertainment, interspersed with little airs. VEEMENTE (Italian). | ^r^,^^^^^ VEEMENZA, co;?(^ia/iajOJ VELATO (Italian). Veiled, indistinct. VELLUTATO (Italiaii). Softly and smoothly. VELOCE (Italian). \ In a rapid time. This term is VELOCITA, con (Italian).} sometimes used to signify tliJi a particular passage is to be played as quick as possible. VELOCISSIMO (Italian). With extreme rapidity. VENEZIANA, alia (Italian). In the Venetian style. * See three very elegant Walue^, under thk title, by Cliauli«a, pai^ ildhfld by Cocks an Co. m: M Tl VERANDERUNGEN {German plural). VariatiooB. VERBINDUNG (German). Combination. VERMINDERTE (German). Diminished, in speaking of intervals. VERSE. A portion of an anthem or service intended to be performed by one singer to each part, and not in chorus like the rest. VERSE ANTHEM. An anthem containing one or more verses. VERSE SERVICE. A Service in which verses are introduced. VERSETTE (German). Short movements for the organ, intended as preludes, interludes, or post-ludes to psalm-tunes, &c. VERSETTO (Italian). A short or little verse. VERSETZEN (German). To transpose. VERSETZUxNG-ZEICHEN (German). Marks of tranapo- sition : the sharp, the flat, and the natural. VERSI SCIOLTI (Italian). Blank verse. VERWANDT (German). Related, relative as to the keys- VERWECHSLUNG (German). A change or mutatioii VERZIERUNG (German). Embellishment, variation. VESPERiE (Latin). Vespers or evening service in the Catholic Church. VESPERS. The evening service in the Catholic Church. VIBRANTE (Italian). A peculiar manner of touching the keys of the piano. VIBRATISSIMO (Italian). The superlative of viira/o. VIBRATE (Italian). | With a strong, vibrating quality of VIBRATO (Italian).) tone. VIDO Italian). ^ Terms used in music for such stringed VUIDE (French).) instruments as the violin, violoncello, &c. to signify that a particular note must be played on the open string. V TELLE (Frt:ncb.\ The hurdy-gurdy. VI 126 VIERTELNOTE (German). A crotchet. VIGOROSAMENTE {Jtnlian) ) p , ,, • , VIGOROSO {Italian). ) ^ ^ ^ VILANELLE {French). \ An old rustic Jance accompaiiied VILLANELLA {Italiari).) with singing. VIOLA {Italian). The tenor violin. VIOL D'AMORE (//a/iaw). \ An instrument vith six strings, VIOLE D' AMOUR {French.) resembling the violin. VIOL DA GAME A {Italian). An instrument reserablin-: the violoncello, but mounted with six strings. VIOLENTEMENTE {Italian). \.^..^, . , ^ /■ >• ith violence. VIOLENZA, con {Italian). J VIOLINO {Italian). The violin. VIOLINO PRINCIPALE {Italian). The first or princip^' violin part. VIOLINSCHTJSSEL {Gern.an).^ ^^^ ^^^^j^ ^j^^ VIOLINZEICHEN {Germnn). ) VIOLON (French). A violin. VIOLONCELLE(Fre.c/0.| The bass violin. VIOLONCELLO (Italian). ) VIOLONO (Italia?!). The double bass. VIRGINAL. A keyed instrument much used during \\u reign of Elizabeth. VIRTUOSO {ItaUan). One who greatly excels on some par ticular instrument; VITAMENTE {Italian).^^ VITE (French). \ With quickness. VITEMENT (French). ) VIVACE (Italian). VIVACEMENTE (Italian). 1 With briskness and animation, VIVACITA, con (Italian). | vivaciously. VIVAMENTE (Italian). ) VIVACISSIMO {Italian). With extreme vivacitj'. 126 7Q VIVENTE (Tta/ian). s VIVEZZA, con {Itnlian). I Animatrd, lively VIVO {Ttnlinn). I VOCALIZE. To practise singing on the vowels, chiefly the Italian A. VOCALIZZI (Italian). Vocal exercises to be sung en ihd vowels. VOCE {Italian). The voice. DI CAMERA (Italian). A voice suited for pnvat* rather than for public singing. DI PETTO (Italian). The chest or natural voice. DI TESTA (Italian). The head voice, that is, the falsetto or feigned voice. VOLANTE (Italian). In a light and rapid manner VOLATA (Italian). . VOLATE (French). \ VOLATINA (Italia^i). V A rapid succession of note*. VOLATINE (French).) VOLKSLIED (German). A national song. VOLL (German). Full; as, mit voile Orgel, full organ. VOLLKOMMEN (German). Perfect. V0L0NT:& (French). Will, pleasure ; as, a volonte, at will. VOLTA (Italian). Time of playing a movement; as, prima volta, the first time of playing; seconda volta, the secoi.d time, &c. VOLTE {Italian). An obsolete dance resembling the Galliard, written in 4 time. \'OLTI SUBITO (Italian). Turn over the page quickly. ^OLUBILITA, con (Italian).\^^'\\.\\ volubility and freedom V^OLUBILMENTE (Italian).) of perfcrmance, V^OLUNTARY. A piece for the organ, generally consisting of two or three movements, calculated to display the capao;- lities of the instrument and the skill of the player. VON (^German). By; often occurs in German tifies. VORAUSNAHME {German), Anticipation, ORBEREITUNG {German). Preparation, a Urir. ..h-J L harmony, VORHALT {German). A suspension or retardation. VORSCHLAG {German). An appoggiatura. VORSPIELE {German). Preludes to psalm-tunes, &... VORZEICHNUNG {German). The signature. VUIDE {French). Open : as, corde vii'ulc, in violin musiiK indicates the open string. w. WALZER {German). A waltz. WAYGHTES.)^ Pel sons who, about Christmas, play psair.- WAITS, / tunes, &c. in the streets, during the nigia. WECHSELNOTEN {Germa/n plural). Irregular transi:r,i notes, appoggiaturas, WEICHE {German). Minor in respect to keys and mode WEITE HARMONIE {German). Dispersed harmony. WESENTLICH {German). Essential. WHOLE NOTE. A semibreve (o). WIEDERHOLUNG {German), Repetition. WINDLADE {German), The wind-chest of an organ. WIRBEL (German). A peg of a violin, tenor, &c. z. ZAMPOGNA, alia (Italian), In the style of the bagpipe. ZARGE {German). The sides of any musical instnimea' such as tlve violin, tenor, vioioncello, guitar, &c. 2EITMASS (German), The time or degree of movement. iij6 aw ZEF.O, con (ftalian). -n ZI:L0SAMF.NTE {Italian), i With zeal, en'Waiastic*,!,. ^iELOSO {Italian). ) ZKRSTREUT {German). Dispersed. >: I NGA RRSA, a//a {Italian). In the gipsy style. /^INKl:^ {German). A kind of rustic pipt, no longer uaed, cor rr,-\ ZITHER {German). Thr guitar. ZOPPO (Italian). In r. limping manner. A style of melodj in wliich a long note is always placed b^,t,ween two short Tiotes. ZUFALLIG {German). Accidental, 'iUFFOLO {Italian). A little flute or flageolet, chiefly UMd to teach birds to sing. ZURUCKHALTUNG {German). Retardation. ZUSAMMENGESETZT {German). Compound, in speaking of times. ZWISCHENSPEIL {Germari). An interlude, in orgaii- playing. ZWISCHENRAUME {German). The spaces between the lines of the stave. ZWEISTIMMIG {German). For two voices or parts. .?W£YFACHE INTERVALLEN (Oer man plural). Com- pound intervals. 2WEYKLANG {Gerfnan), A chord of two bouc°.... . . Primo PP.... . . Piano and then forte PPP... . . Very pianisaimo Pizz. . . . . . Pizzicato R Prestmo. . . Prestissimo Raddo.. - Raddolcendo Rf. . . . . ^ Rallen. Rallo.. > Rallentando Rfz.... Rinf. ., , vRinforzando Recit . . Recitativo Ritard. . . . Ritardando R.H... . . . Right hand S Riteii. . . . . Ritenutc Scherz. Seg..,. ....Scherzando . . . Segno Sost. . Sosten . ■ Sostenuto Sem... . . . Sempre Sym , . Symphony Sf . . . Sforzando 2da ..Seconda Smorz . . . . Smorzando 2do . . Secondo Stacc. , . . . . Stacf.aln T T.S. . . . , . Tasto Solo Ten. . . . . . Tenuto Tern. . ..Tempo Tr ..Trillo U Unis.... ....UnisonL V Var... . . .Tariation yiio . .Violoncello V». . . . ...Viola V.S. . . . V V. . .. ..Volti subito v° , . . Violino ..Violini w 182 PHRASES WHICH OCCUR IN MODERN AUTHORS. Andante ma non troppo e con trisfexza. Not too slow, but idtii pathos. Anchintino sostenuie e semplicemente, il canto un poco piU forte. In a sustained and simple style, with the melody somewhat lOuder than the other notes. Colla pin granforza e prestezza. As loud and as quick as pos< sible. Come * I prima tempo. In the same degree of movement aa at first Come tempo del tema. Same degrre of movement as the theme. Cantahih, ornamenti ad libitum, ma piO. tosto pochi e buoni. In a singing style, with embellishments at will, but few and well chosen. Con abbandmo ed espressione. yivh self-abandon and expres> sion. Con brio ed animato. Animated aid brilliant. Con %va ad libitum. With octavei at pleasure. Crescendo ed incalcando poco a pooo Gradually augmenting Hit power and increasing the time Crescendo poco a poco. Increasing the sound by degrees. Crescendo e poi diminuendo. Inci easing and then diminishing the sound. Da capo senza repetizione e poi la coda. Begin again, but widi out any repetition of the strain^ and then proceed to the cods Dolce con gusto. Sweetly and tastefully. Dolce e lusingando. In a delicate and insinuating ityle. P*fee e piacevolmente espremvo. Soft and with pleasing ezpres- PHRASES WHICH OCCUft IN MODERN ATTTHOBS. 183 Dolce ma marcato. Delicately, but still sufficiently marked. FF. principalmente il basso. Very loud, especially the bass, tl terzo dite afutte le notte di basso. The third finger oa all the notes in the bass. Istesso valore, ma un poco piil lento. The same duration, but rather slower. L* istesso tempo poi a poi di nuovo vivente. The same time, with gradually increasing animation. Aioderato assai con molto sentimento. A very moderate degree of movement, with much feeling. Piano, sempre staccato e marcato il basso. Soft, with the bast always well marked and detached. Poco a poco, piu difuoco. With gradually increasing aaimadon and fire. poco a poco crescendo, decrescendo. Louder, softer, by degre«i Poiapai tutte le corde. All the strings, one after another. An expression used in playing the grand pianoforte. S€gue subito senza cambiare il tempo. Proceed directly and with- out changing the time. Segue senza interruzione. Go on without stopping. Sempre piano e ritenuto. Always more and more soft, and fall- ing off in the degree of movement. Sempre piu decrescendo e piii rallentando. Gradually softer and slower. Sempre piii forte allff"^". Louder and louder to the for- tissimo. Seconda volta molto crescendo. Much louder the second time or playing. Sin' al dm. To the end. Tenete sino alia fine del suono. Keep down the keys as long « the sound lasts. '.■CHARACTERS USED IN MUSIC. § 1. Names of the Notes.* In England and in Germany the notes are named after the seven letters, A, B, C, D, E, F, G. The only diflFerence is that the Germans apply the letter B to B flat only, and call our B natural, H. In Italy and France the notes are named la, si, do, re, mi, fa, sol, correspondmg to our A, B, C, D, E, F, G. These notes may be natural, sharp, or flat, and occasionally 5ven double sharp, or double flat. Thus we have C natural, C sharp, C flat, and, at times, C double sharp and C double flat. In France and Italy these notes would respectively be called do fiaturelle, do diexe, do ^emol, do double dieze, do double bemol, 8fc. The Germans add to the letter which is used to denominate the note, in its natural state, is, when it is to be made sharp, and es, when flat: h^s, with *hem, C sharp -^-^ is called cia, C flat ces. C double sharp ciscis. C double flat cescea. * For o full expianatioD of the modern system of notation, see HjunA V}tv • lliiaioal Gramuur, published by R. Cocks and Co., price te. 135 The staye on which the notes are written. Ledger lines, drawn above or below the stave, lo — supply additional places for the notes. ' Clefs <{ S: Treble or G clef. C clef, which admits of four situations, F or bass clef. § 2. Characters relatiiKj to the duration of the Note* , Rests, Dot, ^'c. Breve. Uuaver. ■ *J Semibrevf Minim. Crotchet. 1^ — Semiquaver, ■ y - " Demisemiquarer &C. All the above note? m,iy have onr^. two, or even tnree dntt pkoed ailer tiiem, to protract their duration. 13b' Ba^->. /"^ "'N % thus: %y 6, 7, 9, &e. 137 §3. Marks of Transposition or Jlieration of tk pitch of the Natural Notes, Jt The sharp. b The flat h The natural. X The double sharp. bb The double flat. tj^ Single sharp after a double sharp. tjb Single flat after a double flat §4. Table of Characters denoting the different Species of Time, I I I Bar lines, dividing a movement into small equal pm* I J tions of duration. C °^ Cl3 Indicates two minims or four crotctieta in eaen oaffi: ^ Indicates two crotchets in each bar. 3 three minims ■• I three crotchets 3 three quavers ^ — six crotchets — 81X quavers 1<8 yi Indicates twelre quavers in each ba? I g twelve gemiquavers ■■ 2 -——'— nine crotchets nine quavers nine semiquavers ^5. Other Characters affecting the Duration qf ik4 Notes. ^^ A bind or tie, which connects two or more notes of like same laame into one longer note. ^g\ -J* pause, which lengthens at will the duration of a note or rest. (6. Characters indicating the various degrees of Loud and Soft. Indicates a crescendo, or gradual increase of tone. Indicates a decrescendo, or gradual decrease. Indicates first a crescendo, and then a decrescendo. Indicates first a decrftetunk Md tlien a cre«ccn*. 139 § 7. Marks of Accent and Expression, V j Indicate a stress or marked accent on any single note or chord. The abbreviations rf,sf fz, rfz^sfz^fp, or even/ over a single note, are also used for the same purpose. A Dashes inJicate notes struck very short, oc sraocato; that is, not held their full value. Dot?, notes struck short, but not in so marked a way as the preceding. ^„*— ^^ Curve and dots. Notes still less staccatt. This is • * * called the mezzo staccato. ^^— ^ Slur, or legato mark. § 8. Graces, lor^ Indicates the appoggiatura, where superior or inferior. >/^ Turn. % Inverted Turn. " Turn with the note above made fiat. |fr Turn with the note below made sharp. tr ox tr .^.^v-A^s^v^ A shake. 0^ f The vibration or close shake. Indicates that the chord belore which It is phced Doa» be sprinkled or arptggioed: V 9. CA^**fsci''rr« tised to separate a Movement into iiii tompoi^r:,^ parts or strains, Marks of Repetition, §*. 1 1 Double bar. 'X I Double bar, with a repetition of the preceding stiaia. j k J>e^k» >x, »itb a repetition of the following strain. jj j* . Double bar, with a repetition of the strain on eaoh sii^ /TV Indicates the strain which is to conciude the piece:. § 10. Marks of Punctuation, or Rhythm, |\ Indicates a phrase or incomplete musical idea. rn Indicates a section or complete but not independent ri O Indicates a period, or completp and independent musiori sentence. The ordinary marks of punctuation , ; : , are employed bj T^iue composers for a similar purpose. 143 J 1 1 . Miscellaneous Characters. ( A trace, used to connect two or more staves togetLtr ii t pianoforte, harp, and organ nnusic, or m scores. = SO V ^^^^ *^^ application of Maelzel's Metronoma &c. A f are met with in pianoforte music, to indicate the use of ( the pedals. Pad. ) W The direct ; it is placed upon the same line or space as the note which begins the next line. HH) are ofteD met with in violin music, the former to indicate A C a dcvm, and the latter an up, bow § 12. Marks of Ahhreviation^ Indicates that the locg note must be repeated as often as it occurs in quavers or semiquavers. im m ^ is equivalent to to -9 I 9- i »H — •- m is equivalent to ^i^ g^..^^^ and is equivalen'; to APPENDIX tc HAMILTON'S DICTIONARY CONSISTING OP JOHN TINCTOE'S "TEEMINOnUM MUSICS DIFFINITOMIUM." BlOGRAPJnCUi NOTICJB OF JOHN T I N c r a. John Tinctor, Doctor of Laws and Canon of Niveue, ia Brabant, and previously First Chaplain and Cantor to FerdU OMid of Arragon, King of Naples, was born at Nivelle about till year 1450. He wrote sevrral excellent works on music, none of which, however, appear to have been printed, except the present " Terminorum Miisicte Diffinitorium." This work ong remained unknown, until in the latter part of last century Forkel discovered a copy in the Library of the Duke of Gotha, of which he inserted an entire reprint in his " Literatur ier Musik," p. 204, and following; and Dr. Burney also dis- covered a copy in the Library of George IIL, which is now deposited in the British Museum.* Although neither the date nor the place of publication is given in the work, Burney states, (but without adducing any authority,) that it was printed at Naples about the year 1474, and adds, that it "was doubtless not only the frst Musical Dic- iiunary that was ever compiled, but the first hook that was printed on the subject of music in general." f The following are the titles of the existing mariuscript works Sy Tinctor, a brief account of some of which may be seen in \j(n:V.er'&^^ Systematisch Chronologische Darstellung der muaika- lischen Literatur," p. 567 : — *^ Tractatus musices." — '' Explanatio manus." — " De toTKh um natura ac proprietcUe." — '* Z)e notis ac pausis." — " Dt * Forkel, Gerber, and Llchtenthal have incorrectly stated thatBurnep found the copy in the Royal Library at Paris. The pre* "^ark of tb* copy in the British Museum is, King's Lib : 66. e. 121. 't Hittorif of Mutie, vol. U. p 458 (in not*). 146 BIOGRAPHICAL NOTICE OF JOHX TINCMR. regulh, volore, imper/ectiove et alteratione notarum.'* • — " De art* contrapuncti.*^ — " Proportionale musices." — " De origine musu ca-.'^j- — " Complexus effectuum musica." J Some of Tinctor's practical works are preserved, according to Baini, in the areiiives of the Papal Chapel. § The precise time of his decease is unknown. La Borde says he was living in HOI,!! and Walther, that he flourished in 1495.^ A more recent writer, however, says he died about the year 1520.** In the 23rd volume of the Leipsig " Allgemeine Musika- dsche Zeitung," p. 229, mention is made of Choron being about to publish a French translation of Tinctor's complete works, but wis ,tlier this was ever accomplished does not appear. In order to render this little Dictionary useful to the musical antiquary, and the learned reader in genera], it has been deemed desirable to add Tinctor's " Termhiorum Musica Diffinitorium," as an Appendix. It is therefore here reprinted from Forkel'a work before-mentioned. The original has been preferred to a translation, first, from its being more satisfactory for reference ; and secondly, from the terms being mostly found in ancient Latm works, by the readers of which a translation will not be required. The general student, however, will find an explanation of such of the terms as are still used, in the Dictionary. October, 1849. J. B. « See La Borde's Essai sur la Musiqu* ol. iii. p. 370. t See Gerber's Neues Lexikon der Tonkunttler, vol. iv., p. 860. j See Beckear's Musikalische Literatur, p. 567. § See Kandler — Ueber das Leben und die Werke des Palesirina, p. 234; also the original -work of Baini, — Memorio Storico-Critiche della Vita e delle Opere di Palesirina, vol. i. notes 2.2G and 431. II Essai sur la Musique, vol. iii. p. 238. M See Walther's Musicalisches Lexicon, p. 609. *• Schilling's Lexicon der Tonkunst, Art. Tinetor. f47 TEEMINORUM MUSIC.E DIFFINITORIUM. kamiis Tinctoris : Ad illustrissimam Virginem et Dorrtu nam D. Beatricem de Aragonia : Diffinitoriuni Musicm /(Bliciier incipit : Prudentissimae Virgini ac illustrissimffi dominae D. Bea- trici de Aragonia: Serenissimi principis divi Ferdinand! dei gratia regis Sicilias Hierusalem : et Hungariae probissimae filiae : loannes Tinctoris : eorum qui Musicam profiientur fnsimu5 yolur^ariam ac perpetuam servitutem. Moris est eniasliV' 't^ scientiae prasceptoribus inclita virgo: dum inge'^i- omm suorum exercitia litteris mandant ; aut ea viris illustribus i »ut Claris dirigere muiieribus. Cujus profecto motivum arbi- tror : Vel ut eorum opera majorem habeant auctoritatem : vel ut ipsorum animos: qui multum illis prodesse possunt quod proprium virtutis est, sibi concilient. Ego autem enitens tuam (non adulescentulorum more : sed stabilitate et constantia) bene- volentiam captare : tibi semper et prse omnibus morem gerere cunio. Quod milii profuturum baud modicum expecto : si tibi ipsa persuadeas et plurimum debere : a quo plurimum dili° geris. Quamobrem artis liberalissimse ac inter mathematicas honestissims : videlicet divinae musicas studiosus : nunc a substantia : nunc ab accident! suos diffinire terminos uti.issi* mum existimans quibus intellectis de ea acturi facilius et na- turam ejus et suarum partium comprehendent. Praesens opus- culum quod rationabiliter diffinitorium musicae dicetur: aa hnnorem tuae celsit!:dinis -^-^idi aeditumque tibi mulierais 140 TEBJflNOBUM MVSICiB DITflVITOIinTll. nlarissimae dirigendum censui. ConSdens id pergraium for tibi: quae a poematibus oratoriis muneribus el aliis artjbu bonis in quibus quod pulcherrimum excellis pnulentissinj^ secedens animi recreandi contemplatione ad banc artem iocan% dissimam te confers non modo deductionem in omni sro geneig oer alios more principum Persarum atque Medorum : sed etiana per te ipsam assumens. Quo praestantissimun, accedit nostra facultatis decus, si quam formosissimam quana illustrissimain quam fontibus honesti habundantissimae refectam : quam de- nique omnium dominarum et suae aetatis et prreteritorum et futurorum temporum ab omni parte beatissimam cunoti praedi- oant ei studere dignatur. Atqui regia proles si in ipso opus- cule aliquid imperfectum quod te quam perfectissimam audeo dicere non deceat sui perspectissimi viderint oculi: parce precor. Nam (ut perclare Virgilius cecinit) Non omnia pos- sumus omnes. Unde quum diversis naturaliter gauder'' «* non unica arte contentus | plurium cognitionem attingere si-rut v-tiam discretio novit g indies animo ferventi pertendam. Noa minim si in qualibet adeo perfectus non evadam ; ut illos qui singulariter in singulis artibus operam et curam eflficacissime ponunt : vincere possim. Tamen si in theorica musices par iter et praxi omnes nostri temporis cantores excedam aut ex« cedar ab aliquo ; tuae cae lumque in ipsa arte peritissi* morum perspicientis discutieudum relinquo. Se ipgum eteniir ffA pr.'iWntibus placet) laudare vani est yituperare uniiti Viffimtiones Termmorum Musicalium . et primo 2)er A. incipientium Capitulum I, A est clavis locorum are et utriusque alamire. ACUTiE CLAVES acuta loca et acutae voces sunt illae et ilia : quae in manu ab alamire inferiori inclusive et usque ad alamire superius exclusive continentur. ALAMIRE est locus cujus clavis est a : et in qua tres voces. S. lami et re canuntur. Et ipsum est duplex acutum et superacutum. -\LAMIRE ACUTUM est linea cujus clavis etiam a. et ir qua tres voces. S. la mi et re cantantur. la per naturam ex loco cfaut. mi per b molle ex loco f faut gravi. et re per bdurum ex loco g sol re ut gravi. A LA MIRE SUPERACUTUM est spacium cujus clavis etiam a. et in quo tres voces, la mi et re cantantur. la per naturam ex loco c sol faut, miperbmolle ex loco ffaut acuto et re per bdurum ex loco g sol re ut acuio. ALTERATIO est proprii valoris alicujus notae duplicatio AMBITUS est toni debitus ascensus et descensus- APOTOME est major pars toni: quae semitonium majus ru.- gariter dicitur. A RE est spatium cujus clavis est a. et in quo unica ?03l S re eanitur per bdurum ex loco T ut ARMONIA est amenitas qiedam ei convenient' %LASOLRE est spacium cuius clavis est d. et in quo tref voces. S. la sol et re canuntur. la per bmolle ex loco ffaui gr&vL sol per bdurum ex loco gsolreut gravi. et re per '' r y%xa ex loco cfiolfaut. EP 167 DSOLRE est linea cujus clavis est d. et in qua duae voces. ». soi et re canuutur. sol per bdunim ex loco T ut. et re per natu- ram ex loco cfaut. DUO est cantus duarum tantum partium relatione ad invicern compositus. DUPLA idem est quod diapason. Vnde secundum tria ejus signifioata instar diapason diffinitur, DUPLA SEXQUIALTERA est proporao qua maior numerus ad minorem relatus : ilium in se bis continet: et ejus insupei alteram partem aliquotam. ut. V. ad. ii. et X. ad. iiii. DUPLA SUPERBIPARTIENS est proportio qua maior numerus ad minorem relatus: ilium in se bis continet, et insuper eius duas partes aliquotas unam facientes aliquantara, ut. VIII. ad tria. et XII. ad V. Per E, Capitulurn V. E est clavis utriusque elami. et ela. ELA est spacium , cuius clavis est e. et in quo unica vox. S. la canitur per bdururr ex loco gsolreut acuto. ELAMI est locus, cuius clavis est e. et in quo duse voces, s. la et mi canuntur. Et est duplex, grave et acutum. ELAMI GRAVE est spacium : cuius clavis est e. et in quo duae voces, s. la et mi canuntur. la per bdurum ex loco F ut. etmi per naturam ex loco cfaut. ELAMI ACUTU.M est linea : cujus clavis est e : et in qua duae voces, s. la et mi canuntur. la per bdurum. ex loco gsolreut gravi et mi per naturam ex loco csolfaut. EMIOLIA idem esi quod diapenthe. unde sicut diapenthe secundum tria ejus significata earn diffinies. EPYGDOUS tria sijynificat. scilicet discordantiam conjunc- tioDem et proportionem. Pro prime eius significato tiie diffini tur. 108 n EPYGDOUS est discordantia ex mixtura duarum vocum tono ab invicem distantium efFecta. pro secundo sic. EP'i^GDOUS est conjunctio ex distantia toni constituU. etpi» tercio sic. EPYGDOUS est proportio qua major unmerus ad minorem relatus : ilium in se totum continet et ei\.« insuper octavam partem, ut sunt. IX. ad VIII. et XVIII. ad XVI. EPYTRITUS idem est quod diatessaron. Hu^c secundum tria ejus significata: ut diatessaron diflBnietur. EUFONIA idem est quod armonia. EXTRACTIO est unius partis cantug ex aliquibu alterius confectio. Per F, Capitulum VI, p. est clavis utri usque ffaut. PA eet quarta vox distans a tercia semitonio : et a quinta tona FA SOL est mutatio quae fit in cselfaut. et in csolfa: ad descendendum de bduro in bmoUe. FA UT est mutatio quae fit in cfaut et in csolfaut. ad ascen- dendum a bduro in naturam et in utroque flfaut ad ascen- dendum a natura in bmolle. FFAUT est locals cujus clavis est f. et in quo duae voces, s fa et ut canuntur. et est duplex, scilicet, grave et acutum. FFAUT GRAVE est linea cuius clavis est f. et in qua duae voces, s. fa et ut canuntur. fa per naturam ex loeo cfaut. et ut per raolle ex loco proprio. FFAUT ACUTUM est spacium cuius clavis est f. et in quo duae voces, s. fa et ut canuntur. fa per naturam ex loco csol- faut, et ut per bmolle ex loco proprio. FICTA MUSICA est cantus propter regularem maauB tradi- tionem aeditus. Ilf 1« FU6A est idemtitas partium cantus quo ad valorem, nomea formam : et interdum quoad locum notarum et pausarum ■uarum. Per G. Cap. VII O eit clavis ut. O eit clavis utriusque gsolreut. r UT est linea cuius clavis est r. et in qua unica vox. s. ut per bdurum ex loco proprio canitur. GRAVES CLA.VES gravia loca et graves voces sunt illae et ilia quae in manu ab are inclusive usque ad alamire exclu* sive continentur GRAVISSIMUS LOCUS est T ut. gravissima clavis et gra- vissimavox illius. G90LREUT est locus: cuius clavis est g. et in quo tres voces. s. sol re et ut canuntur. Quod quidem duplex est. s. grave et acutum. GSOLREUT ACUTUM est linea. cuius clavis est g. et in qua tres voces, sc. sol re et ut canuntur : sol per naturam ex loco csolfaut. re per bmolle ex loco ffaut acuto. et ut per bdurum : ex loco gsolreut acuto. GSOLREUT GRAVE est spacium : cujus clavis est g. et in quo tres voces : s. sol re et ut canuntur. sol per naturam ei loco cfaut. re per bmolle ex loco ffaut gravi. etut per bduzom ex looo proprio. Per H. Capitul VIIL HYMN US est laus dei cum cantico. HYMNISTA est ille qui hymnos canit Per I. Cap, IX. (MPERFECTIO est tertis partis valoris totius uottt «a< fti'ua iptiiM ab#7Mtio. 260 ME INSTRUMENTUM est corpus naturaliter aut artificialitet soni causativum. INTONATIO est debita cantus inchoatio. lUBILUS est cantus cum excellent! quadam leticia pronun- ciatus. Per L, Cap, X. LA est sexta et ultima vox: tono distans a quinta. LAMI est mutatio quae fit in utroque elami: ad ascendendum a biuro in naturam. et in utroque alamire a natura in bmolle. LARE est mutatio quae fit in utroque alamire: ad ascenden- dum a natura in bdurum : et in dlasolre ad ascendendum a bmolli in naturam. LA SOL est mutatio quae fit in dlasolre et Id dlasol. ad as cendendum de bmolli in bdurum. LIGATURA est unius notae ad aliam iunctura. LIMA est minor pars toni: quam alii semitonium minus appellant. LINE A est locus tractu quodam designatus : quam alii regu- lam dicunt. LOCUS est vocum situs. LONG A est nota in modo minori perfecto valoris trium bre- ▼ium. in imperfecto duorum. Per M, Cap, XL MANUS est brevis et utilis doctrina. ostendene compendiost deductiones vocum musicae. MAXIMA est nota in modo maiori perf«cto valoris triun- longarum. et in imperfecto duarum. MELODIA idem est quod armonia. MELOS idem est quod armonia. HO Id MELUM idem est quod cantus. MENSURA est adaequatio tocuid quantum ad pronunda- tionem. MI est tercia vox : tono distans a secunda et semitonio a quarta. tf ILA est mutatio quae fit in utroque elami : ad descen- denduin de natura in bdurum. et in utroque alamire: ad deecendenduni de bmolli in naturam. MINIMA est nota valoris individui. MIRE est mutatio quae fit in utroque alamire ad ascen pendum a bmolli in bdurum. MISSA est cantus magnus: cui verba Kyrie. Et in terra. Patrem. Sanctus : et Agnus. Et interdum caeterie partes a pluribus canendae supponuntur. quae ab aliis officium dicitur. MODUS est quantitas /^antus ex cerus longis maximairL : aut brevibus longam respicientibus constituta. Est igitur filuple-=: scilicet major et minor. MODTJ^ MAJOR est quantitas cantus ex certis longis maxi- mam respicientibus constituta : qui subdividitur. Nam alius est perfectus alius imperfectus. MODUS PERFECTUS est dum tres longee pro una maxima numerantur. MODUS vero MAJOR IMPERFECTUS est: dnm duae tantum longae pro una maxima numerantur. MODUS MINOR est quantitas cantus ex certis brevibua longam respicientibus constituta. Qui etiam subdividiiur Nam alius est modus minor perfectus » alius imperfectus. MODUS MINOR PERFECTUS est dum tres breves pre una numerantur. MODUS MINOR IMPERFECTUS est dum du« tan- tummodo breves pro una longa numerantur. MOTETUM est cantus mediocris : cui verba ci^usvis materisB aed frequentius divine lupponuntur. 162 NA MULTIPLEX proportionum genus est: quo roaior ad minorem relatus: ilium in se plusquam seme! continet. ut duo ad unutn, tria ad unum, quatuor ad unum. MULTIPLEX SUPERPARTICULARE proportionum genus est : quo maior numerus ad minorem relatus : ilium in se totum plus quam semel continet : et ejus insuper unam partem aliquotam. ut V. ad ii. VII ad III. novem ad quatuor. MULTIPLEX SUPERPARTIENS proportionum genus est : quo maior numerus ad minorem relatus : ilium in se plusquam semel continet. et eii&s insuper aliquas partes aliquotas facientes tamen unam partem aliquantam ut tont octo ad tria. XI. ad IIIL et XIV. ad V. MUSIC A est modulandi peritia cantusonoque consistens. Et haec triplex est. scilicet. Amtonioa. Organica. ae etiam Rithmica. MUSIC A ARMONICA est ilia: quae per vocem practieahn humanam. MUSICA ORGANICA: est ilia qua fit in instrumentia flatu Ronum causantibus. MUSICA RITHMICA est ilia qua fit per instrumenta tactu sonum reddentia. MUSICUS est qui perpensa ratione beneficio speculationiff canendi officium assumit. Hinc differentiam inter muticum et cantorem quidam sub tali metrorum serie posuiu Versna. Muisicorum et cantorum magna est differentia. llli sciunt ipsi dicunt quas componit musica. Et qui dicit quod non sapit reputatur bestia. MUTATIO est unius vocis in aliam variatio. Per N, Cap, XIL NATURA est proprietas per quam in omni loco cuius «!»•♦* est c. «t cantatur. et ex illo ostersp PR ie9 NEOMA est cantus fini verborum sine verbis annexu*. NOTA est signuiL vocis certi vel incerti valoris. Per O. Cap. XIII, OCTAVA idem est quod diapason aut dupla coniunctio et concordantia. Vnde secundum haec duo significata : earo ut diapason diflBnies. OEFICIUM idem est quod missa secundum hispalos. Per P, Cap. XIV. PAUSA est taciturnitatis signum: secundum quantitatena notae cui appropriatur fiendae. PERFECTIO equivocum est ad duo. Nam notae in sua perfectione permanentiam : et totius cantus aut particularem ipsius conclusionem designat. Vnde pro primo significato sic diffinituT. PERFECTIO est, dum aequaliter not* maneat perfectae ostensic. Et pro secundo sic. PERFECTIO est totius cantus aut particularum ipsius perfectionis cognitio. PROLATIO est quantitas cantus ex certis minimis semi- brevem respicientibus constituta. Quae quidem duplex est scilicet major et minor. PROLATIO MAJOR est: dum in aliquo cautu tres minimae pro una semibrevi numerantur. PROLATIO MINOR est: dum in ahquocantu duae canttua minimae pro una semibrevi nunoerantur. PRONUNCIATIO est yenusta vocis emissio. PROPORTIO est duortim numerorum ad invicem habitvdo. Et haec est duplex, s. equalitatis et inequalitatis. PROPORTIO EQUALITATIS est quae ex equalibu* numeri* confi.-'tr.r ^it -!no art <^T5n \i\, Tt^ rl. et '.ni. ■\.i\ \h\. «64 QU l»R0P0RT10 INEQUALITATIS est quae ex inequalibua numeris fit. ut duo ad imuni. iii. ad duo. et cater a. Et hie adverte : quae in praesenti diffinitorio genera proportionum cum quibusdam si->eciebus suis diffinivi. Si vwro plures habere cupias : in m stro proportionali rausices inv^nies illas. PROPRIETAS est propria quacdam vocum produccndarum qualitas. PP'VCTUS est signum augmentatlonis aut divi^ionis aut perfectionis. Et hoc si alicui notae adjungatar. Si vero in circulo aut semicirculo a parte dextia aperto ponatur: significat quae prolatio maior est. Et si in semicirculo ab inferior! parte aperto ponatur: morani generaliter fiendam in ilia nota supra quam constituitur designat. Qui punctus organi vuigariter dicitur. Per Q. Capitulum XV. QUAIjRUPLA est pioportio : qua maior numerus ad minorem relatus: ilium in serquater precise continet. utIIII. adunum. et octo ad duo. QUADRUPLA SEXQUIALTERA estproportio: qua maior numerus ad minorem relatus: ilium in se quater continet. et eius insuper partem alipuotam. ut IX. ad. ii. et XVIII. ad. IV. QUADRUPLA SUPER6IPARTIENS est proportio: qua major numerus ad minorem relatus: ilium in se quater continet: et eius insuper Juas partes aliquotas : unam facienles aliquantam. ut. XIIII- ad tria. et. XXII. ad quinque. QUANTITAS estseoundum quam quantus sit cantusintelligitui QUARTA idem esi quod diatesseron coniunctio et concor- dantia. Hinc secundum haec duo sdgnificata sicut diatesseroh diffinitur. QUINTA idem est qpod diapenthe concordantiam et coniunc- tionem importans, Igitur sicut diapenthe quo ad hsec due «i»i»ificata diflBn !*»♦"•«•» su les Per R. Cap. XVL RE est secuiida vox tono distans a prima totidem vero s tercia. REDUCTIO est unii.is aut plurium notaruin cum maio.ibus > quas imperficiunt aut cum sociis annameratio. REGULA idem est quod linea. RE LA est mutatio quae fit in utroque alamire ad descen- dendum de bduro in naturam. et in dlasolre: ad deacen- dendum de natura in bmoUe. A-E MI est mutatio: quse fit in utroque alamire ad ascen- dendum de bquadro in bmolle. RES FACTA idem est quod cantns compositus. RE SOL est mutatio quag fit in dsolre et in dlasolre: et in utroque gsoireut ad descendendam de bmolii in nafuram. RESUxMTIO est cantus finiti ut pertinet replicatio. RE UT est mutatio quae fit in utroque gsoireut. ad ascen- dendum a bmoili in bdurum. Per S. Cap, XVIL SECUNDA equivocatur ad duo. s. ad discordantiam ei coniunctionem. Vnde pro primo significato sic diflBnitur. SECUNDA est discordantia ex mixtura duarum vocum. tono vel semitonio ab invicem distantium efFecta. fit pro secundo sic. SECUNDA est coniunctioex distantia unius toni vel semitonii constituta. ' SEMIBREVLS est nota in prolatione maiori valoris trium minimarum et in niinori duarum. SEMITONIIJM duo significat. sc. discordantiam et coniun&- tionem. Hino pro primo significato sic dif J06 81) SEMITONIUM est discordantia ex rnixtura duarum ocumt duabus aut tribus diesibus ab iuvicemdistaiitium eftecta. £t pro secundo sic. SEMITONIUM est conjunctio ex distantia duarum aut triuni diesium constituta. Et i a collige duplex esse semitonium, so. inajus et minus. SEMITONIUM MAJUS estillud: quod ex tribus diesibus constat ut de mi in bfabmi : usque ad fa in eodem loco, quo a pluribus apothome seu semitonium diatonicum appel- latur. SEMITONIUM MINUS estillud: quod ex duabus diesibua tantummodo constat, ut de mi in alamire usque ad fa in bfabmi. quod a Platone lima: ab aliis semitonium Enarmo- nicum appellatur. Est et aliud semitonium quod Cromati- cum dicitur. Fit autem dum canendo aliqua vox ad pulcri- tudinera pronunciationis sustinetur. Qiiotiescunque vero semitonium per se scriptum invenitur. aut dicitur: minus esse intelligitur. SEMIDITONUS est equivocum ad duo. s, ad concordantiaia et conjunctionem. Vnde pro primo significato sic dif- finitur. SEMIDITONUS est concordantia ex mixtura duarum vocum tono et semitonio ab invicem distantium efFecta. Et pro secundo sic. SEMIDITONUS est coniunctio ex distantia unius toni et semitonii constituta, SEMICIRCULUS idem est quod circulus imperfectus. SEPTIMA PERFECTA idem est quod diapenthe cum ditono. SEPTIMA IMPERFECTA idem est quod diapenthe cure semiditono. SEXQUIALTERA idem est quod diapenthe aut emiolia proportio. Vnde secundum hoc significatum sicut ilia diflfinitnjf. 817 im SEXQUITERCIA idem est quod diatesseron aut epitritus proportio. Hinc instar ipsorum quoad id significatuin Uil- finienda est. SEXQUIQUAKTA est proportio qua major numerus ad mi- norem relatus : ilium in se totum contiuet et insuper eius quartam partem- aliquotam. ut. V. ad. IIII. et X. ad XVHI. SEXTA PERFECTA idem est quod diapenthe cum tono. SEXTA IMPERFECTA idem eat quod diapenthe cum seinitonio. SINCOPA est alicuius notae interposita maiore per partes divisio. SOL est qumta vox tono distans a quarta totidemque ab ultima. SOL FA est mutatio quae fit in csolfaut et in csolfa. ad descendendum de bmolli in bdurum. SOLFISATIO est cantando vocum per suanomma expressio, SOL LA est mutatio quze fit in dlasolre et in dlasol : a descendendum de bduro in bmolle. SOL RE est mutatio quae fit in dsolre et in dlasolre: ad descendendum de bduro in naturam. et in utroque gsolreut : ad ascendendum a natura in bmolle. Sv L UT est mutatio quae fit in utroque gsolreut: ^4 ascendendum a natura in bdurum. et in csolfaut: ad a80€n' deudum de bmolli in naturam. SON [TOR est qui instrumento artificiali : sive organico sive rithmico musicam exercet. SONUS est quicquid propria et per se ab auditu percipitur. SPACIUM est locus supra vel infra lineam relictus. STEMA est dimiduum comatis. SUBDUPLA est proportio qua minor numerus ad majorem relatus : in illo bis precise continetur, ut unam ad duo. SUBMULTIPLEX proportionum genus est : quo minor Humerus ad maiorem relatus in illo multipUciter preoia© jontinetur ut unum ad duo. et. I. id. IIL 168 TA UPfiRACUTA LOCA et superacutae voces ?unt illee et ilia: quae ab alamire superiori usque ad ela inclutiv* in manu contincntur. SUPERBIPARTIENS est proportio: qua maior numerus ad minorem relatus: ilium in se totum continet et insupar duab eius partes aliquotas unani facientes aliquantam. ut V. ad. III. 81JPERPARTICULARE proportionum genus est: quo maior numerus ad minorem relatus: ilium in se totum con- tinet: et ejus aliquam parteir. aiiquotam. ut. III. ad. II. et I8II. ad. III. SUPERPARTIENS proportionum genus est: quo major numerus ad minorem relatus ; ilium in se totum continet. et ejus insuper aliquas partes aliquotas : unam facientes aliquantam ut quinque ad tria. et. VII. ad. V. SUPPOSITIO est aliquorum corporum ut voces loco notarum signilicient introductio. SUPREMUM est ilia pars cantus compositi: quae altitudine c»teras excedit. Per T, Cqpit XVIIL T, est littera quae pet se ad aliquam partem cantus posita : te- norem institutione significat. quae quidem si prima sit mei cognominis : quod Tinctoris est : mihi non dedecori venit qaum et no men domini inefFabile Tetagramaton ab ea sumat exordium. lALEA est indemtitas particularum in una et eadem parte cantus existentium quoad noraen locum et valorem iotarum et pausariiin suarum TEMP US est t/nantnas cantus ex certis semibrevibua brevem (espiciertibus joustituta. Quod quidem duplex est. so. per- Ceotum et ;ajpe;^^am. TO i«g TEMPUS PERFECT UM est dum inaliquo cantu tres semi- breves pro una brevi numerantur. TEMPUS IMPERFECTUM est dum iu aliquo canlu duae semibreves tantum pro una brevi numerantur. TENOR est cujusque cantus compositi fundamentum rela- tionis. TENORISTA est ille qui tenorem canit. FERCIA PERFECTA idem est quod ditonus. TERTIA IMPERFECTA idem est quod semiditonus. TESIES est vocum depositio. TONUS equivocum est ad quatuor. Nam significat coniunc- tionem, discordantiam, intonationem et tropum. Hinc pro primo significato sic diffinitur. TONUS est coniunctio ex distaiitia quinque diesum constituta. Et pro secundo sic. TONUS est concordantia ex mixtura duarum vocum quinque diesibus ab inviciem distantium effecta. Et pro tercio sic. TONUS est cantus intonatio. Et pro quarto sic. TONUS est tropus per quem emnis cantus debite componitiir. Hujus autem significati octo sunt toni. TONUS PRIMUS est ille : qui ex primis speciebus diapenthe et diatessaron formatus : potest a suo fine diapason ascendere ac ditonum descendere. qui ab antiquis auctenticus protus appellatus est, TONUS SECUNDUS est ille: qui ex primis speciebus aia- penthe et diatessaron formatus : potest a suo fine diapenthe cum ditono aut cum semiditono ascendere: qui plagalis aut subiugalis aut collateral is auctentici. Prothi ab antiquis dicitur. TONUS TERCIUS est ille: qui ex secundis speciebus dia- penthe et diatessaron formatus : potest a suo fine diapason ascendere. ac ditonum vel semiditonum descendere. qui ab antiQuis auctenticus deuterus est appellatus. 170 TO TONUS QUAATrtJS est illei qui ex secundis speciebu* dia penthe ac diatessaroL formatus : potest a suo fine diapeuthe cum ditono aut semiditono ascendere : ac diatessaron descen- dere. qui plagalis aut subjugalis aut collateralis auctentici deuteri ab antiquis dicitur. TONUS QUINTUS est ille qui dicitur ex tercia aut quaru specie diapenthe et tercia specie diatessaron formatus. & potest a fine suo diapason ascendere. ac ditonuni vel semi- ditonum descendere. qui ab antiquis auctenticus tritns dicitur. TONUS SEXTUS esiille: qui ex tercia aut quarta specie dia- penthe et tercia specie diatessaron formatus : potest a suo fine diapenthe cum ditono aut semiditono ascendere. ac dia- tesseron descendere: qui plagalis aut subiugalis aut collate- ralis auctentici. Triti a musicis antiquis appellatus est. TONUS SEPTIMUS est: qui ex quarta specie diapenthe et prima specie diatessaron formatus : potest a suo fine diapason ascendere. ac ditonum vel semiditonum descendere: qui ab auctoribus antiquis auctenticus Tetrardus est appellatus; TONUS OCTAVUS est ille : qui ex quarta specie diapenthe et prima specie diatessaron formatus : potest a suo fine diapenthe cum ditono aut cum semiditono ascendere. ac diatessaron descMidere: qui plagalis aut subiugalis aut collateraJis auctentici tetrardi ab antiquis dicitur. Istorum autem tonorum : alii sunt regulares : alii irregulares : alii mixti. alii commixti. alii perfecti: alii imperfecti. aJii plusquamperfecti. TONUS REGULARIS est qui in loco sibi regulariter deter- minato finitur. TONUS IRREGULARIS est: qui in alio loco quam in illo qui sibi regulariter est determinatus finem accipit Locus autem regularis primi et secundi toni est dsolre. Locus regularis tercii et quarti toni est elami grave. L«>«ttt regular* est fifauL TR , 171 Locus vero regularis septirai et octavi est gsolreut grare. Caetera vero loca sunt irregularia. TONUS MIXTtJS est: qui si auctenticus fiierit descensum Bui plagalis. Si vero plagalis : ascensum sui auctentici attingit. TONUS COMMIXTUS est ille: qui li auctenticua fuerit: cum alio quam cum plagali suo. Si vero plagalis cum alio quam cum suo auctentico miscetur. TONUS PERFECTUS est qui perfecte suum implet am- bitum. TONUS IMPERFECTUS est cuius ambitus nor est per- fectus. TONUS PLUSQUAMPERFECTUS est qui ultra suum ambitum si auctenticus fuerit : ascendit. Si vero plagalis: descendit. TRIPLA est proportio: qua major numerus adminorem relatus ; ilium in se ter precise continet ut tria ad. I. et. VI. ad duo. TRIPLUM antiqui posuerunt partem illara compositi cantui quae superiori magis appropinquabat. TRITONUS duo significat. s. discordantiam et eoniunctionem Vnde pro primo significato sic diflinitur. TRITONUS est discordantia ex mixtura duarum vocum tribus tonis ab invicem distantium effecta. Et pro secundu sic. TRITONUS est conjunctio ex distantia trium tunorum con- stituta. Per V. Capitulum XVIIIL VNISONUS duo habet significata. scilicet, solum sonuin ot concordantiam. Hinc pro primo significato sic diffinitur. VNTSOJNUS est elementum musicse. Namque ex unisonu cantus componitui omnis. Et tamen dicitur unisonus quasi un is sonus. Pro secundo sic diffinitiir. 172 VT VNTSONUS est concordantia ex mixtura duarum yocum in uno et eodem loco positarum effecta. quern dicunt fontem et originem omnium concordantiarum. Et tunc dicitur uni- son us: quasi una id est siniul sonans. VOX est Bonus naturaliter aut artificialiter prolatus. UT est prima vox tono distans a secunda. tJT FA est mutatio quae fit in cfaut et in csolfaut ad descen- dendum de natura in bdurum. et in utroque tiaut ; ad de- scendendum de bmoili in naturam. UT RE est mutatio quae fit utroque gsolreut ad descenden- dum a bduro in braolle. VT SOI. est mutatio quae fit in utroque gsolreut ad descender. ihm (Je bduro in naturam. et in cBollaut ad de»nni£cmn&n 'le ftttturs in hm^Jlft, loannis Tinctoris ad Divam Beatrtcem de Arragonia Peroratio. Hoc opusculum dei gratia solutum tibi gloriosissima Difa Beatrix tuus ofFert loannes Tinctoris. Quod ut benigne suscipias : auctorique faveas humilime praecatur. Qui nor 9o\uxB id : sed siqua alia anima corporis ac fortimae bona : si fuperorum dono collata sint: omnia tuo submittit imperic Deum amplius exorans : ut talem qualem te fecit caeteramm •icilicet Donaiuarum perfeetisaimam perpetao scrtftre tmriqw di(^etur. Am«n, % I -PeciiMwrlttes of cpelttoCf •«.. te thta r«pffl&L we < to ForkM'a Ter«*on — *''«>itoi». PIANOFORTE COMPOSITIONS BT W- VINCENT WALLACE All Sheet Music at half the marked price. Music for the Pianofobte by W. Vincent Wallace. — "Mr. Wallace's compositions have, from their distinguished and elegant i character, attained a wondrous popularity, surpassing in their , attractive qualities the works of all living composers for the Pianoforte. His adaptations of the Scotch and Irish melodies ; are beyond all praise ; his mode of treating these beautiful airs is as striking and original as it is sweet and charming. They are never heard without exciting fresh admiration ; and w© have no doubt every pianoforte-player will feel that the pos- session of the whole series of these gems is a matter of neces- sity. We are able to state that the Messrs. Robert Cocks and Co. are appointed publishers of his Pianoforte Works for Great Britain and its Dependencies. The House of William Hall and Son, of New York, continue to be his sole publishers for the United States." — Observer, Aug. 20th. ** Mr. Wallace was a musician of the very first order, and his name will ever perhaps stand most prominently out in connection with his Pianoforte Music." — Edinburgh Evening Courant, Oct, 4, 1863. ^ •• The lamented demise of Mr. Vincent Wallace has caused quite a i demand for his productions, especially those of recent date."— • Brighton Oauette. flANOFORTE COMPOSITIONS SELECTION OP Eecent and Favourite Romances, &c. Twilight. Romance 3 Forget me not. Romance 3 Croyez-moi. Romaince 3 La Plainte du Berger. Idylle 3 Graziella. Nocturne 3 The Wild Rose. Rondo polacca 3 '• The two beautiful romances — • Forget me not' and ' Twilight' . . . ' Croyez-moi ' is another example of this captivating kind of composition." — Brighton Examiner. '* The death of Mr. Vincent Wallace will add to the interest always felt in wiiatever emanated from his pen. The above three romances are good specimens of his manner in this kind of composition, and are admirably suited for studies in expression and delicate accuracy of fingering." — Orchestra, Oct. 21. The Wild Rose. — " A sort of lovely lesson, full of grand chorda and sweet runs." — Leeds Times. Gbaziella, La Plainte du Berger, Forget me not. — "The author of Maritana and Lurline deservedly holds a place in the first rank of our vocal composers. But it is not go generally known that lie is a pianist de la premiere force, and a most accomphshed writer for that instrument. The three pieces are fine specimens of his talents in this way. They show a thorough knowledge of the genius and power of the instrument, which enables him to produce the greatest amount of eSect at the smallest cost of mechanical difficulty. We find In them the brilliancy of Thalberg and the graceful melody of .Mozart, while their execution is not beyond the reach of th* generality of good performers." — The Freu. BY W. VINCENT WALLACE. 8 ELEGANT ! FANTASIAS AND DRAWING-ROOM PIECES, j . . . . " Those pieces that the art world now acknowledge to be first-rate, and, I may say with justice, are world-renowned." — H. J. St. Leger {Orchestra, Dec. 23). The Oarsman's March 3 La belle Danseuse 4 Valse sentimentale 3 Swiss Melody 3 Gentle Spring 3 The Wild Rose. Rondo Polacca 2 Air de Ballet 3 The Moss Rose. Rondo alia Polacca 3 The Wedding Waltz 4 Victoire. Mazurka 3 La Fleur de Polrtgne. Mazurka 3 Chorus of Dervisl-ies from Beethoven's ' ^ Ruins of Athens " 3 The Chimes of the New Palace At Westminster. Im- promptu 4 A te Divina Immagine 2 Somebody, and O for ane and twenty, Tam. Impromptu 3 Gondellied 3 March of the Volunteer Rifles 3 The Shepherd's Roundelay 4 Andante, with variations (dedicated to Mrs. Anderson, Pianiste to the Queen) 4 Croyez-moi. Romance ^^ 3 La Plainte du Berger. Idylle , 3 Souvenir des Indes orientales. Melodic 3 Com' e gentil. Serenade from Don Pasquale, transcribed 3 impromptu de Concert sur Robin Adair, composed ex- pressly for, dedicated to, and performed by, Madame Arabella Goddard 4 ^CEa' PIANOFORTE COMPOSITIONS FANTASIAS, kc— Continued. U Beethoven 8 celebrated Romance for the Violin, Op. 66 3 Beethoven's celebrated 2nd Romance for the Violin, trans. 3 Polka riisse 2 Graziella. Nocturne 3 Styrienne, pour Piano 3 Galop brillant de Salon 3 Souvenir d'Idlewild. Esquisse 3 Grand Triumphal March, dedicated to the three Regts. of Guards 3 Souvenir d'Espagne, El nuevo Jaleo de Jeres 2 L' Absence. Romance 3 Le retour. Polka brillante 3 Fairy March 2 Twilight. Romance 3 Pagauini 's Andante Amoroso, transcribed 2 Mazurka P^tude 3 ,Nocturne (dedicated to Mdlle. Gabriel) 3 terande Mazurke guerriere (ded. to the Empress Eugenie) 3 iNocturne (dedicated to Mrs. Horace iViss) 3 Forget me not. Romance 3 The Surprise. Andante from Haydn's 8rd Symphony. 3 The Rosebud Polka, beautifully illustrated in colours 2 II Sostenuto. Etude de Salon 3 Woodland Murmurs. Nocturne 2 I Le Reve. Romance 3 Marche militaire 3 Evening Star (Schottische) 2 Pretty Mary Waltz 2 The Anna Waltz 2 L'Hirondelle Waltz 2 La Gondola, Souvenir de Venise, Nocturne '6 Rondoletto Scherzo ^ La Donna e mobile (Ballad. Verdi".< Rigoletto), trans.... 2 Bella Figiia '\AV .\more (Quatuor, Rigoletto), trans 2 BT W. VINCENT WALLACE. jelotries ^xmmihth antr Wmtd. Besides the creation of new music, Mr. Wallace has undertaken the delightful task — delightful to those in whose musical souls are treasured the old melodies descending like rivulets of fresh water out of the caves of time — of adapting them to the instru- ment of our day This is the task — no, not tos* — the delightful recreation of Vincent Wallace — one in whom music is an inherent portion of nature, an attribute of the souL What a heritage ! What a destiny ! His sphere is harmony and joy, and a lasting life even on earth. He mounts, he soars, he sings ; he gives tune to his fellow mortals, and they sing. He forms for himself an abiding place in the palace, the hall, the city, the cottage, the human heart ; in the manliest breast of heroism, in the fairest bosom of love. And when his own mortal part li-es low in earth, the voice of his soul is still heard in palace, in hall, in city, in cottage, mingling in the echoes of those who sang a thousand years before ; he and they to be heard still singing through new generations, on, and on, and on." — Weekly News. FAVOURITE SCOTCH MELODIES, TRANSCRIBED. ♦♦ In his treatment of our national melodies, Mr. Wallace has been exceedingly happy — the variations being at once elegant, in keeping, and effective." — Aberdeen Herald, May 29. «. d. When ye gang awa', Jamie. Air known as Huntingtower 3 Oh ! Nanny, and He's o'er the hills 3 Maggie Lauder 3 The weary pund o' tow, There's nae luck about the house 3 My love is like the red, red rose, and Come o'er the I, Chaxlie 3 I 6 PIANOFORTE COMPOSITIONS SCOTCH MELODIES, kc— Continued. A 4. Roy's Wife, aud Were a' noddin', Fantasia on 3 Kinloch of Kinloch, and I'm o'er young to marry yet ... 3 The gloomy night is gathering fast, and The lass o' Gowrie 3 A.uld Robin Gray, and The Boatie rows 3 Bonnie Dundee, My Nanny, O ! and My ain kind dearie 3 John Anderson my jo, and Thou hast left me ever, Jamie 3 Charlie is my darling, and The Campbells are coming, Fantasia on 3 Scots wha hae. Fantasia on 3 Roshn Castle, and A Highland lad my love was born ... 3 Ye banks and braes (see Duets) 3 The yellow-haired laddie 3 Kelvin Grove, varied 3 Comin' through the rye 3 Auld lang syne, and The Highland laddie 3 Donald, and Duncan Gray, Fantasia on 3 The keel row (see Duets) 3 Jock o" Hazeldean 3 Logieo' Buchan 3 The Blue Bells of Scotland (see Duets) 3 Wandering Willie, and My love she's but a lassie yet ... 3 Highland Mary 3 Annie Laurie 2 6 Robin Adair, Impromptu sur 3 Corn rigga are bonnie 3 I FAVOURITE IRISH MELODIES, TRANSCRIBED. The Meeting of the Waters, and Eveleen's bower 3 The Minstrel Boy, and Rory O'More 3 Flwo on, thou shining river, and Nora Creina 3 Kate Kearney, and Tow, row, row 8 BY W. VINCENT WALLACL. 7 IRISH MELODIES, he— Continued, ». 4. My lodging is on the cold ground 3 Go where glory waits thee, and Love's young dream ... 3 Coolun, Garryowen, and St. Patrick s Day 3 The Soldier's Greeting 3 The last rose of summer (see Z)?te which liw puolic are naturally led to expect at his hands. Public appreci.aion miiiit ^ bestowed on a work whiv,h not cnly deserves but com-nauds it."— ViiU Coturt Cir-'iAT Dec. '16. 1857. No. 3. M USIC PORTFOLIOS. No. _ 'KV- T Music Folio with cloth back and corners, and papered board sides . . 2. Music Folio, with cloth back and corners, and papered board sides, superior quality, gilt extra 3. Music Folio, leather back and cloth board sides, gilt . . 4. Music Folio, superior, gilt extra . . "A very useful and serviceable folio." 5. Music Folio, gilt extra, with flaps to protect the edges of the music 6. Music Folio, with flaps, very superior, gilt extra " An excellent, elegant, and very durable folio." SPRING BACK FOLIOS. 7. Music Folio, with spring back to secure the Music, whole cloth, gilt 8. Music Folio, with spring back to secure the Music, superior. gilt 9. A spring back Foho, suitable for •' Musi>:al Times." . . PORTABLE FOLIOS. 10. A new and most portable Folio, specially adapted for carrying several pieces of Music without breaking them. The Music is folded once in the centre and secured with an elastic cord. It may be carried in the hand, under the arm, or in the pocket, leather, gilt n. Ditto Ditto, with flaps, gilt extra 12. Ditto .. Ditto, real Morocco 13. Ditto . . Ditto, very superior finish, with lock and key . . MUSIC ROLLERS. 14. Good Black American Cloth 15. Best Black American Cloth, with superior .strong coloured binding .. .. 16. Roller and Folio combined, in best American cloth 17. Best Roan leather, lined with cloth, and gilt border, extra . 18. Best Morocco, gilt extra "A most servicable roller, and the most durable." MUSIC BOXES. 19. Box for holding Music, patent lid, gilt extra 20. Ditto, with lock and key London: Robert Cocks & Co., New Burlingto.v Street, W. BV Sl'ECIAU APPOINT.VEXT, Music Piiblisliers to Her Most Gracious Majesty Queen Victoria and II.R.H. the Prince of Wales. A University of California SOUTHERN REGIONAL LIBRARY FACILITY Return this material to the library from which it was borrowed. CD urn. jiua^'50 i-A^aim. NOV OIZOOC 5m UC SOUTHERN REGIONAL lSBRARV FACIlIP/ III II III B 000 006 690 2 !i S ::i.:: n.-tj ;i^^<^5^(-v, ^^