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 A.COPLANO £ 
 
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 THE LIBRARY OF THE 
 UNIVERSITY OF 
 NORTH CAROLINA 
 AT CHAPEL HILL 
 
 PRESENTED BY 
 
 Philip Rees 
 
MUSICAL MANUAL, 
 
 OR 
 
 TECHNICAL DIRECTORY. 
 
Digitized by the Internet Archive 
 in 2014 
 
 http://archive.org/details/musicalmanualortOObusb_0 
 
A 
 
 MUSICAL MANUAL, 
 
 OR 
 
 TECHNICAL DIRECTORY; 
 
 CONTAINING 
 
 FULL AND PERSPICUOUS 
 EXPLANATIONS OF ALL THE TERMS, 
 
 ANCIENT AND MODERN, 
 USED IN THE HARMONIC ART; 
 
 DESCRIPTIONS OF THE 
 
 VARIOUS VOICES AND INSTRUMENTS, 
 
 THEIR POWERS AND CHARACTERS; 
 
 WITH 
 
 INCIDENTAL REMARKS 
 
 ON THE PRINCIPAL EXCELLENCES OF VOCAL AND INSTRUMENTAL 
 COMPOSITION AND PERFORMANCE. 
 
 By THOMAS BUSBY, Mus. Doc. 
 
 Author of a " Musical Grammar ;" a "History of Music " Musical Anecdotes ;" 
 and a " Translation of Lucretius ;" fyc. fyc. 
 
 I. r • — ?r I ■ ' 
 
 LONDON: 
 
 PRINTED FOR GOULDING & D'ALMAINE, SOHO-SQUARE; 
 
 AND SOLD BY 
 LONGMAN, REES, & CO., and BALDWIN & CRADOCK, 
 PATERNOSTER-ROW. 
 
 MDCCCXXVIII. 
 
LONDON: 
 
 Printed by WILLIAM CLOWES, 
 Stamford-Street. 
 
PREFACE. 
 
 The daily accumulation of new terms, expressions, and 
 phrases, introduced by the continued refinements in 
 musical science, taste, execution, and the ever-changing 
 stream of fashion, having more than kept pace with 
 the various vocabularies which have successively ap- 
 peared, the author of the present Lexicon conceived 
 that a publication containing, not only a clearer and 
 more intelligible definition of the terms scattered 
 through other explanatory works, but illustrations of 
 all the newest words and phrases, would form a mass 
 of technical information, that, from its novelty and com- 
 prehensiveness, could not fail to prove equally accept- 
 able to the novice and to the already initiated ; to the 
 first, as embracing all the points, the explanation of 
 which is necessary to the purposes of present practice ; 
 to the latter, as calculated to refresh the memory, and 
 save occasional embarrassment. 
 
 But though the extended plan of the present publica- 
 tion — a publication deriving its pretensions of utility 
 from the multiplicity of its articles, the clearness of its 
 definitions, and its graphic examples — -has necessarily 
 induced a considerable expense in its preparation, one 
 object has been kept in view — that of limiting its price, as 
 far as the nature of the' undertaking would permit, by 
 keeping its matter, as much as possible, within a portable 
 
 b 
 
v'2 
 
 PREFACE. 
 
 "bulk ; both that the most economical practitioner might 
 not be denied the advantage of consulting the work, 
 and that amateurs and professors might use it as a vade 
 mecum, or pocket companion. 
 
 To favour these essential purposes, the numerous 
 articles are given in as compressed a form as their 
 necessary lucidity would allow. While obscurity has 
 been avoided, conciseness has been studied : brevity has 
 uniformly been sought, though never at the expense of 
 clouding the explanation. While no terms have been 
 insufficiently defined, every thing requiring to be more 
 than ordinarily perspicuous has received the fullest 
 light that care could throw upon it. In a word, what- 
 ever regards theory or execution, composition or per- 
 formance, has been studiously treated ; and the author 
 trusts, that this Verbal Guide will be found to comprise 
 all that a musical vocabulary can be expected to con- 
 tain, whether to gratify the curiosity of adult amateurs, 
 or to enlarge the knowledge of juvenile students and 
 practitioners. 
 
INTRODUCTION. 
 
 On the science of Music, as one of the most delight- 
 ful that can engage the human mind, — as an accom- 
 plishment intellectual 3 sensitive, and qualified by its 
 elegance to embellish and refine society, — much pre- 
 liminary observation might be offered ; but conform- 
 ably with the professed design of presenting this 
 Work to the public in a circumscribed compass, this 
 introduction is confined to a notice of the principal 
 stages of the progress of the science, from the early 
 age of Tubal to our own times. To what state Music 
 had arrived in the days of that ancient inventor of 
 wind instruments, or even at the time of the royal 
 lyrist, David, we have no means of precisely ascer- 
 taining. We know, however, that it must have 
 reached a tolerable degree of perfection, because in 
 Judea it was employed to dignify the service of the 
 Temple, in the solemnities of which it was constantly 
 exercised, both vocally and instrumentaily. From 
 the Holy Land it passed to Egypt, and thence to 
 
 Greece, where it embellished the rhapsodies of her 
 
 b 2 
 
Vlll 
 
 INTRODUCTION. 
 
 poets — her Homers, her Hesiods, and her Pindars : 
 but it was not till long after that country was sub- 
 dued by the Romans, that it made any material 
 advances towards the excellence it was destined to 
 reach in future ages, and a more cultivated state of 
 society. Under the protection of Constantine, in 
 the fourth century, it was employed in the Christian 
 church, and soon afterwards devotionally introduced 
 by St. Ambrose at Milan, whence it spread through 
 Italy. But still the system was Grecian ; and it was 
 not till the eleventh century that its tetrachords, or 
 scales of four sounds, underwent that reformation by 
 which Guido Aretino, a Benedictine monk, so ex- 
 tended and regulated the modification as to render 
 the sounds susceptible of harmonica! arrangement. 
 This learned priest and theoretical musician not only 
 divided the great compass into hexachords, or equal 
 classes of six immediately successive tones and semi- 
 tones, but suggested an improved manner of writing 
 music. Instead of following the method of his pre- 
 decessors, by placing the usual characters upon a 
 single line, which necessitated the distinguishing 
 them from each other by alphabetical signs, he used 
 staves, first of four, and subsequently of five lines, 
 upon which he stationed yjoints, higher or lower in 
 4he staves, according to the sounds he meant to indi- 
 
INTRODUCTION. 
 
 cate. By these points, disposed under each other, 
 he formed that harmonical combination now desig- 
 nated by notes. But this concordance, or counter* 
 jjoint, of Guido was of the simplest description, con" 
 sisting only of the fundamental note and its third, 
 fifth, and eighth. Melody, in the time of this mo- 
 nastic musician, was little more artificial than the 
 harmony by which it was accompanied and sustained ; 
 the sounds were all of equal and intolerable length, 
 the distances, or intervals, quaint and awkward; and 
 it was not till the ingenious John de Muris, in the 
 fourteenth century, shortened and varied the former, 
 and gave some little ease and grace to the latter, that 
 Music made any approach towards what is now called 
 melody. This scientific Advocate of the Parliament 
 of Paris, by his invention of the large, the long, the 
 breve, the semibreve, and the crotchet, furnished the 
 means of dividing the time into various measures, 
 and of giving new advantages to harmony. Thus 
 aided, the science advanced with comparative rapidity; 
 the formation of discords, their preparations and 
 resolutions, began to be understood; and composition 
 in several parts was successfully cultivated. At 
 length, a Palestina, a Marenzio, a Marcello, and a 
 Giovanelli arose ; and early in the seventeenth century 
 Italy might boast of her noble and numerous sped- 
 
X 
 
 INTRODUCTION. 
 
 mens of harmony and melody, sacred and secular, 
 ecclesiastical and operatic. From Italy, Music passed 
 to Germany, and from Germany to England, where 
 it flourished under the protection of the Anglo-Saxon 
 priesthood, whose cloisters and cathedrals resounded 
 with the Gregorian and Ambrosian chants. To 
 what perfection the harmonic art has since arrived, 
 not only on the continent, but in this country, is 
 sufficiently shown by the works of Handei, the Bachs, 
 Mozart, Haydn, and Beethoven ; Purcell, Arne, 
 Boyce, and Battishill ; and it is not more obvious 
 that its daily improvement necessarily introduces 
 new terms, than that their perpetual accession neces- 
 sitates fresh explanations, both in regard of the pro- 
 duction and the performance of harmony and of 
 melody. 
 
 These — harmony and melody, — sounds in conjunc- 
 tion and sounds in succession — constitute the two 
 great provinces of Music. As the laws of harmony 
 direct the arrangement of simultaneous sounds — the 
 materials of concords and discords, — so the rules of 
 melody govern the disposition of successive sounds — 
 the elements of air or tune 3 and as these rules equally 
 apply to vocal and to instrumental Music, and excel- 
 lence, either in its production or execution, depends 
 on genius and science, aided by judgment, sentiment, 
 
INTRODUCTION. 
 
 xi 
 
 and taste, it only remains to observe, that the author's 
 care has been proportioned to the multiplicity of new 
 terms to which the free exercise of those qualities 
 is constantly giving birth \ that, watching the inno- 
 vations of talent, fancy, and ingenious caprice, he has 
 collected and illustrated their characteristic expres- 
 sions, meaning to supply every information properly 
 lying within the sphere of a Technical Directory ; 
 hoping to furnish the musical world with a work 
 which, comprehending, together with elucidations 
 of the less modern words, definitions of all the indi- 
 cial expressions of the present day, should com- 
 prise, not only scientific phrases and terms' of art, 
 but signs, characters, abbreviations, whatever is 
 needful to be understood, and a thorough knowledge 
 of which can be obtained only through the medium 
 of a publication similar to the present. 
 
A 
 
 DICTIONARY OF MUSIC. 
 
 A, the letter nominally applied to the sixth note of the 
 key of C, the natural diatonic major scale ; also the name of 
 the fundamental note of the natural diatonic minor scale ; 
 and of the note sounded by the third string of the violin, 
 when open. The letter A is likewise an Italian preposition, 
 bearing the signification of in, for, at, with, &c, as the context 
 may require: as, A Tempo, in time, A 3, for three voices, &c. 
 
 A Ballata. (Ital.) In the ballad style. A common 
 prefix to little, familiar Italian melodies. 
 
 Accelerando. (Ital.) A term implying, that the passage 
 over which it is placed must be performed in a continually- 
 quickened time. 
 
 Accel do - The abbreviation of Accelerando. See that word. 
 Accent. That emphasis thrown by the voice on certain 
 words, or syllables ; and on which so greatly depends the 
 beauty of good vocal performance. 
 
 Accented. Accented notes are those which are naturally 
 given with emphasis ; either on account of their situation in 
 the bar, or because they carry with them some strong meaning. 
 
 Accidental Chords. Accidental Chords result from one 
 of two causes — anticipation, or retardation. When their 
 construction assumes some note of a succeeding chord (a 
 chord not yet struck) they are Accidental Chords by anticipa- 
 tion ; when their combination retains some note of a pre- 
 ceding chord (a chord previously struck) they are Accidental 
 Chords by suspension. 
 
 Ex. Accidental chord — 
 
 by suspension, 
 
 C3 — 
 
 1 
 
 by anticipation, 
 
 n . * 1^ 1 
 
 
 
 
 
 i 
 
 
 
 
 
 
 B 
 
ACC 
 
 •ACT 
 
 Accidents. A term applied generally to sharps, flats, 
 and naturals which are extraneous to the key, or scale, in 
 which a piece, or movement, is composed. 
 
 Accolade. (Ital.) That extended vertical brace prefixed 
 to polyphonic compositions, to bind together its several 
 parts. See Braces. 
 
 Accompagnatore. (Ital.) An accompanist. 
 
 Accompaniment. A distinct instrumental part; an addi- 
 tion accessary to the general effect. 
 
 Accomp. The abbreviation of Accompaniment. See that 
 word. 
 
 Accompaniment ad Libitum. (Eng. & Lat.) An Accom- 
 paniment which may be used or omitted, as judgment or 
 convenience shall direct. 
 
 Accomp. ad Lie. The abbreviation of Accompaniment 
 ad Libitum. See that expression. 
 
 Accompaniment Obligato. (Eng. & Ital.) Words inti- 
 mating that the Accompaniment is indispensable, not only to 
 the intended effect, but even to the performance of the 
 composition. 
 
 Accomp. Ob to - The abbreviation of Accompaniment Obli- 
 gato. See that expression. 
 
 Accompaniments. Those orchestral parts of a vocal or 
 instrumental composition, which embellish and embody the 
 general effect. 
 
 Accompanist. The performer who accompanies another. 
 
 Accopiat.e. (Ital.) When two parts are brought toge- 
 ther, they are said to be Accopiate : i. e. coupled, or joined. 
 
 AccoPvDAtura. (Ital.) The scale, or tuning of the open,, 
 or unstopt strings of any instrument. 
 
 Accorder. (French.) To tune any pipe, or string, &c. 
 
 Accordo. (Ital.) A concord. 
 
 Accrescimento. (Ital.) Augmentation. See that word. 
 
 Accres. The abbreviation of Accrescimento. See that 
 word,, and Augmentation. 
 
 A Cembalo. (Ital.) An expression found in the title- 
 pages of compositions for the harpsichord, but which, toge- 
 ther with that instrument, is now obsolete. 
 
 Acoustics. (From the Greek.) The science which con- 
 siders the nature of sound, its causes, and its musical and 
 other effects. 
 
 Act Tunes. The appellation formerly given to the pieces 
 played between the acts of a tragedy or comedy. 
 2 
 
ACU- 
 
 ADU 
 
 Acute. An adjective applicable to any sharp or shrill 
 sound. 
 
 Adagio. (Ital.) Slow, but less so than Largo. The word 
 Adagio is not always used adjectively. Musicians speak of 
 Adagios, as things having a substantive character. A slow 
 movement they call an Adagio. 
 
 Ada - The abbreviation of Adagio. See Adagio. 
 
 Adagio Assai. (Ital.) An expression implying a greater * 
 degree of slowness than is signified by the word Adagio alone. 
 
 Adagio Patetico. (Ital.) In a slow time, and with a 
 plaintive style of expression. 
 
 Adagio Religioso. (Ital.) An expression directing not 
 only slowness of time, but a religious gravity of style. 
 
 Adasio. (Ital.) Synonimous with Adagio. See that word. 
 
 Addition. When notes are lengthened by dots, they are 
 said to have received Addition. 
 
 Additional Keys. The keys added to the former extre- 
 mities of the compass of the piano-forte. 
 
 Ad Libitum. (Lat.) An expression giving license to the 
 performer to introduce whatever decorations his taste and 
 fancy may suggest. 
 
 Ad Lib. The abbreviation of Ad Libitum. See that 
 expression. 
 
 A Double-Flat. A Flat which de- 
 presses the note A Natural two semi- 
 tones ; and, on the piano-forte, lowers 
 it to G Natural. Ex. ^ 
 
 Here we have A Flat flattened ; that is, depressed half a 
 tone : and since, on the piano-forte, G Natural is the next 
 sound below A Flat, G Natural is the key to which, on that 
 instrument, the finger is conducted by A Double-fiat. 
 
 A Double-Sharp. A Sharp which r\ . 
 
 raises the note A Natural two semitones ; j - 
 
 and, on the piano-forte, lifts it to B Na- -{fg- 
 
 tural. Ex. 
 
 Here we have A Sharp sharpened; that is, raised half a 
 tone: and since, on the piano-forte, B Natural is the next 
 sound above A Sharp, B Natural is the key to which the 
 finger of the pianist is led by A Double-sharp. 
 
 A Due, or A 2. (Ital.) An expression signifying, that the 
 composition is designed for two voices. 
 
 A Due Corde. (Ital.) Said of keyed instruments with 
 b 2 3 
 
only two strings to each note : as of the common square 
 piano-forte. 
 
 iEoLiAN Harp. A stringed instrument, little indebted 
 to art for its construction, and not at all for a performer. 
 Its form an oblong box of wood, and its catgut vibrated by 
 the wind, it sends forth a soft, murmuring sound, that is 
 both agreeable and soothing. 
 
 iEQUisoNANT. (Lat.) Strictly speaking, only unisons are 
 eequisonant ; but the same property is often allowed to 
 octaves, because, to the common ear, octaves seem but a 
 doubling of the same sound. 
 
 Affettuoso. (Ital.) A word dictating a tender and 
 affecting style of performance. 
 
 Affett - The abbreviation of Affettuoso. See that word. 
 
 A Flat. The note A depressed half a tone: as thus — 
 
 * . _ * This character, placed before the note, 
 
 —jf- — j— -I j- directs the finger of the piano-forte per- 
 
 -lp\ I2j^ . II former to the black key next below A 
 
 ~ Natural; i.e. to a key half a tone lower 
 than the natural A. 
 
 A Flat Major. The key, or scale, 
 of A Flat, with four flats ; b flat, e flat, 
 a flat, and d flat. Ex. ^) 
 
 A Flat Minor. The key, or scale, of A Flat, with seven 
 flats ; b flat, e flat, a flat, d flat, g flat, 
 c flat, and f flat : except in ascending 
 the scale ; when the notes F and G are 
 natural. Ex. 
 
 Agitato. (Ital.) A word dictating a hurried, interrupted 
 manner of execution. 
 
 Agit - The abbreviation of Agitato. See Agitato. 
 
 Agitato un poco. (Ital.) Somewhat agitated : in rather 
 a disturbed manner. 
 
 A Grand Chceur. (French.) For a Full Choir. An ex- 
 pression denoting that the anthem, or service, to which it is 
 prefixed, is composed for the whole choir. 
 
 A Grand Orchestra. (Ital.) For a Full Orchestra: i. e. 
 a full band. 
 
 A in Alt. (Ital.) That A which stands on the first 
 ledger line above, in the treble stave : and A 
 which A (G above the fifth line of that 
 stave being the first note in alt) is the 
 second note in alt. See Alt. Ex. 
 4 
 
A I N A L L 
 
 A in Altissimo. (Ital.) That 
 A which is an octave above A 
 in Alt. Ex. 
 
 -r- 
 
 8va. 
 
 Air. A series of single sounds forming a tune or me- 
 lody. 
 
 Air Varie'. (French.) An expression generally corre- 
 sponding with our Air with variations, but sometimes signi- 
 fying an Air variegated and embellished ad libitum, agree- 
 ably to the taste or fancy of the innovator. 
 
 Airs des Bateliers Venitiens. Melodies sung by the 
 Venetian boatmen, or gondoliers. See Barcarolles. 
 
 Airs Tendres. (French.) Airs characterized by their 
 amatory softness. 
 
 Air Varie'. (French.) An air with variations. 
 
 A la Grecque. (French.) The appellation given by the 
 French to those choruses which are introduced at the ter- 
 minations of the acts of their dramas ; and which are styled 
 a la Grecque, because their introduction is in imitation of 
 the usage of the ancient tragic dramatists. 
 
 Al Fine, e poi Coda. (Ital.) To the last bar of the 
 subject-matter of the composition, and then to the Coda, or 
 winding up of the whole. 
 
 A la Polacca. In the manner of a Polacca. See Polacca. 
 
 All' Antica. (Ital.) In the style of the old school. An 
 expression not implying that the composition to which it is 
 prefixed is so antiquated as to be obsolete, or out of use; 
 but only, that it is no longer considered as modern or 
 fashionable. 
 
 Alla Breve. (Ital.) A species of common time ; a mea- 
 sure of two breves, formerly called Tempo di Capella, and in 
 general use ; but now seldom employed. See Tempo di 
 Capella. 
 
 Alla Caccia. (Ital.) In the style of music of the chase. 
 In imitation of hunting strains. 
 
 Alla Capella. (Ital.) In the church style. An expres- 
 sion also referring to measure, or time, especially to that of 
 two breves in a bar. See Alla Breve. 
 
 Alla Madre. (Ital.) To the Virgin Mary. The Italian 
 mode of heading hymns and sacred songs addressed to the 
 Virgin. 
 
 b3 5 
 
ALL 
 
 Alla Mar cia. (Ital.) In the style of a march ; i. e. with 
 boldness and dignity. 
 
 Alla Moderna. (Ital.) An expression used in oppo- 
 sition to that of All' Antica. See AW Antica. 
 
 Alla Russe. (Ital.) In the style of Russian music. 
 
 Alla Scozzese. (Ital.) Of a Scotch cast. 
 
 Alla Siciliana. In the Sicilian style. An expression 
 signifying that the movement to which it is prefixed is 
 pastoral. Movements Alla Siciliana are, for the most part, 
 in the compound common-time of six quavers, or twelve 
 quavers, in a bar ; and are sung or played rather slowly, 
 and with a degree of pathos and tenderness. 
 
 Alla Turca. (Ital.) In the Turkish style. 
 
 Alla Veneziana. (Ital.) In imitation of Venetian music. 
 
 Allegramente. (Ital.) Somewhat quick ; and lively. 
 
 Allegressimo. (Ital.) Extremely quick. 
 
 Allegress . The abbreviation of Allegressimo. See 
 that word. 
 
 Allegretto. (Ital.) The diminutive of Allegro : less 
 quick than Allegro. 
 
 Allegretto Scherzando. (Ttal.) In a lively, sportive 
 manner. 
 
 Allegri di Bravura. (Ital.) Brilliant and striking 
 compositions, or movements. 
 
 Allegro. (Ital.) Quick, even to rapidity. An adjec- 
 tive applied both to lively and to impetuous movements ; and 
 often joined with other words expressive of the feeling meant 
 to be excited ; as Allegro Vivace, quick and lively. 
 
 Allegro Assai. (Ital.) Very quick. 
 
 Allegro con Fuoco. (Ital.) Quick and animated. 
 
 Allegro di Molto. (Ital.) Exceedingly quick. 
 
 Allegro Furioso. (Ital.) Rapid and vehement. 
 
 Allegro, ma Grazioso. (Ital.) A phrase intimating a 
 quick time, but graceful manner. 
 
 Allegro, ma Non Presto. (Ital.) Quick, but not ex- 
 tremely quick. 
 
 Allegro, ma Non Troppo. (Ital.) Quick, but not too 
 quick. 
 
 Allegro Vivace. (Ital.) Quick and lively. 
 
 Allelujah. Praise the Lord. An exclamation by which 
 the Hebrew priests called upon their congregations to wor- 
 ship the Creator. See Hallelujah. 
 
 Allievo Musico. (Ital.) A musical pupil. 
 6 
 
A L L -A L T 
 
 Allemande. (French). An old style of air, of German 
 origin, the measure of which is slow, and of two or four 
 crotchets in a bar. 
 
 All' Improvista. (Ital.) An expression applicable to 
 any extemporary performance, but especially to a vocal 
 strain: a kind of prolonged ad libitum, unstudied, unpre- 
 pared, and independent. 
 
 A l' Italienne. (French). Of an Italian cast. 
 
 Al Loco. (Ital.) To the same place. An expression in 
 violin music, applying to the shifting of the hand, and sig- 
 nifying that it is to resume that place on the neck of the 
 instrument which it has just quitted. 
 
 All' Ottava. (Ital.) To take the notes an octave higher 
 or lower than some other part, or parts, with which the 
 ottava part is to be sung or played. 
 
 All' Roversico. (Ital.) An expression implying a con- 
 trary or reversed motion in the parts of any piece. 
 
 All' Segno. (Ital.) The sign or character to which this 
 expression alludes is made thus, .0 and its use is, to direct 
 the performer to the place to which he is to return, in order 
 to repeat, and end with, the first strain of what he is singing 
 or playing. 
 
 All' Seg. The abbreviation of AW Segno. See that ex- 
 pression. 
 
 Alt, (Ital.) The term Alt refers to those notes which lie 
 between F on the fifth line in the treble stave, and G in altis- 
 simo, or the first of the additional notes of the piano-forte. 
 
 Alta, or S T °. (Ital.) This word indicates that the pas- 
 sages over which it is placed are to be played an octave 
 higher than they are written. 
 
 Alternations. Changes, or melodies, composed for bells. 
 
 Altissimo. (Ital.) This word is the superlative of Alto, 
 and is applicable to whatever notes are higher than F in 
 alt. See Alt. 
 
 Altiss mo . (Ital.) The abbreviation of Altissimo. See 
 that word. 
 
 Altitonans. (Lat.) In the choral music of the sixteenth, 
 century, this word signified the highest part under the treble, 
 or what is now termed the alto, or counter-tenor. See Alto. 
 
 Alto. (Ital.) That vocal part in a score which lies be- 
 tween the tenor and the treble. See Countertenor. 
 
 b4 7 
 
ALT . 
 
 A ME 
 
 Alto Cliff. (Ital. and Eng.) The C cliff, when 
 placed on the third line of a stave, — thus, 
 
 Alto Concertante. (Ital.) The under part of the semi- 
 chorus, forming the bass to the treble parts. 
 
 Alto Primo. (Ital.) The higher of two Altos. 
 
 Alto Ripieno. (Ital.) The tenor of the great chorus ; 
 and which is only introduced in the full parts of the compo- 
 sition. 
 
 Alto Secondo (Ital.) The lower of two Altos. 
 Alto Tenore. (Ital.) The higher tenor. See Alto. 
 Altus. (Lat.) The higher, or counter-tenor. 
 Amabile. (Ital.) In a gentle and tender style. 
 
 A Major. The key or scale of A, with 
 three sharps ; f sharp, c sharp, and g sharp. 
 
 Ex. 
 
 Amateur. (French.) One who loves and practises music, 
 but not as a professor. 
 
 Amateur Music Meetings. Of these periodical assem- 
 blages of non-professing musical performers there are several 
 in the provincial parts of England ; nor is Wales, or Scot- 
 land, without them. The most celebrated meeting of this 
 kind is that called the Yorkshire Amateur Music Meeting, 
 which consists of the Amateurs of York, Sheffield, Hull, Der- 
 by, Leeds, Manchester, Wakefield, Halifax, Doncaster, and 
 other principal and neighbouring places ; and not only mus- 
 ters strong, but displays considerable vocal and instrumen- 
 tal talent. 
 
 Amateur Concert. A concert in which the performers 
 are non-professors, and sing, or play, solely for the purpose 
 of amusing themselves and their friends. In London there 
 were, formerly, many musical performances of this descrip- 
 tion, which, like the Catch and Glee Clubs, once so common 
 through the metropolis, prevented numerous persons of all 
 ranks from devoting their leisure hours to less innocent and 
 less rational entertainments. 
 
 Amen. (Hebrew). This is generally the concluding word 
 of anthems and other parts of the cathedral service. Though 
 chiefly used as an imperative verb, in the sense of So be it, it 
 is sometimes employed adjectively, as when we speak of an 
 Amen Chorus. 
 8 
 
A M E 
 
 AN C 
 
 A Mezza Aria. (Ital.) A phrase implying that the notes 
 of the melody to which it refers lie within a moderate com- 
 pass. It also signifies an air partaking of the style of reci- 
 tative, a style between those of singing and speaking. 
 
 A Mezza di Voce. (Ital.) In a softened or subdued 
 tone of voice : also an expression directing a swell of the 
 voice. 
 
 A Morisco. In the Moorish style; in the style of a 
 Moorish or Morisco dance. 
 
 Ambrosian Chant. A chant, or melody, supposed to have 
 been borrowed by Saint Ambrose from some vocal relic 
 of the ancient Greeks. Though founded on the arithme- 
 tical division of the diapason, it was so simple and familiar 
 in its construction, as to admit of the choristers being joined 
 in it by the congregation ; and hence it became so highly 
 popular, that it was very generally sung, and added not a 
 little to the Saint's pious and devotional renown. 
 
 A Minor. The key or scale of A, without either sharps 
 or flats, except in ascending the scale, when the notes F and 
 G are sharpened. 
 
 Amoroso. (Ital.) A word from which the performer 
 learns that the movement to which it is prefixed should be 
 performed in a soft and tender style. 
 
 Amusemens. (French). Pleasing entertaining trifles, 
 composed for young practitioners. 
 
 Amorosamente. (Ital.) An abverb, signifying a soft,, 
 gentle, tender style of performance. 
 
 Anacreontic. An adjective formed from the name of 
 the gayest and most convivial of the Greek poets, Anacreon ; 
 and applied to songs and glees having for their theme the 
 pleasures of wine and mirthful sociality. 
 
 A Natural. The note A, neither sharpened nor flat- 
 tened. See Natural. 
 
 Ancient Music. An expression formerly applicable to 
 any music composed earlier than the beginning or middle of 
 the last century, but now principally confined to compositions 
 of a somewhat later date. The directors of the King's Con- 
 cert deem all music to be ancient that has been produced 
 twenty years. 
 
 Ancient Songs. Ancient Songs, strictly so called, con- 
 sisted of certain popular strains, each of which was exclu- 
 sively appropriated to some particular calling or occasion, 
 
 b 5 9 
 
A N C A N T 
 
 and was considered by the Greeks as profaned, or perverted, 
 if any otherwise employed. Among these lyrical effusions, 
 they had the Shepherd's Song, the Reaper s Song, the Miller's 
 Song, the Weaver's Song, the Wool-carder's Song, the Nurse's 
 Song ; and others of the same kind, as the Lover's Song, the 
 Lady's Song, the Song of the Young Girls, the Hymenea, or 
 Marriage Song, the Datir, or Festive Song, the Ialema, or 
 Song of Lamentation, and the Linos, or Funeral Song. 
 
 Ancilla. (From the Greek.) The name given by the 
 Greeks to those shields, by the clang of which they marked 
 the measure of their music on occasions of public festivity. 
 
 Andante. (Ital.) A word denoting that the movement 
 to which it applies is to be performed in a gentle, delicate, 
 and tender style. It is sometimes used adjectively ; as, 
 when we say an Andante movement. 
 
 And te . The abbreviation of Andante. See that word. 
 
 Andante Cantabile. (Ital.) In an easy time, and a sing- 
 ing style. 
 
 Andante con Moto. (Ital.) In a moderate time, but 
 with a degree of emotion. 
 
 Andante Affettuoso. (Ital.) In a somewhat slow and 
 affecting style. 
 
 Andantino. (Ital.) Somewhat slower than Andante. 
 See that word. 
 
 Andant . Abbreviation of Andantino. See that word. 
 
 Anima di Musica. (Ital.) The soul of music. From 
 this expression the executant understands that he is to 
 throw into his performance all the spirit and pathos of his 
 art. 
 
 Animatio. (Lat.) Animation. A word directing an ar- 
 dent and spirited style of performance. 
 
 Animato. (Ital.) Spirited, bold, animated. 
 
 Anthem. A sacred composition for one, two, or more 
 voices , and the words of which are generally taken from 
 the prose translation of the Psalms. The Anthem is of 
 various kinds and denominations : we have the Verse and 
 Chorus Anthem, the Verse Anthem, the Full Anthem, the 
 Solo Anthem, and the Intrumental Anthem; the first and 
 second consisting of verse and chorus, the third of chorus 
 only, the fourth of solos and chorus, and the fifth of any 
 mixture of these, accompanied with instruments. 
 
 Anticipation. Anticipation consists of the introducing 
 10 
 
A N T A P O 
 
 in a chord any notes which are to form a part of the imme- 
 diately succeeding chord : also that action of the voice or 
 finger by which a succeeding note is sounded before its 
 regular time. See Anticipating Grace. 
 
 Anticipating Grace. An embellishment consisting of a 
 note which forestalls the succeeding note. 
 
 Antiphonarium. (From the Greek.) The name given to 
 the melodies and chants of the Antiphony, taken collectively ; 
 i. e. to the volume in which they are contained. 
 
 Antiphone. (From the Greek.) The response made by 
 one side of the choir to passages of a chant vociferised by 
 the other. 
 
 Antiphonizing. (From the Greek.) Vocalists are said 
 to be Antiphonizing when they sing in octaves. 
 
 Antiphons. (From the Greek.) Sacred dialogues, or 
 conversational compositions, used by the early Christian 
 church. 
 
 Antiphony. (From the Greek.) A mode of sacred com- 
 position which originally consisted of octaves and fifteenths, 
 but which was afterwards extended to anthems and hymns, 
 the different portions of which were sung responsively. At 
 present the word Antiphony is principally applied to short 
 scriptural passages bearing some allusion to the particular 
 festival, or occasion, on which it is used. 
 
 A Parte Equale. (Ital.) An expression applied to two 
 or more vocal performers, who, in an opera, or concert, sus- 
 tain parts of equal difficulty and importance, and which are 
 alike indispensable to the general and intended effect. 
 
 A Piacere. (Ital.) See Ad Libitum. 
 
 A-Plomb. (French). With energy and firmness ; mark- 
 ing the time with emphasis and precision. A term originally 
 applied to that evolution by which a dancer descends upon 
 his feet with exactitude and fixity ; but now extended to a 
 similar decisive point, or steadiness, in a singer. 
 
 A poco piu Lento. (Ital.) Somewhat slower. 
 
 A poco piu Mosso. (Ital.) With a little more briskness, 
 or motion. 
 
 B 6 11 
 
A P O A R I 
 
 Apollonicon. A well-known, noble, and stupendous 
 organ, built by our countrymen, the very ingenious Messrs. 
 Flight and Robson. This instrument comprises no fewer 
 than six sets of keys, all of which, by as many performers, 
 may be acted upon simultaneously. It is also furnished 
 with immense cylinders, by the revolutions of which alone 
 the whole combined powers of the instrument are, at pleasure, 
 brought into operation, and the most extraordinary effects 
 produced. 
 
 Appeau. (Ital.) A small pipe, or bird-call; also a 
 warbling of the voice, in imitation of birds. 
 
 Appogiatura. (Ital.) See Appogiature. 
 
 Appogiature. (From the Italian). A 
 grace-note written diminutively, because 
 seldom inharmony with the notes, or chords, 
 it accompanies. For instance, — 
 Here the Appogiature, G, forming no part 
 of the harmony, yet being deemed necessary as a note of 
 embellishment, is written small, to avoid offending the eye 
 with a visibly discordant combination. 
 
 Apprize. An Apprize is a sign placed after the last note 
 of a stave, to guide the eye to the first note of the succeeding 
 stave. See Direct. 
 
 Arbitri. Unstudied preludes, the passages of which are 
 arbitrarily dictated by the momentary suggestions of the 
 imagination. 
 
 Arcato. (Ital.) A word used in violin music, or the 
 violin parts of a composition, to denote that the passage to 
 which it refers is to be played with the bow. It is after 
 pizzicato passages that it is introduced, to apprize the per- 
 former that the notes are no longer to be produced by the 
 finger, but by the bow. See Pizzicato. 
 
 Archet. (French.) A violin, violoncello, or double-bass 
 bow. 
 
 Arch-Lute/ A stringed instrument formerly much ad- 
 mired, and still used in Italy. In construction and tone, the 
 Arch- Lute resembles the Theorbo. See that word. 
 
 Arcieluto. (Ital.) See Arch-Lute. 
 
 Arco. (Ital.) See Archet. 
 
 Ardito. (Ital.) With ardour and spirit. 
 
 Aria. (Ital.) Aria, strictly speaking, is a course or series 
 of vocal sounds, so arranged as to have a certain relation to 
 12 
 
A R I 
 
 each other by their characteristic symmetry, and to produce 
 that unity of effect which constitutes a tune. In its more ex- 
 tended sense, the word aria implies any melodious succession 
 of passages suited to vocal expression. 
 
 Aria Buffa. (Ital.) A comic or humorous air. 
 
 Aria Concertata. (Ital.) A superior species of vocal 
 composition, one of the prevailing characteristics of which 
 consists in the rich and orchestral style of its accompani- 
 ments, which are generally so constructed as to include solo 
 passages for the principal instruments employed. 
 
 Aria d'Abilita\ (Ital.) A great song, or melody, the 
 "brilliancy and difficulty of which demand for its just exe- 
 cution the higher of the vocal powers. 
 
 Aria di Bravura. (Ital.) An air distinguished from less 
 brilliant and striking melodies by the gay, volatile floridity of 
 its divisions, and general ardour and spirit of its passages. 
 A style of song, which, in the Italian opera, is always re- 
 served for the prima donna, and which can be effectively 
 executed only by the higher order of soprano voices. 
 
 Ariadi Cantabile. (Ital.) An air chantante ; i. e. an air 
 smooth, flowing, and finished in its style, and elegantly 
 pathetic in its effects. 
 
 Aria Fugata. (Ital.) An air formerly so called from the 
 fugue-like style of its accompaniments. A kind of compo- 
 sition which had little other merit than that of the labour 
 with which it was produced, and which has yielded to the 
 more interesting excellence of moving the passions. 
 
 Aria Parlante. (Ital.) An air, the style of which par- 
 takes of melody, properly so called, and of melodious or mea- 
 sured recitative ; an air that speaks, or sl recitative that sings. 
 
 Aria Tedesca. (Ital.) A German melody, or melody in 
 the style of German song. 
 
 Arie Aggiunte. (Ital. plu.) Airs superadded to a 
 drama, and which formed no part of the piece in its original 
 state. 
 
 Arietta. (Ital.) The diminutive of Aria. See that 
 word. 
 
 Arietta alla Veneziana. (Ital.) Little Venetian melo- 
 dies. See Barcarolles, 
 
 Ariettina. (Ital.) See Arietta. 
 
 Ariose Cantate. (Ital. plu.) Airs, the style of which 
 is between that of melody and recitative, and which consist 
 of frequent changes in their time, manner, and humour. 
 
 13 
 
ARI 
 
 A R T 
 
 Arioso. (Ital.) In a singing, air-like manner. 
 Armonia. (Ital.) Harmony. 
 
 Armonica. A musical instrument invented by Dr. Frank- 
 lin; described under the article Musical Glasses. See 
 that definition. 
 
 Armonica. (Ital.) An adjective, signifying harmonious. 
 
 Arpa. (Ital.) A harp. 
 
 Arpa Doppia. (Ital.) A double-actioned harp. 
 
 Arpeggio. (Ital.) In a sweeping manner ; in the style 
 of harp music. An expression especially applicable to 
 chords taken on the piano-forte, when the notes are not 
 intended to be struck abruptly and at once, but in rapid 
 succession. 
 
 Arpeg. The abbreviation of Arpeggio. See that word. 
 Arpeggio Accompaniment. An accompaniment in the 
 arpeggio style. 
 
 Arrangement. The altered form given to any move- 
 ment or piece, for the purpose of adapting it to the powers 
 and genius of some particular instrument, or instruments ; 
 and producing from it a new effect. 
 
 Ars Canendi. (Lat.) That art which teaches to sing 
 •with truth, judgment, and taste. 
 
 Ars Componentis. (Lat.) The science of composition. 
 
 Arsis and Thesis. (From the Greek.) The terms Arsis 
 and Thesis, strictly speaking, are prosodial terms, and regard 
 the most essential property of melody, or air. As the word 
 Arsis implies the raising of the hand in beating time, or 
 preserving the measure, so Thesis signifies the descent of the 
 hand. Thesis, therefore, as belonging to the accentuated, 
 and Arsis as appertaining to the unaccentuated part of the 
 "bar, not only have an immediate relation to melody, but are 
 its indispensable ingredients, since, without measure or time, 
 melody could never have existed. 
 
 Ars Musica. (Lat.) The musical science. 
 
 Articulation. This substantive has reference to music 
 of every description. Without that distinctness and truth 
 of expression implied by the word Articulation, neither vocal 
 nor instrumental performance can be perfect or correct, any 
 more than it can be impressive or gratifying. 
 
 Artificial. This word is applicable to every province 
 of music, whether music be considered as an art, or as a 
 science, because its whole edifice is of artificial construction. 
 Nevertheless, custom has given one especial application 
 14 
 
ART 
 
 ATT 
 
 the term, and thereby rendered it technical. Those chords 
 or combinations, which are at once dissonant and admissible, 
 are exclusively called Artificial. 
 
 Artificial Harmony. Discords which are allowable, 
 because they have some relation to the triad. See the word 
 Artificial. 
 
 A Sharp. The note A raised half a tone. See Sharp. 
 
 Assai. (Ital.) A word adverbially subjoined with any 
 other that applies to the time of a composition ; the sense of 
 which word it augments, as Presto, quick, Presto Assai, very 
 quick ; Lento, slow, Lento Assai, very slow. 
 
 A Table Sec. (French). An expression applied to vocal 
 practice when unassisted by any instrument. So to exercise 
 the voice, is to practise A Table Sec. 
 
 A Tempo. The time of a movement having been deviated 
 from, the words A Tempo signify a return to the original 
 time. 
 
 A Temp. The abbreviation of A Tempo. See that ex- 
 pression. 
 
 A Tempo dell' Allegro. (Ital.) In the time of an 
 Allegro ; or in the time implied by the word Allegro. 
 
 A Tempo di Gavotta. (Ital.) In the time of a Gavot. 
 See Gavotta. 
 
 A Tempo Giusto. (Ital.) In a due and steady time. 
 
 A Tempo Ordinario. (Ital.) An expression indicating 
 that the movement to which it is prefixed should be per- 
 formed in moderate or ordinary time. 
 
 A Tre Corde. (Ital.) Piano-fortes with three strings 
 to each key, are said to be A Tre Corde. 
 
 A Tre. For three voices. 
 
 A 3. The abbreviation of A Tre. See that expression. 
 
 A Trois Mains. (French.) A composition for three 
 hands on the same instrument. 
 
 Attaca. (Ital.) An imperative, directing the performer 
 to pass immediately to the succeeding movement ; as Attaca 
 il Allegro, proceed directly to the Allegro. 
 
 Atto. (Ital.) An Act. One of the divisions of an opera 
 or oratorio. 
 
 Atto di Cadenza. (Ital.) An Atto di Cadenza, or Act 
 of Cadence, is that harmonic preparation by which an ap- 
 proaching cadence is denoted. This is effected by various 
 means ; but generally by the fall of a fifth, or rise of a fourth, 
 in the bass. 
 
A U B A Z I 
 
 Aubade. An Aubade is a morning concert in the open 
 air, as a Serenade is an evening performance in the open air. 
 See Serenade. 
 
 Augmentation. When, in any part of a fugue, the subject 
 is taken up in notes of double the value of those in which it 
 was given out, (semibreves for minims, minims for crotchets, 
 crotchets for quavers, and so forth,) the process is called 
 Augmentation. 
 
 Auletes. (From the Greek.) A flute-player, or flutist. 
 
 Authentico. (Ital.) Authentic. An adjective of appro- 
 bation, by which the Italian theorists distinguish certain of 
 the church modes. See the word Mode. 
 
 Autos Sacramentales. (From the Greek.) The musical 
 representations formerly ordained by the Spaniards, and 
 made in their churches on great and solemn occasions, were 
 called Autos Sacramentales, or Sacred Acts. 
 
 Ave-Maria. (Lat.) An expression which, as that uttered 
 by the angel Gabriel, in his salutation of the Virgin Mary, 
 has always been hallowed, and long become a subject of 
 musical exultation in the Catholic church. 
 
 Auxiliary Notes. Notes employed as substitutes far 
 passing notes where passages are of a nature not to admit 
 the latter. When Auxiliary Notes are lower than their prin- 
 cipals, the intervals should be only half tones ; but when 
 higher, they may be either half tones, or whole tones. 
 
 » £c '.^ ^ : ,y -j" g 
 
 Here the Auxiliary Notes on the third line are half a tone 
 beneath the principals ; but those on the fourth line, a whole 
 tone above. 
 
 Avena. (Lat.) A Reed. One of the humble instru- 
 ments of sound by which the first cultivators of music 
 arrived at the power of producing melody. The tones of the 
 shell, the horn, and the oaten straw, opened the way to 
 superior euphony ; became the patterns of improved models ; 
 art proceeded with the task which nature began; and at 
 length we can boast of instruments, of the beauteous effects 
 of which former ages had no conception, and of orchestras, 
 the result of whose multifarious excellences seems of more 
 than human contrivance. 
 
 Azione Sacra. (Ital.) A solemn or sacred musical drama. 
 16 
 
B B AL 
 
 B. 
 
 B, the alphabetical appellation of the seventh of the 
 seven notes of which nyisic is said to consist, reckoning 
 from C, the fundamentaVtiote of the natural major scale. 
 B is also the nominal of the second of A, the fundamental of 
 the natural minor scale. 
 
 Bachelor of Musjc. A musician who has received from 
 some university the second, or inferior degree of Bachelor 
 in the Faculty of Music. To obtain this honour, a candidate 
 must compose an anthem in six real parts, of sufficient cor- 
 rectness and ingenuity to merit the approbation of the 
 Music Professor. 
 
 Back-Turn. A turn which begins on the note below, 
 instead of the note above, that which is embellished. 
 
 Bagpipe. An ancient, well-known Scottisli wind instru- 
 ment, supposed to have been brought into North Britain 
 by the Danes or the Norwegians. It has its name from its 
 own chief constituent parts, a pipe, and a bag by which it is 
 inflated. 
 
 Bagpiper. A performer on the Scotch wind instrument 
 called a bagpipe. See that word. 
 
 Ballad. A species of song of the simpler construction, 
 and said to have been originally invented by the Jongleurs, 
 or itinerant bards of France and Germany in the 15th and 
 16th centuries. Its present description is that of a little 
 lyric tale, or short series of obvious reflections, expressed 
 in a few verses, each of which is sung to the same tune. 
 
 Ballata. (Ital.) A term applicable to any tune or me- 
 lody fit for an accompaniment to a dance : also to any air 
 qualified for a dance tune in a ballet or opera. 
 
 Ballet. (French.) A dramatic story told in metrical 
 action, accompanied with music. A species of entertain- 
 ment peculiar to the Opera House, and sometimes most 
 improperly introduced between the acts of the principal 
 piece. 
 
 Ballet Master. He whose profession is to produce 
 ballets, and to arrange and regulate their representation. 
 
 Balli. (Ital,) Dances introduced between the acts of 
 Italian operas. This injudicious practice has offended good 
 taste for nearly a century : but there is reason to hope that, 
 ere long, a better judgment will allow the lovers of the 
 
 17 
 
B A N B A R 
 
 operatical drama to enjoy the interest of its scenes uninter- 
 rupted by the distracting intrusion of unconnected dumb- 
 show. 
 
 Band. A number of instrumental performers assembled 
 for the purpose of uniting in concert. 
 
 Banda. (Ital.) In the Italian Opera, either a band of 
 musicians, or of soldiers : as, Banda Prima, first band of 
 musicians, or soldiers ; Banda Seconda, second band of 
 musicians, or soldiers. 
 
 Barcarolles. The songs sung by the Venetian Gondo- 
 liers. These boatmen are fond of vociferating them on the 
 water ; and the effect is as pleasing as the melodies are 
 familiar and simple. 
 
 Bard. A Welsh nominal, synonimous with Minstrel, and 
 applied by modern writers to the poets of old times. The 
 powers of the bards in exciting the courage of armies, pro- 
 cured them such high consideration with antiquity, that not 
 only were they the convivial companions of princes and 
 heroes, but often the chosen negotiators between the belli- 
 gerents. 
 
 Baritono. (Ital.) A word which, when applied to the 
 voice, signifies a Tenor-Bass ; a compass of tones the lowest 
 of which are not so deep as the gravest of a bass voice, nor 
 the acutest so high as the upper tones of a tenor voice. 
 
 Baritono-Cliff. An expression signifying ' 
 the F or Bass Cliff, when placed on the third 
 line, instead of the fourth ; as thus — — IZZZ 
 in which case, the melody on the same stave with the cliff is 
 a Baritono, or Tenor-Bass melody. 
 
 Bar of Music. A Bar of Music is that quantity of music 
 contained between any two adjacent bars of a composition; 
 a, quantity which has no reference to the number, but only 
 to the value of the notes so contained, taken together. By 
 consequence, any one bar of music in a movement is equal to 
 that of any other bar in the same movement. See Bars. 
 
 Barrel Organ. An Organ the tones of which are pro- 
 duced by the revolution of an inclosed cylinder, and the 
 tunes it plays, by the disposition of the pins and staples with 
 which the cylinder is studded. The Barrel Organ has been 
 lately brought to a degree of perfection, of the possibility 
 of which the musical mechanicians of the last age had no 
 idea. See Apollonicon. 
 18 
 
BAR 
 
 B AS 
 
 Bars. Certain lines which, drawn perpendicularly through 
 the staves of a composition, divide the music equally, in 
 respect of time : as thus — 
 
 Here the three crotchets in the first bar being equal to the 
 minim and crotchet in the second, and the minim and crotchet 
 in the second bar equal to the crotchet and four quavers in 
 the third, the contents of each bar is equal to the contents 
 of each of the other two ; i. e. the three bars are equal to 
 each other. 
 
 Bass. The lowest part in any composition ; apart which 
 derives its name from its quality and office, as being the 
 gravest in sound, and the support, or basis, of all the other 
 parts. 
 
 Bass Chastante. (French.) A Bass which, besides being 
 the foundation of the higher parts of a composition, possesses 
 a degree of melody, flatters the ear, and forms a singing bass. 
 Bass Cliff. The Cliff which, when in its usual 
 
 situation (the fourth line of a stave), implies that 
 
 the notes on that stave are bass notes ; that that ZZZUZZ 
 stave contains the bass part of the composition. 
 
 Bass-Cltff Note. A note so called rgjT 
 because its station is on the same line with 
 the bass cliff; viz. the fourth line — 
 
 Bass ClifF Note. 
 
 Bassetto. (Ital.) This term signifies a bass less deep 
 than that implied by the v/ord Basso, of which it is the 
 diminutive. 
 
 Basso. (Ital.) The Bass. 
 
 Basso Concertante. (Ital.) That bass by which the 
 lighter or more delicate parts of a composition are accom- 
 panied, and which is generally performed by the violoncello, 
 and sometimes by the bassoon. 
 
 Basso Continuo. (Ital.) A bass that is 
 
 figured, for the purpose of indicating the 5_ZZ^~ 
 superincumbent harmony of which it is the g- 
 
 foundation ; as thus — 5 
 8 3 
 Here the 5 placed under the note C, signifies that the har- 
 mony formed by the notes of the other parts immediately 
 over it, consists of the third, fifth, and eighth, or chord, of C. 
 
 19 
 
£ A S B D O 
 
 Basso Fondamentale. (Ital.) See Fundamental Bass. 
 
 Basso Primo. (Ital.) The fundamental bass, or bass 
 consisting of that note of which the incumbent harmony is 
 the common chord ; called the Basso Primo, in opposition 
 to that which is termed Basso Seco?ido, or inner bass. 
 
 Basso Recitante. (Ital.) An expression used in contra- 
 distinction to Basso Ripieno, and implying that the partto which 
 it is affixed is the bass of the little chorus. See Basso Ripieno. 
 
 Basso Ripieno. (Ital.) Used in opposition to Basso 
 Recitante, and signifying, that the part to which it applies 
 is the grand and main bass, or bass of the great chorus. 
 
 Basso Rivoltato. (Ital.) That bass which does not con- 
 sist of the fundamental note of the harmony, but is derived 
 from it; as when the harmony being that of C, the bass 
 note is E, or G. 
 
 Basso Secondo. (Ital.) That bass which, instead of 
 being the fundamental note of the harmony, consists of the 
 third, or fifth, of that note. See Basso Rivoltato. 
 
 Bass Part. The lower part in a composition ; that part 
 on which the harmony is founded. 
 
 Bass Solo. An air or melody designed for a bass voice, 
 or bass instrument. 
 
 Bass Song. A song composed for, and adapted to, a bass 
 voice. 
 
 Bass-Viol. An instrument with four strings, and eight 
 stops, subdivided into semi-stops. Its name announces that 
 its register lies in the lower province of the great scale, and 
 that, like the violoncello, it is of the violin species. For- 
 merly the Bass- Viol was in much esteem. 
 
 Battuta. (Ital.) See Beating Time. 
 
 B Double-Flat. A Flat which de- 
 presses the note B Natural two semi- 
 tones ; and, on the piano-forte, lowers 
 it to A Natural. Ex. 
 Here we have B Flat flattened ; that is, depressed half a 
 tone : and since, on the piano-forte, A Natural is the next 
 sound below B Flat, A Natural is the key to which, on that 
 instrument, the finger is conducted by B Double-flat. 
 
 B Double- Sharp. A Sharp which 
 raises the note B Natural two semi- 
 tones ; and, on the piano-forte, lifts it 
 to C Sharp. Ex. ~ 
 
 Here we have B Sharp (C Natural) sharpened; that is, 
 20 
 
B D U B E L 
 
 raised half a tone : and since, on the piano-forte, C Sharp 
 is the next sound above B Sharp, C Sharp is the key to which 
 the finger of the piano-forte performer is carried by B 
 Double-sharp. 
 
 B Durum. (Lat.) B hard : so named in contradistinction 
 to B Molle, or B soft. 
 
 Beat. A short note of embellishment, ^ m 3-A 
 
 m 
 
 which is always a semitone lower than 
 the note it graces, and always precedes 
 it. When written, it is exhibited thus — _ 
 
 «-H 
 
 when not written, designated thus — 
 
 Beating Time. The act of regulating the measure of a 
 movement by the continuous and uniform motion of the hand 
 or foot. 
 
 Beatings. Those pulsative or palpitating sounds issuing 
 from an organ, when the pipes are false, or out of tune ; 
 when the vibrations of those of the same key are not con- 
 sentaneous. 
 
 Becarue. (French.) B Natural. 
 ■ Belfry. That part of a church steeple in which the bells 
 are suspended. For the purpose of giving free vent to their 
 sounds, the sides of the belfry are constructed with spacious 
 openings ; and that, when they have issued from the steeple, 
 they may spread the more freely around, the belfry is, or 
 should be, stationed sufficiently high to convey them over 
 the neighbouring buildings. 
 
 Bell. A well-known musical instrument, consisting of 
 a round body, or barrel, widening towards the bottom, and 
 furnished with a tongue, or clapper, and an ear, or cannon, 
 by which it is suspended. It is made of cast metal, the com- 
 position of which consists of tin and copper, and the tones 
 of which, when conveyed over an expanse of water, are 
 strikingly mellifluous. 
 
 - Bellezza della Voce. (Ital.) Beauty or sweetness of 
 voice. 
 
 Bell-Harp. A stringed instrument, at present little 
 known, and less used. The Bell-Harp takes its name from 
 the circumstance of its being swung by the hand when per- 
 formed on. Its strings are more than thirty in number, 
 and, of course, include a compass exceeding four octaves. 
 
 21 
 
BEL- 
 
 BIN 
 
 Bell of a Horn. The wide, circular expanse of the horn. 
 That part of the instrument by which the sound is propa- 
 gated. 
 
 Bell-Tone. That clear, sweet quality possessed only by 
 superior soprano voices. 
 
 Belly of an Instrument. In a piano-forte, the belly is 
 the broad, smooth board which lies immediately under the 
 strings : in a double-bass, violoncello, tenor, and violin, it is 
 that part of the body over which the strings are distended. 
 
 Bel Metallo di Voce. (Ital.) A clear and brilliant tone 
 of voice. Generally, but not exclusively, applied to sopranos. 
 
 Bemol. (French.) B Flat. See that expression. 
 
 Bene Placito. (Ital.) A phrase by which the performer 
 understands that he is at liberty to ornament and variegate 
 the passages at 'pleasure, 
 
 Benmarcato. (Ital.) Well marked ; in a pointed manner. 
 
 B Flat. The note B depressed half atone; which B, 
 when so depressed, forms the flat seventh of C, the natural 
 diatonic major mode ; and the 
 flat second of A, the natural 
 diatonic minor mode. Ex. 
 
 %J 
 
 B Flat Major. The key, or scale of 
 BFlat, with two flats ; — E flat, and e flat. Ex. 
 
 B Flat Minor. The key, or scale, of B Flat, with five 
 flats ; — b flat, e flat, a flat, d flat, and g 
 
 See A Flat. 
 
 flat ; except in ascending the scale ; when 
 
 the notes G and A are natural. 
 
 Ex. 
 
 B in Alt. (Ital.) The 
 third note in alt. Ex. 
 
 1 
 
 3 
 
 See Alt. 
 
 B in Altissimo. (Ital.) The 
 third note in Altissimo. Ex. 
 See Altissimo. 
 
 Binary Measure. Common 
 called Imperfect Measure. 
 22 
 
 s 
 
 8va. 
 
 time of two in a bar : also 
 
B I N B I S 
 
 Binding-Notes. Notes of the same denomination and 
 pitch, bound together by curves, which curves, or bindings, 
 imply that only the first of such notes is to be struck, and 
 the remaining note or notes not to be struck, but held down ; 
 the whole forming, in effect, but one note ; as thus — 
 
 
 
 CD * C3 
 
 
 
 
 
 
 
 
 : 
 
 
 
 
 
 
 
 
 
 in performance, form one note of the length of the three 
 taken together. 
 
 Bird Organ. A little cylindric organ, the scale of the 
 notes of which are sufficiently acute to produce a tolerably 
 faithful imitation of the tones of singing birds. 
 
 Bis. (Lat.) Twice. The extent of this term of repeti- 
 tion is generally determined by a curve drawn over the 
 passage intended to be repeated, and which curve includes 
 every note of such passage ; as thus — 
 
 In this example, the notes to be repeated are those of the 
 third bar, those included by the curve over the word Bis. 
 
 Bisdiapason. (From the Greek and Lat.) A bisdiapason 
 comprehends a compass of two octaves, as thus — 
 
 t5=± 
 
 i 
 
 5=F 
 
 %J 
 
 or thus — 
 
 P4 
 
 Bisinia. (Lat.) A term used in piano-forte music, when 
 the notes or passages performed by one hand are regularly 
 repeated by the other. The term is founded on the word 
 Bis. See that word. 
 
 23 
 
 i 
 
BIZ 
 
 ; — b o w 
 
 Bizzaro. (Ital.) A term indicating that fantastic ana 
 whimsical style of execution sometimes adopted in light 
 compositions. 
 
 Blanche. (French.) A minim. See Minim. 
 
 B Major. The key, or scale, of B, 
 with five sharps : — f sharp, c sharp, g 
 sharp, d sharp, and a sharp. Ex. 
 
 B Minor. The key, or scale, of B, with 
 two sharps ; — f sharp, and c sharp ; except 
 in ascending the scale, when the notes G and 
 A are sharpened. Ex. _ 
 
 B Natural. The note B, neither sharpened nor flat- 
 tened. See B Quadrum. 
 
 Bollero. An old Spanish dance. . 
 
 Bombardo. A hass instrument of the inflatile species, 
 resembling the Bombix of the ancient Greeks. See Bombix. 
 
 Bombix. An ancient Greek instrument, formed of a Jong 
 reed or tube. It was blown at the olmos, or mouth, but 
 owed the depth and fulness of its tone to its eupholmy, or 
 body. 
 
 Border Tunes. Tunes so called from their being (like 
 the Border Poetry) the productions, and the favourites, of 
 the inhabitants of the countries in the vicinity of North 
 Britain. They are all simple, natural, and somewhat in the 
 Scotch style. 
 
 Boubonniere Musicale. (French.) A pleasing musical 
 trifle. 
 
 Bourdon. (French.) A term applied to the drone-bass 
 of any melody: a heavy, fixed sound, dwelling upon one 
 note (the key note) throughout the tune, like the settled, 
 dronish note of a bagpipe's bass : a kind of burden. See 
 that word. 
 
 Boure'e. (French.) An old French dance in the measure 
 of four crotchets. One of its characteristics is, that of its 
 commencing with the last quaver, or last crotchet of the 
 bar. 
 
 Boutade. (French.) A kind of impromptu ballet, in the 
 capriccio or fantasia style, and formerly in great favour with 
 the Parisians. 
 
 Bow. The utensil used in performing on instruments of 
 the violin species, from the kit to the double-bass. Its 
 length, formerly, was not equal to what it now is. The 
 24 
 
B O W B R A 
 
 present dimension of the violin bow is from twenty-seven to 
 thirty inches. 
 
 Bow-Hand. The hand with which violin performers 
 hold the bow — the right hand. 
 
 Bowing. The art of using the bow, on the skilful ma- 
 nagement of which the tone of the violin, or violoncello, 
 greatly depends, as also the grace and freedom of the per- 
 formance. 
 
 B Quadrum. (Lat.) The name originally given to the 
 note B natural, on account of the square form of its sign — jj, 
 called Square B, in contradistinction to B Rotundum, the 
 representative of B flat — \) — or Round B. 
 
 Braced Points. Characters, several of which signify, 
 that the expression of the notes over which they are placed 
 must, at once, partake of distinctness, and of a smooth, glid- 
 ing motion ; that is, must be so performed as to mix the 
 manner indicated by the slur curve, and that implied by the 
 staccato dash. Ex. 
 
 
 2„. « *-* «- 
 
 
 
 
 
 \ 
 
 4 
 
 A J 
 
 fr^'H 1 
 
 
 
 
 
 
 =fr?— 3= 
 
 Bracelet. A highly useful implement recently invented 
 by Mr. Bochsa, the distinguished harpist, for assisting harp 
 practitioners in acquiring a proper position of the hand. It 
 is so suspended from the neck of the instrument, that, while 
 it keeps the hand at a due height, it permits it to move freely 
 backward and forward. This ingenious little machine 
 affords to beginners an aid of which they had long felt the 
 want. With such a permanent advantage, they are no 
 longer destitute of a manual guide during the absence of 
 the master. 
 
 Braces. Vertical curves placed at the left extremities 
 of the staves of a composition, to bind together such -parts 
 as have an harmonical connexion with each other. In 
 music of few parts, Braces are constantly used ; but in full 
 and multifarious scores, they are sometimes dispensed with. 
 
 Braces op a Drum. Cords extending obliquely from the 
 upper to the lower rim of the drum, and which, as they are 
 tightened or slackened, stretch or loosen the parchment, and 
 thereby raise or lower the sound. 
 
 c 25 
 
B R A B U G 
 
 Bravura. (Ital.) The word Bravura, when used as a 
 substantive, has a general application to all songs of a 
 bold, animated, and brilliant description; especially when 
 intended for a soprano voice. When employed adjectively, 
 It only announces the nature of the style of such a song ; as, 
 when speaking of the concluding song in Dr. Arne's Ar- 
 taxerxes, or of the " Son Regina' of Sacchini, we say, it is 
 in the bravura style. 
 
 Breve. A note equal in duration to one-fourth of the 
 old character called a Large, and to one-half of the Long. 
 Long as is the breve, compared with the modern semiquavers, 
 demisemi quavers, and double-demisemiqu avers, it derived its 
 name from its comparative shortness, in respect of the large 
 and the long, formerly in general use. The Breve was ori- 
 ginally of a square shape, but now is made thus— |o| • 
 
 Bridge. That arch by which the strings of a violin, or 
 viola, a violoncello, or double-bass, are raised above the 
 "body of the instrument, and enabled to obtain a free and 
 uninterrupted vibration. 
 
 Brillante. (Ital.) A word implying a gay, volatile, 
 striking style of composition, and performance. 
 
 Brio. (Ital.) Vivacity, animation. 
 
 Broderies. An old term applied by the French to casual, 
 unstudied ornaments in performance. 
 
 B Rotundum. (Lat.) The name originally given to the note 
 B flat, on account of the round form of its sign — \) — called 
 Hound B, in contradistinction to B Quadrum, the representa- 
 tive of B natural — j| — or Square B. See B Quadrum. 
 
 * This character, 
 - by carrying the 
 finger of the pia- 
 
 m 
 
 B Sharp. The note 
 B raised half a tone 
 
 "^ X " ~%J " no-forte perfor- 
 
 mer to the white key next above B natural, gives ocular 
 proof of its raising that note half a tone. 
 
 Buccina. An ancient, military wind instrument, the form 
 and tone of which are supposed to have resembled those of 
 the trumpet. 
 
 Buffet Organ. A small organ. See Positif. 
 Buffo. (Ital.) An Italian vocalist who performs comic 
 operatical parts. 
 
 Buffo Caricato. (Ital.) A comic character in an Italian 
 opera. 
 
 Bugle. A horn whose shape is straight, and the notes- 
 26 
 
BUO 
 
 CAB 
 
 of which are very few. An instrument almcxst exclu- 
 sively used in the chase. 
 
 Buonaccordo. (Ital.) An instrument, the key-board of 
 which is made smaller than that of a common piano-forte, 
 for the accommodation of young children. 
 
 Buon Cantante. (Ital.) An accomplished singer; a 
 vocalist, who, to a fine voice, adds taste, execution, and 
 expression. 
 
 Buon Gusto. (Ital.) Good taste ; a clear and correct 
 idea of what is excellent in composition and performance. 
 
 Buono Mano. (Ital.) An instrumental performer, who 
 is master of a brilliant style of execution, is said to have a 
 Buono Mano, a good hand. 
 
 Burden of a Song. The term Burden (of French deri- 
 vation) implies a monotonous return of the same words and 
 music at the end of each verse of a song. This form of song 
 is almost as old as poetry, and its interesting effect, when 
 the subject-matter of the burden is pleasing, has perpetuated 
 the practice. 
 
 Burlesque Songs. Songs, the objects of which are, to 
 place serious things in a ridiculous point of view, and to 
 excite laughter by the oddity of the rhyme and versification, 
 and the affected quaintness of the melody. 
 
 Burletta. The Burletta (a species of comic opera) is 
 of Italian invention. The union of humour with the " con- 
 cord of sweet sounds/' proved so acceptable to the ears and 
 feelings of the public, that this light, humorous species of 
 entertainment quickly spread through Europe, in all the 
 refined parts of which it is enjoyed and encouraged to this 
 day. 
 
 C. 
 
 C, the letter by which the natural major scale is nomi- 
 nally distinguished. C is the only major scale, or key, 
 which has neither sharps nor flats ; it is, therefore, that the 
 key of C, like its relative minor, the key of A, is called 
 natural. 
 
 Cabinet Piano-Forte. An instrument possessing much 
 of the advantage of the upright grand piano- forte ; but 
 which, like that, turns the back of the performer on the 
 company. It is sometimes furnished with two sets of strings, 
 and sometimes with three ; when, with the latter, the tone 
 is both sweet and powerful. 
 
 c 2 27 
 
C AC 
 
 ! C A N 
 
 Caccia. (Ital.) A chase — a hunting song, or an instru- 
 mental imitation of hunting music. 
 
 Cacophony. (From the Greek.) A dissonant mixture of 
 incongruous sounds. 
 
 Cadence, or Reprise. A graceful extempore embellish- 
 ment with which a singer closes his performance. The 
 -term Cadence is also sometimes applied to the pause made at 
 the end of an air, previous and preparatory to a Cadence. 
 
 Cadenza. (Ital.) The spontaneous ornament with which 
 a singer closes his song. See Cadence. 
 
 Cadenza Sospesa. (Ital.) See Suspended Cadence. 
 
 Cadenz. The abbreviation of Cadenza. See that word. 
 
 Calamus Pastoralis. (Lat.) A reed, or hollowed cane, 
 used as a wind instrument. See Avena. 
 
 Calando. (Ital.) Gradually diminishing in velocity. 
 
 Caledonian Melodies. The ancient and genuine melo- 
 dies of North Britain ; i. e. of the masters of those early 
 times when the notes of the Scotch scale were confined to 
 the first, second, and third, and fifth, sixth, and eighth, of 
 the key. 
 
 Cambrian Melodies. The ancient and genuine melodies 
 of Wales, i. e. of the old Welsh Bards. 
 
 Camera. (Ital.) A word applied to music composed for 
 the chamber, and not for the church or the stage. 
 
 Can. (Welsh). A Song ; as Can y Prophwyd Davydd ; 
 the song of David, the prophet. 
 
 Canaries. An old English dance in the measure of three 
 quavers, and consisting of two strains. The introduction 
 of this species of dance in some of PureeU's operatic pieces, 
 seems to prove that, in the time of that great composer, the 
 Canaries was popular. 
 
 Canon. A Rule. A word announcing a species of com- 
 position, so called because every bar of it is written agree- 
 ably to certain rigid rules previously prescribed. These 
 rules, whatever the number of parts, dictate a perpetual 
 fugue, which fugue may be simple, double, or triple ; re- 
 versed, or inverted ; resolved, or unresolved ; finite, or in- 
 finite. 
 
 Canon Chiuro. A continued fugue, the construction of 
 which admits of its being written upon one stave. 
 
 Canons in Cerpo. A peculiar kind of perpetual fugue. 
 Canorus. (Lat.) See the word Shrill. 
 Cant. The abbreviation of Canto. See that word. 
 2S 
 
CAN 
 
 Cantabile. (Ital.) A movement, the style of which is 
 graceful and mellifluous. 
 
 Cantab. The abbreviation of Cantabile. See that word. 
 
 Cantadours. Strolling singers, who, as early as the 
 ninth century, wandered about Provence, performed on 
 temporary stages in the open air, and derived a subsistence 
 from the gratuitous contributions of their surrounding au- 
 ditors. 
 
 Cantante. (Ital.) A word sometimes signifying a singer, 
 and sometimes the vocal part of a composition. 
 
 Cantata. A vocal composition comprizing recitative 
 and air. The Cantata, which is elegant and impassioned in 
 its style, had for its inventress Barbara Strozzi, a lady of 
 Venice, whose talents and science adorned the seventeenth 
 century. It originally assumed an operatical form, and 
 employed a variety of performers, but was afterwards so 
 curtailed as to be reduced to two or three melodies, inter- 
 spersed with recitatives, and adapted to a single voice. In 
 this style it found its way to Italy, Germany, and England 
 in the latter of which countries it exercised the genius of 
 some of its greatest musicians. The Alexis of Pepusch, and 
 the Cymon and Iphigenia of Dr. Arne, will be admired as 
 long as musical taste exists. 
 
 Cantatilla. (Ital.) A short song consisting of an air 
 introduced by a recitative ; a diminutive Cantata. See that 
 word. 
 
 Cantatrice. (Ital.) A female vocalist. 
 
 Canticle. The name formerly given to act-tunes, or 
 short musical interludes, the object of which was to diver- 
 sify and relieve the business of the principal piece. 
 
 Cantici. (Ital.) The former laude, or sacred strains, of 
 the Catholic church. These adulations of the Virgin, and 
 of the Saints and Martyrs, were first adopted about the 
 twelfth century. 
 
 Canticle. The name almost exclusively given to the 
 Song of Solomon, but, in strictness, applicable to any hymn 
 or religious song. The ancient Hebrews poured forth their 
 Canticles to the Living God ; the Greeks addressed theirs to 
 Jove, Neptune, and the inferior deities. 
 
 Cantilena. (Ital.) Formerly the diminutive of Canzone, 
 but now the air, or upper part, of any vocal composition. 
 
 Cantilena Scotica. (Ital.) A Scotch air, or tune. 
 
 Canto. (Ital.) The treble part in a chorus. 
 
 C 3 29 
 
C A N C A P 
 
 Canto Fermo. The ancient and settled chants of Catholic 
 choirs. These seldom ascended higher than the fourth of the 
 key, and, till the introduction of multisonant compositions, 
 were sung in unisons or octaves. 
 
 Canto Figurato. When, after the invention of counter- 
 point, harmony hegan to wear an ingenious and ornamented 
 form, and melody was harmonized with skill and effect, that 
 improved state of vocal composition was denominated Canto 
 Figurato, a name by which it is still distinguished among 
 the lovers of old church music. 
 
 Canto Plano, or Plain Chant. An expression implying 
 the plain, unadorned style of the ancient chant. 
 
 Cantorb. (Ital.) A singer. 
 
 Canto Recitativo. (Ital.) A style of vocal composition 
 that mixes air with recitative ; that sings while it speaks, 
 and adorns the parlance of passion with the beauty of 
 melody. 
 
 Can ttjs. (Lat.) The Treble : also a kind of speaking air. 
 See Canto Recitativo. 
 
 Cantus Ambrosianus. See Ambrosian Chant. 
 
 Cantus Gregorianus. See Gregorian Chant. 
 
 Cantus Mensurabilis. (Lat.) Any regular melody; 
 any melody that may be so called, in contradistinction to the 
 wild, unmeasured strains, composed before the establishment 
 of the time-table. 
 
 Canzone. (Ital.) Originally, the general name of any 
 song or odaic composition ; but which now principally im- 
 ports a vocal piece of a somewhat elaborate construction, 
 and in a plurality of parts. 
 
 Canzonet. (Ital.) The diminutive of Canzone. (See 
 that word.) It is long since the term Canzonet was re- 
 ceived in its true sense, especially in England, where it 
 rather has an augmentative than a diminutive sense, and 
 means a vocal composition of some considerable length, and 
 consisting of several parts* 
 
 Caoinan. An Irish Requiem. See the word Keeners. 
 
 Capella. (Ital.) A Chapel : as Capella Musica, Chapel, 
 or Church Music. 
 
 Capiscolus. An old term signifying the Chanter, or 
 Precentor, of a choir, or band; i. e. the superintendent, or 
 leader. See Chanter and Precentor. 
 
 Capjstrum. (From the Greek.) An implement used by 
 the ancient trumpeters, to prevent the bursting of their 
 30 
 
CAP 
 
 CAT 
 
 cheeks, when blowing with the necessary violence. It ex- 
 tended from ear to ear, embraced the face, and was so effec- 
 tual as to be almost universally used ; and so great was the 
 innatile exertion of these performers, that it was dangerous 
 to forego the guard afforded by this fortifier of the cheeks. 
 
 Capriccio. (Ital.) A composition, or performance, in 
 which a loose is given to the wildest suggestion of the 
 fancy ; of which a florid dissipation of unconnected ideas 
 forms the characteristic feature. 
 
 Capriccioso. In the style of a Capriccio. Wild and fan- 
 tastic. 
 
 Caprice. An unrestrained effusion of the imagination. 
 See Capriccio. 
 
 Carilloneur. (French.) A performer on the Carillons, 
 or chimes. In Flanders, a musical operative of some re- 
 spectability. 
 
 Carillons. Chimes consisting of small bells, diatoni- 
 cally tuned ; sometimes borne in the hand, sometimes sus- 
 pended in time-pieces, in which, at regularly returning 
 periods, they perform the melody to which they are set. 
 
 Carol. A Christmas or Easter Ballad. This species of 
 poetical and musical effusion had its origin in Italy, under 
 the title of Carrola, At first, the character of the Carol 
 was that of excellence ; of beauty of thought and taste in 
 expression ; and it was long before it became degraded by 
 itinerant holiday minstrels. See Carola. 
 
 Carola. An Italian word synonimous with ballata in its 
 most dignified sense. See Carol. 
 
 Carrilon. An air composed for chimes. 
 
 Castagnets. The old orthography of Castanets. See 
 that word. 
 
 Castanets. Chestnut shells held in the hands during a 
 dance. This mode of accompanying the motions of " the 
 light fantastic toe," is of Spanish origin. If their rattling" 
 contributes nothing to the melody, it, at least, shares in the 
 merit of preserving the time ; and certainly adds to the 
 hilarity of the general effect. 
 
 Catjena di Trilli. (Ital.) A rapid succession of shakes 
 upon close or contiguous intervals. 
 
 Catch. A vocal composition for several voices, the parts 
 of which are so contrived as to produce a whimsical play 
 upon the words of one singer, by the expressions of another. 
 To produce this effect, the first singer begins alone, and 
 
 c 4 31 
 
C A T C D O 
 
 when he has reached the end of his part, proceeds to the 
 second, while the next performer takes the first ; after which 
 the third performer takes the first part, the second per- 
 former the second part, and the first performer the third 
 part ; so that no two performers being engaged upon the 
 same words at the same time, an opportunity is afforded for 
 what might be called cross-readings, and the introduction of 
 considerable wit and humour. The Catch, however, with all 
 its pleasantry, is, at present, not much used. 
 
 Catch-Clue. A vocal association, the object of whose 
 union is the amusement of singing catches and glees. 
 Catch- Clubs were formerly very numerous, and afforded 
 to all ranks many an hour of innocent mirth and rational 
 recreation. 
 
 Cathedral. An Episcopal Church furnished with a 
 choir, singers, and an organ. In England, our ancestors, 
 the Anglo-Saxons, quickly established these, and the abbeys 
 resounded with chanted homilies, pealing anthems, and the 
 organ's solemn tones. 
 
 Cathedral-Duty. This expression, musically under- 
 stood, signifies the vocal and instrumental performances 
 included in the service of the choir. For the vocal depart- 
 ment, to a good voice must be added a respectable portion 
 of science ; and for the instrumental, (i. e. the organistic 
 portion,) a profound and extensive acquaintance with the 
 finest church composers, and a thorough understanding of the 
 principles upon which they produced the extraordinary 
 effects inseparable from the just performance of their works. 
 
 Cavatina. (Ital.) A short air in which there is no re- 
 turn from a second strain to the first; but which proceeds 
 from the first bar to the last without any retrograde de- 
 viation. 
 
 C Cliff. The tenor cliff. Denominated the C Cliff, be- 
 cause, on whatever line it is placed, it gives to the notes on 
 that line the name of C. 
 
 C Double Flat. A Flat which de- 
 presses the note C Natural two semitones ; 
 and on the piano-forte, lowers it to B Flat. 
 
 Ex. 
 
 Here we have C Flat (B Natural) flattened ; that is, de- 
 pressed half a tone : and since, on the piano-forte, B Flat 
 is the next sound beneath C Flat, B Flat is the key to which, 
 on that instrument, the finger is conducted by C Double Flat. 
 32 
 
CDO 
 
 CH A 
 
 C Double Sharp. A Sharp which 
 
 raises the note C Natural two semitones ; / x W 
 
 and, on the piano-forte, elevates it to ~\' 7 [" 
 
 yhich — Q- 
 mes; "3 
 it to jrf: 
 
 D Natural. Ex. %J 
 
 Here we have C Sharp sharpened ; that is, raised half a 
 tone : and since, on the piano-forte, D Natural is the next 
 sound above C Sharp, D Natural is the key to which the 
 finger of the pianist is conducted by C Double Sharp. 
 
 Cebell. An old air in duple time. Its distinguishing 1 
 characteristic was, that it consisted of quick and sudden 
 alternations of high and low notes, or passages. 
 
 Cecilian Society. A society of musical amateurs and 
 professors which has long been established in the City, where, 
 at the hall of a worshipful company, the members meet 
 weekly, for the purpose of performing sacred and secular 
 music, the compositions of Purcell, Handel, Boyce, and other 
 great masters ; in which laudable task they acquit them- 
 selves in a stjde honourable to their science and talents. 
 Cembalo. (Ital.) A harpsichord. See Harpsichord. 
 Cemb. The abbreviation of Cembalo. 
 Cervelat. A wind instrument about five inches in 
 length, but from which very deep sounds may be produced, 
 like the hautboy : it is blown through a reed ; but, in tone, 
 resembles the bassoon. The cervelat was formerly a favo- 
 rite instrument. 
 
 C Flat. The note C depressed half — Q — , p- 
 
 a tone. Ex. 3g^~j2Z(g 1 1 
 
 Here, the note C, having this character / '[ H" 
 
 before it, will carry the finger of the %J 
 piano-forte player down to B, (for there is no short black 
 key between B and C,) and thus give ocular evidence of the 
 power of the flat on the note C. 
 
 Chacone. (French.) An air of Arabian origin. It is 
 founded on a ground bass, and reminds us of the Saraband. 
 Its time is triple ; and the first and third notes of the bar 
 are struck in an emphatic and pointed manner. Its style is 
 easy and graceful, and very well fitted it for an accompani- 
 ment to a slow dance. 
 
 Chalmey. See Chalumeau. 
 
 Chalumeau. An ancient wind instrument blown through 
 a calamus, or reed, and long since improved into a hautboy. 
 Changes. The variegated passages produced with bells. 
 Chanson. (French.) A song. 
 
 c 5 33 
 
CH A 
 
 Chansonnette. (French.) A little song. The diminu- 
 tive of Chanson. See that word. 
 
 Chansons de Geste. (French.) The romances formerly- 
 sung in the different towns by the wandering jongleurs. 
 
 Chant. A simple, harmonized melody, to which, in ca- 
 thedral choirs, the psalms of the day are repeated in a style 
 "between singing and speaking. 
 
 Chantant. (French.) Instrumental music, when easy, 
 smooth, and graceful, is said to be chantant, i. e., composed 
 in a singing manner. 
 
 Chant en Ison. (French.) A style of psalmody confined 
 to the utterance of only two different sounds ; much in use 
 formerly, but at present little practised. 
 
 Chanter. One of the appellations given to the superin- 
 tendant or leader of a choir. 
 
 Chanterelle. (French.) The name of that string of a 
 violin which is tuned to E on the fourth space of the treble 
 stave. 
 
 Chanter res. Provencal singers, or Cantadours. See 
 Cantadours. 
 
 Chanteur. (French.) A male vocalist. 
 
 Chanteuse. (French.) A female vocalist. 
 
 Chantor. Formerly the precentor or director of the choir. 
 
 Chantries. Catholic institutions, established and endowed 
 for the purpose of singing the souls of the founders out of 
 purgatory. Under Henry the Eighth, they were sanctioned 
 by parliament ; and under Edward the Sixth, were sup- 
 pressed by parliament. 
 
 Chantry Priests. Priests who were selected to vocife- 
 rize in the Chantries. 
 
 Chants Royal. French lyrics, the themes of which were 
 princes and other illustrious personages. 
 
 Chant sur le Livre. (French.) The composing a part 
 impromptu, upon a given bass, as the notes of a chant, or 
 canto-fermo. 
 
 Character. A general appellation referrible AV 
 to any musical sign ; as the Direct — 1 
 the mark of repeat, and others. 4 
 
 Chariot Air. A certain martial air of the ancient Greeks, 
 remarkable for its inspiring the warriors and animating the 
 horses. See Harmatian Air. 
 
 Chasse. (French.) A composition written for the Chase, 
 or in imitation of the music used by huntsmen. 
 34 
 
CHE 
 
 ; — c ho 
 
 Che. (Ital.) Than : as, Piu che lento, slower than lento. 
 
 Chelys. A stringed instrument, so ancient as to have 
 had its invention attributed to Mercury. Its frame consisted 
 of a shell; and the shell of the original specimen has been 
 supposed to have been formed by that deity on the banks of 
 the Nile. 
 
 Cherubical Hymn. A hymn called by the primitive 
 Christians Trivagium, because its burden consisted of the 
 words, " Holy, holy, holy, Lord God of Hosts !" 
 
 Chest of Viols. The appellation formerly given to a 
 Set of viols, which consisted of two trebles, two tenors, and 
 two basses. The effect of these, in the performance of fan- 
 tasias, or capriccios, is said to have been powerful and 
 animating. 
 
 Cheville. (French.) The bridge of a violin, viola, or 
 violoncello. 
 
 Chi ave. (Ital.) A key, or cliff. See Cliff. 
 
 Chiesa. (Ital.) A word which, when adjectively used, is 
 equivalent to the epithet ecclesiastical ; as, Chiesa Musica t 
 Ecclesiastical Music. 
 
 Chimes. The music produced by the bells of a domestic 
 timepiece, or of a college or other clock. 
 
 Chiroplast. A compound implement, invented by the 
 ingenious Mr. Logier, for the guidance of the hands and 
 fingers of young practitioners on the piano-forte. This 
 contrivance consists of two moveable brass frames, each 
 having five vertical apertures or openings, similar to those 
 between the prongs of a table-fork, through which the 
 thumb and fingers are introduced. Each of these openings 
 corresponds with the key to which it is intended to guide the 
 finger it holds ; and the two machines being made to slide 
 along a brass horizontal rod, may, by a screw, be fixed 
 over any part of the key-board. Each finger being thus 
 constantly kept over its own proper key, it not only is 
 impossible that any one should fall erroneously, but a good 
 position of the hand is preserved, and a future ease and 
 steadiness of execution ensured. 
 
 Chittara. A cithara. See Guitar. 
 
 Chiudendo. (Ital.) Concluding; as, Chiudendo col motivo, 
 Concluding with the subject. 
 
 Choir. That inclosed portion of a cathedral appropriated 
 to the performance of divine worship ; also (in Catholic 
 countries) the large hall separated by a grate from the main 
 area of the church, for the use of the nuns. 
 
 c 6 35 
 
CHO 
 
 Choir-Man. A vocal officiate in a choir. 
 
 Choir-Organ. That portion of the stops of an organ 
 employed in accompanying solos, and the softer parts of 
 chants. An expression used in opposition to that of Full 
 Organ, which signifies the whole, or greater part, of the 
 powers of the instrument in combination. 
 
 Choral. An epithet derived from the substantive chorus, 
 and applied both to multisonant vocal music, and to bands 
 engaged in its performance ; also to full anthems and church 
 services. Choral music, Choral anthem, Choral! service, and 
 Choral band, are current expressions. 
 
 Choral Fund. A prudent and provident Society of Chorus 
 Singers, who, besides their own private subscriptions, have 
 an annual concert in aid of their fund, the praiseworthy 
 object of which is, to make some provision for the exigences 
 of sickness and old age. 
 
 Chord. As the term chord is but a word expressing har- 
 monica! combination, and such combinations are various, of 
 course, chords are various. Hence there is the Fundamental 
 Chord, the Accidental Chord, the Equivocal Chord, the Tran- 
 sient Chord, and others. See those expressions. 
 
 Chord a Vido. An expression formerly applied to a 
 sound produced by the open string of a violin, violoncello, 
 &c. ; i. e., when the string, not pressed on the finger-board, 
 receives no check in its vibration, but is free to tremulate 
 throughout its whole length. 
 
 Chords Etouffe's. Chords produced on the harp by the 
 application of the palm of the left hand to the strings, which 
 gently damps the sounds. These chords are always broken, 
 or arpeggioed. 
 
 Chorion. (From the Greek.) A hymn sung in celebra- 
 tion of Cybele. 
 
 Chorister. The name applied, in common parlance, to 
 any vocal officiate in a choir. 
 
 Choro-Favorito. (Ital.) A chorus in which the best 
 voices and instruments are employed, — in which the per- 
 formers are few, but select. 
 
 Choro-Recitante. (Ital.) A chorus called the little 
 chorus, because its performers are comparatively few, though 
 of a superior order. 
 
 Chorus. (From the Greek.) With the ancient Greeks, a 
 band of singers and dancers, who assisted at their public 
 festivals, and in their dramatic representations. As now 
 36 
 
C H R 1 
 
 CIT 
 
 understood, the word Chorus signifies a vocal composition in 
 a plurality of parts, in each of which parts several performers 
 join : *. e., the voices employed in singing each part are 
 tripled, quadrupled, quintupled, &c, &c, according to the 
 strength of the choral band. 
 
 Chroma. The original name of the note now denominated 
 a quaver. 
 
 Chromatic. When passages, or movements, are distin- 
 guished by the number of their semitonic intervals, or 
 extraneous and extravagant modulations, they are said to be 
 chromatic. The Greeks used this word to distinguish artifi- 
 cial and refined vocal performance, from the common and 
 vulgar style of singing. 
 
 Chronometer. (From the Greek.) A machine for mea- 
 suring time, and the utility of which ought, long since, to 
 have been extended to music. This idea having occurred 
 to the ingenious Maelsel, gave birth to his invention of the 
 Metronome. See Metronome. 
 
 Church Duty. Musically and parochially understood, 
 the duty of a Parish organist. 
 
 Ciaconne. (Ital.) See Chacone. 
 
 C in Alt. The fourth note in alt ; that 
 note, the station of which is on the second 
 ledger line in the treble stave ; thus — 
 
 i 
 
 -9- 
 
 i 
 
 8va. 
 
 C in Altissimo. The fourth note in 
 Altissimo : that note, the pitch of which is 
 eight degrees higher than C in Alt. Its 
 place, were it properly stationed, would 
 be above the fifth ledger line in the treble 
 stave ; thus — 
 
 but to avoid confusing the eye, by carrying 
 it so far above the stave, this, and all the 
 notes in Altissimo, are written an octave 
 lower than they are to be played, and are 
 marked thus — 
 
 Cistella. See Dulcimer. 
 
 Cistron. See Cistrum. 
 
 Cistrum. An ancient Egyptian drum, supposed to have 
 been made of grass. 
 
 Cithara. An ancient instrument of the harp species. 
 
 Cithara Bijuga. A cithara, or ancient harp, with two 
 necks. 
 
 37 
 
C I T C L A 
 
 Cithara Hispanica. A Spanish guitar. 
 
 Citharistic. An adjective derived from Cithara, and 
 applied to music composed for the harp ; as, Sonata Ciiharis- 
 tica, a Harp Sonata. 
 
 Citha rodia. (From the Greek.) The art of singing to 
 the lyre. With the ancients, this art was one of the accom- 
 plishments necessary to a gentleman : not to be master of 
 the citharodia was to be deficient in one of the most esteemed 
 attainments. 
 
 Citole. The name of an old instrument, consisting of a 
 little box, over the top of which strings were distended. 
 
 Cittam. The name formerly given in England to the 
 guitar. 
 
 Clangor. The sounding tone of the trumpet, when blown 
 with vehemence. 
 
 Clangor Tubarum. A military trumpet used by the 
 ancient Romans, a sample of which was dug out of Pompeii 
 about the middle of the last century. It consists of a large 
 tube of bronze, surrounded by seven small pipes of bone, or 
 ivory, inserted in as many of metal, terminating in one 
 point. The pipes are of equal length and diameter, and 
 seem to have been unisons to each other, and octaves to the 
 great tube. A ring at the side, to fasten a chain to, induces 
 the supposition that, on account of its size and weight, the 
 Clangor Tubarum was slung over the shoulder of the per- 
 former. 
 
 Clapper. The moveable piece of metal suspended within 
 a bell, and the percussion of which, against its sides, im- 
 parts to it the vibration which generates the sound. 
 
 Clari chord. An old instrument of the keyed kind, and 
 which, on account of its softness of tone, occasioned by the 
 strings being partially enveloped with cloth, was sometimes 
 called a dumb spinnet. 
 
 Clarinet. A wind instrument, the scale of which, though 
 extensive, is imperfect. Its compass begins at E below the 
 F cliff note, and ascends to E in alt ; but its powers through 
 this scale are so far from equal, that the performer is com- 
 pelled to be select in his keys. The clarinet, like the haut- 
 boy, is blown through a reed ; but the tone is more clear and 
 brilliant, and partakes so much of the sound of a trumpet, 
 as to owe to that circumstance its name of clarinet, which, 
 as the diminutive of clarino, means a little trumpet. 
 
 Clarion. An octave trumpet. 
 38 
 
C L A C L O 
 
 Clavecin. (French.) A harpsichord. 
 
 Clave Cymbala. (Ital.) See Clavicimbalum. 
 
 Claves Signata. (Lat.) By this expression, Guido dis- 
 tinguished the coloured lines by which he expressed the 
 pitch of the notes. These lines were afterwards adopted by 
 others, and continued to be used till cliffs were invented. 
 
 Clavicimbalum. (Lat.) The original name of the harp- 
 sichord. 
 
 Clavicitherium. See Clarichord. 
 
 Cliffs. Cliffs, as keys, or characters serving to deter- 
 mine the alphabetical names, and acuteness or gravity, of 
 every note in the staves, to which they are prefixed, are 
 among the most important of all the indicial signs now in 
 use. They are of three sorts — bass, tenor, and treble. 
 The F, or bass cliff, placed on the fourth line ; the C, or 
 tenor cliff, placed on the fourth, or on the third line ; and 
 the G, or treble cliff, placed on the first, or on the second 
 line, comprise all the exposition necessary to the modern 
 musician, and only require to be properly studied, to throw 
 a luminous clearness upon the pages of the most elaborate 
 scores. 
 
 Close. A word synonimous with end, or conclusion. The 
 Close is of two kinds, and may be perfect, or imperfect. It 
 is perfect only when its bass consists of the key-note of the 
 composition. 
 
 Close Plain Shake. A semitonic shake, unbounded in 
 the rapidity of its alternations ; and which is less energetic, 
 as well as less sweet, than the open shake, and closes without 
 a turn. Ex. 
 
 See Open Shake. 
 
 Close Turned Shake. A close shake, which finishes with 
 a turn. Ex. 
 
CM A- 1 
 
 COM 
 
 C Major. The key, or scale, of C, without either sharps 
 or flats. 
 
 C Minor, The key, or scale, of C, with three flats ; — 
 b flat, e flat, and a flat ; except in ascending the scale, when 
 the notes A and B are natural. 
 
 C Natural. The note C, neither sharpened nor flattened. 
 See Natural. 
 
 C. O. Choir Organ. See that expression. 
 
 Coda. (Ital.) An end, a finish, a winding up ; a series 
 of bars neither consisting of any of the past passages, nor 
 of ideas foreign from them ; a sort of peroration that gives 
 a florid and glowing termination to the piece. 
 
 Coi. (Ital. Plu.) With the; — a plural preposition: as, 
 Coi Bassi, with the basses ; Coi Violini, with the violins. 
 
 Col. (Ital.) With; as, Col arco, with the bow. 
 
 Col Arco. (Ital.) With the bow. An expression from 
 which the violinist learns, that, instead of continuing to 
 pinch the strings with his fingers, he is to use his bow. 
 
 Colla Punta dell' Arco. (Ital.) With the end, or with 
 a slight touch of, the bow. 
 
 College Youths. The appellation long since given to a 
 society formed in London, for the purpose of ringing the 
 church bells on remarkable and joyous occasions. In such 
 high repute were the College Youths held at onetime, that Sir 
 Matthew Hale deemed it no disgrace to be enlisted among 
 them, and to employ his strength and dexterity in contri- 
 buting to cheer the town with merry peals. 
 
 Combination. Harmonic union. As the notes of me- 
 lody are in succession, so those of harmony are in combination. 
 See Succession. 
 
 Comes. The name formerly applied to those of a band 
 who followed the leader. See Dux. 
 
 Come Sopra. (Ital.) An expression denoting that the 
 passage over which it is placed, is to be performed in the 
 same manner as that to which it alludes. 
 
 Come Sta. (Ital.) A direction to the performer, not to 
 take any liberties with the passage to which it relates, but 
 to sing or play it exactly as it is written. As it stands. 
 
 Comic Songs. Songs of mirth and good humour; in 
 their language, cheerful, without being satirical or sarcas- 
 tic ; and in the style of their melody, free, easy, and popular, 
 without being vulgar. 
 40 
 
COM 
 
 I 
 
 Commodo. (Ital.) In an easy, unconstrained style. 
 
 Common Chord. The third, fifth, and —J/ — a 
 eighth of any note struck simultaneously ; — @ 
 
 as thus — (which is the common chord of C.) ^7 9 
 
 Company of Musicians. This Company, now one of the 
 chartered societies of London, was originally instituted by 
 Charles the First, and afterwards further confirmed by James 
 the First. According to the terms of its incorporation by 
 Charles, it had a Marshal and Wardens, and the Master 
 (styled Master of the King's Music) enjoyed a salary of two 
 hundred a year. 
 
 Compass. The compass of any voice or instrument is the 
 range, or register, of the notes it is capable of expressing. 
 
 Complement. The complement of any given interval is 
 the portion wanting to fill up that interval. For instance — 
 If an octave be the given interval, and we take the interval 
 of any note and the sixth above it, the further interval of a 
 third is wanting, to make up the complement. 
 
 Complesso. (Ital.) An adjective applicable to any chord, 
 or harmony, containing all the notes necessary to its com- 
 pletion. 
 
 or thus : 
 
 Here we have in combination the three notes which consti- 
 tute the chord of C ; and the four notes of which the har- 
 mony of G with a seventh is formed. 
 Componere. (Ital.) To compose. 
 
 Composer. He who invents music upon the legitimate 
 principles of science ; who is a practical, and a theoretical 
 author ; who studies harmony and melody as connected with 
 effect in composition, independently of the laws of acoustics 
 or the philosophy of sound. 
 
 Composing. Producing new music. 
 
 A Composition. Any piece of music scientifically con- 
 structed. 
 
 Compositore. (Ital.) A composer. See that word. 
 Composizione. (Ital.) A composition. 
 Composizione da Tavolino. (Ital.) Convivial songs. 
 Composto. (Ital.) Composed. 
 
 Compostura. (Ital.) A composition. See Composizione. 
 Compound Common Time. That time, or measure, which 
 consists of six quavers, or six crotchets, in a bar. 
 
 41 
 
COM 1 
 
 CON 
 
 Compound Triple Time. That time, or measure, which 
 consists of nine quavers, or nine crotchets, in a bar. 
 
 Compressed Harmony. An expression used in opposi- 
 tion to that of Open Harmony ; and implying a combination, 
 the component parts of which lie as near each other as pos- 
 sible : as thus — 
 
 <2> 
 
 & 
 
 ~8 7 
 
 C3 
 
 Computatrices. (Lat.) The women hired by the an- 
 cients to sing dirges over the dead. They were also called 
 Prcecice. 
 
 Con. (Ital.) With; as, Con stromenti, with the instru- 
 ments. 
 
 Con Affetto. (Ital.) "With effect. 
 
 Con Allegrezza. (Ital.) With liveliness and consider- 
 able rapidity. 
 
 Con Anima. (Ital.) With spirit and feeling. 
 
 Con Brio. (Ital.) With animation, with vivacity. 
 
 Concatenazione Armonica. (Ital.) That evolution of 
 harmony by which, while some of the parts are changed, 
 
 Ex. 
 
 —A Q ^§r — 
 
 
 
 
 
 t 
 
 
 
 
 
 
 
 — # — 
 
 
 
 
 w 
 
 
 
 w % ' r -' j 
 
 J 
 
 
 
 Con Celerita. (Ital.) With quickness. Words dictating 
 great velocity in the time. 
 
 Concento. (Ital.) The consonance of voices and instru- 
 ments. 
 
 Concert. A musical performance in which several per- 
 sons are ens 
 42 
 
CON 
 
 Concertante. (Ital.) A concerto, the execution of 
 which is not confined to a single performer. 
 
 Concertino. (Ital.) The name given to the principal 
 parti in the performance of a concert. 
 
 Concerto. (Ital.) A composition with orchestral accom- 
 paniments, having for its object the display of distinguished 
 excellence on the instrument for which it is written. 
 
 Concerto Grosso. (Ital.) A full or grand instrumental 
 performance ; or those parts of a concert in which all the 
 powers of the band are united, and by which, of course, the 
 most striking effects are produced. 
 
 Concerto Spirituale. (Ital.) A sacred or spiritual con- 
 cert of vocal music: i.e., a concert, the pieces performed in 
 which are religious and miscellaneous. 
 
 Concinnous. A term applied to that correct and exact 
 performance of a piece which produces a unity of result, and 
 does justice to the design of the composer. 
 
 Concitato. (Ital.) In a disturbed, agitated manner. 
 
 Con Commodo. (Ital.) With ease — without constraint. 
 
 Concord. An harmonious combination of two or more 
 sounds. Concords are perfect, and imperfect. See Perfect 
 Concord, and Imperfect Concord. 
 
 Concordant. Harmonious, consonant. 
 
 Con Delicatezza. (Ital.) With softness and delicacy. 
 
 Con Disperazione. (Ital.) With desperation : in a tone of 
 violence and hopelessness. 
 
 Con Dolce Maniera. (Ital.) An expression from which 
 the performer understands, that the movement to which it 
 is prefixed is to be played in a soft, sweet, and soothing 
 manner. 
 
 Don Dolcezza. (Ital.) With softness and delicacy. 
 Con Dolore. (Ital.) With pathos, with mournful ex- 
 pression. 
 
 Conducimento. (Ital.) A melody consisting of a regular 
 succession of conjunct degrees. 
 
 Conductor. One who arranges and superintends a public 
 or private performance. 
 
 Conductus. (Lat.) A species of descant, all that we 
 know of which is, that, instead of working upon some chosen 
 and popular melody, it was entirely original, furnished its 
 own theme, and, unlike other modes of descant, was inde- 
 pendent of every thing but the composer's imagination. 
 
 43 
 
CON 
 
 Con Duolo. (Ital.) With a pathetic or mournful ex- 
 pression. 
 
 Con Eleganza. (Ital.) With elegance ; i. e.,in a delicate 
 and tasteful manner. 
 
 Con Energico. (Ital.) With energy ; i.e., with animated 
 and forceful expression. 
 
 Con Entusiasmo. (Ital.) With enthusiasm : in an im- 
 passioned style. 
 
 Con Espressione. (Ital.) With expression. 
 
 Con Espressione Dolorosa. (Ital.) With a mournful 
 expression ; in a languishing style. 
 
 Con Flessibilita. (Ital.) With flexibility, with freedom 
 of voice. 
 
 Con Fuoco. (Ital.) With ardour ; with fire. 
 
 Con Furia. (Ital.) With rapidity and perturbation. 
 
 Con Giustezza dell' Intonazione. (Ital.) With a proper 
 intonation. An expression directing an attention to the 
 tone and expression of the voice. 
 
 ConGrazia. (Ital.) With grace and elegance of manner. 
 
 Con Impeto. (Ital.) With force. An expression dictating 
 a strong manner of giving the passages. 
 
 Con Impeto Doloroso. (Ital.) With pathetic energy. 
 
 Con Indifferenza. (Ital.) A dramatic expression, inti- 
 mating that, at the passage over which it appears, the 
 performer is to assume an air of ease and indifference. 
 
 Conjunct. That union of two or more tetrachords, or 
 series of four contiguous degrees, by which the highest note 
 of a lower series forms the lowest note of the next succeed- 
 ing series. Tetrachords thus running into each other were, 
 by the Greeks, called conjunct tetrachords, in opposition to 
 cfc'sjunct tetrachords, in which, instead of the extreme note 
 of a lower tetrachord forming the first note of the next 
 tetrachord above, the first note of that next tetrachord was 
 one note higher than the extreme note of the lower tetra- 
 chord. 
 
 Con Justo. (Ital.) With chasteness and exactitude. 
 Con Leggerezza. (Ital.) With levity. 
 Con Lentezza. With slowness ; in a slow time. 
 Con Mistero. (Ital.) In a mysterious manner. 
 Con Molto Passione. (Ital.) In a feeling and affecting 
 style. 
 
 44 
 
CON 
 
 Con Morbidezza. (Ital.) With delicacy. 
 Con Moto. (Ital.) With emotion. 
 
 Connoisseur. (French.) One who is conversant with the 
 general principles of music. 
 
 Con Precisione. (Ital.) With corrctness in time and 
 expression. 
 
 Con Rabbia. (Ital.) With rage; with an impetuously 
 angry expression. 
 
 Consecutive. An epithet proper to all immediately con- 
 curring chords that consist of similar intervals and denomi- 
 nations. The interval of a fourth, succeeded by another 
 fourth, of a fifth followed by another fifth, or an octave by 
 another octave, constitutes what musicians call consecutive 
 fourths, fifths, or octaves. 
 
 Consecutive Fifths. The chord of a perfect fifth imme- 
 diately succeeded by a similar chord. Such a succession 
 in harmony is forbidden by an established law in compo- 
 sition. 
 
 Consecutive Octaves. The consonance of an octave 
 immediately succeeded by a similar consonance. Such a 
 succession in harmony is illegitimate. 
 
 Conservatory. (Ital.) The word by which Italians 
 designate a public music school. 
 
 Consonance. The effect produced by two or more simul- 
 taneous and concording sounds. See Perfect Consonance, 
 and Imperfect Consonance. 
 
 Con Solennita. (Ital.) With solemnity : in a style par- 
 taking of calmness and religious expression. 
 
 Consonant. An epithet applied to concords entirely 
 composed of consonances. 
 
 Con Spirito. (Ital.) With animation. 
 
 Con Strumenti. (Ital.) With the instruments. This 
 expression signifies that the voice and the band are together: 
 i. e., have the same motivo, or notes. 
 
 Con Tenerezza. (Ital.) With softness and feeling. 
 
 Continuato. (Ital.) A term which, when it relates to a 
 single sound, signifies that such sound is to be held on, or 
 continued : but when it refers to a passage, or a movement, 
 it apprises the performer that such passage, or movement, 
 is to be given in exact and unvaried time. 
 
 Continued Harmony. That harmony which continues 
 
 45 
 
CON 
 
 unchanged, though the bass varies. Such continuance is 
 thus indicated : 
 
 
 -0- 
 
 
 
 
 —ft 
 
 5 6 5 
 
 3 4 3 
 
 Here, the lines drawn forward from the thorough-bass 
 figures signify a continuance of the harmony dictated by 
 those figures. 
 
 Contra Basso. (Ital.) The lower or graver part of a 
 composition : also the bass instrument called a double bass. 
 
 Contralto. (Ital.) The deepest female voice ; a voice 
 the scale or register of which lies between those of the tenor 
 and soprano. See Counter-tenor. 
 
 Contrapunto. (Ital.) See Counterpoint. 
 
 Contrapuntist. A musician master of the art of com- 
 posing in parts — of setting note against note. 
 
 Contrary Motion. A word which, as referring to more 
 motions than one, should be written in the plural. Its sig- 
 nification is — that if, while one part of a composition ascends, 
 another descends, their motions are contrary. Ex. 
 
 
 
 1 i ! ! — i 
 
 ! 
 
 t 
 
 »~4 
 
 4 J 4 9 
 
 
 
 » w 
 
 i j ' 
 
 -rrrr 
 
 n r 
 
 Here, when the upper part descends, as in the four first 
 quavers of the first bar, the under part ascends ; and when 
 the under part descends, as in the two last quavers of the 
 same bar, the upper part ascends. 
 
 Contrast. Contrast in music is analogous to contrast in 
 the other fine arts. The light and shade in painting, the 
 bold and the delicate in sculpture, the magnificent and the 
 simple in architecture, are all included in the musician's 
 idea of contrast ; and the productions of the higher order of 
 composers abound with samples of its powerful effects, as 
 produced by a judicious opposition in the styles of their 
 passages and movements ; in their crescendos and diminu- 
 endos, their pianos and their fortes, their impassioned swells 
 and " dying falls," and those unexpected changes in modu- 
 46 
 
C O N C O R 
 
 lation and manner which take the hearer by surprise and 
 evince the potency of artificially-conducted sounds. 
 
 Contre-Basse. (French.) See Contra Basso. 
 
 Contre-Danse. (French.) A dance in which the parties 
 engaged stand in two opposite ranks. An appellation long 
 since corrupted by the English into country dance. See that 
 expression. 
 
 Contre-Tems. (French.) A breach of the strict time of 
 any piece or movement. 
 
 Contrivance. A word that has become technical by 
 being uniformly applied to a judicious disposition of the 
 parts of any elaborate score. Contrivance especially relates 
 to ingenious imitations, in one part of a composition, of the 
 passages in another part ; and of that felicitous working of 
 the subject, particularly in fugues, which impresses it on the 
 ear, and sets it off to the greatest advantage. 
 
 Copyist. One whose vocation is that of copying music. 
 The skilful and attentive copyist will make the heads of his 
 notes round and bold, the stems fine, but clear, and the ties 
 strong and striking. If the music to be copied be in a 
 plurality of concording staves, he will be careful to place 
 the notes of one stave directly under or over the correspond- 
 ing notes of the other stave or staves ; and further to guide 
 the eye of the performer, and give precision and certainty 
 to his execution, he will use the blackest ink. 
 
 Coranto. (Ital.) See Courant. 
 
 Cordatura. (Lat.) The system upon which the strings 
 of any instrument are tuned. The Cordatura of the piano- 
 forte comprizes every note of the diatonic scale, from 
 double double F to F in al- 
 tissimo ; that of the violin 
 consists of four notes, G, 
 D, A, E, 
 
 1 
 
 that of the Guitar contains 
 six notes, G, E, G, C, E, G. 
 
 Naples. 
 
 %J 
 
 (French.) 
 
 The 
 
 catgut imported 
 and other instru- 
 
 CORDES DE 
 
 from Naples, to string our violins, harps, 
 ments. 
 
 Cornamusa. The Bagpipe. See that word. 
 Corne DE Chasse. (French.) The French Horn. 
 
 47 
 
COR 
 
 C OU 
 
 Cornet. A wind instrument of the hautboy kind, now 
 out of use. It was bass, tenor, or treble, according to the 
 form and dimensions given to it. The Cornet ^ possessed 
 great power of tone, yet was capable of delicacy and 
 sweetness. 
 
 Cornetino. (Ital.) The diminutive of Cornet : also the 
 name of the octave trumpet. 
 
 Cornetist. A performer on the cornet. 
 
 Corni. (Ital.) Horns. The plural of Corno. See that 
 word. 
 
 Corn ist. A performer on the horn. 
 Corn muse. A Cornish pipe, or horn. Formerly in great 
 request. 
 
 Corno. (Ital.) A French horn. 
 
 Coro. (Ital.) See Chorus. 
 
 Corodica. (Ital.) A term implying 
 an interval between two or more parts. 
 Used in opposition to Monodica. Ex. 
 See Monodica. 
 
 Coronet. The curve and ri ~ ~ - 
 
 ,nd —ft _ _____ 
 
 dot placed over a note, or rest, _ "_X5£ M m jj 
 
 to signify a pause. Ex. vy' 1 f~ 
 
 Corpo Sonoro. (Ital.) Any instrument or body, the 
 vibrations of which yield a sound. 
 
 Correcting. The term used by music engravers, to ex- 
 press the operation of scraping out the errors of their work. 
 
 Coryphaeus. With the Greeks, the conductor of their 
 choirs. His chief occupation was that of beating the time. 
 
 Cotillon. An old, lively dance, in the time of six 
 quavers. 
 
 Cotill. The abbreviation of Cotillon. See that word. 
 
 Couched Harp. The name by which, originally, the 
 spinet was designated. See Spinet. 
 
 Counterpoint. Point against point ; harmonical com- 
 bination. The term Counterpoint, which owed its origin to 
 the primitive practice of employing points instead of notes, 
 had not, in the earlier state of music, the extensive signifi- 
 cation it now bears. Far from implying that figured style 
 of united parts which renders modern composition so varie- 
 gated, rich, and florid, it limited its meaning to the literal 
 and obvious sense of the two words of which it is compounded, 
 48 
 
C O U C R E 
 
 and only intimated single sounds combined with single 
 sounds, or harmony in its plainest and simplest state. 
 
 Counter-Tenor Cliff. The tenor cliff, when placed on 
 the third line, instead of the fourth : in which case, the third 
 line, instead of the fourth, becomes C, and corresponds with 
 that C in the treble cliff which is represented by the first 
 ledger line below. For Example, — 
 
 Tenor Cliff. Counter Tenor Cliff. Treble Cliff. 
 
 i 
 
 n 
 
 Here are three notes of the same pitch, yet necessarily occu- 
 pying different stations in the stave, because their stations 
 are dictated by different cliffs. 
 
 Counter-Tenor Voice. That male voice which ranks in 
 height next above the tenor voice. 
 
 Country-Dance. The name of a well-known dance, of 
 French origin ; and also of any tune expressly composed as 
 an accompaniment to it. See Contre Danse. 
 
 Cour ant. (French.) A melody in the measure of three 
 crotchets, and comprising two strains. A particularity in 
 the Courant is, that both its strains begin with the latter 
 three quavers of the bar. 
 
 Courtaut. (French.) The name of an old wind instru- 
 ment, called a Courtaut, on account of its comparative short- 
 ness with respect to the bassoon, to which it had much re- 
 semblance, both in its form and scale. 
 
 Cremona. The name given to any violin which has the 
 credit of being supposed to* have been made at Cremona, in 
 Italy. Such an instrument is called, par excellence, a 
 Cremona. 
 
 Crescendo. (Ital.) A word intimating a gradual in- 
 crease of loudness ; an operation not unknown to the ancient 
 music, as we learn from several authors, especially from 
 Cicero. 
 
 Sign of the Crescendo. 
 
 
 
 c > 
 
 5# 
 
 
 
 
 
 49 
 
CRE 
 
 CRO 
 
 Crescendo-Diminuendo. A gradually-increasing sound, 
 succeeded by as gradual a diminuendo, or decay. 
 
 Sign of the Crescendo- Diminuendo. 
 
 Crescendo Poco a Poco. (Ital.) To increase the sound 
 little by little. 
 
 Cries of London. The Cries of London having always 
 "been associated with musical sounds, constitute an article 
 not altogether unworthy a place in a musical dictionary. 
 Though a complete catalogue of these Cries would occupy 
 more space than we can spare, a partial list, as serving to 
 indicate the nature of the rest, will not be unuseful. Among 
 those set to music, and collected in a work entitled 
 Pammelia, we find, " A Bound, to the cry of New Oysters,'* 
 and another to the melody of " Have you any ivood to cleave ? '* 
 " A play to be acted by the scholars of our town" set in four 
 parts by Orlando Gibbons. " The Milliner's Girls in the New 
 Exchange," harmonized by Morley. " Italian Falling Bands," 
 " French Garters" " Roman Gloves," " Rabatos" (a kind of 
 ruffs,) " Sisters or Nuns," " Thread," " Slick Stones," "Pok- 
 ing Sticks," " A Market Stone," " Bread and Meat for the poor 
 prisoners," " Rock and Samphire," " A Hassoc for your Pew, 
 or a Pesocke to thrust your feet in" &c. &c. The melodies to 
 some of these were not unpleasing, and some of them were 
 so prettily turned as to greatly gratify the common ear; and 
 if not too long gone by, would furnish quite as eligible 
 themes for modern rondos as many that are daily selected. 
 
 Croche. (French.) A quaver. See Quaver. 
 
 Croma. (Ital.) A crotchet. See Crotchet.. 
 
 Crooks. Certain implements consisting of curved tubes, 
 which being temporarily attached to trumpets or horns, 
 enable the performer to tune them to various keys. 
 
 Crotalum. (From the Greek.) An ancient instrument. 
 See Cymbalum, 
 
 Crotchet. A note or character denoting a sound equal 
 in duration to one-fourth of that signified by a semibreve : 
 
 made thus J or thus | . See Semibreve. 
 
 Crotchet Rest. A sign of silence, equal in duration to 
 a crotchet ; made thus, [*. 
 
 Crowle. An English wind instrument of former times ; 
 a kind of bass flute, or bassoon. 
 50 
 
CRO- 
 
 D AC 
 
 Crowth. See Cruth. 
 
 Crupezia. (Greek.) The name given "by the ancient 
 Greek musicians to the wooden clogs they wore, for the 
 purpose of being more distinctly heard when they beat 
 time. 
 
 Cruth. A Welsh violin, which has six strings, and is 
 played on with a bow. The tone, though not extraordinarily 
 good, is agreeable ; and there are performers in Wales, who 
 produce from it attractive and striking effects. 
 
 CS T r The note ^=j=[r ra * J^y 
 C raised half a tone. ^ J = ±£ == ft ducting / he fin . 
 
 x * \J ' ger of the pia- 
 
 nist to the short black key next above C natural, gives 
 ocular evidence of its elevating power. 
 
 C Sharp Minor. The key, or scale, of C Sharp, with 
 four sharps, — f sharp, c sharp, g sharp, and d sharp; ex- 
 cept in ascending the scale, when the notes A and JB are 
 sharp. 
 
 Cum Cantu. (Lat.) A phrase of the Catholic church, 
 meaning with song, or with singing ; and applied to the 
 musical celebration of certain festivals. 
 
 Cum Discantu. See Cum Cantu. 
 
 Cymbal. The ancient Hebrew Drum. An instrument 
 resembling, in shape and material, the modern kettle drum, 
 but of a smaller size. 
 
 Cymbal um. See Cymbal. 
 
 D. 
 
 D. The letter by which is distinguished the second note 
 of the key of C, the natural diatonic major scale ; and the 
 fourth note of the key of A, the natural diatonic minor 
 scale. 
 
 Da. (Ital.) For; as musica da chiesa ; music for the 
 church. 
 
 Da Camera. (Ital.) For the chamber. 
 
 Da Capella. (Ital.) For the chapel. 
 
 Da Capo. (Ital.) An expression intimating that the 
 piece, at the end of which it appears, concludes with the first 
 part. 
 
 D. C. The abbreviation of Da Capo. See that expression. 
 
 d 2 51 
 
D A M D E A 
 
 Dampers. The clothed and moveable parts in a piano- 
 forte, provided for checking the vibration, and preventing 
 a confusion of sounds. 
 
 Dance. That carriage or motion of the body, which, 
 being regulated by musical measure, assumes a grace and 
 expression which it partly owes to itself, and partly to the 
 charm of the accompanying melody. 
 
 Da;nces. Tunes expressly composed as accompaniments 
 to dancing. 
 
 Danceries. (French.) Books of dance tunes. All col- 
 lections of galliards, sarabands, minuets, cotillons, reels, 
 allemandes, and hornpipes, &c. were formerly called Dan- 
 ceries. 
 
 Dashes. Those vertical strokes 
 which are occasionally placed 
 over the heads of notes, to signify 
 that they are to be played in a 
 short, distinct, and pointed man- 
 ner. Ex. M 
 Also those oblique lines drawn through the figures in 
 thorough-bass, to raise certain intervals of the harmony half 
 a tone. 
 
 Da Teatro. (Ital.) For the theatre. An expression ap- 
 plied to music composed in the dramatic style. 
 
 D Double Flat. A Flat which de- — Q 4- im- 
 presses the note D Natural two semi- ~~m~ vfH 
 
 I 
 
 tones ; and, on the piano-forte, lowers 
 it to C Natural. Ex. %J 
 
 Here we have D Flat flattened, that is, depressed half a 
 tone : and since, on the piano-forte, C Natural is the next 
 sound beneath D Flat, C Natural is the key to which, 
 on that instrument, the finger is carried by D Double 
 Flat 
 
 D Double Sharp. A Sharp which 
 raises the note D Natural two semitones ; 
 and, on the piano-forto, lifts it to E Na- 
 tural. Ex. $J 
 Here we have D Sharp raised half a tone : and since, on the 
 piano-forte, E Natural is the next sound above D Sharp, 
 E Natural is the key to which the finger is conducted by 
 D Double Sharp. 
 
 Death-Songs. Songs sung by certain Indians at the 
 52 
 
D E C D E M 
 
 funerals of their relatives, and the melodies of which are 
 remarkable for their simplicity and appropriateness. 
 
 Decachordon. An instrument of antiquity, furnished 
 with ten strings, and called by the Hebrews Hasur. It re- 
 sembled a harp, was of a triangular figure, and had a 
 sounding-board. 
 
 Decani. A term used to distinguish the vocal priests of a 
 cathedral from the lay choristers. 
 
 Deceptive Modulation. Any modulation by which the 
 ear is deceived ; that is, led to an unexpected harmony. 
 The most common instance of this process is, when the 
 chord of the dominant with its seventh, instead of passing to 
 the harmony of the tonic, proceeds directly or indirectly to 
 that of the relative minor. Ex. 
 
 
 
 — 3 — 
 
 
 
 
 
 
 #8 
 
 
 
 C3 
 
 
 Decrescendo. (Ital.) To sink or decrease in loudness. 
 
 Deep. An epithet applied to low or grave sounds. 
 
 Degree. The word Degree, considered academically, 
 implies a titular distinction granted by a University to an 
 eminent professor in any of the learned faculties. Under- 
 stood theoretically, the same word signifies the difference be- 
 tween any two notes in point of situation in the great scale 
 of sounds. When a note is higher or lower than some other 
 by one tone, it is said to be one degree higher or lower than 
 that other. 
 
 Del. (Ital.) A preposition signifying By. 
 
 Delassement. (French.) A simple, easy, and amusing 
 instrumental exercise. 
 
 Delicatamente. (Ital.) Delicately; in a soft and pleas— 
 ing style. 
 
 Delicatezza. (Ital.) Tenderness, delicacy. 
 
 Delicato. (Ital.) Delicate. See Con delicatezza. 
 
 Dell Maestro. (Ital.) A kind of prenomen in general 
 use in Italy ; as dell maestro Meyerbeer, composed by 
 Meyerbeer. 
 
 Delyn. The name given by the Welsh to their harp. 
 Demi-Cadence. An expression used in contradistinction 
 to Full- Cadence. As a full-cadence is always on the key- 
 d 3 53 
 
DEM- 
 
 DEX 
 
 note, so a demi-cadence is always on some other than the 
 key-note. 
 
 Demi-Ditone. A third, the interval of which consists of 
 three half-tones. 
 
 Demi-Mesure. (French.) A minim rest. See Minim 
 Rest. 
 
 Demi Quart di Soupir. (French.) A demisemiquaver 
 Rest. See Demisemiquaver Rest. 
 
 Demisemiquaver. A note, in duration, one half of a 
 Semiquaver, or one thirty-second part of a Semibreve. Made 
 
 thus, ^ or thus, p or when two or more are united — 
 
 thus, JEj or thus,g . 
 
 Demisemiqtt^w.t?. Rp.st. A sig-n of silence equal in du- 
 ration to a Demisemiquaver ; made thus, «j . 
 
 Demi-Soupir. (French.) A Quaver Rest. See Quaver 
 Rest. 
 
 Demi-Tone. Half a tone. 
 
 Derivatives. Chords and notes which are not funda- 
 mental — which are themselves derived ; and by which no 
 other chords, or notes, are generated — are, by theorists, 
 denominated Derivatives. 
 
 Descant. Composition in parts. Descant may be plain , 
 figurative, or double. Plain Descant is confined to a simple 
 series of concords ; Figurative Descant admits of the admix- 
 ture of discords ; and Double Descant deals in contrivance, 
 and the various evolutions of harmonic composition. De- 
 scant, received verbally, implies melody ; as, to descant, is to 
 vocalize extemporaneously and melodiously, on some given 
 "bass. 
 
 Descending. Passing from one note to another more 
 grave. 
 
 Descent. The act of sinking from one note to another. 
 Dessus. The old name of the treble or upper part of a 
 Vocal composition. 
 
 Dextr.3d. (Lat. plu.) With the ancient Romans, those 
 54 
 
D F L D I A 
 
 flutes which were made to be performed on with the right 
 hand. Those which were played with the left hand (for the 
 Roman flutist blew two instruments at the same time) were 
 called Sinistra; and, of course, were perforated in a different 
 manner from the Dextrce. See Sinisirce. 
 
 D Flat. The proper fourth of the key of A Flat. 
 
 D Flat. The note D depressed half 
 a tone. Ex. 
 This character, by conducting the finger 
 of the pianist to the short black key im- 
 mediately beneath D, gives ocular demonstration of its 
 depressing power. 
 
 D Flat Major. The key, or scale, 
 of D Flat, with five flats ; b flat, e flat, 
 a flat, d flat, and g flat. Ex. 
 
 D Flat Minor. The key, or scale of D Flat, with (vir- 
 tually) eight flats ; £ <?., e flat, a flat, d flat, g flat, c flat, 
 f flat, and b double flat ; except in as- 
 cending the scale, when b double flat, 
 and c flat, are each raised half a tone. 
 
 Ex. %J 
 
 Dia. (Greek.) Through, or throughout; as Diapente, 
 through the fifth ; Diapason, through the whole scale. 
 
 Diagram. (From the Greek.) This term, in the ancient 
 music, signified what, by the moderns, is called the scale, or 
 gamut. It was a table of the different sounds of the Gre- 
 cian system, which consisted of a bisdiapason, or double 
 octave, and was dignified by the appellation of Sistema- 
 Perfectura. 
 
 Diagramma. See Diagram. 
 
 Dialogue. A composition in which two or more singers 
 converse together musically ; i. e. assert and reply in suc- 
 cessive passages, the notes of which are accommodated to 
 the sentiments and passions they respectively express. 
 
 Diap. The abbreviation of Diapason. See that word. 
 
 Diapason. (Greek.) Through all, or, throughout the whole. 
 With the ancients, the Diapason was the octave, because they 
 used the license of taking a part of the great scale for the 
 whole. In an organ, the Diapason stops are so denominated 
 because they run through the whole register of the key- 
 board. 
 
 d 4 55 
 
D I A D I G 
 
 Diapason Diapente. (From the Greek.) The interval 
 of a twelfth, or eighth and fifth compounded. 
 
 Diapason Diatessaron. (From the Greek.) The interval 
 of an eleventh, or an eighth and fourth taken adjunctively. 
 
 Diapente. (From the Greek.) The interval of the fifth. 
 
 Diapentissare. To descant by fifths. 
 
 Diaphonia. (Greek.) The name given to the rules laid 
 down by Guido, for making the organ an aid to vocal melody. 
 The explanation of these rules, however, as furnished by their 
 author, are rather unsatisfactory, and, it must be confessed, 
 far from being qualified to convince their readers of the 
 utility of the illustrated precepts. 
 
 Diaphonoi. (Greek.) Discordant sounds. The opposite 
 of Symphonoi. See that word. 
 
 Diaphorica. (Greek.) The general name given by the 
 ancients to discordant intervals. 
 
 Diatonum Intensum. The appellation applied by Ptolemy 
 to his proportions of the intervals, forming a system which 
 later theorists have approved, but which, ultimately, neither 
 the authority of Dr. Wallis, nor Dr. Smith, was sufficient to 
 establish. 
 
 Diazeuxis. (Greek.) A word implying separation, and 
 "which alluded to the interval that formed the division of two 
 disjunct tetrachords. 
 
 Di Bravura. (Ital.) In a florid and energetic style. 
 
 Dichord. (From the Greek.) The two-stringed lyre in- 
 vented by Mercury. 
 
 Diesis. (From the Greek.) The smallest interval in the 
 ancient Greek system ; in modern music, a quarter of a 
 tone. 
 
 Di Grado. (Ital.) Said of notes which succeed each 
 other by conjoint degrees. Ex. 
 
 
 psap^^^ 
 
 
 
 * j 
 
 
 
 
 
 These notes, having no intervals between them, according to 
 the diatonical scale in which they are written, proceed Di 
 Grado. 
 
 Di Grado Ascendente. The progression of regularly 
 ascending notes. 
 56 
 
D I G D I N 
 
 Di Grado Descendente. The progression of regularly 
 descending notes. 
 
 Digressione. (Ital.) A word apprizing the performer 
 that the author is about to depart from the subject-matter of 
 his composition. 
 
 Dilettante. (Ital.) An enlightened admirer and patron 
 of music. 
 
 Diminished. A word particularly applicable to intervals. 
 When these are contracted from their natural extension, 
 according to the key in which they subsist, by their being 
 curtailed at either extremity, they are said to be diminished. 
 
 Diminuendo. (Ital.) A gradual softening of the tone, 
 either as produced on one note, or on several notes in suc- 
 cession. 
 
 Sign of the Diminuendo. 
 
 
 
 
 
 
 L 
 
 Diminuendo- Crescendo. (Ital.) A gradual decrease of 
 sound succeeded by as gradual an augmentation. 
 
 Sign of the Diminuendo' Crescendo. 
 
 Diminution. When, in any part of a fugue, the subject 
 is answered in notes of half the value of those in which it 
 was given out, (minims for semibreves, crotchets for minims, 
 quavers for crotchets, and so forth,) the process is called 
 Diminution. 
 
 Di Molto. (Ital.) Much, or very ; as, affettuoso dimolto, 
 very affecting ; ardito di molto, with much passion. 
 
 D in Alt. (Ital.) The D above F on 
 
 the fifth line of the treble stave : the 
 
 fifth note in alt. Ex. 
 See Alt. 
 
 D in Altissimo. (Ital.) The 
 is an octave above D in Alt. 
 See Altissimo. 
 
 D 5 
 
D I R D I S 
 
 Direct. A character, the office of which is to carry the 
 
 eye more readily from the last 
 note in one stave to the first note 
 of the next and corresponding 
 stave — as thus, 
 
 Here the first note on the second 
 stave is indicated by the Direct 
 at the end of the fifth line of the 
 first stave. 
 
 Direct Motion. That motion in the parts of a polypho- 
 nic composition which carries them in similar directions. Ex. 
 
 Here, when the upper part ascends, as m the three first 
 quavers of the first bar, so does the under part ; and when 
 the under part descends, as at the third and fourth quavers 
 of the same bar, so does the upper jiart, &c. &c. 
 
 Director. He who undertakes the mechanical office of 
 engaging performers, selecting pieces, and appointing and 
 attending the rehearsals of a concert, opera, or oratorio. 
 
 Direttore della Musica. (Ital.) A director of musical 
 performances. 
 
 Dirge. A funereal composition; a requiem. See the 
 latter word. 
 
 Disallowance. An illegitimate or unscientific combina- 
 tion of sounds. The violation of any of the rules of compo- 
 sition or harmony. 
 
 Discord. A dissonance ; so called in opposition to con- 
 sonance, or concord. Discords, besides differing from con- 
 cords in the nature of their formation and effect, have this 
 distinction : they are not, like concords, independent, but 
 are obliged to be prepared by preceding concords, and 
 resolved into succeeding concords. 
 
 Discordant. Dissonant, inharmonious. 
 
 Disdiapason. (From the Greek.) That scale of fifteen 
 contiguous degrees which, with the ancients, formed a per- 
 fect system. 
 
 Diseurs. (French, plu.) Certain vocal narrators of ro- 
 58 
 
D I s D M I 
 
 mances and metrical histories, who formerly traversed the 
 French metropolis and the provinces. 
 
 Disjunct. With the Greeks, those tetrachords were dis- 
 junct, the gravest sound of the upper one of which was one 
 degree higher than the acutest sound of the lower. See 
 Conjunct. 
 
 Dissonance. That discordance or disunion of effect 
 resulting from two or more sounds unnaturally, or unscien- 
 tifically combined. See Discord. 
 
 Dissonant. An epithet applicable to all inharmonious 
 and forbidden combinations. 
 
 Distance. The interval between any two sounds differ- 
 ing in pitch. 
 
 Dithyramb ics. (From the Greek.) Songs originally 
 dedicated to the god of wine ; and which afterwards consti- 
 tuted the basis of those dramatic representations which, in 
 process of time, delighted the imagination, and did honour 
 to the taste, of the Athenians. 
 
 Ditone. (From the Greek.) The interval of a major 
 third, or two whole tones. 
 
 Ditty. A short, vocal deploration. A simple, pathetic 
 tale, told in familiar verse, impressed upon the feelings by 
 appropriate melody. 
 
 Diverbia. Musical dialogues, especially those with which. 
 the ancients decorated and enriched their drama. 
 
 Divertimento. (Ital.) A composition easy and familiar 
 in its style, and qualified to afford transient amusement. 
 
 Divertisements. (French.) The airs with which the 
 dances introduced between the acts of the French operas 
 were formerly accompanied. 
 
 Divine Songs. Songs the subjects of which are sacred, 
 and the music serious and solemn. 
 
 Division. The space or separation forming any interval 
 of the octave : also a series of notes given to a single syllable 
 in vocal music. A brilliant division, or volata, is one of the 
 most distinguishing features of a bravura. 
 
 Divoto. (Ital.) A term implying a pious, devotional 
 style of performance. 
 
 D Major. The key, or scale, of D, with two sharps : — 
 F sharp, and c sharp. 
 
 D Minor. The key, or scale, of D, with one flat ; — b flat ; 
 except in ascending the scale ; when B is natural, and C is 
 sharpened. 
 
 D 6 59 
 
DNA. 
 
 DOT 
 
 D Natural. The note D, neither sharpened nor flat- 
 tened. See Natural. 
 
 Do. A monosyllable applied by the Italians to the first 
 or lowest sound of the diatonic octave. It was introduced 
 to the exclusion of Guido's syllable ut } which was deemed 
 too hard for musical expression. 
 
 Doctor in Music. A musician who has been honoured 
 with the highest distinction that an university can confer 
 on his science and talents. A candidate for this academical 
 honour must produce a vocal composition in eight real parts, 
 to be examined and approved by the Music Professor, at 
 whose recommendation the Vice-Chancellor grants the re- 
 quired degree. 
 
 Dodedachordon. (From the Greek.) The twelve modes 
 of Aristoxenus. See Mode. 
 
 Doighte'. (French.) Fingered. An epithet applied to 
 piano-forte exercises ; signifying that figures and crosses 
 are placed over the passages, to direct the manner of fin- 
 gering them. Ex. 
 
 Dol. (Ital.) The abbreviation of Dolce. See that word, 
 Dolce. (Ital.) Soft, sweet, gentle. 
 Dolce con Gusto. (Ital.) With taste and delicacy. 
 Dolce e Lusingando. (Ital.) In a soft, sweet, insinuat- 
 ing style. 
 
 Dolce ma Marcato. (Ital.) Soft and tender, yet marked, 
 or pointed. 
 
 Dolce Maniera. (Ital.) A soft, graceful, engaging style 
 of performance. 
 
 Dolcemente. (Ital.) Gracefully, softly, charmingly. 
 
 Dolcissimo. (Ital.) The superlative of Dolce. Exceed- 
 ingly soft. 
 
 Doloroso. (Ital.) Mournful, affecting. 
 
 Dominant. The fifth of any key 
 note; i.e., of the final, or tonic. Ex. 
 
 0/ Dominant, 
 
 or Fifth of the Key of C. 
 
 Dot. A character which, when placed immediately after 
 a note, makes that note one half longer in time ; but which,, 
 60 
 
D O T D O U 
 
 when stationed over a note, implies that such note is to be 
 played in a strong and striking manner. See the word Point, 
 Dotted Bar. A thick bar, with dots on one or both of 
 its sides ; and the purpose of which is, to imply a repetition 
 of the passage lying between that and some other dotted 
 bar, by which it is followed or preceded. Ex. 
 
 
 
 
 
 
 
 4 
 
 
 
 "-i • 
 
 
 Here, the second bar of the music being between dotted bars, 
 it is to be played twice. 
 
 Double. In the music of the last age, a double was a 
 variation. In the harpsichord lessons of Paradies, and 
 Scarletti, we never meet with " Variation 1st, Variation 
 2nd," &c, but continually find Double 1, Double 2, and so 
 forth. 
 
 Double A. That A in the Bass which 
 is below G Gamut. Written thus : 
 
 "ft 
 
 Double B. That B in the Bass which 3j 
 is below G Gamut. Written thus : 
 
 -5- 
 
 Double-Bar. Two broad, perpendicular lines, used to 
 divide one strain or movement from another strain or move- 
 ment. When the double-bar has dots on one of its sides, 
 they imply a repetition of the strain that is on that side of 
 the bar ; and dots on both sides signify a repetition of the 
 strain that precedes, and the strain that follows, the bar ; 
 as thus — 
 
 The strain preceding the bar to be repeated. 
 
 — The strain preceding, and the strain following 
 _ the bar, to be repeated. 
 
 Double-Bass. The largest andtleepest of all the stringed 
 instruments. Its compass commences with double-double 
 C, and extends upward indefinitely. The Double-Bass is so 
 called, because all its notes, though written as are those for 
 
 61 
 
DOU 
 
 the -violoncello, or the bassoon, are played an octave lower. 
 Hence the gravest note, which on paper is double C, is, in 
 
 effect, and in fact, double-double C. 
 
 Double C. That C in the Bass which 
 is below G Gamut. Written thus : 
 
 Double Croche. (French.) A semiquaver. See Semi 
 
 quaver. ?- | o 
 
 Double D. That D in the Bass which 
 
 is below G Gamut. -\— 
 
 Double-Demi semi quaver. A note the length of which, 
 in time, is one half of the Demisemiquaver. See that word. 
 
 The Double- Demisemiquaver is made thus, § or thus, y 
 
 Double Demisemiquaver Rest. A character denoting 
 a silence equal in length to the Double-Demisemiquaver. 
 
 Made thus — 
 
 Double-Dot. A character the power of which, in lenert 
 ening the duration of a note, 
 is one half greater than that 
 of a single dot. Ex. 
 
 
 p . p- 
 
 
 4 
 
 
 '4- i - 
 
 In the first of these two bars, the crotchet having but one 
 dot, it is only rendered one quaver longer than when without 
 a dot ; and therefore the succeeding quaver was wanting to 
 make up the time of two crotchets in a bar ; but in the 
 second bar, the crotchet being double -dotted, it is rendered 
 one quaver, and the half of one quaver, longer than an 
 undotted crotchet ; therefore only a semiquaver was neces- 
 sary to complete the time of two crotchets in a bar. 
 
 Double-Drum. A large drum carried in front of the 
 performer, and beaten at both ends. Its sound, commixed 
 with the tones of military wind instruments, is grand and 
 majestic ; and to orchestral music it imparts a noble fulness, 
 which could not be obtained from any other source. 
 
 Double E. That E in the Bass which gjg; 
 is below G Gamut. Written thus : ■ 
 
 Double F. That F in the Bass which 
 is below G Gamut. Written thus : 
 62 
 
 m 
 
DOU 
 
 Double-Flageolet. A Flageolet consisting of two tubes, 
 which being blown into through one common mouth-piece, 
 while the holes in one tube are stopt and unstopt by the 
 fingers of the right hand, and those of the other tube by the 
 fingers of the left hand, produces two notes at the same 
 time. Upon the Double- Flageolet, of course, duets may be 
 performed. < r\ , 
 
 Double-Flat. A character which de- —JA . . I — - 
 
 presses a note two semitones. Ex. Impt2J2jf 
 
 Here the note A Natural is flattened two- j£y 
 
 fold ; and, on the piano-forte, will be given by G Natural. 
 
 Double-Flute. A Flute so constructed that two notes 
 may be produced from it at the same time, and upon which 
 two parts may be performed at once. See Double- Flageolet. 
 
 Double G. That G in the Bass which 
 is below G Gamut. Written thus : 
 
 3 
 
 Double Notes. When, on the piano-forte, harp, violin, 
 violoncello, &c, two notes are played together, they are 
 called Double Notes. Ex. 
 
 
 
 
 
 
 ■-r ■ 
 
 — 
 
 
 
 
 
 
 
 
 Double-Shake. Two simultaneous shakes on notes that 
 are either sixths or thirds to each other. See the word Shake, 
 
 Thus: 
 
 or 
 thus: 
 
 ■ I B — • ' ' ' ' ■ ' ! ' ' I l dfcj — 1 
 
 & ) 
 
 v M mm: r H h h^-j S f 
 
 63 
 
dou — : 
 
 DRO 
 
 
 
 
 
 
 
 A 
 
 
 
 
 
 
 
 * 
 
 
 
 
 
 
 Double -Sharp. A character which 
 raises a note two semitones. Ex. 
 Here the note C Natural is elevated two- 
 fold ; and, on the piano, will be given by 
 D Natural. 
 
 Double-Stem. In piano-forte or harp music, that stem 
 of a note which, in order to sustain 
 its individual length while others 
 are branching from it, is extended 
 both upward and downward : thus — 
 Here, while the quavers g, e, g, suc- 
 cessively follow the striking of the minim c, the latter note 
 is held on to its due length ; so that two parts are moving ; 
 one consisting of a minim (c), and the other of four quavers 
 
 (C, G, E, G.) 
 
 Double-Tongueing. That action of the tongue employed 
 by flutists, by which they produce their most striking and 
 best articulated notes. 
 
 Dragg. A graceful sweep of descending notes. See 
 Strascino. 
 
 Dramatic. An epithet applicable not only to all music 
 composed for theatrical pieces, but to compositions directed 
 to the excitement of the passions, and the imitation of their 
 effects. 
 
 Dramma Burlesca. (Ital.) A comic or humorous drama ; 
 a Burletta. 
 
 Drinking-Song. A song the words of which are in 
 praise of wine, and the music calculated to promote mirth 
 and conviviality. 
 
 Driving-Notes. Notes produced by syncopation, or the 
 process of cutting from the measures of a bar a part of their 
 proper duration, by prematurely passing from them to other 
 notes. Ex. 
 
 
 
 * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 %J 
 
 Here, a part of the first crotchet, or measure, is cut off and 
 given to the succeeding note, which drives forward in the 
 same manner to the third note, as does the third to the 
 fourth, and so on. 
 
 Drone. That great tube of a bagpipe which produces 
 64 
 
DRU E 
 
 one deep, unvaried, buzzing tone, as a bass to whatever 
 tunes are played on the other pipes. 
 
 Drum. A well-known, martial, pulsatile instrument, sup- 
 posed to have been invented by the Arabians. It has but 
 one rude indurate note ; yet, in combination with other 
 instruments, is bearable ; but, heard alone, it is barbarous, 
 and only fit for the ears of the common soldiery. Of course, 
 we speak of the side, or common drum, not of the noble, 
 deep-toned double- drum, or Grand Casa, the sound of which 
 is so rich and stupendous as to qualify it to add to the dig- 
 nity and majesty of the most sublime compositions. 
 
 Drum-Major. The principal drummer. 
 
 Drummer. He who beats the drum : formerly called a 
 Drumslade. 
 
 D Sharp. The note D raised half a tone. See Sharp. 
 Duettino. (Ital.) A short duet. 
 
 Duetto. (Ital.) A composition for two voices, or two 
 instruments. See Duo. 
 
 DuiiCiana. (From the Lat.) An organ stop : so called 
 on account of the sweetn OCe of its tone. 
 
 Dulcimer. A triangular chest strung with wires, which, 
 in performance, are struck with little metal rods. Also the 
 name of an ancient Hebrew instrument, of the form, tone, 
 and compass of which the moderns are ignorant. 
 
 Dulcino. A small bassoon, at one time much used in 
 playing tenor parts to the hautboy. 
 
 Dumb-Spinet. An instrument which, like the Clarichord^ 
 is provided internally with pieces of cloth, to damp or deaden 
 the sounds. See Clarichord. 
 
 Duo. (Ital.) A composition for two performers. 
 
 Durate'. Hard. An epithet proper to false relations, 
 whether in harmony or melody. 
 
 Dutch Concert. A concert in which every performer 
 plays his own tune. 
 
 Dux. (Lat.) Formerly the Dux was the leading per- 
 former in a fugue. Those who followed him were the 
 Comes. See that word. 
 
 E. 
 
 E, the letter after which is named the third note of the 
 key of C, the natural major scale ; and the fifth note of the 
 key of A, the natural minor scale. This letter also, in the 
 
 65 
 
EAR 
 
 EDO 
 
 Italian language, corresponds with our conjunction and; as, 
 Adagio e dolce, slow and soft. 
 
 Ear. With musicians, that auricular sensibility which 
 enables us to distinguish between one sound and another, 
 however near their resemblance in pitch or in tone. The 
 word Ear is, in this case, metaphorically used, and rather 
 means a correct than an acute state of the sense ; rather a 
 property in the mind to judge of and feel sounds, than a 
 mere quickness in perceiving them. 
 
 Eccedente. (Ital.) An epithet applied to any distance 
 which exceeds its nominal extent ; as an Extreme Sharp 
 Sixth, which exceeds what is called the Greater Sixth. 
 
 Ecclesiastical. All c/ii/rc/i-compositions are ecclesias- 
 tical, because they are for the church. Anthems, services, 
 and chants, are, by consequence, Ecclesiastical. 
 
 Ecclesiastical Songs. Certain Songs used by the Anglo- 
 Saxon church ; as the Day-break Song, the Matins Song, the 
 Third-hour Song, the Mid-day Song, the Ninth-hour Song, 
 the Evening Song, and the Midnight Song. 
 
 Echeia. Vases used by th« ancients, to increase the 
 effpot of their voices and instruments ; especially at their 
 dramatic representations. 
 
 Echo. In a philosophical sense, the natural reflection of 
 any sound produced by a hollow rock or invisible cavity 
 under ground ; but, musically understood, the word Echo 
 means the faint repetition of the notes or passages of one 
 instrument by another, in imitation of the reverberations of 
 nature. This word frequently occurs in the old organ 
 pieces, where the Echo is directed to be performed by the 
 stop called the swell ; and sometimes the word was synoni- 
 mous with piano, and used merely to signify softness and 
 delicacy of performance. 
 
 Echometre. (From the Greek.) An instrument for mea- 
 suring the powers of echoes and other sounds. 
 
 Editore del Musica. (Ital.) A Musical Editor : a musi- 
 cian who is occupied in copying, correcting, and passing 
 music through the press. 
 
 E Double Flat. A flat which de- 
 presses the note E Natural two semitones ; 
 and, on the piano-forte, lowers it to D 
 Natural. Ex. 
 Here we have E Flat flattened ; that is, lowered half a tone : 
 and since, on the piano-forte, D Natural is the next sound 
 66 
 
E D O E I S 
 
 beneath E Flat, D Natural is the key to which the finger of 
 the pianist is led by E Double Flat. 
 
 E Double Sharp. A sharp which raises 
 the note E Natural two semitones ; and, on 
 the piano-forte, lifts it to F Sharp. Ex. ^ 
 Here we have E Sharp sharpened ; that is, raised half a 
 tone : and since, on the piano-forte, F Sharp is the next 
 sound above E Sharp, F Sharp is the key to which the finger 
 of the piano-forte performer is carried by E Double Sharp. 
 
 Effect. The joint result of composition and perform- 
 ance. Effect being the object to which all the composers 
 genius and the executant's skill should be direted, the 
 judicious exertion of that genius and that skill cannot be 
 too strongly urged. Music, as a power appealing to the 
 heart and mind, looks to simple composition for new and 
 striking ideas, rather than to crowded and elaborate scores 
 for overwhelming volumes of sound ; and to performance, 
 for more of pathos and expression, than of ornament and 
 
 ■flowery flourish. 
 
 Effective. Wh en a composition or performance makes 
 a strong or deep impression on rts auuiio^, & & sal -^ to b e 
 Effective. 
 
 E Flat. The note E depressed half a tone. The proper 
 fourth of the key of B Flat. See Flat. 
 
 E Flat Major. The key, or scale, of E Flat, with three 
 flats ; — b flat, e flat, and a flat. 
 
 E Flat Minor. The key, or scale, of E Flat, with six 
 flats ; — b flat, e flat, a flat, d flat, g flat, and c flat ; except 
 in ascending the scale ; w T hen the notes C and D are natural. 
 
 Eighth. An octave. See that word. 
 
 E in Alt. (Ital.) That E which is 
 next above F on the fifth line of the treble 
 stave : the sixth note in Alt. Ex. 
 See Alt. 
 
 E in Altissimo. (Ital.) The octave 
 above E in Alt. Ex. 
 See Altissimo. 
 
 Eisteddvod. (Welsh.) A bardic congress periodically 
 
 67 
 
E L E E N T 
 
 held at Caerwys in North Wales, for the purpose of choos- 
 ing principal and qualified hards ; and for distributing prizes 
 to the authors of the best poems (in Welsh), and to the 
 superior performers on the delyn, or harp. 
 
 Elegantemente. (Ital.) Elegantly : with taste and deli- 
 cacy. 
 
 Elegiac. A word indicating a plaintive and affecting 
 style. 
 
 Elegy. A vocal composition of a tender and dolorous 
 character. 
 
 Elementary Music Music so familiar in its fabrication 
 as to include only the first and simplest principles of com- 
 position. All the earlier exercises of juvenile practitioners 
 are, or should be, of this kind. 
 
 Elements. The ordinary or introductory rules of har- 
 mony and melody. 
 
 Eleventh. The interval of an octave and a fourth. 
 
 Eline. (Greek.) With the ancient Greeks The Song of 
 the Weavers. See the word Song. 
 
 E Major. The key, or scale, of E w^ tou ^ sharps;— 
 f sharp, c sham - f~"F> *"« D sftar P- 
 
 & Minor. The key, or scale, of E with one sharp ; — 
 f sharp ; except in ascending the scale ; when the notes C 
 and D are sharp. 
 
 E Natural. The note E neither sharpened nor flat- 
 tened. See Natural. 
 
 Encore. (French.) An expression that has long been 
 in universal use, both at public and private performances, 
 for demanding the repetition of any favourite song, or piece. 
 
 Energia. (Ital.) Energy ; force, vigor, strength of ex- 
 pression. 
 
 Energico. (Ital.) Energetic. A term implying that the 
 movement to which it is prefixed, is to be sung, or played, 
 with force and spirit. 
 
 Enharmonic. (Greek.) The epithet applied by the an- 
 cients to that scale, or system, the intervals of which formed 
 a mixture of major thirds and quarter- tones. The Enhar- 
 monic formed a refinement on the chromatic system. 
 
 En Rondeau. (French.) Resembling a Rondeau. 
 
 Entertainment. Formerly, little English operas, given 
 at the theatres, as second pieces. 
 
 Entr' Acte. (French.) The music played between the 
 acts of a French play. 
 68 
 
E N T E S E 
 
 Entre-mets. (French.) Movements introduced by the 
 French between the principal portions of their composi- 
 tions, partly for relief, and partly for the purpose of varie- 
 gation. 
 
 Entries. The original name of operatical acts, and bur- 
 letta scenes. 
 
 Eolian. An epithet derived from Eolia: applied to one 
 of the five principal modes of the Greeks. See Mode. 
 
 Epiaula. (Greek.) The Song of the Millers. 
 
 Epicedium. (Greek.) A dirge, or funeral ode. 
 
 Epigonium. A stringed instrument which derived its 
 name from the Grecian, Epigonius, its inventor. All at 
 present known of the Epigonium is, that it contained forty 
 strings, the tuning of which was regulated by that of the 
 intervals of the Greek system. 
 
 Epilenia. (Greek.) The Song of the Grape- Gatherers. 
 
 Epinicion. (Greek.) A Song of Triumph. 
 
 Epithalamium. (From the Greek.) A nuptial song. 
 
 Equisonance. The consonance of the octave, fifteenth, 
 &c. 
 
 Equivocal. When the fundamental bass of a chord is 
 not demonstrated by the intervals of which the combi- 
 nation consists, that combination is called an Equivocal 
 chord. 
 
 Equivocal Chord. A chord so called, because it was 
 some time before its fundamental sound 
 was determined. The notes of which it is 
 constructed form intervals of a tone and 
 a half, or three semitones : thus — 
 and the question was, whether the lower note of these four, 
 or the major third below that note, was the foundation of 
 the harmony. It has properly been decided in favour of the 
 latter. 
 
 Esclamando. (Ital.) Exclaiming. Applicable to those 
 scenes or situations in the Italian opera, in which certain 
 bursts of surprise or passion carry the character beyond 
 self-command. 
 
 Esempio. (Ital.) A practical exercise illustrative of a 
 delivered precept. Vide Logier's « System of the Science 
 of Music," and Bochsa's "First Six Weeks " for the Harp. 
 
 Esercizi. (Ital.) Exercises for the improvement of vocal 
 or instrumental execution. 
 
 69 
 
ESH- 
 
 EXT 
 
 E Sharp. The note E raised half a tone. See Sharp. 
 Espressivo. (Ital.) Expressively. See Expression. 
 Estrinienda. (Ital.) A term implying a close, binding 
 way of executing the notes of any passage. 
 Etrurian. See Etruscan. 
 
 Etruscan. An epithet deduced from Etruria, the people 
 of which country were remarkably fond of music, and whose 
 style of composition was called the Etruscan style. 
 
 Euharmonic. (Greek.) Pleasingly or delightfully con- 
 cordant. 
 
 Euphony. (From flhe Greek.) Sweetness of sound. 
 Euphonious. Sweet sounding. 
 Euphonical. See Euphonious. 
 
 Euthia. With the ancient Greeks a succession of regu- 
 larly ascending sounds. 
 
 Euthian. An epithet derived from Euthia. See that 
 word. 
 
 Evirati. Those male vocalists who sing soprano parts 
 in the Italian Opera. 
 
 Execute (To.) To perform. 
 
 Execution. The act of performing. This is the genuine 
 and legitimate import of the word; but taken in its higher 
 and more particular sense, it means a volatability of voice or 
 finger ; the power of giving with distinctness and facility 
 the most rapid and difficult passages. 
 
 Exequle. (From the Lat.) A dirge. See that word. 
 
 Exercise. Any composition written for, or employed as, 
 an improving piece for the voice, or the finger. 
 
 Expression. In music, not mere production, or utter- 
 ance, but that emphatic delivery, touch, or intonation, by 
 which a passage or movement is impressed upon our 
 feelings. 
 
 Extempore. Without previous meditation : as, an extem- 
 pore fugue ; a fugue, the production and performance of 
 which are simultaneous. 
 
 Extemporize (To.) To perform what the imagination 
 suggests at the moment : to play independently of memory 
 or premeditation. 
 
 Extent. A word synonymous with compass, and, of 
 course, applicable to any voice or instrument. 
 
 Extraneous. Out of the natural and obvious course of 
 harmony or melody. All chords, and intervals, modula- 
 70 
 
EXT 
 
 F A L 
 
 tions, evolutions, or sharps and flats, which constitute a vio- 
 lation of the diatonic scale, are said to be Extraneous. 
 
 Extravaganza. (Ital.) A wild, incoherent composition * 
 in which everything is admissible that is offensive to good 
 taste, and everything rejected that judgment and a chaste 
 fancy would approve. 
 
 Extreme. An epithet applicable to the lowest and high- 
 est sounds of any scale, or system of intervals. It is also 
 used in respect of intervals, when carried to their greatest 
 possible extent, without being brought under a new numeral 
 appellation : as, E with C above it, constitutes a sixth — 
 
 which 
 
 E flat extends the former sixth downwards, 
 one half note ; also E flat and C sharp 
 form a sixth — 
 
 which E flat and C sharp widen the interval to its greatest 
 possible extent, as a sixth : hence this and similar intervals 
 are called Extreme sharp sixths. 
 
 Extremes. Those harmonic parts in a composition which 
 are most distant from each other ; as are the bass and 
 soprano of a chorus. 
 
 Extremity. The highest or lowest note of any compass 
 or system of sounds. 
 
 F. 
 
 F. The fourth note of the natural diatonic scale of C 
 major; and the sixth of the natural diatonic scale of A 
 minor. 
 
 Fa. The syllable applied by Guido to the fourth of the 
 major diatonic scale, i. e. the fourth of his Hexachord ; also 
 a monosyllable applied by the Italians to the sixth note of 
 the natural minor scale. 
 
 Fa-Burden. The old name of a certain species of coun- 
 terpoint, which had a drone bass. 
 
 Fagotto. (Ital.) A bassoon. See Bassoon. 
 
 Fag. See Fagotto. 
 
 Fa La. A short song having the words Fa La for its 
 burden. During the seventeenth and eighteenth centuries, 
 Fa Las were much sung. 
 
 71 
 
F A L 
 
 ■FER 
 
 False. An epithet applied to certain chords, the con- 
 stituent intervals of which do not, taken together, amount 
 to the contents, or value, of a perfect chord ; also to imper- 
 fect intonations of the voice, and of any instrument, &c. &c. 
 
 False Fifth. An interval, the extent of which is half a 
 tone less than that of a perfect fifth. 
 
 Falset. The abbreviation of Falsetto. See that word. 
 
 Falsetto. (Ital.) That voice produced by an adult male 
 singer, when he soars above his natural tones. See Voce di 
 Testa. 
 
 Falso Bordone. See Fa-Burden. 
 
 Fancies. The appellation by which former composers 
 designated their lighter compositions. 
 
 Fandango. A well-known Spanish dance, the tunes of 
 which are of a lively cast, and not unlike those with which 
 we accompany our hornpipe. 
 
 Fantasia. A composition supposed to be the offspring of 
 the moment. Its features are necessarily those of wildness 
 and extravagance, and its inconsistency entitles it to critical 
 indulgence. 
 
 Fantasie Heroique. (French.) A bold, glowing, daunt- 
 less flight of the fancy. 
 
 F Double Flat. A Flat which depresses 
 the note F Natural two semitones ; and, 
 on the piano-forte, lowers it to E Flat. 
 
 Ex. 
 
 Here we have F Flat (E Natural) flattened; that is, de- 
 pressed half a tone : and since, on the piano-forte, E Flat is 
 the next sound below F Flat, E Flat is the note to which the 
 finger of the pianist is conducted by F Double Flat. 
 
 F Double Sharp. A Sharp which raises 
 the note F Natural two semitones ; and, on 
 the piano-forte, elevates it to G Natural. 
 
 Ex. 
 
 Here we have F Sharp sharpened ; that is, raised half a 
 tone ; and since, on the piano-forte, G Natural is the next 
 sound above F Sharp, G Natural is the key to which the 
 finger of a performer on that instrument is conducted by F 
 Double Sharp. 
 
 Feigned. An epithet by which the adult male voice is 
 distinguished, when forced beyond its natural compass. See 
 Falsetto. 
 
 Feroce. (Ital.) In a fierce and hurried manner. 
 72 
 
FES 
 
 F I L 
 
 Fescennina. The name of the nuptial songs of the 
 people of the city of Fescennia, in Etruria : lyrics not 
 remarkable for an overstrained delicacy. 
 
 Festive Songs. Songs the words and music of which are 
 devoted to, and calculated to inspire, joy and merriment. 
 
 FF. The abbreviation of Fortissimo. See that word. 
 
 F Flat. The note F depressed half a tone. On the 
 piano-forte, E Natural See Flat. 
 
 Fiddle. A stringed instrument, formerly denominated 
 Filhele, from the Latin, Fidicula. See Violin. 
 
 Fiddler. A performer on the Fiddle. 
 
 Fiddle-stick. See Bow. 
 
 Fidicinal (From the Lat.) All instruments of the fid- 
 dle species are Fidicinal. 
 
 Fieramente. (Ital.) Bold and ardent. 
 
 Fife. A small, shrill-toned, martial instrument, blown 
 at the side, in the manner of a flute. 
 
 Fifer. One who performs on the Fife. See that word. 
 
 Fifist. A fifer. 
 
 Fiffario. (Ital.) A Fife. See Fife. 
 
 Fifteenth. A double octave. Also the name of that 
 stop in an organ the notes of which are two octaves higher 
 than those of the diapasons. See Stop. 
 
 Fifth. An interval containing a major third and a minor 
 third, or vice versa. 
 
 Figured. A free and playful melody, which, of course, 
 does not move note by note with the bass, is called a Figured 
 Melody ; and a bass with arithmetical characters, to desig- 
 nate the superincumbent harmony, is styled a Figured 
 Bass. 
 
 Figured Bass. A bass with ordinal numbers or figures 
 placed over or under its notes, to signify the harmonies with 
 which they are to be accompanied. 
 
 Figured Harmony. This is an Harmony consisting of 
 the occasional introduction of notes which, though given for 
 the purpose of melody, do not form any constituent sound of 
 the harmonic combination. While certain chords are sound- 
 ing in some parts., figurative or flowery passages are moving 
 in other of the parts ; and the chief art in constructing this 
 style of composition is, in so disposing of the figurative 
 notes, that they shall not infract the general harmony. 
 
 Filum. (Lat.) Formerly the name of that part of a note 
 now called the stem. 
 
 E 73 
 
F I N 
 
 Fin. See Fine. 
 
 Final. In the old music, the closing note of a chant. 
 Finale. (Ital.) The concluding scena of an opera. 
 
 F in Alt. That F next beneath 
 G in Alt : written thus — 
 
 F in Altissimo. The F above 
 F in Alt: written thus — 
 
 i 
 
 rthui, 
 
 8ve. 
 
 i 
 
 8ve. 
 
 § — 1 
 
 Fine. (Ital.) The conclusion. 
 
 Finger. In music, a word substituted for that of execu- 
 tion. A performer capable of doing justice to rapid or ex- 
 pressive passages, is said to have a good finger. 
 
 Finger-board. That part of a stringed instrument on 
 which, in performance, the fingers of the left hand are 
 pressed. 
 
 Fingered. A term chiefly used in piano-forte and harp 
 exercises, and signifying that numeral characters are placed 
 over the notes, to intimate with what finger each of them is 
 to be struck. 
 
 Fingering. The appropriate application of each of the 
 fingers, on whatever instrument we perform. On the cor- 
 rectness of this, the master's present command of hand, and 
 pupil's future ease and rapidity of execution, almost entirely 
 depend. It is for this reason that all compositions designed 
 for piano-forte exercises are, or should he, fingered. See 
 Fingered. 
 
 Finished. A participle applied to practitioners who are 
 supposed to have arrived at the highest degree of excel- 
 lence ; and also to their style of performance ; as when we 
 say, Such a lady's or gentleman's execution is of a finished 
 cast. 
 
 Finito. (Ital.) Concluded. 
 
 Fin to. (Lat.) A feigned preparation for a postponed 
 74 
 
FIN 
 
 FLU 
 
 close. That evolution of the voice, or of an instrument, 
 which begets an expectation of the final note, but is suc- 
 ceeded by some other. 
 
 Fin Qui. (Ital.) To this place: as, Fagotti Jin qui; the 
 bassoons to be continud to this place, or this bar. 
 
 First. Musically speaking, the principal part of any 
 composition ; also applicable to those instruments which 
 take the superior part, either of the score, or of two or more 
 parts written for the same description of instrument ; as* 
 First Violin, First Flute, First Clarionet, &c. 
 
 Fistula Dulcjs. (Lat.) A common flute. See Common 
 Flute. 
 
 Fistula Germanica- (Lat.) The German flute. 
 
 Fistula Panis. (Lat.) Pan s pipe, or the Pipe of Pan. 
 A wind instrument, consisting of reeds, each of which pro- 
 duces its own appropriate sound. See Pipes of Pan. 
 
 Fistula Pastoricia. (Lat.) The oaten pipe used by the 
 audience at the theatres of the ancient Romans, to express 
 their dislike of the performance. 
 
 Fithele. Formerly, the name of the fiddle. See Fiddle. 
 
 Flageolet. A small, shrill pipe, the tones of which re- 
 semble the notes of birds. 
 
 Flageolet Organ. A small barrel-organ, the tones of 
 which imitate those of a flageolet. See Bird Organ. 
 
 Flat. That character by which a note is depressed half 
 a tone. 
 
 Flaut. The abbreviation of Flauto. 
 Flautino. (Ital.) An octave, or little flute. See Octave 
 Flute. 
 
 Flauto. (Ital.) A flute. 
 
 Flebile. (Ital.) Tenderly, mournfully. 
 
 Flessibilita. (Ital.) That free and easy flow, or gliding 
 of the voice, by which it executes, with a degree of facility, 
 the most difficult passages. 
 
 Florid Song. Figured Descant. An expression first 
 used in the fifteenth century, in contradistinction to Plain 
 Song, or the simple style of the Old Chant. 
 
 Flourish. That gratuitous introduction of supplemen- 
 tary notes with which some performers attempt to improve 
 upon the simplicity and chasteness of what they have to 
 execute. 
 
 Flute. A well-known wind instrument, the name of 
 e 2 75 
 
FLU 
 
 FOU 
 
 which is derived from the Latin word Fluta, on account of a 
 certain fish so called, and the form of which it resembles. 
 
 Flute-a-Bec. A common flute. See Flute, Common. 
 
 Flutk, Common. Formerly the Flute-a-Bec, a name 
 suggested by its likeness, at one of its ends, to the beak of a 
 bird. At this end it is blown, and never at the side, like a 
 German flute. 
 
 Fluted. When the upper notes of a soprano voice are 
 of a thin and flute-like tone, they are said to be Fluted. 
 
 Flutist He who performs on the flute. 
 
 Flute d'Allemand. A German flute. See German 
 Flute. 
 
 Flute Organ. A little barrel-organ, the compass and 
 tone of the notes of which render it imitative of the German 
 flute. 
 
 F Major. The key, or scale, of F with one flat ; b flat. 
 
 F Minor. The key, or scale, of F with four flats ; b flat, 
 e flat, a flat, and d flat ; except in ascending the scale, when 
 the notes D and E are natural. 
 
 F Natural. The note F, neither sharpened nor flattened. 
 
 F. O. Full Organ. See that expression. 
 
 Focoso. (Ital.) An expression significative of a bold 
 and spirited style. 
 
 Follia. A piece chiefly consisting of variations ; a spe- 
 cies of composition of Spanish origin, and called Follia di 
 Spagna. 
 
 Follia di Spagna. See Follia. 
 
 Foramina. (Lat.) The holes in a flute or pipe, by the 
 stopping or opening of which the sounds are governed. 
 
 Formulary. In earlier times, the written or printed dis- 
 position of the ecclesiastical tones. 
 
 Forte. (Ital.) Loud. 
 
 F. See Forte. 
 
 Fortement. (French.) With vigour and force. 
 Fortissimo. (Ital.) With the greatest loudness. 
 Fortiss'. See Fortissimo. 
 
 Forzando. (Ital.) With a sustained energy ; with force 
 and continuity of tone. 
 Forz do See Forzando. 
 
 Forzo. With strength and emphasis of expression. 
 Fourteenth. An octave and a seventh. 
 Fourth. An interval comprising two tones and a half. 
 76 
 
FR A- 
 
 FUG 
 
 Frasi. (Ital.) Short passages, or musical sentences. 
 
 Freedon. An old word signifying a flourish. See that 
 word. 
 
 French Horn. A well-known wind instrument, called 
 by the French Come de Chasse. The tones of the French 
 Horn are soft, rich, and mellow : its intervals, though in 
 conformity with those of the trumpet, lie chiefly in the 
 tenor portion of the Great Scale, and seem to include all the 
 notes that are proper to its character. The key-note, and 
 its third, fifth, and eighth, to which the lower part of this 
 instrument is limited, forms a most pleasing and generous 
 harmony with the notes next above them ; and notwith- 
 standing the defect of its natural fourth, the general result 
 of its intonations is gratifying and soothing. 
 
 Frets. Small lengths of wire on which the fingers 
 press the strings in playing the guitar. 
 
 F Sharp. The * * This character, by car- 
 
 note F raised half — -Q — jfejf — n- rying the finger of the 
 a tone ; as thus : ~P — D- Pianist to the short black 
 
 Ex. "Ty "" key next above F natural, 
 
 *J gives visible evidence of 
 
 its elevating power. 
 
 F Double-Sharp. — p- F doubly sharpened 
 The note F raised Zj^ZZZ] It is, on the Piano-Forte, 
 two semitones : as Ta H~ 
 
 G natural. 
 
 thus : Ex. %J 
 
 F Sharp Major. The key, or scale, of F Sharp with six 
 sharps ; f sharp, c sharp, g sharp, d sharp, a sharp, and e 
 sharp. 
 
 F Sharp Minor. The key, or scale, of F sharp with 
 three sharps ; f sharp, c sharp, and g sharp ; except in 
 ascending ; when the notes D and E are sharp. 
 
 Fuga. (Ital.) See Fugue. 
 
 Fuga Doppia. (Ital.) A fugue with two subjects. See 
 Double Fugue. 
 
 Fugata. (Ital) In the fugue style. 
 
 Fugue. A multisonous composition, the plan or purpose 
 of which is, to support, through its several parts, the sub- 
 
 E 3 77 
 
fug — : 
 
 •FUN 
 
 
 
 
 4 
 
 
 
 
 
 
 ject with which it commences, and which is always led off 
 by some one of its parts. It being the office of the other 
 parts to pursue this subject, and the Latin substantive Fuga 
 signifying a flight, such a composition is called a Fugue. 
 See Simple Fugue, Double Fugue, and Counter Fugue. 
 
 Fuguist. A fugue composer, or extempore fugue per- 
 former. 
 
 Full. (Ital.) An adjective of general application; as 
 a Full band ; a Full piece ; a Full organ ; &c. 
 
 Full Organ. The Organ v/hen in a state to throw out 
 its unreserved strength ; i. e. when all, or the greater part 
 of its stops are out, and its best powers are heard in com- 
 bination. 
 
 Full Turn. That Turn which fol- 
 lows the note upon which it is made, 
 consists of four Appogiatures, and 
 forms an embellished repetition of its 
 principal. Ex. 
 
 Fundamental. An epithet applicable to a chord, and 
 to a note ; to a chord when that chord's lowest component 
 part is the note on which the harmony is founded ; to a note, 
 when that note is both the lowest consti- 
 tuent part of a chord, and the note from 
 which the harmony is really and nominally 
 derived ; as thus — Zp 
 This is really and nominally the chord of C ; and the note C 
 is both the lowest constituent part of the chord, and the note 
 on which the harmony is founded; therefore, both the chord 
 and its loudest note are Fundamental. 
 
 Fundamental Bass. That bass on which the superin- 
 cumbent harmony is founded ; or of which the superior^arfo 
 of the accompanying chord constitute the third, fifth, and 
 eighth. , ~ chord of c. 
 
 Fundamental Chord. A chord con- 
 sisting of the third, fifth, and eighth, of 
 the fundamental bass. 
 
 1 
 
 I 
 
 Fundamental Bass. 
 
 Funztoni. (Ital.) The oratorios and other sacred pieces 
 composed for the Catholic church. 
 78 
 
F U R G D O 
 
 Furibondo. (Ital.) With force and ardour. 
 Furniture. An organ-stop. See Stop. 
 Furioso. (Ital.) With vehemence and agitation. 
 F. Z. See Forzo. 
 
 G. 
 
 G, the last of the seven notes of which Music is said to 
 consist, reckoning in an ascending direction from A ; and 
 the fifth note of the natural major scale, C. 
 Gaimbnt. (French.) Cheerful, lively. 
 Galliard. A word used by musicians both substantively 
 and adjectively : when substantively employed, it signifies a 
 gay, vivacious air, suited to a dance ; when adjectively, in- 
 dicates the quality of such an air. 
 
 Gambist. He who performs on the Viol da Gamba. 
 Gamut. Guido's table or scale ; denominated his Gamut, 
 because he adopted, as a sign for the note he added to the 
 lowest note of the ancients, the Greek letter, Gamma. The 
 word Gamut has now, however, a more extended meaning, 
 and includes the whole of the modern scale of sounds. 
 
 Gauge. An implement used by harp-makers and per- 
 formers, for ascertaining the due thickness of harp-strings, 
 before they apply them to the instrument. 
 
 Gavot. A cheerful, animated dance-tune, consisting of 
 two strains, in the measure of two crotchets, and always be- 
 ginning with half a bar. 
 
 Gavotta. (Ital.) See Gavot. 
 ' <r Double-Flat. A Flat which de- 
 presses the note G Natural two semi-tones 
 
 and, on the piano-forte, lowers it to F — \l 
 
 Natural, Ex. £7 
 
 Here we have G Flat flattened ; that is, lowered half a 
 tone : and since, on the piano-forte, F Natural is the next 
 sound beneath G Flat, F Natural is the key to which the 
 finger is conducted by G Double-flat. 
 
 G Double- Sharp. A Sharp which raises 
 
 the note G Natural two semi-tones ; and, —jf- -j- 
 
 on the piano-forte, elevates it to A Na- ^ff J — x-4h 
 iural. Ex. ±j 
 
 Here we have G Sharp sharpened ; that is, raised half a 
 tone ; and, since, on the piano-forte, A Natural is the next 
 e 4 79 
 
G E N G E R 
 
 sound above G Sharp, A Natural is the key to which the 
 finger of the pianist is conducted by G Double Sharp. 
 
 Genera. A word comprehending the three scales by 
 which the ancient tetrachord was divided. These scales 
 ■were — the Enharmonic, the Chromatic, and the Diatonic. 
 See those words. 
 
 GeNerateur. (French.) The fundamental note of the 
 common chord ; that sound by which the triad is generated. 
 
 Generating Sound. It being a property of every sound 
 to give birth to two other sounds (its twelfth 
 and its seventeenth), every sound is, in fact, 
 a, Generating Sound. Thus the note G 
 under the treble cliff will generate D above 
 the treble cliff, and B in alt. Ex. O - — - 
 
 See Harmonics. ^ 
 
 Generator. Of three sounds, consisting of a note, its 
 twelfth, and its seventeenth, the lowest is the Generator, 
 because the other two are but emanations from it. See 
 Harmonics and Generating Sound. 
 
 Generatore. (Ital.) The Generating Sound. See Generator. 
 Genus Melodise. (Lat.) The ancient division and sub- 
 division of the tetrachord. 
 
 Gestours. (French.) The old comic and itinerant min- 
 strels of France were called Gestours, because they accom- 
 panied their vocal whimsicalities with gesticulations and 
 humorous distortions of the countenance. 
 
 Genialia. (Lat.) The instruments used by the ancient 
 Romans at their nuptial celebrations. 
 Genre. (French.) Style or manner. 
 Genus. A certain system upon which the ancient tetra- 
 chord was divided and subdivided. The variety included in 
 this Genus Melodies constituted the Greek Genera. See that 
 word. 
 
 German Flute. A well-known instrument, so called 
 because invented in Germany. It consists of a tube of box 
 or ivory, and, unlike the Common or English Flute, is blown 
 at the side. Its tone, when the instrument is good, and the 
 performer skilful, is mellow and mellifluent, tender, without 
 being dull, and clear without being piercingly acute. In 
 playing this instrument, the fingers are applied to the holes 
 and keys disposed along the sides of the tube. The in- 
 creased number of the latter of these, together with other 
 new advantages, have so greatly improved the powers of the 
 80 
 
GFL 
 
 GLO 
 
 German Flute, both in volatility arid expression, as to have 
 imparted to it a utility in concert, and charm in solo per- 
 formance, to which, formerly, it could not pretend. 
 
 G Flat. The note G depressed half a 
 tone ; as thus — 
 
 life 
 
 German Sixth. See Extreme Sharp Sixth. 
 G Gamut. The fifth of the double-bass notes ; that 
 the station of which is on the first line of the bass stave., 
 Giga. (Ital.) See Gig. 
 
 G 
 
 G in Alt. 
 thus — 
 
 The first note in alt ; written 
 
 P 
 
 G in Altissimo. The first note in altis- 
 simo : written thus — 
 
 1 
 
 w 
 
 Giocoso. (Ital.) In a gay and joyous style. 
 Giusto. (Ital.) With steadiness and propriety, in time 
 and manner. 
 
 Giving Out. That previous performance of a psalm-tune 
 by which the organist apprizes the congregation of the me- 
 lody they are about to sing.- 
 
 Glee. A song in three or more parts. Originally, the 
 Glee (the period of the first introduction of which is not 
 known) was a gay, convivial composition, and hence its 
 name ; but though it still retains its appellation, it has, long- 
 since, assumed various characters, and is as often tender as 
 jovial, pathetic as joyous. The opera is not more habitually 
 distinguished into comic and serious, than the Glee into 
 serious and cheerful. 
 
 Gliding. That gentle action by which flute performers 
 slide their fingers from the holes of the instrument, in order 
 to lead the ear the more gradually from one sound to 
 another. 
 
 Glorification. Vocal Adoration. 
 
 Glottis. (Greek.) The name applied by the ancient 
 flutists to a kind of reed which they held between their lips, 
 and through which they blew when they performed. 
 
 E 5 * 81 
 
G M A G R A 
 
 G Major. The key, or scale, of G, with one sharp ; P 
 sharp. 
 
 G Minor. The key, or scale, of G, with two flats ; b flat 
 and e flat ; except in ascending the scale, when the note E 
 is natural, and the note F is sharp. 
 
 G Natural. The note G, neither sharpened nor flattened. 
 
 See Natural. 
 
 Goat-song. The song sung- at the altar of the god Dio- 
 rrysius, during the sacrifice of the goat. 
 
 Gol. One of the funeral lamentations of the Irish. 
 
 Gong. A Chinese pulsatile instrument. Its tone is so 
 loud and harsh, as scarcely to claim any other praise than 
 that of being qualified to surprise and startle. 
 
 Gorgheggi. (Ital.) Vocal exercises for bringing the 
 voice from the throat. 
 
 Grace. This word, used substantively, implies a natural, 
 easy, smooth expression of any melody ; when understood 
 adjectively, conveys the idea of ornamenting with appoggia- 
 iuras, turns, shakes, &c. 
 
 Graces. Whatever ornaments are superadded to any 
 melody. 
 
 Graddo. (Ital.) An interval of one degree. 
 
 Gradual. A service-book of the Romish church, answer- 
 ing to our psalm-book. A book containing all the vocal 
 part of divine worship. 
 
 • Graduate, (in Music). A person who has taken his de- 
 gree of Doctor, or Bachelor. 
 
 Gran Cantore. (Ital.) A great or superexcellent singer. 
 
 Gran Cassa. (Ital.) The double-drum. 
 
 Grand. When compositions, or performances, are noble, 
 full, and imposing, they are said to be Grand. 
 
 Grand Square Piano-Forte. An instrument of recent 
 invention ; a great improvement on the common Square 
 Piano-Forte. Its tone is both fuller and richer than that 
 of the latter; the peculiar manner of fixing the strings 
 renders them much less liable to be out of tune, than does 
 the former mode, and the general figure of the exterior is 
 new, and more rounded and elegant than that of the old 
 instruments. See Clementi's " Instrumental Catalogue." 
 
 Gran Gusto. (Ital.) In a great style. An expression 
 sometimes applied to the manner of a fine singer, but chiefly 
 to a full, rich, and noble style of composition. 
 
 Grave. Slow and solemn. 
 82 
 
G R A 1 
 
 •G S H 
 
 Gravement. (French.) Gravely, slowly. 
 Grave Religioso. (Ital.) A phrase dictating slowness of 
 performance, and a devotional solemnity of expression. 
 
 Gravity. In music, a word used in contradistinction to 
 (mute : depth of sound. 
 
 Grazioso. (Ital.) Smoothly, gracefully. 
 Great Cadence. A cadence 
 in which the closing or final — f) e>- 
 
 harmony of a movement is pre- .^fe^ 
 
 ceded by that of the subdomi- 
 nant, or fourth of the key. Ex. %J 
 The effect of the Great Cadence is solemn and awful ; for 
 which reason it is frequently introduced in sacred music. 
 Great Sixth. A major sixth. 
 
 Gr kater Viol. A viol so called in contradistinction to 
 the Viol da Bracia, or lesser viol. See Viol da Gamba. 
 
 Gregortan Chant. This Chant of St. Gregory, founded 
 on the harmonical division of the diapason, exceeded, in the 
 number of its notes, those of the Chant of St. Ambrose, to 
 which it added four. But what was the whole number of 
 the notes is not now known. All the information we have 
 is, that in the Ambrosian Chant, the diapente was the highest 
 note, and that the four added by St. Gregory were inter- 
 posed between the four of St. Ambrose. By consequence, 
 the intervals became smaller, and the melody, we may pre- 
 sume, more refined than in the Ambrosian composition. 
 
 Great Scale. The whole series of appreciable sounds, 
 from the gravest to the acutest. That scale which, by con- 
 sequence, includes every other, whether that of the double 
 bass, or of the octave flute ; that of the deepest bass voice, 
 or of the highest soprano. 
 
 Ground. A composition, the bass of which consists of a 
 few bars unremittingly repeated. The word is also used 
 adjectively; as when we apply it to the bass itself of such a 
 composition, by calling it a ground bass. 
 
 Ground-Bass. That bass, the unremitting and unaltered 
 repetition of which forms the whole foundation of any move- 
 ment, or passage. 
 
 Group. The knot or assemblage of notes formed by the 
 fraction of a single long note, for the purpose of melodial 
 decoration. 
 
 Gruppo. (Ital.) Formerly, a trill, or shake. 
 G Sharp. The note G, raised half a tone. See Sharp, 
 E 6 83 
 
GU A — : 
 
 •H A R 
 
 Guaracha. A Spanish dance. 
 
 G Sharp Minor. The key, or scale, of G Sharp, with 
 five sharps ; except in ascending the scale, when the note E 
 is sharpened, and the note F sharp, re-sharpened. 
 
 G, the Treble Cliff Note. That note, 
 the station of which is on the same line 
 as is the Treble-Cliff. E; 
 
 Guida Musica. (Ital.) A Musical Guide ; a book of 
 musical instructions. 
 
 Guide. The leading note of a fugue. See Dux. 
 
 Guidonian-Hand. Guido's figure of a left hand bearing 
 the names of the intervals of his three hexachords. 
 
 Guitar. A well-known instrument of Spanish invention, 
 originally called a Guitarra. No instrument, to this day, is 
 a greater favourite, or more generally practised, in Spain. 
 
 Gusto. (Ital.) Taste. See that word. 
 
 Gustovo. (Ital.) Tastefully, elegantly. 
 
 Guttural. An adjective applied to tones that come 
 from the throat. Singing in the throat, is to sing with a 
 Guttural tone. 
 
 Gwyneddigion. (Welsh.) The name of a Society insti- 
 tuted in London about half a century ago, for the purpose of 
 patronizing the bards of Wales; and at the meetings of 
 which, the voices of the members, accompanied by the eu- 
 phonious tones of the harp, produce a gratifying effect. 
 
 H. 
 
 Hallelujah. An expression used by the ancient Hebrew 
 priests, in calling upon the people to join their voices in 
 lauding the Creator. From the Jews it descended to the 
 Christians, who regularly sung it on Easter-day and the 
 day of Pentecost. The whole assembly assisted in its 
 vociferation ; and, according to St. Jerome, the roofs of the 
 churches shook with the reverberated peals. In after- 
 times, this devotional exclamation grew into general and 
 constant use ; and, at length, became a favourite theme 
 with ecclesiastical composers, who have made it the basis 
 of some of their sublimest choral productions. 
 
 Hand-Director. See Chiroplast, and Logerian System. 
 
 Harmatian Air. (From the Greek.) A certain spirited 
 and animated air, said to have been composed by Olympus. 
 It was used in battle ; and because the rapidity of its style 
 84, 
 
HAR 
 
 imitated the motion of a chariot wheel, it was also called 
 the Chariot Air. See Chariot Air. 
 
 Harmonia Philosophica. (Lat.) The philosophical 
 consideration of intervals and their proportions, as measured 
 and demonstrated by the monochord. See that word. 
 
 Harmonic. The epithet given to the accessary sounds 
 generated by the primary sounds of any sonorous body. 
 
 Harmonic Evolution. That motion, or change, in har- 
 mony, by which its impression is relieved and enforced: the 
 manner of a modulation, rather than the modulation itself; 
 and which may be poor and ineffective, even when the mo- 
 dulation is correct and scientific : and vice versa. 
 
 Harmonic Hand. The musical diagram of Guido. See 
 Guidonian Hand. 
 
 Harmonic Modulation. Mo- 
 dulation effected by the evolu- 
 tions of harmonic combinations : 
 as from the harmony of C to 
 that of F; thus— Ex. V 
 
 Harmonics. The harmony produced by every musical 
 sound in combination with its natural resonances ; i. e. its 
 twelfth and seventeenth. It was upon this beautiful prin- 
 ciple that the French speculatist, Rameau, founded his 
 system of harmony and melody, and built his whole theory of 
 concords, discords, and modulation. See Generating Sounds. 
 
 Harmonics, on the Harp. The harmonic sounds of the 
 harp constitute one of its most beautiful and striking ef- 
 fects. These sounds are produced with the right hand, 
 by gently pressing the string exactly in the middle with the 
 first joint of the first finger, in a bent position, while the 
 thumb gives the note. See Bochsa's works on Harp Per- 
 formance. 
 
 Harmonious. Agreeable, consonant ; the reverse of 
 dissonant. 
 
 Harmonist. One who is master of the laws of harmony, 
 the bearings and dependencies of its several parts, and of 
 the principles of its transitions. 
 
 Harmonized. When between an air and its bass ad- 
 ditional parts are interposed, in order to produce a fulness; 
 and solidity of effect, that air is said to be Harmonized. 
 
 Harmonizer. A musician who interposes harmonical 
 parts between a treble and bass, thereby rendering full and 
 rich what before was scanty and meagre. He also is a 
 
 85 
 
H A R 
 
 Harmonizer who adds a bass to a melody, or forms a score 
 of any kind. 
 
 Harmonometre. A monochord furnished with moveable 
 bridges, by which it is rendered capable of being divided 
 at pleasure. 
 
 Harmony. The concordance of any plurality of sounds. 
 Simply considered, Harmony comes under this definition: 
 but when viewed as it regards composition, it takes a 
 higher stand, includes a union of parts not only consonant 
 in respect of each other, but which are scientific, if not 
 melodious, in their intervals, and which, in their evolutions 
 and progress, observe the rules of preparation, resolution, 
 and all the various laws of modulation. That the difficulty 
 of producing Harmony, in this extended sense of the word, 
 has been much augmented by the refined compositions of 
 modern genius, is certain ; but modern industry, by its 
 grammars and learned treatises, has thrown much novel 
 light on the subject, and cannot but encourage every true 
 aspirant. 
 
 Harp. A well-known stringed instrument, the corda- 
 tura of which consists of semitonic intervals, and whose 
 scale includes the general compass. Though the Harp (a 
 favourite instrument of the ancients, both Jews and Pa- 
 gans) was cultivated in Ireland and Wales before it was 
 known in England, (see Welsh Harp) its introduction here 
 was early. What might be its state when first used in 
 this country, it is now impossible to say; but modern inge- 
 nuity has brought it to such high perfection, as to have 
 rendered it a most elegant and attractive instrument. Its 
 greatest improvement was that by which its pedals ob- 
 tained a two-fold action : for though, in the single-action 
 Harp, the pedals like those of the double-action harp, are 
 but seven in number, yet, by giving the performer the 
 means of raising the open notes two semitones, they afford 
 him new powers, and add to the variety, as well as the ex- 
 tent, of the effect. 
 
 The natural key or scale of the double-action harp being 
 that of C flat, when it is to be accompanied by any instru- 
 ment, the C flat of that instrument must be the standard 
 note by which the harp is tuned. 
 
 The process will commence with giving the proper pitch 
 to the string corresponding with the C on the third space 
 in the treble-cliff stave. This effected, the C immediately 
 86 
 
H A R 
 
 beneath it will be tuned an octave lower. The note, G, will 
 then be tuned a fifth higher than the lower C: after which, 
 the three notes, C, G, C, being struck together, will demon- 
 strate whether they are, or are not, in perfect concordance. 
 
 This process of tuning by fifths being continued till the 
 three notes, E, B, E, are arrived at, as shown in the follow- 
 ing example, and consequently, the ten strings from the 
 lower C to E on the fourth space all tuned, the remaining 
 strings above that E, and beneath that C, will be tuned in 
 octaves. Ex. 
 
 a r\ r\ 
 
 -#- -0- -9- W W: 
 
 Is 
 
 The natural key or scale of the single-action harp is E 
 flat ; and the process of tuning it will be as follows : — Ex. 
 
 I 
 
 The remaining notes, as in tuning the double-action harp, 
 will be tuned in octaves. 
 
 For the very useful invention of harp-pedals, the musi- 
 cal world is indebted to the ingenious M. Simon of Brus- 
 sels, who first introduced them, between sixty and seventy 
 years ago ; and thereby improved the instrument in more 
 respects than one ; since, from the consequent reduction of 
 the number of strings, its vibrations became more free and 
 sonorous. — In its present state of perfection, how different 
 an instrument is the Harp from that rude frame with seven 
 strii gs which Orpheus struck with his ivory plectrum ! 
 
 Harpist. One who performs on the harp. The pro- 
 fession of a Harpist is one of the oldest in Europe ; and has 
 not been longer exercised any where than in this country, 
 Ireland, and Wales. The execution displayed by the pre- 
 sent superior performers on this instrument is highly etfec- 
 
 87 
 
H A R H E L 
 
 tive ; and if, in former days, the Harpist could inflame the 
 hearts of heroes, and urge the coldest to battle, now he can 
 awaken the softer passions, and excite the admiration of 
 the tasteful. - 
 
 Harper. A harpist. See that word. 
 
 Harp-Lute. A stringed instrument of recent invention. - 
 In shape, it equally resembles the harp and the guitar ; has 
 frets, like the latter; possesses twelve strings ; \ields an 
 agreeable though not powerful tone, and is of a portable size. 
 
 Harpsichord. An instrument of the harp species, fur- 
 nished with keys, which, like those of the organ and piano- 
 forte, enable the performer to strike many notes simultane- 
 ously, and consequently to play in chords ; from which ad- 
 vantage it is supposed to have originally derived its English 
 name. Till the invention of the Piano- Forte, the Harpsi- 
 chord (an improvement upon the Clarichord, or Spinet) was 
 universally practised, and deemed not less indispensable to 
 the orchestra, than to the chamber. In Italy, this instru- 
 ment has the name of Clave Cymbala, and in France, is called 
 a Clavecin. The earliest mention of the harpsichord is in 
 1536. The instrument was then of two kinds ; single and 
 double. The single harpsichord had two unisons, and was, 
 in effect, the double spinet, or virginal ; and the double 
 harpsichord had two unisons and an octave ; to which, about 
 the year 1770, the ingenious mechanician, Merlin, added a 
 third unison. 
 
 Hautboy. A wind instrument blown at one end, through 
 a moveable reed. Its compass commences at the lowest C 
 in the treble, and, by good performers, may be extended to 
 D or E in alt. It is a peculiarity of the Hautboy, that its 
 scale contains every semitonic interval except one ; that it 
 has not the sharp of its lowest sound. 
 
 Hautboyist. One who plays on the Hautboy. 
 
 Hkad — of a Note — The round part from which the tail, or 
 stem, proceeds ; — of a Violin — the part in which the pins or 
 pegs are screwed ; of aDrum — the part beaten by the drummer. 
 
 Helicon. An ancient instrument, the use of which was 
 to measure and regulate the consonances. By whom the 
 Helicon was invented has never been ascertained, though 
 some writers attribute its formation to Ptolemy. Since his 
 time, it has, however, been greatly improved, partly by 
 Zarlino, partly by Salinas, and partly by other ingenious 
 theorists. 
 8S 
 
H E M H I S 
 
 Hemidiapente* (From the Greek.) An imperfect fifth. 
 See False Fifth. 
 
 Hemiditone. (Greek.) In the ancient music, a term 
 significative of an interval that is less than that of a major 
 third, yet not so small as that of one whole tone. There- 
 fore in this compound expression, the two syllables, Hemi> 
 do not, as generally, imply half, but simply diminution. 
 
 Hemiope. (Greek.) A musical tube with three holes r 
 an ancient Fistula, or Flute. 
 
 Hemitone. (From the Greek.) An interval less than a 
 whole tone, but not so small as a semitone. 
 
 Heptachord. (From the Greek.) An interval of seven 
 degrees : also a lyre with seven chords or strings. See 
 Seventh. 
 
 Herauts. One of the names formerly given by the 
 French to those of their minstrels, the strength and clear- 
 ness of whose voices qualified them for the office of public 
 Herald, 
 
 Hexachord. (From the Greek.) In the ancient music, 
 an interval of a sixth : Hexachord was also the name of a 
 lyre of six strings. 
 
 Hibernian Melodies. The ancient and genuine melo- 
 dies of Ireland ; t. e. the sweet, wild airs of the old masters 
 of the " Harp of Erin." 
 
 Hidden. A term in harmony, implying a passage in 
 which two consecutive fifths (forbidden in composition) 
 may be imagined, though, in appearance, they are avoided. 
 
 High. Acute, sharp, elevated. An epithet applicable to 
 any note, the station of which is towards the top of the 
 scale of the voice or instrument by which it is sounded, 
 A voice is also said to be high, when its upper notes exceed 
 in acuteness those of the generality of Voices of the same 
 denomination. 
 
 Hilarodi. (Greek plu.) Those itinerant, musical poets,, 
 who contented themselves with chanting about the country, 
 trifling, humorous strains. They were richly dressed, their 
 vociferations were accompanied by instruments ; and by 
 degrees, they obtained a degree of consideration that raised 
 them to the tragic stage, where their performances were 
 favourably received. See Magodi. 
 
 Hilarodia. (Greek.) Short lyric poems, sung in the 
 highways by the Hilarodi. 
 
 Histrio. An actor or stage vocalist of ancient times. 
 
 89 
 
HOC 
 
 HUN 
 
 Hocket. Formerly, a rest placed after a note, in order 
 to shorten its duration, r\ 
 
 Hold. That short, curved line drawn over a point, and 
 the use of which is, to signify a pause on the note or notes, 
 to which it refers. 
 
 Holding-Note. A note in one part of a composi- 
 tion, which is prolonged or held on, while the notes of 
 another part are changing, or moving. 
 
 Homologous. (From the Greek.) Those parts in the 
 several tetrachords of the ancients which corresponded with, 
 each other, were said to be Homologous. 
 
 Homophonoi. (From the Greek.) Unisons. 
 
 Homophony. (From the Greek.) A unison of sound. 
 A term used in contradistinction to the word Antipkony. 
 See Antiphony. 
 
 Horizontal Grand Piano-Forte. An instrument form- 
 ing a noble improvement of its prototype, the Square Piano- 
 Forte. Its great superiority to the latter is derived from 
 two principal causes ; its possessing three sets of strings 
 instead of only two, and having so much larger a body, or 
 case. Hence its stronger and more brilliant vibration; 
 while the higher finishing in its mechanism produces a 
 kinder and a more elegant touch, and more free and obedient 
 action of its pedals. 
 
 Horn. A well-known wind-instrument, chiefly used by 
 huntsmen, to animate the hounds and give spirit to the 
 chase. This is the old, common Hunting Horn ; which has 
 been so far exceeded, in every respect, by the French Horn 9 
 as, for a considerable time, to have been little in use. 
 
 Horn-Pipe. The name of an old wind-instrument ; also of 
 any air with which a certain dance is accompanied ; a dance 
 of English origin, the measure of which is that of nine 
 crotchets in a bar, and which likewise is known by the ap- 
 pellation of Hornpipe. 
 
 Humorous Songs. Songs descriptive of, or allusive to, 
 curious persons or circumstances, and the melodies of which, 
 are of the lightest and most familiar character. 
 
 Hunting Music. See Alia Caccia. 
 
 Hunting Song. A short lyric poem in praise of hunting, 
 and the melody of which should partake of the spirit of the 
 
 without quickening the 
 time : as thus — 
 
 Ex. 
 
 90 
 
HUR 
 
 H Y M 
 
 chase. With the decline of the amusement of hunting, 
 that of the huntsman's strain seems to have kept pace. 
 Modern Hunting Songs are few; and even in those few, 
 we miss the manly simplicity, and glowing exultation 
 which gave life and energy to the vociferations of our 
 sporting forefathers. 
 
 Hurdy-Gurdy. An instrument, the tones of which are 
 produced by the friction of a wheel with which it is furnished, 
 and the strings, which are so disposed as to be vibrated by 
 the wheel's revolution. The latter being put in motion by 
 one hand, the tones are modulated by the action of the 
 iinerers of the other hand on the keys, their pressure upon 
 which brings the strings successively in contact with the 
 wheel's surface. 
 
 Hydraulica. An aquatic organ of ancient invention, 
 but of the particulars of which little more is now known, 
 than that it was actuated by water, and that its numerous 
 pipes were capable of producing an ample variety of har- 
 mony. Were not the reality of a musical instrument 
 vocalized by the influx of water, verified by so many, and 
 such respectable, concurring accounts, we might reasonably 
 doubt the fact : but Athenaeus speaks of it as the invention 
 of Ctecibius ; and Plutarch, in his life of Phocion, directly 
 alludes to it; while Claudian extols the power of its innu- 
 merce voces. 
 
 Hymee. (Greek.) Song of the Millers. A song of the 
 ancient Greeks, so called, because chiefly sung by millers 
 and their men. 
 
 Hymentea. An epithalamium, or nuptial song, called by 
 the Greeks Hymencea, because it had relation to Hymen and 
 his rites. 
 
 Hymn. Originally, a song in honour of the heathen 
 deities ; but which, having descended with other forms of 
 lyric composition, to times of Christianity, has, long since, 
 been received into the church ; and, with various sects, 
 forms at this day a part of divine worship. St. Hilary has 
 the credit of having set St. Ambrose and Prudentius the 
 example of writing and composing Hymns, and the latter 
 is allowed to have introduced them into the breviary ; whence, 
 with very little variation in their style, they have passed 
 into almost every religious meeting and conventicle in 
 Christendom. 
 
 Hymn of Battle. A choral prayer preferred by the 
 
 91" 
 
hym — : 
 
 HYP 
 
 ancient armies, for victory over the enemies with whom 
 they were about to be engaged. 
 
 Hymn Tune. A short, simple, solemn species of melody, 
 adapted to the pious purpose of praising, or imprecating 
 the Creator. 
 
 Hvpate. The lowest tetrachord, or series of four 
 sounds ; and the gravest sound of each of the two lowest 
 tetrachords was by the Greeks called the Hypate or Prin- 
 cipal. 
 
 Hypate Diatonus. (Greek.) The name given by the 
 Greeks to the third sound of their first tetrachord. 
 
 Hypate-Hypaton. (Greek.) The appellation by which 
 the gravest sound of the lowest tetrachord was distin- 
 guished by the ancients, as being that which they con- 
 sidered the Principal of the principles. 
 
 Hypate-Meson. That sound which constituted the 
 highest of the first tetrachord, and the lowest of the second 
 tetrachord. 
 
 Hypatoides. (Greek.) That general name under which 
 the Greeks ranked their deep, or grave sounds. 
 
 Hyper. (Greek.) Above, or higher ; as, Hyper- Lydian, above 
 the Lydian ; Hyper- Phrygian, above the Phrygian. 
 
 Hyper -JEoli an. (Greek.) The epithet by which the 
 Greeks distinguished that of their modes which was a 
 fourth higher than the Molian. 
 
 HyperboluEan. (Greek.) The Greeks applied this epithet 
 to their fifth tetrachord, because that tetrachord was the 
 highest, or supreme. 
 
 Hyper-Diazeuxis. (Greek.) When two tetrachords were 
 divided from each other by the interval of an octave, that 
 disjunction was denominated an Hyper-Diazeuxis. 
 
 Hyper-Dorian. The Hyper- Dorian, or Mixolydian mode, 
 was a fourth higher than the Dorian. See Mixolydian. 
 
 Hyperiastjan. (Greek ) The Hyperiastian, or Hyper- 
 Ionian mode, was a fourth above the Ionian. 
 
 Hyperlydian. (Greek.) That mode of the Greeks which 
 was a fourth higher than the Lydian. 
 
 Hyper-Mixo-Lydian. See Hyperphrygian. 
 
 Hyperphrygian. (Greek.) The Hyperphrygian, or Hy- 
 per-Mixo-Lydian mode was an octave above the Dorian. 
 
 Hypo. (Greek.) Below, or lower ; as Hypo- Phrygian, 
 lower than the Phrygian ; Hypo-JEolian, lower than the 
 Molian. 
 
 92 
 
H Y P 1 L C 
 
 Hypo-^Solian. That mode which was a fourth lower 
 than the Molian. 
 
 Hypocritic. (Greek.) The epithet applied by the 
 Greeks to the generality of their vocal performances, be* 
 cause they were accompanied with much of that gesticula- 
 tion which is below criticism. 
 
 Hypo-Diazeuxis. (Greek.) The interval of a fifth when 
 found between two tetrachords. 
 
 Hypo-Dorian. The Hypo-Dorian mode was the gravest 
 of the modes, and a fourth below the Dorian mode. 
 
 Hypo-Iastian. (Greek.) See Hypo-Ionian. 
 
 Hypo-Ionian. (Greek.) That of the Greek modes which 
 was a fourth below the Ionian. 
 
 Hypo-Lydian. (Greek.) The name of a Greek mode 
 which was a fourth below the Lydian. 
 
 Hypo-Mixo-Lydian. (Greek.) The plagal mode of the 
 Mixo-Lydian ; added by Guido to the ancient modes. 
 
 Hypo-Phrygian. (Greek.) The Hypo-Phrygian mode 
 was a fourth lower than that of the Phrygian. 
 
 Hypo-Proslambanomenos. (Greek.) The appellation 
 given to the sound added by Guido to the scale of the 
 Greeks. It was one tone lower than their Proslambano- 
 menos, or lowest. The sign by which the monk of Arezzo 
 distinguished this additional sound, was the Gamma; and 
 hence, to this day, it is called G Gamut. See Gamut. 
 
 Hyporchemes. (From the Greek.) A military or tri- 
 umphant song, sung by the ancient Greeks on joyful, or 
 solemn occasions. The singer was accompanied by flutes 
 and lyres, and the concording motions of the dancers 
 heightened the effect of the festive ceremony. 
 
 Hypo-Synaphe. (Greek.) When between two tetra- 
 chords an interval existed which was equal to, and occupied 
 by a third tetrachord, the Greeks called the disjunction a 
 Hypo-Synaphe. 
 
 I. 
 
 Iambics. Iambics, musically speaking, were (with the 
 ancients) of two kinds, the one consisting of verses, the 
 recitation of which was accompanied with instruments ; and 
 the other of strophes, which were sung without any accom- 
 paniment whatever. 
 
 Il Canto. (Ital.) Singing. 
 
 Il Colorito. (Ital.) In dramatic singing, the adapta- 
 
 93 
 
I L P 1 M M 
 
 tion of the style, manner, and intonation, to the character 
 represented. 
 
 Il Passo Tempo. (Ital.) A Pastime ; a little piece, or 
 collection of little pieces, intended for the diversion of the 
 moment. 
 
 Il Ponticello. (Ital.) That part of a man's voice 
 where the natural tones come in contact with the feigned ; 
 where, passing, as we may say, over a Ponticello, or little 
 bridge, the voice is carried from the compass of nature, to 
 the falsetti, or constrained notes of art. 
 
 Il Sdrucciolare. (Ital ) An expression which, in 
 piano-forte music, implies a sliding of the finger along the 
 keys. 
 
 Il Volteggiare. (Ital.) An expression applied by 
 modern professors to the crossing of the hand in piano-forte 
 performance. 
 
 Imitando la Voce. An expression found in the accom- 
 paniments to vocal music ; and directing an imitation of the 
 tone and taste of the singer accompanied. 
 
 Imitation. In harmonic composition, a designed resem- 
 blance in some pari, or parts, to certain passages in some 
 other part, or parts, in the same piece. 
 
 Imitative. A term properly applied to music in all the 
 higher provinces of its operation. When copying the lan- 
 guage of the passions, and certain of the sounds and move- 
 ments of nature, it is Imitative, and capable of exciting in 
 the bosom corresponding emotions. The melting song of 
 the nightingale, the astounding roar of thunder, the tender 
 tale of love, and the boisterous ebullitions of rage, are 
 equally within the sphere of its expression ; and when em- 
 ployed in such expression, music is Imitative, and strongly 
 distinguished from that which is purely scientific; and, 
 however elaborate and ingenious, says nothing to the heart, 
 awakens none of its finer or nobler feelings. 
 
 Immediate Cadence. A Cadence at which we arrive im- 
 mediately from the harmony of the dominant. 
 
 Ex. Immediate Cadence. 
 
 
 
 
 
 
 o 
 
 i 
 
 
 
 
 
 
 
 <s> - 
 
 94 
 
 
 
 # - tt 
 
IMP- 
 
 IN A 
 
 Imperfect. Those chords which are not complete, and 
 those intervals which do not include all the degrees im- 
 plied by their appellations, are said to be Imperfect. For 
 instance — 
 
 Here, to complete the chord, E on 
 the first line is wanting-. 
 
 Here the chord does not contain 
 all the intervals proper to a perfect 
 fifth : i. e. it is Imperfect. 
 Imperfect Concord. The chord of the third and sixth.' 
 Imperfect Consonance. That consonance the interval 
 or intervals of which may be either major or minor. 
 
 Imperfect Measure. With the old masters, Imperfect 
 Measure was that which consisted of only two in a bar: 
 also called Binary Measure. 
 
 Imperfect Period. A period which fails to satisfy the 
 ear ; which leaves it in expectation of the final close. 
 
 Impresario. (Ital.) The manager or conductor of an 
 opera or concert. 
 
 Impromptu. A term implying a short extemporaneous 
 performance. See Extempore. 
 
 Improvvisare. (Ital.) To sing extempore ; to pour 
 forth verse and melody without premeditation. See Improv- 
 visatori. 
 
 Improvvisatori. (Ital ) Certain musical poets whose 
 profession is to recite and sing extempore, — a description 
 of poet-musicians for which Italy has long been remarkable. 
 
 In Alt. (Ital.) An expression applied to the seven 
 notes which lie between F on the fifth line in the treble- 
 clitF, and G in Altissimo. As thus — 
 
 i 
 
 M _ -m- 
 
 ± f f fe £ S 
 
 In Altissimo. (Ital.) All notes above F in Alt, are 
 said to' be In Altissimo. 
 
 In Altiss. The abbreviation of In Altissimo. See that 
 expression. 
 
 95 
 
I N C 1 N S 
 
 Incidental. Any vocal composition, the subject of which 
 is connected with the drama in which it is introduced, is, 
 as it regards that drama, Incidental. Thus — the song of 
 Ariel in the Tempest, and the Witches' chorus in Macbeth, 
 are Incidental to those plays. 
 
 Inconsonance. Discordance. 
 
 In Disparte. (Ital.) A scenic expression in the recita- 
 tive of the Italian Opera, directing a certain passage to be 
 addressed aside to some character not directly engaged in 
 the dialogue. 
 
 Infinite. An adjective applied to perpetual fugues, or 
 compositions which return into themselves, as in an Infinite 
 Canon. 
 
 Inflatile. The epithet by which wind-instruments are 
 distinguished from instruments which are stringed, or 
 pulsatile. 
 
 Inflection. That varied modulation by which the voice 
 adapts itself to the subject, or theme, on which it is en- 
 gaged. 
 
 In Fugue. A movement is said to be In Fugue, when 
 it consists of a given subject, the support of which forms its 
 principal feature. 
 
 Inganno. (Ital.) Deception. A word applied to that 
 preparation for a cadence which is not succeeded by one, as 
 expected, but is followed by a pause. 
 
 Iniziato. (Ital.) Initiated, informed ; beyond the state 
 of a tyro, or beginner. 
 
 Innocente. (Ital.) A movement to which the word 
 Innocente is prefixed, is intended to be performed in a style 
 free from all flourish, art, and affectation. 
 
 In Organo. (Ital.) An expression in the old music, 
 applied to compositions in more than two parts. 
 
 In Palco. (Ital.) A musical performance on a stage 
 is said to be In Palco. Formerly, this expression was much 
 more in use than at present ; especially when sacred musi- 
 cal dramas were performed at church, on a stage, and con- 
 stituted a part of the service. 
 
 Instrumental Anthem. An Anthem composed with in- 
 strumental accompaniments, and which cannot be properly 
 performed without their embellishment and support. 
 
 Instrumental Music. Music composed for instruments. 
 
 Instrumental Performer. One who performs on a 
 musical instrument. 
 96 
 
INT 
 
 Intavolare. (Ital.) To commit musical notes to paper, 
 or to a tablet ; to form a tablature of music. 
 
 Intavolatura. A musical tablature. See Intavolare. 
 
 Interlude. Something played or sung between the 
 acts of a drama. Interludes formerly consisted of short, 
 but regular, musical representations; and were introduced 
 between the divisions of a play, as ballets now are between 
 the acts of Italian operas. 
 
 Intermezzi. (Ital.) Detached dances or interludes, with 
 which the Italians relieve their operatic dramas. 
 
 Intermezzo. (Ital.) A little opera, or musical drama, 
 not forming the principal piece performed, but only an 
 interposed relief. 
 
 Interrupted. When passages that would naturally 
 lead to a close, are prevented from so doing, by that posi- 
 tion of the bass which avoids the falling, or rising, from the 
 fifth to the key note, the expected course of the closing 
 harmony is said to be Interrupted. 
 
 Interval. The division between any two sounds which 
 differ in their pitch ; i. e. in their acuteness or gravity. 
 This interval, of course, will be less or greater, as their 
 difference in pitch is less or greater, and will be marked or 
 designated, according to the proportion it bears to some 
 entire or aggregate interval. This entire Interval (in mo- 
 dern music) is that of a whole tone ; and the lesser inter- 
 vals are but parts of a whole tone ; as the semitone, or 
 half-tone ; and the diesis, or quarter tone. 
 
 Intonate. To give to the tones of the voice, or of 
 an instrument, that richness of sound, and fulness and pro- 
 priety of expression, which, occasionally relieved by delicacy 
 and pathos, produces that just and impressive effect which 
 constitutes the principal beauty in performance. 
 
 Intonation. The giving to the voice that fulness and 
 variety of tone most favourable to impassioned and affect- 
 ing expression. A good intonation is a valuable quality, 
 either in vocal or instrumental performance, and by judi- 
 cious practical musicians will never be neglected. 
 
 In Triplo. (Ital.) A term in the old music, applied to 
 compositions in three parts. 
 
 Introduction. The opening movement of any piece : 
 that movement by which the attention is bespoken, and 
 the ear prepared, for the subsequent portions of the com- 
 position. 
 
 F 97 
 
int — : 
 
 ■BR 
 
 Introductory. An epithet applicable to all preparative 
 movements ; to all movements which, instead of forming a 
 part of what may be properly called the body of the compo- 
 sition, is no more than an introduction to it. 
 
 Introduttorio. (Ital.) See Introduction. 
 
 Introitus. That vocal part of the Romish service which 
 takes place when the priests enter. 
 
 Introduzione. (Ital.) See Introduction. 
 
 Inversion. A change of position. Inversion is two-fold, 
 and may display itself either in a subject or a chord. A 
 subject is inverted, when carried from one fart of a score to 
 another, as from the base to the tenor, from the tenor to 
 the treble, &c. &c. A chord is inverted, when the position 
 of its component notes is changed ; that is, when that note, 
 or those notes, of it which bore a certain relation to the 
 bass, cease to hold the same station in the chord. 
 
 Inverted. Changed in position, See Inversional Chords. 
 
 Io Bacche. A joyous burden in the ancient lyric poetry. 
 
 Inversional Chords. Common chords, n o 
 
 the bases of which consist of the —y- g| 
 
 third or fifth of the key, instead of the Mj- 
 
 keynote. Ex. 
 
 Here is the common chord of G, with B, the third of G, for 
 the bass. 
 
 Inverted Turn. That ornament of a note, which con- 
 sists of the prefixture of three notes, viz. the semitone 
 
 below it, the anticipation of the note r\ «ggg 
 
 itself, and the note above : as thus — 
 
 E 
 
 %J 
 
 Ionian. (Greek.) An epithet applied to one of the five 
 middle modes of the Greeks. 
 
 Io Triumphe. An expression of exultation with the an- 
 cient Romans, and often found in their lyric poetry. 
 
 Irish Tunes. Melodies of Irish origin ; the chief cha- 
 racteristics of which are sweetness, wildness, and pathos. 
 
 Irregular Period. That period which, by a false, or im- 
 perfect cadence, interrupts, or suspends, an expected final 
 close. 
 
 Irrelative. An adjective applicable to chords and to 
 keys, or scales, which have between them no connecting 
 tie ; as when two chords are without any note that is com- 
 98 
 
ISO 
 
 k KER 
 
 mon to both ; or two scales, which, though similar in their 
 formation, are too differently situated in the great system 
 of sounds to be naturally mingled, or brought into junction. 
 
 Isochronous. A term relating to time, and which implies 
 an equality of beating, or pulsatile action. 
 
 Istesso. The same. 
 
 Istromento Musico. (Ital.) A Musical Instrument. 
 J. 
 
 Jaleme. (Greek.) The name of the old Grecian Song of 
 Lamentation. 
 
 Jargon. A mixture of confused and discordant sounds. 
 
 Jig. A light, cheerful air, so generally in the measure of 
 six quavers, that quick movements in that measure are 
 always said to be in jig time. 
 
 Jingles. The loose pieces of tin placed round a tam- 
 bourine, to augment the noise of the instrument. 
 
 Joculator. A Jongleur. See that word. 
 
 Jongleurs. Wandering musicians of the twelfth and 
 thirteenth centuries, who travelling from one French pro- 
 vince to another, either composing and singing their own 
 works, or attending those bards who composed for them- 
 selves, but were obliged to hire singers and musicians. 
 
 Jube. An ancient Greek hymn, sung in honour of Ceres 
 and Bacchus. 
 
 Jubilee. A holy rejoicing which commenced with the 
 Hebrews, and from them descended to the Christians. 
 With the latter people, Jubilees are said to have first taken 
 place in the time of Boniface the Eighth. Music has al- 
 ways formed a prominent part of these festivals ; the 
 periodical observance of which is still held sacred, and con- 
 stitutes the grandest solemnity of the Romish church. 
 
 K. 
 
 Keeners. The singers formerly engaged by the friends 
 and relations of the deceased Irish, to mourn in vocal verse 
 over the surrounded corpse. The vociferous ceremony was 
 always performed during the night, and the lamentation, or 
 vXlaloo, was generally accompanied by the harp. 
 
 Keranim. The sacerdotal trumpet of the ancient Hebrews. 
 
 Keras. One of the names of the ancient Hydraulica, or 
 Water Organ. See Hydtaulica. 
 
 F2 99 
 
K E Y K Y R 
 
 Key. A note, or scale of notes, which, as a fundamental 
 sound, or series of sounds, bears upon and impresses the ear 
 by its determined and predominant character. The key-note 
 is that to which all the sounds of a particular scale have 
 their respective references, and which forms the lowest or 
 fundamental sound of that scale ; and the key, or scale itself, 
 is that series of sounds which not only is founded on a par- 
 ticular note, but which constitutes a certain mixed succession 
 of whole tones and semitones ; a succession so arranged as to 
 form a diatonic serres, either in the major mode, or the minor 
 mode. On account of this double reference of the term 
 key — that is, its sometimes confining its meaning to the key- 
 note, and sometimes extending its signification to the whole 
 scale, it is indifferently applied to both. 
 
 Key-Board. An expression sometimes signifying the 
 whole range of keys in an organ or piano-forte ; and some- 
 times used as the name of an instrument employed for di- 
 viding the intervals of the octave. 
 
 Keys of an Organ or Piano-Forte. Those little balanced 
 levers in the front of an organ or piano- forte, which receive 
 the fingers of the performer, and by causing the pipes of the 
 one instrument to receive the wind, or the strings of the 
 other to be vibrated, produce the intended effect. 
 
 King of the Minstrels. The name given the chief 
 appointed over the Menestraudite, or Minstrels of Paris, by 
 Philip Augustus. On account of their irregular habits and 
 licentious manners, they were wholly subjected to his au- 
 thority ; but that restraint not proving sufficient, he banished 
 them from France. 
 
 Kinor. The name given by the Hebrews to the harp 
 with which David cured Saul. 
 
 Knell. The tolling of a funeral bell. 
 
 Krumhorn. A wind-instrument not unlike a bassoon, or a 
 small cornet. The Krumhorn was formerly so much in favour, 
 that organ-builders were induced to introduce an imitation 
 of it in their instruments, under its proper appellation, 
 ivhich has been gradually corrupted into the misapplied name 
 of Cremona. 
 
 Kyrie. (Greek.) Lord. The word with which masses 
 and sacred compositions so frequently commence, that it is 
 used as a general appellative. Every church production 
 beginning with it, is called a Kyrie. 
 100 
 
L LA U 
 
 L. 
 
 L, a Letter used in piano-forte music, to intimate that 
 the note or notes over which it is placed, should be per- 
 formed with the left hand. 
 
 La. Guido selected this monosyllable for the nominal of 
 the higher note of each of his hexachords. In the scale of 
 C, La corresponds with our note A. 
 
 La Chasse. (French.) A piece composed in the hunting 
 style, generally has its species designated by this expres- 
 sion. 
 
 Lachrimoso. (Ital.) Literally, tearful; but figuratively, 
 mournful, pathetic. 
 
 Lamentations. The funeral music of the ancient Jews, 
 which was vocal and instrumental. It chiefly consisted of 
 female voices, accompanied with flutes ; and so universally 
 was it used, that the poorest family was expected to follow 
 their deceased relative, attended by at least one singer and 
 two instruments ; and if they were wealthy, no preparation 
 or expense was spared, to give pomp and dignity to the- 
 occasion. 
 
 Lamentatrices. Among the ancient Hebrews, those 
 female vocalists whom they hired to Aveep and sing at, 
 funerals. 
 
 Lamentazione. (Ital.) A composition, the expression of, 
 which is directed to some calamitous subject or circumstance. 
 
 Lamentevole. (Ital.) An adverb implying a slow and 
 plaintive style of performance. 
 
 Laments. The ancient name of the pathetic tunes of the 
 Scotch ; and by which they are pretty generally designated 
 to this day. 
 
 Languemente. (Ital.) In a plaintive, languishing style. 
 
 La Prima Intentione. (Ital.) A composition in its first 
 or original state ; in the form it bore before it underwent 
 any improvement. 
 
 Large. The longest note formerly in use ; a note equal 
 to eight semibreves. 
 
 Larghetto. (Ital.) Somewhat less slow than Largo., 
 See that word. 
 
 Largo. (Ital.) Slow. 
 
 Largo di Molto. (Ital.) Very slow. 
 
 Laudi. Certain sacred canticles sung to the Virgin and 
 f 3 101 
 
LAV- 
 
 LED 
 
 the Saints. They are of Italian origin, and differ from our 
 hymns inasmuch as they are not in the ballad form ; i. e. 
 they do not consist of a series of verses, each of which is 
 repeated to the same notes. 
 
 La Volta. The tune of an old lively and active dance 
 known by the same name. 
 
 La Volte. See La Volta. 
 
 Laus Perennis. (Lat.) The Perpetual Psalmody esta- 
 blished in the city of Antioch in the early periods of the 
 Christian church, and still preserved there by an order of 
 monks. 
 
 Lay. A species of French lyric poetry, formerly much 
 in use, and which borrows its present name from the Anglo- 
 Saxon word, Ley, of which it is a corruption. At different 
 periods, this word has borne different meanings in respect 
 of the form and quantity of that for which it stood ; but now 
 it signifies any little light song or air, and has been so con- 
 sidered by our lyric poets. 
 
 Lay-Clerk. One who is a vocalist in a choir, but not an 
 ordained priest. 
 
 Laymen. Cathedral officiates whose duties and qualifi- 
 tions go no further than joining in the chants and anthems 
 of the service. 
 
 Leader. He who plays the first or principal violin at a 
 concert. 
 
 Leading-Note. The sharp seventh of any key. 
 
 Leaning-Note. A small accessary note introduced to 
 smooth and soften the effect of certain distances. See 
 Appoggiatura. 
 
 Le Chant Royal. (French.) The name formerly given 
 by the French to the choral hymns sung to the Virgin by 
 the pilgrims on their return from the Holy Land. 
 
 Lecture Board. A black perpendicular painted board, 
 of a square form, with a number of large white staves drawn 
 on it. The use of this board is, at present, confined to the 
 Logierian system of instruction; but in almost any mode of 
 tuition, it would so greatly tend to magnify the means of 
 conveying musical information, that it may be expected to 
 be hereafter very generally used. 
 
 Ledger Lines. Extra lines added to those of a stave, to 
 receive such notes as, on account of their height, or depth, 
 cannot have place within the stave. Ex. 
 102 
 
L E F L I C 
 
 Notes too low to be contained 
 • within the stave. 
 
 i 
 
 Notes too. Az'^f/i to be contained 
 within the stave. 
 
 Left Hand, or L. H. See L. 
 
 Legare le Note. (Ital.) To join or connect the notes. 
 
 Legato. (Ital.) A word implying a close gliding manner 
 of performance. 
 
 Legerement. (French.) Lightly, gaily. 
 
 Legatissimo. (Ital.) In the closest and most gliding 
 manner. 
 
 Leggiardo. (Ital.) See Legerement. 
 Leggierissimo. (Ital.) In the lightest and freest manner. 
 Leggiermente. (Ital.) Lightly, easily, freely. 
 Leggiero. (Ital.) In a light, free, easy manner. 
 Lentando. (Ital.) With increasing slowness. 
 Lentement. (French.) Slowly, languidly. 
 Lentemente. (Ital.) See Lentement. 
 Lento. Slow. 
 
 Lent. The abbreviation of Lento. 
 
 Lesson. The instruction given by a master at any one 
 visit. Formerly the word Lesson was also applied to exer- 
 cises for the harpsichord or piano-forte, instead of the term 
 Sonata, now universally adopted. 
 
 Liaison. (French.) A Tie: a curve drawn from the head 
 of one note to the head of another. 
 
 Libretto. (Ital.) Little Book. The book containing the 
 words of an opera, and sold at the theatre on the nights of 
 performance. 
 
 License. That liberty in composition allowed to masters 
 who are capable of compensating the wilful violation of 
 some of the rules of science, by throwing in extraordinary 
 beauties ; by snatching a grace " beyond the reach of art," 
 and demonstrating that real genius can charm away our 
 sense of error, and make us gainers by a bold neglect. 
 
 License ok Time. That liberty which is taken with the 
 proper or legitimate value of notes, when three are per- 
 F 4 103 
 
L I G L O C 
 
 formed in the time of two, five in the time of four, or 
 nine in the time of eight ; and which liberty is thus an- 
 nounced : Ex. 
 
 -pj — p 
 
 
 * 
 
 
 
 
 3 
 
 
 Here, the figures 3, 5,9, indicate an excess, and the curves 
 embrace the notes affected. 
 
 Ligatures. Those horizontal, or oblique ties, which arc 
 
 drawn across the stems of c m m 
 
 quavers, semiquavers, &c. to -ft— y#-F" T' L~P~fe 
 denote their rank in point 
 of length or duration. Ex. 
 Here, the stems of the notes having two ties or Ligatures, 
 they are known to be semiquavers. 
 Here, the stems of the notes 
 liaving three ties or Liga- 
 tures, they are known to be 
 demisemiquavers. 
 
 Light. A word popularly applied to compositions, when 
 they are thin, airy, or frivolous ; but which, when techni- 
 cally used, expresses the lightness or easiness of the touch 
 of the keys of an instrument ; i. e., of an organ, or piano- 
 forte. 
 
 Lines. Those horizontal parallels, five of which, to- 
 gether with the four spaces between them, constitute a 
 stave. Guido has the credit of being the inventor of the 
 lines of the stave, which lines only were at first used : but 
 who suggested the idea of occupying the spaces, is not 
 known. 
 
 Liquid. A word, both adjectively and metaphorically 
 applied, either to a smooth, mellifluous succession of 
 sounds ; or to the sweet, mellow tone of a single sound, 
 whether of a voice, or of an instrument. 
 
 Lira Grande. (Ital.) See Viol da Gamba. 
 
 L'Istesso. (Ital.) The same; as Fa I'Istesso, do the 
 same ; or do it in the same manner. See Istesso. 
 
 L'Istesso Tempo. (Ital.) In the same time; i. e., the 
 same time as the previous movement. 
 
 Loco. (Ital.) The abbreviation of Suo Loco. "Where- 
 104 
 
L O C L O G 
 
 ever this word appears, the passage is to be played as writ- 
 ten, instead of an octave higher. 
 
 Loco Pedale. (Ital.) Words implying, that where they 
 are written, the notes are to be played as they stand on the 
 paper, and that the pedal is to be used. 
 
 Lodi. Certain spiritual songs. See Laudi. 
 
 Logierian System. A mode of musical instruction, which 
 combines with the art of cultivating piano-forte perform- 
 ance, that of communicating the harmonic theory, and the 
 principles of composition. 
 
 To effect the first of these objects, a newly-invented 
 apparatus called a Chiroplast, or hand-director, is employed, 
 (See Chiroplast,) the purpose of which is, to ensure a proper 
 position of the hand, correct fingering, and a graceful exe- 
 cution. The course of tuition commences with the lessons 
 and rules contained in an instruction book, forming a com- 
 panion to this Hand- director. When the pupils have passed 
 through these, they are introduced to another work, entitled 
 The Sequel, containing exercises in the style of variations, 
 and grounded upon the harmonies of the lessons in the 
 former work. These (adapted to the progressive improve- 
 ments of the pupils) are first played as distinct and separate 
 exercises, and then in concert with those in the Companion 
 to the Chiroplast; by which a practical knowledge of time 
 (scarcely attainable by any other means) is speedily* 
 acquired. The elementary province of the art of piano- 
 forte performance thus passed through, the pupils proceed 
 to the higher task of practising the best ancient and modern 
 work ; after which, they begin to unite with their practical 
 acquirements, the studies of harmony and composition. 
 Here, another work of the inventor of this mode of musical 
 instruction, called A System of the Science of Music, is 
 brought into operation : and when the pupils have been 
 sufficiently exercised on its elementary precepts, they are? 
 supplied with themes, or subjects, to which they furnish, 
 the harmonic parts, figuring the basses. They now enter 
 upon the study of modulation, and elaborate evolutions of 
 harmony, in their simultaneous performance of which,, 
 they are accompanied by the preceptor, who, at a separate 
 piano-forte, extemporises on the harmony thus produced ; 
 by which the noviciates insensibly attain ideas of extempo- 
 raneous performance. After this preparation, they are in- 
 troduced to the works of Corelli, Handel, Haydn, Mozart, 
 
 * 5 105 
 
lo v — : 
 
 L YD 
 
 Clementi, Beethoven, and other first-rate composers. These, 
 fingered for them throughout, and supplied with figured 
 and fundamental basses, played by them in concert, and 
 analysed by the preceptor, form exercises at once theoreti- 
 cal and practical ; and bring the students acquainted with 
 rhythm, the construction of musical phrases, the various 
 styles of composers, and whatever is necessary to render 
 them sound theorists, and correct and effective performers. 
 
 Love-Song. A song, the subject of which is amatory 
 attachment, and the melody of which should be the most 
 simple and tender. 
 
 Love-Strains. Strains dear to poetry and to music ; — 
 strains the tenderness and pathos of which must live, not 
 only in the melody of the words, but in the language of the 
 melody. While verse describes, music must paint, the most 
 generous and delicate of the passions. 
 
 Love-Viol. Formerly, an instrument of the violin 
 species, the tone of which was remarkable for its delicacy 
 and sweetness. See Viol oV Amour. 
 
 Loure. An old French air, or dance, of a slow and 
 dignified character. Its measure is that of common time, 
 with the particularity of having the second crotchet of every 
 bar dotted. 
 
 Louvre. The term Louvre is exclusively applied to a 
 well-known French air, to which Louis the Fourteenth 
 was particularly attached. It was so ingratiating in its 
 style, that it was originally called UAimahle Vainqueur. 
 
 Low. An adjective relatively applied to the grave por- 
 tion of the scale of any voice or instrument. 
 
 Luinig. A short, melancholy strain, much sung by the 
 women of Scotland. 
 
 Lutanist. A performer on the lute. 
 
 Lute. A stringed instrument of very early origin ; and 
 which, like the guitar, is played by the hand, without a 
 bow. It has several particularities in its form ; and, by 
 some writers, is supposed to be of Arabic invention. 
 
 Lychanos. (Greek.) With the ancients, the name of 
 the third string of the octave. 
 
 Lydian. The name of an ancient Grecian instrument, 
 supposed by some to have been of Asiatic invention ; but 
 of which little is known, except that it was uncommonly 
 soft and delicate in its tone. 
 
 Lydian Mode. That mode of the Greeks, which was be- 
 10G 
 
L Y R M A D 
 
 tween the iEolian and Hyperdorian, was called the Lydian ; 
 not because it had its origin in Lydia, or with any people of 
 Asia, but on account of its Asiatic softness ; the quality 
 for which it was ejected by Plato from his Republic. 
 
 Lyra Doppia. (Ital) An old instrument, of which 
 little more is now known, than that it was of the stringed 
 kind ; and, in tone, resembled the Viol da Gamba. 
 
 Lyra Mendicorum. (Lat.) An old stringed instrument, 
 the shape of which was not unlike that of a violin. Instead 
 of being played on with a bow, it was put into action by 
 the friction of a wheel with its strings. The mendicant 
 friars were remarkably fond of this instrument ; a circum- 
 stance to which it owes its name. 
 
 Lyra-Viol. A stringed-instrument, partaking of the 
 characters of the lyre and the viol, and tuned after the 
 manner of the harp. 
 
 Lyre. The Lyre would appear to be the most ancient 
 of stringed instruments. That it originated with Mercury, 
 and had for its first frame the shell of a tortoise, is very 
 generally believed ; and that it derived many successive 
 improvements from Orpheus, Linus, Amphion, and other 
 Grecian lovers of euphonious sounds, history will not let 
 ns doubt. 
 
 Lyric. An epithet derived from the appellation of the 
 lyre, and applied to poetry intended to be sung ; because, 
 in ancient times, the voice was always accompanied with 
 the lyre. 
 
 Lyrichord. A stringed-instrument, invented by Kircher, 
 consisting of a kind of vertical harpsichord, and formerly 
 much in use. 
 
 Lyrist. One who performs on the lyre. 
 
 Lyrodi. (Greek.) Those ancient vocalists who accom- 
 panied themselves on the lyre. 
 
 M. 
 
 Ma. (Ital.) But; as, Doloroso, MA non troppo lento; 
 mournful, but not too slow. 
 
 Madriale. By this name the Italians formerly desig- 
 nated their musical interludes. 
 
 Madrigal. A species of harmonical composition, in earlier 
 times, much cultivated, both in Italy and this country. 
 It was generally in five or six parts, and had in it much of 
 F 6 107 
 
MAD MAN 
 
 fugue and imitation style. In England, the Madrigal was 
 confined to this character ; but with the Italians it assumed 
 different forms, and was sometimes accompanied with a 
 variety of instruments. 
 
 Madrigali da Tavolino. (Ital.) Songs of the table. 
 
 Madrigali Concertati. (Ital.) Songs accompanied with 
 a bass. 
 
 Madrigali con vari Sorte di Strumenti. (Ital.) Songs 
 accompanied with a complete band. 
 
 Maestoso. (Ital.) With dignity ; in a majestic style. 
 
 Maestro. (Ital.) A Blaster ; as Maestro di Capella> mas- 
 ter of the chapel music. 
 
 Magadis. An ancient instrument, doubly-stringed and 
 tuned in octaves. 
 
 Magadizing. A term applied by the ancient Greeks to 
 a vocal performance in octaves, as when men and women 
 sing together. 
 
 Magazino di Music a. (Ital.) A music shop. 
 
 Magodi. (Greek, plu.) Comic Greek musicians whose 
 vocation was that of wandering through the streets, and 
 diverting the populace with singing humorous ballads. 
 After a time, they were admitted to the comparative dignity 
 of performing on the stage. 
 
 Magodia. (Greek.) The lyric poems sung by the Ma- 
 godi. See Magodi. 
 
 Major. Greater. 
 
 Major Key. That Key, or mode, the third sound in 
 which is a Major, or greater third above the first. See 
 Major Third. 
 
 Major Mode. The Major Mode is that division of the 
 octave, by which the intervals between the third and fourth, 
 and seventh and eighth, become half tones, and all the 
 other intervals whole tones. And these sounds being the 
 same, both in ascending and descending, the Major Mode is 
 said to consist of soni stabiles. See that expression. 
 
 Major Third. Greater Third. That third which con- 
 sists of four semitones. 
 
 Mancando. (Ital.) See Diminuendo. 
 
 Mandolino. A Spanish instrument with four strings, 
 and resembling the violin. 
 
 Manu-Ductor. With the ancients, one who attended 
 concerts to beat the time with his hand. 
 10S 
 
M A R M E A 
 
 Marcato. (Ital.) A term implying a strong and marked 
 style of performance. 
 
 Marcato il Basso. (Ital.) The bass to be marked, or 
 strongly expressed. 
 
 March. A military piece intended to accompany and 
 regulate the footsteps of soldiers. 
 
 Marche Triomphale. (French.) A triumphant march. 
 
 Marcia. (Ital.) A March. See that word. 
 
 Marcia con Moto. (Ital.) A brisk march, or spirited 
 and active martial movement. 
 
 Martial Music. Music composed for the purpose of 
 war. 
 
 Martial Songs. Songs, the subjects of which are mili- 
 tary prowess and glory ; and whose melodies should be 
 warm, open, free, and exulting. 
 
 Marziale. (Ital.) In an ardent and martial manner. 
 
 Mascharada. (Ital.) Music composed for the use of 
 buffoons ; to enliven their gestures and mimicry. 
 
 Masque. A musical drama which includes not only 
 singing and dancing, but splendid and gorgeous scenery 
 and decorations ; on which, generally speaking, it chiefly 
 rests for success. 
 
 Masrakitha. A wind-instrument of the ancient He- 
 brews. It was blown through a tube, and the sounds were 
 modulated by the fingers, which alternately stopped and 
 unstopped the apertures. 
 
 Master op the King's Band. The musician who 
 directs his Majesty's band, and sets the royal odes an 
 minuets. 
 
 Master of Song. Formerly, the Master of Song was he 
 who taught the children of the Chapel-royal to sing ; the 
 officiate now called the Master of the King's Boys. 
 
 Matinata. (Ital.) A morning song. 
 
 Matins. (From the French.) The morning vociferations 
 in convents, and the Catholic church. 
 
 Materia Musica. (Ital.) Musical compositions, instru- 
 ments, institutions, any thing substantively connected with 
 the harmonic science. 
 
 Maxima. Name of the longest note used in the four- 
 teenth and fifteenth centuries: equal in duration to eight- 
 semibreves. See Large. 
 
 Mazurkas. National Polish dances. 
 
 109 
 
ME A 
 
 . MEL 
 
 Mean. An epithet formerly applied to the tenor cliff, 
 because the tenor is the Mean, or middle part between the 
 bass and the treble. 
 
 Mean-Cliff. The tenor cliff. See the adjective Mean. 
 
 Measure. That quantity, or division of time, contained 
 by each bar of a movement. 
 
 Mediant. The third above the key- 
 note. Ex. 
 
 Here, the key-note being supposed to be C, the note E is 
 the Mediant; that is, the Mediant or middle note between 
 C and its fifth, G, the dominant of C. 
 
 Meditatio. (Lat.) That pause in the middle of a chant, 
 which is indicated by the colon found between the first and 
 second part of every verse of the psalms. 
 
 Medley. An irregular and humorous assemblage of 
 passages taken from different songs, or other compo- 
 sitions. 
 
 Melange. (French.) A publication, consisting of a va- 
 riety of pieces or movements. A kind of medley intended 
 for the amusement and improvement of instrumental prac- 
 titioners. 
 
 Melodial Modulation. A change of key effected purely 
 by the influence of certain successive intervals : i. e., by 
 intervals, the notes of which, though taken in succession, 
 have the harmonical power of carrying the ear from one 
 key to another : as thus — 
 
 
 W rr f i.el 
 
 — 
 
 
 -# P-0-0— #-=— r ~ 
 
 i 
 
 
 
 
 
 
 
 
 
 Melodial Notation. Any succession of notes, the 
 arrangement of which is tuneful or melodious. 
 
 Melodia. (Ital.) Melody. See that word. 
 
 Melodiosamente. (Ital.) Melodiously. An adverb ap- 
 plicable to successive sounds, tastefully and agreeably 
 arranged. 
 
 110 
 
MEL 
 
 — M E S 
 
 Melodioso. (Ital.) See Melodious. 
 
 Melodious. An epithet applicable to any agreeable 
 succession of sounds. 
 
 Melodist. He who composes or sings melodies. 
 
 Melodize. To Melodize is to compose or sing melodies. 
 
 Melo-Drama. A modern species of drama, of French 
 origin, and the idea of which was suggested by the descrip- 
 tions left us of the ancient Greek melopoeia, or musical elo- 
 quence. The first piece of this kind produced in England 
 was " A Tale of Mystery," the music of which was composed 
 by the compiler of this vocabulary. 
 
 Melody. An arrangement of successive sounds, dis- 
 posed in conformity to one of the two diatonic scales, (the 
 major, or the minor,) and so regulated in respect of their 
 intervals, and their lengths or durations, as to affect the 
 ear agreeably. 
 
 Melopceia. (Greek.) Poetical or rhetorical melody ; 
 f'i e., a compound of eloquence and music, calculated 
 to delight the ear, awaken the passions, and elevate the 
 mind. 
 
 Melos. (Greek.) Sweetness. A word by which the 
 ancients distinguished any succession of sounds that were 
 remarkably mellifluous. 
 
 Men. (Ital.) The abbreviation of Meno ; as Men Forte, 
 less loud. Men Piano, less soft. See Meno. 
 
 Menestraudie. (French.) Tue minstrelsy established and 
 encouraged by Philip Augustus of France. The minstrels 
 becoming rude and unruly in their new condition, he ap- 
 pointed a governor, called the King of the Ministrels. 
 
 Meno. (Ital.) Less. 
 
 Meno Mosso. (Ital.) With abated emotion. 
 
 Mescolanza. (Ital.) A term applied to operas and other 
 secular productions in which the ecclesiastical style is inter- 
 mixed with that of the theatre, or chamber. 
 
 Mescolomento. Among the ancients, that code of rules 
 by which the voice was kept within the compass prescribed 
 by the system in which the strain commenced, whatever 
 that system might be. 
 
 Mese. (Greek.) The name of the sound that completed 
 the second tetrachord of the Greeks. The Mese was the 
 centre of their whole system. 
 
 Mesochori. (Greek, plu.) Certain musicians whose em- 
 Ill 
 
M E S M E Z 
 
 ployment was to beat time with their feet. To be the 
 better heard, they stood on a desk, and wore wooden 
 shoes. 
 
 Mesolabe. (Greek.) An instrument of Grecian in- 
 vention, used for producing the equal division of any 
 interval. 
 
 Mesonycticon. (Greek.) The pernoctations, or mid- 
 night chantings of the Christian fathers. 
 
 Messa di Voce. (Ital.) A swell of the voice upon a 
 continued or holding note. 
 
 Messe Concertati. (Ital.) Masses consisting of solos 
 intermixed with choruses. 
 
 Messe di Capella. (Ital.) Masses of the grander de- 
 scription, in which the genius and science of the composer 
 is exerted to the utmost. 
 
 Mesto. (Ital.) In a pensive and dolorous style. 
 
 Mesure. (French.) A semibreve rest. See Semibreve 
 Best. 
 
 Metodo. (Ital.) A Method. See Methode. 
 
 Me'thode. (French.) An instruction book : as M ethode 
 pour laHarpe ; instructions for the harp. 
 
 Metre. Poetical and musical measure. 
 
 Metric That part of the ancient music which re- 
 garded the syllables, feet, and verses of the poetry it 
 illustrated. 
 
 Metrical. Metrical music is that, the construction of 
 which is directly, or alternately, regular in its measure. 
 
 Metronome. (Greek.) A musical time-keeper, invented 
 by the ingenious Maelzel, a native of Regensburg, in Ger- 
 many. This little portable machine is comprised in a pyra- 
 midal case with a partial opening in front, which displays 
 a vertical, graduated scale. Facing this scale is an inverted 
 pendulum, with a shifting weight attached to the visible 
 part of it, and which is partially counterbalanced by another 
 weight below. This pendulum, oscillating at whatever rate 
 the position of the upper weight permits, forms a faithful 
 time-director, and only requires a strict observance on the 
 part of the performer, to prevent the possibility of error,, 
 whatever may be the measure of the movement executed. 
 
 Mez. The abbreviation of Mezzo. See that word. 
 
 Mezza Bravura. (Ital.) An air moderately impassioned 
 in its style, and not extravagantly florid in its execution, 
 112 
 
M E Z M I N 
 
 Mezza Voce. (Ital.) With a moderated tone and 
 manner. 
 
 Mezzo. (Ital.) Half, middle, or moderate : as Mezzo 
 Voce, with moderate loudness ; Mezzo-Forte, moderately 
 loud, Mezzo-Piano, moderately soft. 
 
 Mezzo Carattere. (Ital.) An expression applicable to 
 songs of a middle character ; songs neither meanly plain, 
 nor highly finished. 
 
 Mezzo Forte. (Ital.) A moderate loudness ; less loud 
 than forte, and less soft than Piano. 
 
 Mezzo Piano. (Ital.) Moderately soft ; less soft than 
 Piano, and less loud than forte. 
 
 Mezzo Soprano. (Ital.) That female voice which lies 
 immediately beneath the Soprano, or upper female voice. 
 
 Mezzo Soprano Cliff. The C cliff, when placed on the 
 first line of the stave, is called the Mezzo Soprano Cliff, be- 
 cause, when so stationed, it best accommodates the notes of 
 the Mezzo Soprano voice. 
 
 Mezzo Soprano Voice. The lower of the treble voices. 
 
 Mezzo Trillo, (Ital.) A semiquaver. See Semiquaver. 
 
 Mezzo Tuono. (Ital.) A semitone. See Semitone. 
 
 Mi. The monosyllable applied by the Italians to the 
 third sound of the diatonic scale. When the scale is that 
 of C, Mi falls on the note E. 
 
 Mignon. (French.) Favourite: as, Rondeau Mignon, a 
 favourite rondo. 
 
 Military Music. See Martial Music. 
 
 Mimes. Vocal mimics whose songs and gestures were 
 once the delight of every rank of society, especially in 
 France, Italy, and England. 
 
 Minim. A note, in duration, one half of a Semibreve: 
 
 made thus or thus cz> |. 
 
 Minim Rest. A sign of silence, equal in du- 
 ration to a Minim : made thus — Ex. 10 
 
 Minima. (Ital.) A minim. See Minim. - 
 
 Minor Canons. Clergymen who assist in the vocal part 
 of the cathedral service. 
 
 Minor Mode. The Minor Mode is that division of the 
 octave by which, in ascending, the intervals between the 
 second and third, and seventh and eighth, become half- 
 tones, and all the others whole tones ; and, in descending, 
 
 113 
 
M I N M O D 
 
 the intervals between the fifth and sixth, and second and 
 third, become half-tones, and all the other intervals whole 
 tones. And these sounds varying as we ascend or descend, 
 the Minor Mode is said to consist of soni mobiles. See that 
 expression. 
 
 Minstrels. Certain musical poets, or poetical musi- 
 cians, whose vocation it was to stray through the provinces 
 of their country, singing their productions, and accompany- 
 ing themselves on the harp. 
 
 Minstrelsy. The profession of an itinerant musician. 
 
 Minuet. A movement in triple time, the style of which 
 is accommodated to a graceful dance of the same name. 
 This is the old genuine minuet ; but, during the last cen- 
 tury, it assumed a wider latitude ; and, in the hands of the 
 greater masters, has added to its original character features 
 of brilliancy and animation that charm every hearer. 
 
 Mi sere. (Lat.) A vocal prayer, or hymn of supplication. 
 
 Mixo-Lydian. (Greek.) The most acute of the seven 
 Greek modes. 
 
 Mobile. The two middle chords of each of the Greek 
 tetrachords were distinguished by the epithet Mobile, be- 
 cause they were moveable, according to the genera; as the 
 two extreme chords were called stable, for the reason that 
 they were not moveable. 
 
 Mociganga. (Spanish.) A musical interlude much in 
 fashion at Madrid, and the principal cities of Spain. 
 
 Mode. The name by which every systematic series of 
 sounds is designated, though ancient writers are not agreed 
 as to what series properly constitutes a Mode, nor whether 
 the term does not rather apply to the different scales as 
 they occupy a higher or lower station in the great compass, 
 than to the rules by which they are divided into intervals. 
 But though this doubt exists with respect to the Modes of 
 the Greeks, modern music is free from similar obscurity. 
 We have only two modes ; the Major and the Minor, the 
 first consisting of soni stabiles, or settled sounds ; the other 
 of soni mobiles, or moveable sounds. See Major Mode, and 
 Minor Mode. 
 
 Moderatamente. (Ital.) Moderately. 
 
 Moderato. (Ital.) An adjective always applied to time, 
 and meaning that the movement to which it is prefixed 
 should not be performed either very slowly, or very rapidly. 
 114 
 
M O D M O N 
 
 Modern Music. Music that has not been composed more 
 than about half a century. 
 
 Modification. The so tempering those instruments 
 whose sounds are fixed (as in all keyed instruments), that 
 they may have in their tuning the greatest practicable 
 equality of perfection. 
 
 Modo Maggiore. (Ital.) The Major Mode. See Major 
 Mode. 
 
 Modo Minore. (Ital.) The minor mode. See Minor 
 Mode. 
 
 Modulation. That province of the harmonic science 
 which teaches the lawful transitions of harmony and 
 melody from key to key, and from one combination to 
 another. 
 
 Modulazione. (Ital.) Modulation. See that word. 
 
 Molle. (French.) A term which, though its literal 
 sense is soft, or sweet, musically used, signifies a flat sound, 
 that is, that the sound to which it applies is half a tone 
 lower than when in its natural state. 
 
 Molto. (Ital.) Much, or Very. An augmentating term ; 
 as Allegro, quick, Molto Allegro, very quick ; Lento, slow, 
 Molto Lento, very slow. 
 
 Molto Mosso. (Ital.) With much emotion ; an expres- 
 sion prefixed to movements of an animated and impassioned 
 cast. 
 
 Molto Sostenuto. (Ital.) An expression, directing that 
 the notes be well sustained. 
 
 Molto Vibrato. (Ital.) Very bold and triumphant. 
 See Vibrato. 
 
 Molto Voce. (Ital.) The passage over which this ex- 
 pression is found, is meant to be sung with the full power 
 of the voice. 
 
 Monaulos. (Greek.) A single, crooked, Egyptian flute 
 of high antiquity. See Photinoc. 
 
 Monferrina. A lively dance, peculiar to the State of 
 Monferrato ; the accompanying tune of which is always in 
 the measure of six quavers. 
 
 Monochord. (From the Greek.) A single-stringed in- 
 strument used by the ancients, to measure and regulate 
 their intervals. 
 
 Monodic. (From the Greek.) A solo, whether for voice 
 or instrument, is Monodic. 
 
 115 
 
MON- 
 
 M O T 
 
 Monodica* (Ital.) A term in Italian 
 music, applied to passages in which the MR. 
 effect proceeds from one part only. Ex. 
 The term Monodica is used in opposition to Corodica. See 
 that word. 
 
 Monodie. (French.) A song, hymn, or ode, composed 
 for a single voice. 
 
 Monophonic. (From the Greek.) An epithet applicable 
 to music in one part only ; i. e., to any unharmonized 
 melody. Used in opposition to Polyphonic. 
 
 Monotonous. An adjective applicable to those instru- 
 ments which produce only one sound. The drum is Mono" 
 tonous. 
 
 Moralizations. The name given formerly by the Scotch 
 to their hymns and puritanical songs. 
 
 Morceaux Doigte's. (French.) Fingered exercises. 
 
 Mordente. The 3Iordente, or, as the Germans call it, 
 the Spring, is a grace formed of two notes preceding the 
 principal note. 
 
 Example : Performed thus : 
 
 Morendo. (Ital.) Gradually softening, or dying away. 
 
 Morendo a Poco a Poco. (Ital.) A note, or passage, 
 with these words over it, is to be given with a sound sink- 
 ing little by little ; dying by degrees. 
 
 Morrice-Dance. An old military dance, accompanied 
 by the gingling of bells, and the clashing of swords. 
 
 Mostra. A. Direct. See that word. 
 
 Motet. A species of polyphonic vocal composition, 
 much in use about a century since. Its subject was sacred, 
 its parts were sometimes numerous, and its construction was 
 generally artful and elaborate. 
 
 Motivo. (Ital.) The subject, or leading passage of any 
 movement or melody. 
 
 Moto. (Ital.) Motion, agitation. See Con Moto. 
 
 Moto Contrario. (Ital.) Contrary motion. If, while 
 one part of a composition ascends, another descends, their 
 motion is said to be contrary. 
 116 
 
M O T M U S 
 
 Moto Obliquo. (Ital.) See Oblique Motion. 
 
 Mo to Retto. (Ital.) See Direct Motion. 
 
 Mouth-piece. That tube applied to a trumpet, or 
 French horn, for the purpose of receiving the breath of the 
 performer, and giving him the power of modulating the 
 tones of the instrument. 
 
 Movement. Any single strain ; any course, or series of 
 bars in the same time or measure. 
 
 Mundane Music. The appellation given by the ancient 
 philosophers to that harmony which they supposed to 
 proceed from the steady and concording motions of the 
 planets. 
 
 Mm a. (Lat.) A Song. 
 
 Mus. Bac. (Lat.) A bachelor in music. See Bachelor 
 in Music. 
 
 Mus. Doc. (Lat.) A doctor in music. See Doctor in 
 Music. 
 
 Musars. Formerly, musicians who played on the Mu- 
 sette. See Musette. 
 
 Muse. The muzzle of the bagpipe. 
 
 Musette. A small bagpipe, once much in use : also the 
 name of a soft, graceful kind of air in common time, which 
 was frequently used as a dance. 
 
 Music. A science which has for its object the produc- 
 tion of harmony and melody. Because the invention of 
 Music has. been fabulously ascribed to the Muses, some 
 have supposed its primitive laws to be Grecian ; while 
 others much more reasonably insist, that they had their 
 origin in Egypt, the birth-place of knowledge, and the 
 cradle of the sciences. But whatever the truth may be, in 
 regard to this particular, it is sufficient for us to know, 
 that it has maintained itself in the world by the excellence 
 of its effects ; that, as a science, it has unceasingly im- 
 proved, and that, as an amusement, it is both rational and 
 delightful. The three constituent and essential parts of 
 Music, are harmony, melody, and modulation, each of 
 which, by modern genius and industry, has been cultivated 
 with a degree of skill, that would astonish the masters of 
 the sixteenth and seventeenth centuries. Innumerable are 
 the compositions that manifest the powers and the know- 
 ledge of recent masters ; and living talent shines in every 
 department of execution, vocal and instrumental. 
 Musica Mensurabilis. (Lat.) Music in parts. 
 
 117 
 
MUS 
 
 Musica Colorata. Francinus called by this name the 
 first deviations from the old church modes, the rigidness of 
 which refused admission to any semitonic intervals, except 
 three — E to F — A to B flat — and B natural to C. 
 
 Musica Ficta. See Musica Colorata. 
 
 Musical. An adjective applicable to whatever has any 
 relation to music: as, a Musical manuscript; a Musical 
 clock ; a Musical publication. 
 
 Musical Academy. The benefits of associated study and 
 practice have been felt and acknowledged in every age^ 
 from that of Academus, to the present ; but in no province 
 of art or science have they been more experienced than 
 in music; one great advantage enjoyed by which is, that it 
 is social by its very nature. Prompt to avail themselves of 
 this favourable circumstance, the Italians, as early as the 
 year 1500, established an Academie Musicale at Vicenza. 
 In 1669, a similar institution was commenced in Paris, under 
 the patronage of Louis the Fourteenth; and in 1710, 
 another, in London, at the Crown and Anchor Tavern i 
 which, ten years afterwards, was succeeded by a Royal 
 Academy, having for its object the cultivation and en- 
 couragement of Italian operatical music, at the King's 
 Theatre. But, however, these establishments may have 
 tended to bring practical music (both vocal and instru- 
 mental) to its present perfection ; and therefore may be 
 allowed to come under the denomination of Academies ; 
 other establishments have since arisen more directly en- 
 titled to that scholastic appellation, because instruction is 
 their real and sole object. Of this description is the present 
 Royal Academy, patronised by His Majesty ; the Academy 
 long since instituted by Mr. Logier, for prosecuting his own 
 particular system of tuition ; and that lately established 
 by Mr. Bochsa, in which music is cultivated in all its vari- 
 ous departments. 
 
 Musical Brachygraphy. A mode of abbreviation by 
 which single notes of any length may represent as many 
 of less duration as, taken together, are equal to itself ; and 
 also by which the repetition of certain passages may be 
 indicated, without giving them twice on paper. Ex. 
 
 
 <z> 
 
 1 
 
 
 — r 
 
 • j 
 
 
 118 
 
MUS 
 
 Here, the short single line drawn over the semibreve indi- 
 cates that it is to be regarded as eight quavers, as given 
 in the succeeding bar: 
 
 
 
 
 
 
 P p=3fi_ p 
 
 — ! 1 1 1 
 
 
 
 *3 ^ 
 
 
 
 Here, the oblique line drawn through the stem of the- 
 minim, implies that it is to be considered as four quavers, 
 as seen in the next bar : and 
 
 here, the oblique line which follows the four quavers in 
 the first bar, signifies that those four quavers are to be re- 
 peated, as shown in the second bar. 
 
 Musical Catechism. A course of musical interroga- 
 tories, methodically arranged, for the purpose of instilling 
 instruction ; a mode of tuition which, speaking generally, 
 has been found highly advantageous ; because, in as much 
 as it necessitates attention, it tends to root in the mind 
 the principles to be inculcated. 
 
 Musical Dictionary. A book containing the terms of 
 the musical science, and their definitions. 
 
 Musical Glasses. Wine glasses diatonically tuned, 
 and which, by a wetted finger, may be made to produce any 
 melody of an easy and simple kind, and to give their tones 
 any degree of power, or of softness. 
 
 Musical Grammar. A work, the purpose of which is r 
 to explain the principles of music, both as they regard its 
 theory and its practice, whether harmonical, or melodial ; 
 whether as connected with composition, or performance. 
 
 Musical Instrument. Any sonorous or tuneful body 
 deriving its power of sound from human art, or construction. 
 Of Musical Instruments, there are three kinds — the injlatile , 
 the stringed, and the pulsatile, or percussive. See those 
 words. 
 
 Musical Science. That science which teaches the laws 
 of harmony and melody. 
 
 119 
 
MUS 
 
 MU T 
 
 Musical Types. Metal notes and other characters, 
 which being set, or composed, in a form, are prepared for 
 the press ; and under the high state of improvement to 
 which they have lately been brought, make an impression 
 which may almost vie with that of engraved plates. 
 
 Musician. One who is acquainted with the principles of 
 music ; a master of that science, which, in ancient times, 
 identified its cultivators with priests and poets ; whose 
 professors wore the prophet's robe, officiated at the altar, 
 and were seated with kings and princes. 
 
 Music Master. One who teaches the principles of 
 music, or the art of vocal or instrumental performance. 
 
 Music of the Spheres. Imaginary harmony deduced 
 by the ancient philosophers from the concordant motions 
 of the planets ; an idea sanctioned by Hermes, and dissemi- 
 nated by Plato, who taught that every thing was i&usic. 
 
 Music Paper. See Ruled Paper. 
 
 Musico Pratico. (Ital.) A practical musician ; a per- 
 former. 
 
 Music Room. A room in which music is rehearsed and 
 performed. 
 
 Music School. A seminary in which the principles of 
 music are taught. 
 
 Music-Seller. A printer, publisher, and seller of 
 music. The trade of a Music-seller is now intricate and mul- 
 tifarious. The knowledge it requires is extensive and diver- 
 sified ; and while the prosecution of his business demands 
 a respectable capital, his information on the subjects of 
 music and musical instruments ought to be very consider- 
 able. 
 
 Mutation. From the obscurity in the definitions of 
 Bacchius, Aristides, and other Grecian writers, it is not 
 easy to discover what the ancient Mutation really was. All 
 that can be satisfactorily collected is, that it related to the 
 genus, the system, the mode, the rhythmus, and the meloposia ; 
 and that the occasional changes made in these were effec- 
 tive and surprising. 
 
 Mute. A utensil so called, because its office is to damp 
 ot soften the tone of the violin ; on the bridge of which it 
 is temporarily placed for that purpose. 
 
 120 
 
N AC 
 
 •NET 
 
 N. 
 
 Nacaire. (French.) A drum formerly much used on the 
 Continent, especially in France and Italy. Its barrel is made 
 of brass, and its tone is not only metallic, but very loud. 
 
 Naked. A term in harmony, signifying that the chord 
 to which it refers is incomplete ; as when a. fourth or fifth 
 is unaccompanied. Ex. 
 
 Naked Fourth. Naked Fifth. 
 
 Nasal Tone. That thick, reedy tone produced by the 
 voice, when it proceeds too much from the nostrils. 
 
 Nasard. A thick, heavy toned wind-instrument, for- 
 merly much in use ; but of which little is now known. 
 
 Nasutus. A reedy -toned wind instrument. See Nasard. 
 
 National Songs. Songs, the poetry of which dwells 
 on the honour and glory of the country they extol, and 
 whose melody partakes of the style natural to that country. 
 
 Natural. The name of that character which, when 
 placed before a note, signifies that that note is neither a 
 sharp nor a flat. The word Natural, used adjectively, is 
 applicable to the two scales, C Major, and A Minor, 
 because they require neither flats nor sharps ; those sounds, 
 too, are said to be Natural which proceed from the human 
 voice, the throats of birds, or echoes, when they reflect those 
 sounds. 
 
 Natural Harmony. That harmony which is produced 
 by the triad, or common chord. 
 
 Natural Melody. The notes of birds, when they are 
 not too shrill to be appreciable. 
 
 Nautical Songs. Sea Songs. 
 
 Nebel. (Hebrew.) The ten-stringed harp, spoken of 
 by the royal Psalmist. 
 
 Neginoth. (Hebrew.) The name of a certain tune ; 
 a term prefixed to certain psalms, to indicate that they were 
 to be sung to that tune. 
 
 Negoziante di Musica. (Ital.) A dealer in music. See 
 Music-seller. 
 
 Netoides. (Greek.) The highest sounds of the ancient 
 scale, or system. 
 
 G 121 
 
NEU- 
 
 ' NON 
 
 Neum_;e. (Lat.) The old name for what are now called 
 divisions, or running passages upon a single syllable. 
 
 New Musical Fund. A society established in the year 
 1786, on the liberal principle of extending its benefits to 
 decayed musicians and their families, in every part of the 
 kingdom ; thereby incorporating, among its future pen- 
 sioners, those whose provincial situations excluded them 
 from partaking^ of the advantages of the Royal Society of 
 Musicians. This society enjoys a large public subscription, 
 independently of the contribution of its own members, and 
 has an annual concert which is always respectably and nu- 
 merously attended. The very laudable object of the New 
 Musical Fund (that of providing for the necessities of 
 aged and infirm professors, and for their families, in the case 
 of their death) has been amply realized ; and its accom- 
 plishment does equal honour to the humanity of its pro- 
 jectors and its patrons. 
 
 Nineteenth. An interval com- 
 pounded of two octaves and a fifth. 
 
 Ex. 
 
 Ninth. An interval exceeding that 
 of an octave by one tone. Ex. 
 
 5*=f 
 
 Noels. An expression derived from the Latin word, 
 natalis, and applied by the French to their Christmas 
 canticles. 
 
 Noire. (French.) A crotchet, or the black note. When 
 a minim was the shortest note in use, and a still shorter 
 character was needful, it was formed from the minim, by 
 filling up the head ; i. e., by making it black ; and hence, 
 by the French, it was called a Noire. 
 
 Nomes. (Greek.) A general name given by the Greeks 
 to all their regular melodies. 
 
 Nomion. With the ancients, a love-song. 
 
 Nomodictai. (Lat.) The umpires at the public musical 
 contests of the Romans. 
 
 Non. (Ital.) Not ; as Non troppo forte, not too loud. 
 122 
 
NON- 
 
 NOT 
 
 Nonupla. The name given to compound triple time 
 when beaten quickly. 
 
 Nota Intiera. (Lat.) A breve : called a Nota Intiera, 
 or entire note, because it is the longest note in common use ; 
 a note once forming the standard, or entire length, from 
 which the lengths of the other notes were reckoned. 
 
 Notation. Notation is the visible expression of sounds, 
 by characters called notes; the art of committing music to 
 paper by its proper signs. The ancient Notation was ex- 
 tremely complex ; as different from the modern, as intri- 
 cacy and confusion from simplicity and clearness. According 
 to Alypius, the Greek characters were not fewer than 1240, 
 which the good sense of the Romans afterwards reduced to 
 fifteen, applying them to their bisdiapason, or double octave. 
 These, Pope Gregory again reduced to seven, and named 
 them after the first seven letters of the Roman alphabet. 
 These seven letters being successively applied to the con- 
 nected septenaries, or series of seven notes, the several 
 series were distinguished from each other by varying the 
 size of the letters of each, or doubling them. The next 
 improvement was that of the introduction of the stave, the 
 credit of which is by some given to Guido. After this, 
 points, accents, and colours (yellow and red), were em- 
 ployed, and the two methods of Notation called the Lyra-way, 
 and the Gamut-way, both of which were more artificial than 
 convenient, and which, like other things subject to improve- 
 ment, have long since yielded to a better system. 
 
 Note Anticipate. (Ital.) Anticipated Notes. An ex- 
 pression applicable to notes which, according to the mo- 
 tions of the bass, are prematurely proceeded to ; that is, 
 before they are authorised by the presence of those bass 
 notes, to which they form the intended harmony. Ex. 
 
 i I 
 
 C3- 
 
 Here, in the first bar, the note D takes place before the B, 
 to which it is the harmony; and the E before it is sanc- 
 tioned by the C, to which it is the harmony. 
 
 G 2 123 
 
NOT 
 
 NUP 
 
 Note of Modulation. That note by the extraneous 
 gravity or acuteness of which the ear is led from one key 
 to another. Ex. 
 
 1 
 
 IS 
 
 Here, the introduction of the extraneous note F sharp, in the 
 third and fourth bars, leads the ear from the key of C into 
 that of G. 
 
 Note of Prolation. A lengthened note : a note ex- 
 tended in duration by a subsequent dot, which makes it 
 one half longer than it would be, were it not dotted. 
 
 Note Ritardate. (Ital.) Retarded Notes. An expres- 
 sion applicable to notes which, according to the motions of 
 the bass, are struck too late; that is, after those notes to 
 which they form the intended harmony. Ex. 
 
 
 
 
 r-^-O- 
 
 \ ^ 1 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -of bof 
 
 1 ^ 
 
 l i 
 
 
 Here, the note Z>, in the second bar, does not take place 
 till after the B Natural, to which it is the harmony ; nor 
 the note F, in the third bar, till after the A, to which it is 
 the harmony. 
 
 Notes. Certain musical signs; characters, the forms 
 of which, together with their various situations on the 
 staves, express the duration, and the pitch, of the intended 
 sounds. 
 
 Notturno. A composition professedly written for the 
 recreation of the evening. 
 
 Nouvelle Methode. (French.) A new practical in- 
 struction-book. SeeMethode. 
 
 Noviciate. A beginner, a tyro. See the latter word. 
 • Nunnia. Among the Greeks, the song of the nurses. 
 
 Nuptial Songs. " Songs written and composed in honour 
 of marriage, and sung in celebration of its rites. See 
 Epithalamium. 
 
 124 
 
O ODE 
 
 O. 
 
 O. the ancients, regarding three as the most perfect of all 
 numbers, and considering the letter O (as being circular) 
 the most perfect of all forms, used it as the sign of triple- 
 time, which they esteemed as the only perfect measure. 
 
 Obligato. (Ital.) An epithet exclusively applied to 
 accompaniments ; and always meaning, not only that the 
 part in a composition to which it refers is indispensable to 
 the intended effect, but that the piece cannot be performed 
 without such part. 
 
 Oblique Motion. If, while | | J _J_ 
 
 one part in a composition is — — g — fT 
 
 stationary, another part ascends - f/ ^ C ' 
 
 or descends, the latter motion XV 7 Hi 
 
 is said to be Oblique. Ex. ^ "J* ^ ^ 
 
 Oboe. (Ital.) See Hautboy. 
 
 Oboeist. A performer on the Oboe. 
 
 Octachord. An instrument, the cordatura of which 
 consists of eight sounds. 
 
 Octave. An interval comprising, between its extremes, 
 twelve semitonic degrees ; and denominated an Octave, 
 because, taken diatonically, it consists of eight different 
 sounds. The octave, in its temperated state : that is, when 
 freed from the rigorous system which requires three major 
 tones, two minor, and two major semitones, includes five 
 equal tones, and two semitones, or seven diatonic degrees. 
 
 Octave-Flute. A Flute so called, because its range of 
 notes is an octave higher than that of the German Flute. 
 
 Octavina. An old stringed-instrument of the harp 
 or spinet kind, the cordatura of which comprised three 
 octaves. 
 
 Octave Stop. That stop in an organ, or piano-forte, 
 which commands a range of pipes, or strings, the notes of 
 which are an octave higher than the corresponding pipes, 
 or strings, commanded by the other stops. 
 
 Ode. A word of Greek derivation, necessarily noticed 
 in a Musical Dictionary, because significative of a species 
 of poetic composition, one essential quality of which is its 
 being written and calculated for musical delivery. The 
 Ode is of the noblest order of lyric verse, and in modern,, 
 g3 125 
 
O D E O P E 
 
 as well as ancient times, has exercised the genius of the 
 sublimest poets and musicians. Its character is that of an 
 exalted song, consisting of stanzas or strophes, originally 
 written and sung in honour of the Gods ; now used in the 
 celebration of great occasions, and always forming the 
 highest and most impressive manifestations of the united 
 powers of poetry and music. 
 
 Odeon. A denomination borrowed from the Greek 
 derivative, Ode, and applied by the ancients to a theatre 
 or other edifice devoted to the rehearsal of vocal music. 
 See the word Ode. 
 
 Odeum. (Lat.) A translation of the word Odeon, a hall 
 of rehearsal. See Odeon. 
 
 Odicum. (From the Greek.) That province of music 
 which was chiefly confined to vocal performance. The 
 Odicum included singing by a single voice, by a unisonous 
 plurality of voices, and by voices performing in octaves. 
 
 Offertorio. Motets were originally called Offertorios. 
 See Motet. 
 
 Offertorium. (Lat.) The anthem which is sung while 
 the offering is made. 
 
 Offertory. See Offertorium. 
 
 ■Omnes. (Lat.) All. See the Italian plural, Tutti. 
 
 Ondeggiare. (Ital.) To wave the voice, or give it an 
 easy swimming motion. 
 
 Ondeggiare la Mano. (Ital.) To wave the hand in 
 beating time. 
 
 Ongleur. (From the French.) Formerly, a performer 
 on the lyre, harp, &c. 
 
 Open. The strings of a violin, guitar, &c, when not 
 compressed with the finger, are said to be open ; so likewise 
 are the notes produced by those strings : i. <?., as the in- 
 strument has its open strings, so have the strings their open 
 notes. 
 
 Open Harmony. That harmony, the component parts of 
 which lie so wide of each other, as to leave between them 
 openings that would admit of the introduction of interme- 
 diate parts : as thus — 
 
 
 I — < > — <, — © — & — 
 
 
 
 
 
 4 
 
 
 
 
 ± & & a — 
 
 
 rn = — 
 
 126 
 
OPE 
 
 Open Plain Shake. A shake limited in its celerity, 
 distinct in its alternations, and that terminates without a 
 turn. Ex. 
 
 4 
 
 2==r- 
 
 cz*:c*j£*jp: 
 
 
 
 
 
 
 
 
 
 Open Stop. That stop in an organ which commands 
 the open pipes. 
 
 Open Strings. When the strings of a violin, or any 
 fidicinal instrument, yield their natural notes, that is, speak 
 without being stopped by the fingers, they are called Open 
 Strings. 
 
 Open, Turned Shake. A shake that is open and termi- 
 nates with a turn. Ex. 
 
 See Open Shake. 
 
 Opera. A species of drama invented about the year 
 1600, by Ottavio Rinucinni, a Florentine. Its original 
 structure was, however, so inferior to what was after- 
 wards produced, that later times would not have deemed ifc 
 worthy of the same appellation. But the Opera, gradually 
 improved, became more regular in its form and conduct, 
 and, early in the seventeenth century, was established at 
 Venice, whence the taste for dramatic singing spread to 
 Paris and Londom In the latter city it has not only main- 
 tained itself with credit, but assumed all the elegance and 
 fascination it could derive from rich dresses, beautiful 
 scenery, and fine composition and performance. 
 
 Opera. (Ital.) Any musical work : as Opera prima, 
 first work ; Opera seconda, second work ; meaning the first, 
 or the second publication of the author, whose name the 
 title-page announces. 
 
 Opera Buffa. (Ital.) A comic opera. 
 
 Operatical. An epithet applicable to all music apper- 
 taining to operas, whether serious or comic, whether Italian 
 or English. 
 
 Opera Seria. (Ital.) A Serious Opera. An opera, the 
 G 4 ^ 127 
 
OPE 
 
 ! ORG 
 
 subject and plot of which are always lamentable, generally 
 tragical. 
 
 Operetta. (Ital.) A short, or little opera. 
 
 Oratorial. In the style of an Oratorio. 
 
 Oratorio. A sacred musical drama, the name of which 
 is derived from the Italian verb orare, to pray. The first 
 introduction of the Oratorio is supposed to have been by 
 San Filippo Neri, a Florentine, about the year 1585. In 
 the following century, this species of drama was successfully 
 cultivated in Italy and in England. In the former country 
 it exercised the greatest talents of the greatest masters, 
 and in the latter, drew forth the sublimest powers of 
 Handel. After that unrivalled master, other aspirants 
 exerted their talents, but were so inadequately encouraged, 
 that, for nearly thirty years, no new work of the kind was 
 produced; that is, from 1770 to 1799, when the Prophecy, 
 composed by the author of this dictionary, was performed 
 at the Theatre-Royal in the Haymarket. 
 
 Orchestra. In a theatre, that inclosed area between 
 the proscenium and the audience : in a concert room, that 
 partitioned portion of the space, where the band and 
 singers are stationed. 
 
 Orchestral. In the style of music composed for the 
 orchestra. 
 
 Ordinario. (Ital.) An expression that always alludes 
 to time : as Tempo Ordinario. See Tempo Ordinario. 
 
 Organ. A well-known structure of the inflatile species, 
 and which, on account of its great and multifarious powers, 
 is, by common consent, styled the King of musical instru- 
 ments. The invention of the Organ is of ancient date. 
 At what period it was first used in the church, is not 
 known : but from Mabillon we learn, that, during the tenth 
 century, organs embellished divine service in Italy, Ger- 
 many, and England, and were admitted into all convents. 
 
 Organari. Those organists among the ancients who 
 performed on the hydraulic organ. 
 
 Organ Bellows. The pneumatic machine which sup- 
 plies an organ with wind. 
 
 Organ Builder. One who professes to build and repair 
 organs. 
 
 Organic With the ancients, whatever concerned in- 
 struments, and instrumental performance, was Organic, 
 128 
 
ORG- 
 
 ORT 
 
 It was a term they used in opposition to theoretic, or specu- 
 lative. 
 
 Organist. A professed performer on the organ. One 
 who fills the office of cathedral or parochial Organist. 
 
 Organistic. An adjective indicating that the music to 
 which it refers, is composed for the organ. 
 
 Organists. Formerly, those Catholic priests who sung 
 in parts : so to sing, was to organize. See Organizare. 
 
 Organists of the Hallelujah. The appellation as- 
 signed to four certain priests, who, unlike the other priests, 
 organized, or sung in parts; especially when they voci- 
 ferated the Hallelujah. 
 
 Organizare. To sing in parts ; to organize. 
 
 Organized Piano-Forte. An instrument compounded 
 of an organ and piano-forte. 
 
 Organ-Loft. The area in the front of a church or 
 chapel organ which is occupied hy the organist. 
 
 Organ-Music. Music composed for the organ. 
 
 Organo. (Ital.) A term found at the beginning of a. 
 stave of a score, to show that that stave contains the part 
 designed for the Organ. 
 
 Organo Picciolo. (Ital.) A small organ. 
 
 Organorum Inta b ul at l r yE . (Lat.) Formerly, volun- 
 taries, preludes, and all compositions expressly intended for 
 the organ, received the general name of Organorum Inta- 
 bulalurce. 
 
 Organ-Pipes. The tubes in an organ from which its 
 sounds proceed. 
 
 Organ-Stop. Any one set of the pipes of an organ ; as 
 the pipes which constitute the Hautboy Stop, the Vox 
 Humana, the Diapason, &c. &c. 
 
 Organum. The old mode of singing in two parts, (i. e, 
 in thirds) was denominated the Organum, because it was 
 first suggested by the organ, the plurality of whose pipes 
 permits it to give two sounds together. 
 
 Orpharion. An old stringed instrument so much like 
 the bass viol, both in form and tone, as to have been pretty 
 generally identified with it. 
 
 Orthian Mode. (Greek.) A mode which, like the 
 Harmatian, was distinguished by the quickness of the time 
 in which its movements were performed. Its notes, by 
 their rapidity, inflamed and hurried forward the impatient 
 soldiers ; and partook so much of the fiery character of the 
 
 G 5 * 129 
 
OSS 
 
 -PAR 
 
 Harmatian mode, as to induce some to confound one with 
 the other. 
 
 Osservanza. (Ital.) A word implying exactness of 
 performance. 
 
 Ottava. (Ital.) An Octave. 
 
 Ottava Alta ; or 8va. alt. An octave higher. 
 
 Ottupla. (Ital.) An expression relating to time, and 
 signifying a measure of four crotchets ; that measure which 
 is denoted by a C, or semicircle. 
 
 Overture. An introductory symphony to some musical 
 drama ; as the Overture to the Messiah, Artaxerxes, &c. 
 
 P. 
 
 P, the abbreviation of Piano; as Piu P, more soft; 
 Meno P, less soft. 
 
 PiEAN. With the ancients, this word, which Quintilian 
 derives from the name of a physician who invented the 
 species of hymn it announces, implied a Song of Victory,, 
 which was sung in honour of the gods, especially of the god 
 Mars. 
 
 Palco. (Ital.) The Stage; as Trombe sulpalco ; the trum- 
 pets on the stage. 
 
 Panarmonion. (Greek.) An ancient wind instrument, 
 described by Plato as consisting of an assemblage of pipes, 
 and which, it would appear, was not dissimilar from the 
 modern organ. The particular in this instrument most 
 worthy of notice is, that every pipe was capable of producing 
 three different sounds. 
 
 Pandean. A term derived from the name of the god Pan. 
 In strictness, the word is applicable to rural music in general; 
 but is seldom understood in any other sense than that of 
 alluding to the pipes of Pan. See Pipes of Pan. 
 
 Pandora. An ancient stringed instrument borrowed by 
 the Spaniards from the Moors. Its tone and effect partook 
 of those of the lute and the guitar. 
 
 Panting Bellows. Certain organ Bellows, so constructed 
 as to prevent all jerks or inequalities in the wind. 
 
 Pantomime. (From the Greek.) A species of musical 
 entertainment, so denominated because the whole of its 
 action consists of mimicry. 
 
 Paraphonia. (Greek ) A word almost synonymous with 
 harmony. With the Greeks, Paraphonia implied a conso- 
 130 
 
p A R P A S 
 
 nance resulting from other sounds than those of the unison, 
 or the octave. The combination of the principal and its 
 fourth, or the principal and its fifth, (the only harmonies 
 admitted by the ancients,) produced the Paraphonia. 
 
 Paraphonoi. (Greek.) Certain unions or mixtures of 
 sounds in the ancient system, which did not produce either 
 positive dissonance or perfect harmony. Modern music has 
 no such combinations ; nor is it easy to imagine how they 
 were formed. 
 
 Parlante. (Ital.) In a speaking style. An adverb inti- 
 mating that the melody to which it is prefixed partakes of 
 the genius of recitative. See Aria Parlante. 
 
 Parochial Duty. The performance required of the 
 organist of a parish church ; the accompanying the congre- 
 gation when singing the psalms, and playing the volun- 
 taries. 
 
 Parte Cantante. (Ital.) The canto, or singing part. 
 
 Parthenia. (Greek.) The ancient choruses sung by 
 virgins at public festivals. 
 
 Partial Turn. A Turn which forms an ornamented 
 commencement of the note upon which it is constructed ; 
 and which consists of that note pre- 
 ceded by three appoggiatures, the first 
 of which may be either a whole tone 
 or semitone above the note embel- 
 lished. Ex. 
 
 Partitura. (Ital.) The score of a composition. 
 
 Parts. Those constituent portions of a polyphonic com- 
 position which, being performed simultaneously, produce 
 its harmony. There are voice Parts and instrumental Parts; 
 as soprano and counter-tenor Parts, and violin and violon- 
 cello Parts, &c. &c. 
 
 Passage. Any small portion of a composition ; any 
 phrase or member of a movement, which, like a sentence in 
 language, carries with it a meaning, and is complete in itself. 
 
 Passagio. (Ital.) See Passage. 
 
 Passamezzo. (Ital.) A slow, plain, simple dance tune ; 
 music suited to a dance assimilated to the action of walking. 
 
 Passing-Chords. Chords which, like passing-notes, are 
 introduced, not on account of their harmony, which is never 
 noticed, but purely for the purpose of avoiding the abruptness 
 of a too distant removal from one combination to another. 
 See Transient. 
 
 g 6 131 
 
P A S P A T 
 
 Passing-Notes. Notes introduced, either for the purpose 
 of carrying the ear more smoothly from harmony to harmony, 
 or to soften a distance in melody. Ex. 
 
 
 
 
 
 i 
 
 
 
 
 Passing-Shake. A short, close Shake, dropping from 
 note to note by contiguous degrees. Ex. 
 
 J„-"r"T 
 
 Passion Music. In the Romish Church, music composed 
 for Passion week. 
 
 Passione. (Ital.) Passion, or feeling ; as con Passione, 
 with passion, or sentiment. 
 
 Passiones. (Lat.) Compositions for Passion week. See 
 Passion Music. 
 
 Passpied. (French.) A cheerful movement in three 
 crotchets ; a kind of lively minuet. 
 
 Pasticcio. (Ital.) An opera, the music of which is 
 selected from the works of various masters. 
 
 Pastoral. A rural, musical drama ; or any lyrical pro- 
 duction relating to rustic life and manners. 
 
 Pastorale. (Ital.) An epithet applied to pastoral music. 
 See Pastoral Music. 
 
 Pastoral Music. Music, the prevailing character of 
 which is rural simplicity; and the principal sign of whose 
 simplicity is its being written in compound common time of 
 twelve quavers, given in alternate crotchets and quavers, 
 like the pastoral movement in the first part of Handel's 
 Messiah. 
 
 Patetico. (Ital.) With pathos, or impassioned sensa- 
 tion. 
 
 132 
 
P A T P E R 
 
 Patriotic Songs. Songs written in favour of the people 
 and public liberty, and set to music in a bold, free, and 
 energetic style. 
 
 Pause. That resting, or dwelling upon a note, which 
 is dictated by a dot with a curve drawn over it ; as thus : 
 
 Here, when the performer jrn -O 
 
 arrives at the note E, in- 
 stead of proceeding instantly 
 to the next bar, he will 
 dwell upon and embellish 
 that note as his judgment may direct. 
 
 Peals. Melodies composed for bells. 
 
 Ped. See Pedale. 
 
 Pedal Harp. A harp furnished with pedals. 
 
 Pedale. (Ital.) Basses which remain stationary, while 
 the upper parts of the composition proceed independently, 
 are called Pedale-Bassi. 
 
 Pedale-Bassi. (Ital.) Pedal-Basses ; basses which are 
 stationary. See Pedale. 
 
 Pedal-Note. A note that is held down, or continued, 
 while, in the other parts of the composition, the harmonica.! 
 evolutions proceed. 
 
 Penill. The stanza of a Welsh song. 
 
 Penillion. The plural of Penill. See that word. 
 
 Pentachord. (Greek.) With the ancients, a scale or 
 system of five sounds ; also an instrument with five strings. 
 
 Pentatonon. (Greek.) An interval consisting of five 
 whole tones ; equivalent to our extreme sharp sixth. 
 
 Per. (Ital.) For ; as Per il Jlauto, for the flute. 
 
 Per Biscantum. (Lat.) With the old ecclesiastical mu- 
 sicians, composing or singing in two -parts. 
 
 Percussion. The act of striking a note or a chorcL 
 
 Percussione. (Ital.) See Percussion. 
 
 Percussional. See Pulsatile. 
 
 Perdendosi. (Ital.) Losing itself. An expression sig- 
 nifying a gradual decrease in the time, and a sinking, or 
 dying, of the sound. 
 
 Perfect Cadence. That close, or conclusion, in which- 
 the bass consists of a dominant, or fifth, succeeded by the 
 final, or key note. 
 
 Perfect Chord. That chord which comprehends all the 
 consonances. 
 
 Perfect Concord. The chord of the fifth.and eighth. 
 
 133 
 
p e R P I A 
 
 Perfect Consonance. The interval of the octave, the 
 fifth, or the fourth. 
 
 Perfect Period. A Period which brings the ear to a 
 conscious conclusion, or state of rest. 
 
 Perfect Time. That measure which consists of a ternary 
 number: i. e. of three quavers, three crotchets, or three 
 minims in a bar. 
 
 Pesante. (Ital.) In a style impressively grave. 
 
 Petit Chocer. (French.) An expression applied to any 
 sacred composition in three parts. 
 
 Petites Pieces. (French.) A general appellation for 
 short, easy exercises, or tunes. 
 
 Petites Riens. (French.) Light, trifling compositions. 
 
 Pezzi di Bravura. (Ital.) Little pieces in a bold and 
 showy style. 
 
 Phil-Harmonic Societies. Societies established for the 
 purpose of performing various compositions, vocal andinstru- 
 mental ; and which generally include among their members 
 the most eminent practical musicians of the places in which 
 they subsist. According to their usual constitution, these 
 societies are supported by subscription, and consist of directors, 
 associates, conductors, and regularly engaged performers. Gf 
 this description is the Phil-harmonic Society in London, at 
 which are performed none but first-rate compositions, and 
 where are given the finest specimens of execution, vocal and 
 instrumental. 
 
 Phonics. The science which teaches the nature of sound, 
 the causes of its production, and accounts for its effects as 
 the element of harmony. 
 
 Phormynx. (Greek.) An ancient stringed instrument of 
 the lyre species, remarkable for the power and sweetness of 
 its tone. 
 
 Photinx. The ancient crooked flute. See Manaulos. 
 Phrase. See Passage. 
 
 Phrygian. An epithet applied by the Greeks to that of 
 their modes which they supposed to have been invented by 
 Marsyas, the Phrygian. It was the most vehement and 
 terrific of all the modes used by the Greeks, and was the 
 only one in which trumpets and the other military instru- 
 ments were employed. 
 
 Pia. The abbreviation of Piano, See that word. 
 
 Piacere. (Ital.) At pleasure; ad libitum. See the 
 latter expression. 
 134 
 
P I A P I T 
 
 Piacevolmente. (Ital.) In a delicate, pleasing manner 
 Pi an ge vole. (Ital.) In a mournful, dolorous style. 
 Piangevolmente. (Ital.) In a plaintive and pathetic 
 style. 
 
 Pianiss. The abbreviation of Pianissimo. 
 Pianissimo. (Ital.) The superlative of Piano. See that 
 word. 
 
 Pianist. A performer on the piano-forte. 
 Piano. (Ital.) Soft. 
 Piano-Piano. (Ital.) Very soft. 
 
 Piano-Forte. (Ital.) A well-known stringed and keyed 
 instrument. The Piano- forte was originally of German in- 
 vention ; but has received from English ingenuity such great 
 and important improvements, as to entitle this country to 
 all the honour due to its present tone and effects. Its com- 
 pass has now the extent of six octaves, its touch is terse and 
 elegant, and its expression and brilliancy have reached a 
 degree of perfection which is felt and acknowledged by 
 every lover of " the concord of sweet sounds.'' 
 
 Pib-Corn. A Welsh wind instrument called by some a 
 Horn-pipe. The body, or main tube, is of wood, and termi- 
 nated at each end with a horn. It is chiefly used by the 
 shepherds, whom it amuses while tending their flocks. 
 
 Piece. A name of general application, in regard of com- 
 position ; as a Piece for the organ ; a Piece for a full band ; 
 &c. &c. 
 
 Pienamente. (Ital.) Fully. A word implying that the 
 music to which it is prefixed is to be played with a copious 
 harmony ; in a full and majestic style. 
 
 Pieno. (Ital.) Full; as Pieno choro, a full chorus. 
 
 Pietoso. (Ital.) In a calm, religious style. 
 
 Piffero. A fife, or small flute. 
 
 Pipe. A musical reed, or tube formed of wood or metal. 
 Piper. A performer on the pipe. 
 
 Pipes of Pan. A wind instrument formed of pipes of 
 various lengths and diameters bound together. In per- 
 formance it is held to the mouth, and inflated by the breath. 
 
 Pitch. The Pitch of a sound is its particular degree of 
 gravity, or acuteness, and may be designated bynotation. Ex. 
 
 Here the Pitch of the first desig- 
 
 - nated sourlcl is a fifth below G, 
 
 - the treble-cliff note; that of the 
 %J Tjl 1 ' second an octave higher, that is, 
 
 135 
 
 I 
 
P I T- P O C 
 
 eight degrees more acute ; and that of the third sound a 
 fifth higher than the second, or twelve degrees higher than 
 the first. 
 
 Pitch-Pife. An instrument by which vocal performers 
 regulate the Pitch of their voices. When catch and glee 
 clubs were more numerous than at present, the Pitch-pipe 
 was in general use. 
 
 Piu. (Itai.) More ; as Piu piano, more soft. 
 
 Piu Mosso. (Ital.) With increased emotion. 
 
 Piu Tosto. (Ital.) Rather, or more; as Piu tosto presto, 
 rather quick, or more quick. 
 
 Piva. A hautboy, or cornet. 
 
 Pizzicato. (Ital.) A term in violin music, meaning that 
 the passage to which it refers is not to be performed with 
 the bow, but by pinching the strings with the fingers. 
 
 Plain Song. The old ecclesiastical chant. 
 
 Plates. Square or oblong sheets of pewter on which 
 music is engraved. 
 
 Players on high and low Instruments. In the four- 
 teenth century, when the science of counterpoint began to 
 afford exercise to bass and treble instruments, the French 
 minstrels, proud of their improved occupation, assumed the 
 distinguishing title of High and Low Players, in which they 
 were sanctioned by a charter granted by Charles the Sixth. 
 
 Plectrum. Before the fingers themselves were applied 
 to the strings of the harp and other instruments in perform- 
 ance, a quill called a Plectrum was used, with which the 
 vibrations were produced, but without giving them the mel- 
 low softness they now derive from the more delicate impulse 
 of the fingers' ends. 
 
 Pneumatic. (From the Greek.) An epithet appropriated 
 to wind instruments, because pneuma is but another word 
 for air, or wind. 
 
 Poco. (Ital.) A little ; as Poco vivace, a little or some- 
 what lively. 
 
 Poco Adagio. (Ital.) Somewhat slow. See Larglietto. 
 
 Poco Animato. (Ital.) Words intimating a cheerful, but 
 not too brisk style of performance. 
 
 Poco Piu. (Itai.) A little more; as Poco piu piano, a little 
 softer. 
 
 Poco Piu Mosso. (Ital.) With a little more emotion. 
 Poco a Poco Piu Lento. (Ital.) Words directing the 
 performer to slacken the time by degrees. 
 136 
 
P o E P O L 
 
 Poet-Musicians. The bards and lyrists of past times 
 are thus denominated by musical writers, because they 
 united in themselves the twofold faculty of poetry and 
 music. 
 
 Poi. (Ital.) Then; as Adagio, poi allegro; Slow, then 
 quick. 
 
 Point. The Point, as carrying with it various and 
 weighty meanings, is an important musical sign ; and was 
 resorted to by the early cultivators of harmony, who had 
 their Point of Alteration, or Duplication, which was placed 
 before two shorter notes preceding a longer, in order to 
 double the length of the second short note ; — their Point of 
 Augmentation, which, as now, increased the length of the 
 note it followed ; — their Point of Division, which was placed 
 between two shorter notes that followed, and were succeeded 
 by two longer notes, to render both the long notes imper- 
 fect ; — and their Point of Perfection, which rendered two 
 notes equal to three. 
 
 Point d'Orgue. (French.) A Pause. 
 
 Pointe, or Pointee. (French.) Dotted^ as Blanche 
 Pointee, a dotted minim. 
 
 Polacca. A Polish movement which is characterized by 
 its measure of three crotchets in a bar, and by commencing 
 on the fourth quaver, and throwing its emphasis on the 
 fifth. 
 
 Poliphant. (From the Greek.) A stringed instrument 
 of the lute kind, which, in the time of Elizabeth, was much 
 practised. It was strung with wire, and its tone is said to 
 have been much admired by that princess. 
 
 Polonoise. A movement whose characteristics are those 
 of its always being in triple time, and having every rhythmical 
 caesura on the latter part of the bar. 
 
 Polyodia. (Greek.) The ancient Polyodia consisted of 
 any union of sounds, whether harmonious or inharmonious. 
 
 Polyodic. (From the Greek.) An epithet applied by the 
 ancients to melodies sung by more than one person at a 
 time. 
 
 Polyphonia. (Greek.) A conjunction of many sounds. 
 
 Polyphonic. (From the Greek.) Having numerous sounds* 
 Polyphonic music is music consisting of many parte. 
 
 Polyplectrum. A stringed instrument resembling the 
 spinet, and which derived its name from the numerous quills 
 with which it was furnished. 
 
 137 
 
P O L P R E 
 
 Polythongum. (Greek.) An ancient soft-toned instru- 
 ment, called a Polythongum, on account of the great number 
 of its strings. 
 
 Pomposo. (Ital.) In a grand and imposing style. 
 
 Portamento. (Ital.) The manner of conducting and 
 sustaining the voice. To be free, yet firm and steady, is to 
 have a good Portamento. 
 
 Portando la Voce. (Ital.) Sustaining the voice ; holding 
 it firmly on the notes ; conducting it with judgment and 
 effect. 
 
 Portare la Voce. (Ital.) Sustaining the voice. 
 
 Portez la Voix. (French.) An imperative directing 
 that the tones of the voice be well sustained or enforced. 
 
 Positif. A chamber organ, the stops of which are few, 
 and the case shaped like a buffet : whence it is sometimes 
 called a buffet-organ. 
 
 Position. Position alludes to the manner of taking a 
 chord. Every chord being liable to as many positions as it 
 contains different notes, the common chord, of course, is 
 open to three. These are named as follows : 
 
 „ , D ... 3d Position. 
 - 1st Portion of the Chord of C. AI Position.. ^ 
 
 jg=g o r 1 BEE 
 
 y 1 ^ g= ~_r 
 
 Position Frame. Two parallel rails extending from one 
 extremity of the keys of a piano-forte to the other. To the 
 ends of these are fixed two cheek-pieces, which, by the addi- 
 tional aid of a screw, afford the means of firmly attaching 
 the whole machine to the instrument. The great utility of 
 this contrivance lies in its compelling the pupil to preserve 
 a proper position, and insensibly teaching him to convey his 
 hands in a graceful manner from one extremity of the key- 
 board to the other. This is a part of the Logerian system of 
 instruction. 
 
 P. P. The abbreviation of Piano Piano, very soft. 
 
 Practice. That vocal or manual application which is 
 the foundation of future excellence in performance. 
 
 Pr^esci^e. Certain females among the ancients whose 
 profession was to pour forth dirges over the dead. 
 
 Prattico. (Ital.) A practical musician. 
 
 Precentor. The former name of the master of a choir. 
 138 
 
P R E P R I 
 
 Precettore Musico. (Ital.) A musical instructor. See 
 
 Music Master. 
 
 Prelude. A short, introductory performance: any thing 
 merely prelusive. 
 
 Preludio. (Ttal.) See Prelude. 
 
 Prelusive. That which is merely introductory to some- 
 thing else. 
 
 Prepara. (Ital.) See Prepared. 
 
 Preparation. That harmony, one of the notes of which 
 is to form the discordant note of the succeeding combina- 
 tion. Ex. 
 
 Here G, one of the notes of the first chord, forms, by its 
 repetition, the discordant note of the second chord. 
 Preparazione. (Ital.) See Preparation. 
 Prepared. A term applied to a discord, when its dis- 
 cordant note has been concordantly introduced in the imme- 
 diately preceding harmony ; also applicable to certain shakes. 
 
 Prepared Discord. A combination, the dissonant note 
 in which has been heard concordantly in the previous har- 
 mony. See Preparation. 
 
 Prestissimo. (Ital.) The superlative of Presto. Exceed- 
 ingly quick. 
 
 Presto. (Ital.) Quick. 
 
 Prima Buffa. (Ital.) The principal female performer in 
 the Italian comic opera. 
 
 Prima Donna. (Ital.) The singer who performs the first 
 female parts in the Italian serious opera. 
 
 Prima Volta. (Ital.) The first time. An intimation, 
 that the first time the strain is sung or played, the bar 
 over which these words are written, is to be performed, 
 instead of that having over it the words Volta Seconda. 
 See that expression. 
 
 Primo. (Ital.) First, or Principal. 
 
 ^ — E 
 
 See Prepared Shake. 
 
 Prepared Shake. A 
 shake preceded by two 
 or more prelusive notes. 
 Ex. 
 
 139 
 
PR L 
 
 : — pro 
 
 Primo Buffo. The first man in the Italian comic 
 opera. 
 
 Primo Cantante. (Ital.) First male singer at the 
 opera. 
 
 Primo Tempo. (Ital.) An expression signifying a re- 
 newal of the original time of a movement, after it has 
 been accelerated or retarded. 
 
 Prim. Temp. An abbreviation of Tempo Primo. See 
 that expression. 
 
 Principal. The name of a certain stop in an organ. 
 
 Principiante. (Ital.) A noviciate, a beginner ; one 
 who has but entered on the first rudiments of musical 
 theory or execution. 
 
 Producente. (Ital.) The name given by the Italians, 
 to the fifth, or dominant, of the diatonic scale, because that 
 note naturally produces its accompanying seventh. 
 
 Professor, Musical. He who, at a University, fills the 
 honourable office of conferring musical degrees, delivering 
 public lectures on the science of harmony, and composing 
 for and conducting all musical performances ordained by 
 the academical regulations. 
 
 Professorship, Musical. That station at a University 
 which authorises him who fills it, to confer musical degrees, 
 &c. See Professor, Musical. 
 
 Progressive Lessons. Those preparatory exercises which, 
 leading the practitioner through gradually increasing diffi- 
 culties, smooth his way to improvement, and abridge the 
 labours of the tutor. 
 
 Progressive Notes. Notes of regular ascent or 
 descent. 
 
 Prolonged Shake. A Shake which has no specific cha- 
 racter; and that may be open or close, according to the 
 judgment or ability of the performer. Its proper places 
 are upon holding notes, at the terminations of pauses, and 
 at the closes of strains, and final cadences of melodies. Ex. 
 
 fr 
 
 Prophets. In ancient times, bards and rhapsodists. By 
 the Old Testament we are told, that " Saul met a company 
 of Prophets with a psaltery, tabret, and harp," seeming to 
 140 
 
PRO 
 
 PS A 
 
 intimate, that they prophesied, accompanying themselves 
 with those instruments. 
 
 Proscorda. (Greek.) The harmonic accompaniment to 
 the ancient vocal music, invented by Crexus the Grecian 
 musician, till whose time, the accompanying instruments 
 were always in unison with the voice. 
 
 Proslambanomenos. The name of the lowest note in 
 the ancient Grecian system. Its pitch corresponded with 
 our A above G gamut. 
 
 Prosodia. (Greek.) In the ancient music, a hymn or 
 sacred ode. 
 
 Prosody. A name, or song, sung by the Greeks at the 
 entrance of sacrifices. 
 
 Protracted Modulation. A Modulation which, instead 
 of passing directly to the harmony to which it would natu- 
 rally lead, moves first to some intermediate harmony, thereby 
 procrastinating or deferring the natural or proper harmony. 
 Ex. 
 
 
 
 o 
 
 — — 
 
 
 i 
 
 
 
 o 
 
 C3 IL 
 
 Here the harmony which would naturally follow the first 
 chord, is protracted, or postponed, till the third. 
 Psalm. A sacred song. 
 
 Psalmist. A writer, composer, or singer of Psalms. 
 Psalmists. Certain ordained singers in the primitive 
 church. 
 
 Psalmody. A species of sacred vocal music, which had its 
 origin in Germany, and at the Reformation was introduced 
 into the service of the Church of England. 
 
 Psalmody Island. An island in France in which Cor- 
 billa, a Syrian monk, founded a monastery, and instituted a 
 Perpetual Psalmody, or Laus Perennis. 
 
 Psalms. Divine songs ; especially those supposed to 
 have been written by David, and set to music by Asaph, 
 Eman, Ethan, and other Hebrew musicians whose names we 
 find at the head of those inspired compositions. 
 
 Psalm-Tune. A slow, heavy melody to which the versi- 
 fied psalms are sung in the parochial service of the Church 
 of England. 
 
 Psalter. A book of the psalms of David. 
 
 141 
 
PSA- 
 
 QUA 
 
 Psaltery. A ten-stringed instrument of the ancient 
 Hebrews. See Nebel. 
 
 Psaltrub. Female singers whom the ancients employed 
 to enliven their public festivities. 
 
 Pulsatile. Percussive, striking. Instruments, therefore, 
 on which we operate by a blow (as the drum, tabor, &c.) are 
 called Pulsatile instruments. 
 
 Punto per Punto. (Ital.) Note for Note. An expres- 
 sion signifying that the parts of the music to which it is pre- 
 fixed consist of an equal number of notes, and that to every 
 single note in onejpa?^, a single note is opposed in each of 
 the other parts. 
 
 Q- 
 
 Quadripartite. (From the Lat.) A composition in 
 four parts is said to be Quadripartite, purely because four 
 is their number. 
 
 Quadrivium. The name under which, in the ninth and 
 tenth centuries, the four principal sciences, music, arith- 
 metic, geometry, and astronomy, were comprehended. 
 
 Quadruplo. (Lat.) Formerly, to sing in quadruplo, was 
 to sing in four parts. 
 
 Quantity. In music, Quantity signifies the relative 
 value of the several notes, in respect of their time, or 
 duration; as, in prosody, the rhythm depends on the 
 Quantity, not the number of the syllables. 
 
 Quarter-Tone. The half of a semitone : an interval 
 introduced into the Greek enharmonic genus, by Aris- 
 toxenus. 
 
 Quartet. An abbreviation of Quartetto. See that 
 word. 
 
 Quartetto. (Ital.) A composition in four distinct 
 farts. 
 
 Quasi. (Ital.) In the manner of — like unto — rather 
 so. See Quasi Presto, and Quasi Andante. 
 
 Quasi Andante. In the Andante style. 
 
 Quasi Presto. (Ital.) Somewhat quick ; rather quick. 
 An expression, the sense of which is short of that of the 
 word Presto when used alone. 
 
 Quart de Soupir. (French.) A semiquaver rest. See 
 Semiquaver Rest. 
 142 
 
QUA 
 
 •RAL 
 
 Quatuor. A Quartett. See that word. 
 Quaver. A note, in duration, one half of a crotchet, or 
 one-eighth of a semibreve — made thus — ^ — or thus — J — 
 
 or when two or more are joined to- Qr • 
 
 gether thus — LJ 
 
 Quaver Rest. A sign of silence equal in duration to 
 a quaver : made thus — *j — 
 
 Querimonia. (Lat.) A spiritual lamentation. See 
 Lachrimce. 
 
 Quick-Step. A lively march, the measure of which is 
 generally that of two crotchets. 
 
 Quinta Pars. (Lat.) A fifth -part. Till about the mid- 
 dle of the fifteenth century, the number of parts introduced 
 into ecclesiastical compositions generally were limited to 
 four ; the Cantus, or treble ; Alius, or counter-tenor ; the 
 Tenor, and the Bass : therefore when a fifth part was added, 
 it was considered as a supernumerary, and received the 
 distinctive name of Quinta Pars. So if a sixth part were 
 added, it was denominated the Sexia Pars. See Sexta Pars. 
 
 Quintadecima. (Ital.) A- Fifteenth. See that word. 
 
 Quintet. An abbreviation of Quintetto. See that 
 word. 
 
 Quintetto. A composition in five independent parts. 
 
 Quintoire. A term which the old French writers on 
 music applied to descant, so late as two hundred years 
 after the time of Guido ; when the ears of musicians and 
 amateurs were still in so uncultivated and barbarous a 
 state, as not only to endure, but receive pleasure from,, 
 continued series of consecutive fifths ! 
 
 R. 
 
 R. A letter used in piano-forte music, to apprize the 
 performer, that the passage over which it is placed, is to be 
 played with the right hand. 
 
 Raddolcendo. (Ital.) In a soft, sweet manner. 
 
 Raddol. The abbreviation of Raddolcendo. See that 
 word. 
 
 Rallentando. (Ital.) In a slackened or decreased time. 
 Rallen. The abbreviation of Rallentando. See that 
 word. 
 
 143 
 
R A N R E C 
 
 Rans des Vaches. A celebrated Swiss air, in high 
 favour with the herdsmen of Switzerland. 
 
 Rappel. (French.) See Reclaimer. 
 
 Rappeller. (French.) See Reclaimer. 
 
 Re. A monosyllable applied by the Italians to the third 
 sound of the diatonic octave. 
 
 Real Parts. An expression used by theorists, to dis- 
 tinguish the constituent parts of a polyphonic composition 
 from the mere accompanying parts, the office of which is 
 merely to brighten and enrich the effect, not to add to the 
 body of the harmony. 
 
 Rebec. A Moorish instrument, originally with only 
 two strings ; but to which the Spaniards afterwards added 
 a third. The Rebec was long a favourite in England. 
 
 Recheat. That series of notes with which huntsmen 
 recal the hounds from a false scent. 
 
 Recital. The delivery of a recitative. A term used 
 in contradistinction to that of singing, or the delivery of 
 an air. 
 
 Recitando. (Ital.) An expression in vocal music, im- 
 plying a speaking manner of delivering a melody. 
 
 Recitante. (Ital.) Reciting ; a style of delivery more 
 like speaking than singing. 
 
 Recitative. Musical declamation. A species of vocal 
 -expression more rhetorical than melodial ; and which, for 
 its effect, trusts rather to the inflection and emphasis of 
 natural speech, than to the artificial floridity of song. 
 When Recitative has only an appended bass, it is said to be 
 unaccompanied ; and then the execution is not confined to 
 the observance of time or measure ; but when the compo- 
 sition includes parts for a band, or for any instruments 
 ^except the bass, time is necessarily regarded, since, without 
 its guidance, there could be no concinnity of performance. 
 
 Recitativo. (Ital.) See Recitative. 
 
 Recit. The abbreviation of Recitative. See that word. 
 
 Recitativo Istromento. (Ital.) Accompanied recitative. 
 
 Recitativo Secco. (Ital.) Unaccompanied recitative. 
 
 Reclame. (French.) A bird's song, a song like that of 
 a bird. See Rickiamata. 
 
 Rec lamer. (French.) To sing in imitation of a bird. 
 See Chiamare. 
 
 Recorder. An old instrument resembling the flageolet ; 
 now out of use. 
 144 
 
R E C R E L 
 
 Rector Chori. (Lat.) The choral director ; the super- 
 intendent of the choral part of a performance. 
 
 Redoubled. .Any interval carried into its octave, is said 
 to be Redoubled. The twelfth, consisting of a fifth and an 
 octave, is a Redoubled fifth ; and a thirteenth composed of 
 a sixth and an octave, is a Redoubled sixth. 
 
 Reed. The little tube through which the hautboy, 
 bassoon, and clarinet are blown ; also the thin, brass plate, 
 or tongue, fixed at one end of an organ-pipe, and which, 
 vibrated by the wind, thickens the tone, and forms what is 
 called a reed-stop. 
 
 Reedy-Tone. When a voice is somewhat thick, its tone 
 is said to be Reedy. 
 
 Reel. A sprightly Scotch dance, the accompanying tune 
 ©f which is generally in common time. 
 
 Refrain. An old term for the burden of a song. 
 
 Regio Conservatory di Music a. (Ital.) A Royal 
 Academy of Music. 
 
 Register. The compass of a voice, or instrument. 
 
 Rehearsal. A preparatory performance. 
 
 Relation. A natural connection, or common bearing, 
 between any two sounds or scales. 
 
 Relative. Those sounds, chords, and scales which have 
 any respective affinity, musicians consider as Relatives. The 
 common chord consists of Relative sounds ; the same harmony, 
 however taken, consists of Relative chords ; and scales from 
 -one to the other of which we can pass without any change 
 •of sharps or flats, are Relative scales. Ex. 
 
 Relative sounds : Relative chords : 
 
 Relative scales : 
 
 Here C,E, G are Relative sounds, because they are portions 
 of the same common chord: the three subsequent chords 
 are Relative chords, because they all constitute the same 
 
 H 145 
 
RE L- — 
 
 RES 
 
 harmony; and the two following scales are Relative scales, 
 "because the first, as C major, has no sharps or flats, and 
 the second, as A minor, has no sharps or flats. 
 
 Religioso. (Ital.) A term implying that the music to 
 which it is prefixed, is of a sacred and pious character, 
 and should be performed in an ecclesiastical style. 
 
 Repeat. The power of the Repeat corresponds with its 
 name. Whenever this character appears, it denotes a 
 repetition of the passage, or strain, to which it refers. Ex. 
 
 
 
 f— 
 
 4 
 
 i—fflM-i 
 
 
 
 4 
 
 • 
 
 .. 
 
 
 
 
 Here, the four bars included between the Repeats are to be 
 placed twice over before proceeding any farther. 
 
 Replica. (Ital.) A Repeat. See that word. 
 
 Replicato. (Ital.) Repeated. 
 
 Requiem. A dirge or funeral service. 
 
 Resolution. That change of harmony which resolves 
 the unharmonizing note of any discord into a harmonizing 
 note in the succeeding chord. Ex. 
 
 J5C 
 QL 
 
 2: 
 
 Here C,the discordant note in the second chord, is resolved 
 in the note B, a concordant note in the third chord. 
 
 Resoluzione. (Ital.) See Resolution. 
 
 Resolved. A dischord is said to be Resolved, when its 
 discordant note is changed for one that is concordant in 
 the succeeding combination. See Resolution. 
 
 Resonance. The reverberation or echo of any sound. 
 
 Resounding. Echoing ; sounding again. 
 
 Response. The repeating, or taking up, the given sub- 
 ject of a fugue, or of a movement imitative of a fugue. 
 
 Rests. Characters in music, which, like stops in lite- 
 rature, announce a pause or silence. Like the various 
 notes, they differ in duration; and each Rest is named 
 after the note it equals in that particular. The length of 
 the Se7nibreve Rest is equal to that of the semibreve itself ; 
 146 
 
U E T R I D 
 
 the value of the Minim Rest to that of the minim ; and so 
 of all the other Rests. 
 
 Retardation. By this word is to he understood 
 the Retardation of an ap- ] i 
 
 Here, the note F, in the second chord is, by retardation, 
 carried into the succeeding combination. 
 
 Retro. (Lat.) By a backward motion. When the sub- 
 ject of a fugue or canon is taken in a retrograde direction, 
 the change is announced by the word Retro. 
 
 Rhapsodists. Itinerant bards and musicians who, in 
 ancient times, subsisted by publicly reciting and singing 
 their own works, or those of others. It was in Greece that 
 they chiefly abounded ; and Hesiod and Homer, and Or- 
 pheus and Amphion, were of their number. 
 
 Rhythm. That branch of the art of vocal composition 
 which teaches us so to accommodate long and short 
 notes to the different syllables, as to properly separate the 
 words, and duly accentuate every syllabic portion of the 
 sentence. 
 
 Rhythmical. An epithet applicable to the rules by 
 which the accents and quantities of verse and of melody are 
 regulated. See Rhythm. 
 
 Ribjble. See the word Rebec, of which Ribible is the 
 diminutive. 
 
 Ricercari. (Ital.) Solfeggi were formerly called Ricer- 
 cari, as also were instrumental exercises. 
 
 Richiamare. (Ital.) To sing with a shrill tone of voice : 
 to warble or whistle, in imitation of a bird. 
 
 Richiamata. (Ital.) A song, the tones and style of 
 which are imitative of the singing of a bird. 
 
 Richiamo. (Ital.) The song of a bird : metaphorically 
 applied to the whistling, or shrill vociferation, of any little 
 air. See Appeau. 
 
 Ridotto. (Ital.) An entertainment consisting of singing 
 and dancing. When used adjectively, this word signifies, 
 that the piece to which it relates is newly modified, or 
 arranged. 
 
 proaching harmony, by so 
 prolonging some note of a 
 previous chord, as to carry 
 it into the succeeding com- 
 bination. Ex. 
 
 h2 
 
 147 
 
R I F R O L 
 
 Riffiormenti. (Ital.) The spontaneous embellishments 
 introduced by a vocal or instrumental performer. 
 
 Riflettando. (Ital.) A scenic expression, implying-, 
 that the Character is to accompany his singing with an air 
 of reflection and meditation. 
 
 RiGADooN. An animated Provencal dance, the motions 
 of which require an accompanying tune in triple time. 
 
 Rinfqrzando. (Ital.) A term implying a repeated rein- 
 forcement of expression. 
 
 Rjnf. An abbreviation, of Rinforzando. 
 
 Rinforzo. (Ital.) Force of expression. 
 
 Ringers. Those who ring church bells. Formerly 
 there were in London several societies of persons who de- 
 lighted in this amusement, the most distinguished of which 
 was that known by the title of College Youths. 
 
 Ringing Island. The appellation given by foreigners 
 to this country, on account of its ancient attachment to the 
 practice of ringing church bells. 
 
 Rifieno. (Ital.) In orchestral performance, those 
 violins, or other instruments, whose office is to fill up and 
 supply the full parts of the concert. 
 
 Risoluta. (Ital.) See Resolved. 
 
 Risoluto. (Ital.) Resolute, determined, firm. 
 
 Ritardando. (Ital.) A dropping or slackening of the 
 time. 
 
 Ritardando poco a poco. (Ital.) Slower and slower. 
 
 Ritenuto. (Ital.) Movements to which this term is pre- 
 fixed, are to be performed in a gentle, delicate, and re- 
 strained manner. 
 
 Ritornel. The abbreviation of Ritornellc. See that 
 word. 
 
 Ritornello. (Ital.) A Symphony; not in the enlarged 
 sense in which we now frequently use the term symphony ; 
 not a regular, full, and independent composition; but a 
 short, prefatory introduction to an air, or intermezzo between 
 Its strains. 
 
 Rivogliamento. (Ital.) A word implying the practice 
 sometimes resorted to in double counterpoint, of transferring 
 the treble notes into the bass, and those of the bass into the 
 treble. 
 
 Rivolto. (Ital.) Inversion. See that word. * 
 Rolling. That rapid percussion by which the sounds of 
 148 
 
R O M R O Y 
 
 the drum are made to bear so close upon each other as to 
 produce a rolling, rumbling effect. 
 
 Romance. Formerly, a lyric tale sung by the wandering 
 troubadours. But now we apply the term to instrumental 
 compositions of a somewhat desultory and romantic cast. 
 
 Romanza. (Ital.) See Romance. 
 
 Ronde. (French.) A Semibreve. See Semibreve. 
 
 Rondeau. (French.) A composition so called because, 
 by the nature of its construction, it returns into itself. 
 
 Rondino. (Ital.) A little Rondo. See Rondoletto. 
 
 Rondo. (Ital.) A production, the distinguishing charac- 
 teristic of which is that of its reverting, first from its second 
 and then from its third strain, to that with which it com- 
 mences, and with which it concludes. From this revolution 
 of its melody, the Rondo derived its appellation. 
 
 Rondoletto. (Ital.) The diminutive of Rondo; a short 
 Rondo. See that word. 
 
 Root. The fundamental note of any chord. 
 
 Rosalia. A Rosalia is the reiteration of a passage one 
 note higher in the scale than as previously given. 
 
 Rote. The old name of the French Vielle, or English 
 hurdy-gurdy. - 
 
 Roulade. (French.) A rapid flight of decorative notes-. 
 See Volata. 
 
 Rouleman. See Roulade. 
 
 Round. A Fugue in the unison. A kind of Catch, the 
 parts of which follow each other, and by their revolving 
 course, first suggested the name by which the composition 
 is known. 
 
 Roundelay. A lively, simple, rural strain, of French 
 origin, first known under the name of Rondelet, then by that 
 of Rondel, and, lastly, by that which it now bears. Its chief 
 characteristic consisted in its returning into itself, something 
 in the manner of a Rondo; the circumstance to which it 
 owed its first appellation. 
 
 Royal Academy op Music. An Institution established 
 in London, under the munificent patronage of his present 
 Majesty, and by the subscriptions of the Royal Family, and 
 nobility and gentry. This practical and theoretical semi- 
 nary, for both sexes, had for its original proposer, or foun- 
 der, the scientific and tasteful Lord Burghersh, whose liberal 
 object was, to furnish to a certain number of children, or 
 young persons musically gifted, an opportunity of cultivating 
 h 3 149 
 
ROY ! 
 
 SAC 
 
 their talents at an easy expense, and thereby acquiring a 
 respectable means of subsistence, and contributing to the 
 honour of the musical profession. The undertaking is con- 
 ducted by some of the first masters, at the head of whom is 
 Dr. Crotch; and the financial and concert departments are 
 superintended by a committee of noblemen and gentlemen. 
 
 Royal Society op Musicians. An institution established 
 in the year 1738, under the title of a " Fund for the Support 
 of Decayed Musicians and their Families." This charity com- 
 menced under the auspices of an exalted and numerous body 
 of subscribers, was honoured with royal approbation, and oc- 
 casionally derived considerable support from the tributary 
 beneficence of Handel, who not only bestowed upon it the 
 gratuitous performance of his most popular compositions, 
 but the exertions of his personal talents. A considerable 
 portion of the profits derived from the performances in 
 Westminster Abbey, (1784) in commemoration of that un- 
 rivalled master, was, very properly, applied to the aid of 
 this Fund ; and soon after that splendid celebration, the 
 King permitted the members and guardians to incorporate 
 themselves, under the title of " Royal Society of Musicians." 
 The present Sovereign continues to this establishment the 
 honour of the high munificence it enjoyed under their late 
 Majesties ; and royal and public bounty has raised it to 
 that flourishing condition so truly merited by its benevo- 
 lent object. 
 
 Ruled Paper, Paper prepared for writing upon, and 
 so called because, for a long while, the staves it contains, 
 instead of being, as now, engraved on pewter, and then 
 printed, were ruled with a five-pointed pen. 
 
 Rustic Song. A song written on rural affairs, and sung 
 to a rude and popular melody. 
 
 S. 
 
 S, the letter S is sometimes used initially: as Trump: S. y 
 the< trumpet-stop of an organ ; Viol : S., a solo for the 
 violin. 
 
 Sacbut. An old bass instrument of the wind species ; 
 in tone and power not unlike a trumpet. 
 
 Sacred Music Strictly speaking, Music composed for 
 the service of the church ; but using the epithet sacred in a 
 150 
 
S A C S C A 
 
 larger sense, oratorios, concerti spiritual, or any music 
 including the homage and worship of the Deity. 
 Sacred Songs. See Divine Songs. 
 
 Sacrist. In the Romish church, he whose office is that 
 of copying music for the choir, and taking care of the 
 musical library. 
 
 Salma. (Ital.) A psalm, or psalm-tune. 
 
 Salmodia. (Ital.) Psalmody. See that word. 
 
 Salterella. (Ital.) A jig-like tune, by which the leaping 
 motion of the Salterella dance is accompanied. 
 
 Sarabande. A dance supposed to be of Saracen origin. 
 Its accompanying tune is in the measure of three crotchets, 
 or three minims ; a characteristic of which is, the lengthen- 
 ing the second crotchet or minim of the bar ; from which 
 peculiarity it derives a degree of solemnity and importance. 
 
 Scala. (Ital.) The scale, or intervals of the octave. 
 See Scale, or Octave. 
 
 Scala Cromatica. (Ital.) The Chromatic Scale : an ex- 
 pression which, with the moderns, signifies a scale of 
 sounds rising or falling by semitonic intervals. Ex. 
 
 Scalds. The ancient northern bards ; the subjects of 
 whose vocal rhapsodies were the warlike exploits of their 
 countrymen. 
 
 Scale. A series or system of sounds proceeding by 
 rule from grave to acute, or vice versa. This scale, or ladder 
 (for the term is from the Latin word Scala) may be simple, 
 as comprising only the notes of one octave ; or compound, 
 as embracing a series of octaves. Taken in the former 
 sense, it presents a limited course of contiguous degrees of 
 diiferent dimensions, as tones and semitones; received in 
 the latter, it implies a series of equal degrees, consisting of 
 equal degrees, or semitones, and bounded only by the 
 powers of instrumental expression. Again ; in its former 
 meaning, the term scale signifies a'measured course of tones 
 and semitones, taken in a certain order ; as that order which 
 constitutes the major mode, or that which forms the minor 
 mode : but in its latter sense, it neither has nor requires any 
 diversified arrangement whatever. As intervals, measured 
 h 4 151 
 
S C A S C O 
 
 and equal, they have by necessity a uniform order, from 
 which they cannot depart without ceasing to be similar. 
 These semitonic divisions of the great compass constitute 
 the elements of the comprehended scales, the major and minor 
 modes, and form what may be properly called the universal 
 system. 
 
 Scanello. (Ital.) The bridge of a violin, violoncello*^ 
 double-bass, &c. 
 
 Scavezze. (Ital.) A term used to distinguish those 
 ascents of the voice which 
 do not rise above the sixth 
 of the key or scale. 
 
 ✓t in a Ex * .1 2 3 4 5 6 
 
 fee en a. (Ital.) A scene. A portion ot an opera. 
 
 S c en a da Camera. (Ital.) A composition for the 
 
 chamber. 
 
 Scenic Music. Dramatic music, in the composition of 
 which the particular business or sentiment of each scene 
 has been consulted. 
 
 Scherzando. (Ital.) In a playful, fantastical style. 
 
 Scherzoso. (Ital.) Sportful, playful. 
 
 Sciolto. (Ital.) A term from which the performer un- 
 derstands that the notes of the movement to which it is 
 prefixed is to be played in a free, but distinct manner. 
 
 Scolia. (Greek, plu.) Originally, paeans, hymns, or 
 other sacred canticles sung by the ancients in honour of the 
 several divinities: afterwards, festive songs with which 
 they cheered their banquets. In the latter case, the Scolia 
 were accompanied with the lyre, and the subjects were 
 those of'love and wine. 
 
 Score. A complete and orderly assemblage (in manu- 
 script, or in print) of the parts of a vocal or instrumental 
 composition. This is called a Score, on account of the 
 vertical lines (or scorings) which run from the upper to the 
 lower stave, symmetrically dividing the different parts; that 
 as, bringing their corresponding bars directly under each 
 other, so that the eye sees at a glance their harmonical 
 connection; and the judgment is enabled to decide upon the 
 effect. 
 
 Scoring. Forming a score, by arranging and embodying 
 the parts of a composition. 
 
 Scotch Scale. A Scale or series of intervals consisting 
 of three whole tones and two minor thirds ; i. e. an octave 
 152 
 
S C O ,S E M 
 
 in which the fourth and seventh are omitted. It is to this 
 
 systematic peculiarity that r\ t ] 
 
 the true or genuine Scotch -jf- , i "1 " J ^~ " 
 
 melodies owe their very dis- ^-J- h~- T~j 9 XL 
 
 tinct character. Ex. • 
 
 Scotch Tunes. Melodies peculiar to the north of this 
 island ; and which owe their character to the particular 
 constitution of the Scotch scale. See Scotch Scale. 
 
 Scozzese. In the style of Scotch music. 
 
 Sdrucciolato. (Ital.) A term implying a smooth or 
 sliding manner of performance. 
 
 Sea Songs. Songs having for their burthen the pleasures 
 and advantages of a mariner's life ; and the melodies of 
 which are always simple, easy, and familiar. 
 
 Second. An interval containing either two semitones, 
 or only one ; that is, nine commas, or only four. 
 
 Secular-Music. An expression used in contradistinction 
 to that of Sacred Music, and applicable to any composition 
 intended for the amusement of the theatre or the chamber.- 
 
 Seculars. The unordained vocal officiates of a choir. 
 
 Segno. (Ital.) A mark or sign. See, Al Segno. 
 
 Segue. (Ital.) A verb of the third person singular, 
 meaning He, or It, follows : as Segue Duetto, the duett 
 follows. See Siegue. 
 
 Self-acting Piano-Forte. A vertical piano-forte, the 
 strings of which, vibrated by the -impulse of a concealed 
 spring on the hammers, produce, without the exercise of 
 the fingers, a fine tone, and afford specimens of correct and 
 expressive execution. Beside that, this self-impelled in- 
 strument executes overtures, symphonies, and songs, in a 
 style nearly equal to that displayed by the finger of a judi- 
 cious and tasteful master ; its performance of waltzes,, 
 quadrilles, and other dances, renders it a desirable article 
 of furniture for the drawing-room, and gives it a particular 
 value with the votaries of Terpsichore. 
 
 Semi. (Latin.) Half. See Semibreve. 
 
 Semibreve. Half a Breve. The longest note now in 
 common use ; and the standard by which all the notes of 
 lesser value are measured. Made thus : o» 
 
 Semiereve Rest. A sign of silence equal in 
 
 duration to a Semibreve : made thus — m 
 See Semibreve. ZZZZZT . 
 
 H 5 153 
 
S E M S E P 
 
 Semichorus. The appellation applied to a chorus that 
 is short, and of a slight construction. 
 
 Semicroma. (Ital.) A quaver. See Quaver. 
 Semidiapente. (From the Greek.) An imperfect fifth. 
 Semiditone. A minor third. 
 
 Semiminim. Half a minim : the former name of a note 
 now called a crotchet. 
 
 Semiquaver. A note, in duration, one half of a quaver, 
 
 or one sixteenth of a semibreve — made thus — \ — or 
 
 thus — 5 — or when two or more are conjoined — thus — 
 
 — or thus — . 
 
 Semiquaver Rest. A sign of silence equal in duration 
 to a semiquaver : made thus — «j — 
 
 Semitone. Half a tone : as thus 
 
 Semitonic. The epithet proper to an interval of half a 
 tone. 
 
 Semplice. (Ital.) A word directing a chaste and simple 
 style of performance. 
 
 Sempre. (Ital.) A term intimating continuance : as 
 Sempre forte, loud throughout. 
 
 Semp. The abbreviation of Sempre. 
 
 Sempre con Forza. (Ital.) Words signifying that the 
 movement to which they are prefixed is to be sung or 
 played loudly throughout. 
 
 Sempre Piano. (Ital.) Soft throughout. 
 
 Sensible. The subtonic of any key ; 
 called the sensible, because it makes the 
 
 ear sensible of that key : as thus — ^ 
 
 Senza. (Ital.) Without: as Senza Fagotti; without the 
 bassoons ; Senza Flauti; without the flutes ; Senza Rigore ; 
 without strictness of time. 
 
 Senza Monotonia. (Ital.) Without monotony. 
 
 Senza Orchestra. (Ital.) An expression in the Italian 
 opera, signifying that, in that particular passage, the singer 
 is wholly unaccompanied. 
 
 Septenart. The name of each of that series or range 
 of notes into which the great scale was divided by St. 
 154 
 
S E Q S H A 
 
 Gregory. Perceiving that, after ascending or descending 
 regularly through any seven sounds, the next seven con- 
 sisted but of a repetition of the order of the past seven, he 
 considered the whole diatonic system as comprising a chain 
 of Septenaries, to the notes of which he applied the first 
 seven letters of the alphabet. 
 
 Sequence. A succession of similar harmonic modula- 
 tions. Ex. 
 
 i i 
 
 An evening concert performed in the 
 
 A lover's vespers, or evening song. 
 A wind instrument, the name of which is 
 
 Serenade. 
 open air. 
 Serenata. 
 Serpent. 
 
 derived from its curvilinear form. The scale of the Ser- 
 pent begins upon double C, and extends to the G cliff note, 
 or the B flat, next above that G. 
 
 Service. A composition supplying the vocal portion 
 of cathedral worship. 
 
 Servi Symphoniaci. (Lat. pi.) A band of musicians 
 kept by the wealthy among the ancient Romans, for the 
 entertainment of themselves and friends. 
 
 Sesquitone Tone. A minor third. See Minor Third. 
 
 Sestetto. (Ital.) A composition in six harmonic parts. 
 
 Sestett. The abbreviation of Sestetto. See Sestetto. 
 
 Sett ima. (Ital.) See Seventh. 
 
 Seventh. An interval consisting of seven sounds, or 
 six diatonic degrees. There are four different sevenths ; 
 but only two are generally noticed — the minor- seventh, con- 
 taining four tones and two semitones ; and the major- 
 seventh, composed of five tones and one semitone. The 
 minor -seventh was the first discord ventured upon by the 
 early contrapuntists. 
 
 Sfortzato. (Ital.) An expression apprizing the per- 
 former, that the note or passage to which it refers, is to be 
 emphatically given. 
 
 Sfortzando. See Sfortzato. 
 
 S. F. The abbreviation of Sfortzando, or Sfortzato. 
 Shake. An ornament produced by the rapid alternation 
 H 6 155 
 
S H A S I 
 
 of two notes ; the principal and the note above it, compre- 
 hending 1 the interval, either of a whole tone or half a tone. 
 Of Shakes there are six kinds : the Open, Plain Shake ; the 
 Close, Plain Shake; the Prolonged Shake; the Passing 
 Shake; the Open, Turned Shake; and the Close, Turned 
 Shake — which see in their proper places. 
 
 Sharp. A character signifying, that the note to which 
 it is prefixed, must be sung or played half a tone higher 
 than if such character were not placed before it. 
 
 Sharp Sixth (Compounded.) The 
 Extreme Sharp Sixth, accompanied, 
 or compounded, with the fifth : Ex. 
 
 Shawm. A wind instrument of the ancient Hebrews : 
 supposed to have been of the horn kind. 
 
 Shell. Some writers assert, that the first musical 
 instrument consisted of an open reed ; according to 
 others, it was a shell. " Without," say these, " insisting 
 that some shells, when blown into, produce musical sounds ; 
 it is so well known that, if supplied with distended strings, 
 they at once become musical, that there can be no reason- 
 able doubt that some fact furnished ground for the story of 
 Mercury and the Tortoise Shell ; and that a shell of some 
 kind formed the first musical instrument.'' 
 
 Shift. When the notes of violin or violoncello music 
 lie wide of each other in point of gravity and acuteness, 
 their performance necessitates a sudden change of position 
 in the hand ; which change is called a Shift. 
 
 Short Octaves. Some of the lower octaves of an organ 
 not having all the intermediate notes, the extreme keys of 
 such octaves are necessarily less distant from each other ; 
 that is, the space taken up by such octaves is less, or 
 shorter, than the space occupied by full octaves. 
 
 Shrill. An epithet applicable to all high, thin, pene- 
 trating sounds : as the tones of the flageolet, or of the 
 " ear-piercing fife.'' 
 
 Si. The syllable added in the seventeenth century by 
 Le Maire, a French musician, to the six adopted by Guido 
 in solfaing. In ascending through the seven notes which 
 156 
 
S I C S I N 
 
 lie "beneath the octave, the note called Si is the seventh, or 
 highest. 
 
 Siciliana. (Ital.) An epithet applicable to a slow 
 movement of six or twelve quavers in a bar. See Pastoral. 
 
 Side-Drum. The drum in common use, and, in per- 
 formance, suspended at the drummer's side. 
 
 Siegue. (Ital.) A word placed at the end of a move- 
 ment, to announce the immediate succession of some other 
 movement. See Segue. 
 
 Sightsman. One who sings or plays at first sight. 
 
 Sign. Any musical mark or character : as a sharp, flat f 
 natural, &c. 
 
 Signes des Silences. (French.) Rests. See Rests. 
 Similar Motion. That motion by which two or more- 
 parts are carried in the same direction. Ex. 
 
 Simple. A word used in contradistinction to the term 
 figurative or elaborate. Applied to counterpoint, it means 
 note against note, without any thing complex, fanciful, oe 
 florid. Simple harmony is a plain, unstudied combination - y 
 and a simple cadence is a cadence of equal notes throughout 
 the parts. 
 
 Simple Sound. A pure, unmixed sound, as far as its 
 accompanying harmonics will permit it to be so. 
 
 Simplicity. In composition, an easy, natural style ; in 
 performance, that chaste, unaffected manner which rejects 
 all vain and empty flourish, or ornament. 
 
 Singer. A vocal performer. One who, professionally,, 
 or otherwise, is in the habit of vociferating. melodies. 
 
 Singhozzando. (Ital.) Sobbing. A term directing a 
 manner of delivery, expressive of painful and conflicting 
 feelings. 
 
 Singing. Expressing melody with the voice ; that vocal 
 utterance which conveys the notes of an air or tune. 
 
 Singing-Boys. Formerly the appellation applied to 
 juvenile choristers. 
 
 Singing-Master. A vocal teacher. 
 
 Singing-Men. Lay choristers. 
 
 157 
 
S I N S LI 
 
 Sinfonia. (Ital.) See Symphony. 
 
 Sinf. The abbreviation of Sinfonia. 
 
 Sinfonia da Camera. (Ital.) A symphony composed 
 for the chamber. 
 
 Sinistra. (Lafc.) With the ancient Romans, left- 
 handed flutes. See Dextrce. 
 
 Sino al Fine. (Ital.) In the same manner to the end. 
 
 Si Piace. (Ital.) As you please. An expression of 
 license in respect of the manner of performing any passage 
 over which it is placed. 
 
 Si Radoppia il Tempo. (Ital.) Words from which the 
 performer understands that the time of a movement is to be 
 doubled. 
 
 Si Riplica. (Ital.) Words directing a repetition of the 
 bars, or the movement, to which they refer. 
 
 Sistrum. An ancient Egyptian pulsatile instrument, 
 used in sacrifice by the priests of Isis and Osiris. 
 
 Sixteenth. A 
 octaves and a tone 
 
 
 
 
 interval of two > 
 
 % 
 
 
 
 Ex. f 
 
 2_q 
 
 
 Sixth. An interval containing five diatonic degrees : 
 called a Sixth, because formed of six sounds ; that is, the 
 two extremes, and four that are intermediate. 
 
 Skip. Any extensive transition in melody. 
 
 Skipping Notes. Notes which lie at considerable distance 
 from each other. 
 
 S'lentando. (Ital.) An expression implying a slacken- 
 ing of the time. 
 
 Silent ando. See S'lentando. 
 
 Slide. A grace generally consisting of two notes 
 gradually ascending or descending to the note it is intended 
 to embellish ; and to which it is attached by a curve. Ex. 
 
 m 
 
 UP — m-M-^-m—F- 
 
 I 
 
 
 
 •Sliding. A term applicable to that motion of the hand 
 or finger, by which the keys or strings of an instrument 
 are swept in a smooth or a rapid manner. On the piano- 
 158 
 
S L U S O L 
 
 forte and harp, Sliding, when adopted with judgment, is 
 peculiarly effective. 
 
 Slur. A character significative of a smooth, gliding- 
 style of execution. The Slur is formed of a curve, and 
 always drawn over or under the notes it is intended to 
 affect. Ex. 
 
 <> jg-ja — 0^5-*d — — i — 
 
 
 
 49% r- r 
 
 
 1- 
 
 
 Slurred. Passages with slurs over or under them are 
 said to be slurred. 
 
 Slurring. Playing in the manner directed by a slur. 
 
 Smanioso. (Ital.) With vehemence, with rage. 
 
 Smortzando. (Ital.) A word implying a dying decrease 
 of sound, attended with a smooth, gliding style of execu- 
 tion. 
 
 Soave. (Ital.) Soft, sweet, engaging. See Dolce. 
 
 Soffogato. (Ital.) An impassioned style of vocal ex- 
 pression, intimating that the singer is, as it were, stiffled 
 with the vehemence of his feelings. 
 
 Sogetto. (Ital.) See Subject. 
 
 Sol. A monosyllable applied by the Italians to the fifth 
 sound of the diatonic octave. 
 
 Solfaing. That vocal practice which consists of singing 
 the notes of the scale to the monosyllables adopted by 
 Guido. See Solmization. 
 
 Solfeggi. (Ital. p'lu.) Exercises in Solmization. See 
 that word. 
 
 Solfeggiare. (Ital.) To Sol fa. 
 
 Solfeggio. (Ital.) A vocal exercise. See Solfeggi. 
 
 Solfeggiamenti. (Ital. pi.) Vocal practices in which 
 the monosyllables do, re, mi, fa, sol, la, si, are employed, 
 instead of figures, or the literal names of the notes. 
 
 Soli. (Ital. plu.) A word indicating that each of the 
 parts to which it relates, is to be played by one instrument 
 only. 
 
 Sollecito. (Ital.) An old word signifying a plaintive 
 manner of execution. 
 
 Solmization. Singing the notes of the scale to the 
 syllabic denominations given them by Guido, adding to his 
 six (do, re, mi, fa, sol, la) a seventh, (si.) By associating 
 the ideas of these syllables with the notes they imply, and 
 
 159 
 
S O L S O N 
 
 the relative tearing of those notes to each other, according 
 to the several stations they hold in the octave, or scale, the 
 practitioner recollects and feels the verbal and notitial 
 connections, and by virtue of their union in his mind, he- 
 comes enabled to express them. 
 
 Solo. A piece, or movement, intended for a single 
 voice or instrument. The word Solo, when applied to vocal 
 composition, is usually confined to the single-voiced move- 
 ments of anthems ; and when instrumentally used, as 
 generally signifies a composition written for the purpose 
 of displaying the executionary powers of the performer. 
 
 Sonata. (Ital.) A composition for a single instrument- 
 Formerly, the Sonata was of several kinds ; which, how- 
 ever, were afterwards reduced to two ; the Sonata da Chiesa y 
 and the Sonata da Camera; both of which commenced with 
 an Adagio, and after two or three succeeding movements, 
 closed Avith an Allegro. At present, a Sonata means nothing 
 more than an exercise, (generally for the piano-forte,) and 
 seldom consists of more than two or three movements of 
 moderate execution, and calculated to improve the juvenile 
 finger. 
 
 Sonata da Camera. (Ital.) Formerly, a chamber com- 
 position for single instruments, somewhat similar to the 
 modern quartett. 
 
 Sonata da Chiesa. (Ital.) An old instrumental com- 
 position for the church, in several parts, each of which was 
 played by a single instrument. See Sonata. 
 
 Sonata di Bravura. (Ital.) A Sonata composed in a 
 bold and animated style ; that is, characterized by a brilliant 
 and expressive execution. 
 
 Sonatina. (Ital.) The diminutive of Sonata. See that 
 word. 
 
 Sonetto. (Ital.) See Sonnet, 
 
 Song. A vocal composition of the most ancient date and 
 simplest form: originally, a short effusion of verse and 
 melody, dictated by the spontaneous feelings of nature. 
 As Song refined, it became accompanied with the lyre, 
 and drew its subjects not only from passion and pleasure, 
 but from history, Avar, patriotism, and moral sentiment, 
 In this extended latitude the word Song continues to be 
 understood, and implies a composition, the species of which 
 is very various ; which ranges from the simplicity of the 
 common ballad to the refinement of high-wrought compo- 
 160 
 
S O N S O S 
 
 sition ; including in its diversified construction, that ease 
 and freedom of air that delights in the Comic Opera, the 
 passion and embellishment that interest in the Serious 
 Opera, and the grandeur and solemnity that elevate in the 
 Oratorio. 
 
 Songster. A term coarsely applied to a male vocalist. 
 Songstress. A name inelegantly given to a female 
 singer. 
 
 Soni Mobiles. The intermediary sounds of the ancient 
 tetrachords : so called because, by the variation of th® 
 mode, they were moveable ; as are certain of the notes 
 in our minor mode, in ascending the scale. See Soni 
 Stabiles. . . 
 
 Soni Stabiles. The extremes of the ancient tetrachords : 
 called Soni Stabiles, because, though the intermediary 
 sounds changed with the mode, the upper and lower never 
 varied. See Soni Mobiles. 
 
 Sonnet. Originally, an Italian diminutive : a little 
 song. 
 
 Sonorous. Bodies which, by the vibration of any of 
 their parts, yield sounds, are said to be sonorous. 
 
 Sons. The name of the melodies formerly sung by the 
 minstrels of Provence. 
 
 Sons Etouffe's. (French.) Those soft, half-stifled 
 tones produced on the harp by partially checking the 
 vibration of the strings with the left hand. The Sons 
 Etovffes are generally announced by this sign : 
 
 Sopra. (Ital.) A term signifying above ; as Sopra la 
 ihema, above the theme. 
 
 Sopuani. (Ital. plu.) Trebles, or highest female voice 
 parts. 
 
 Soprano. (Ital.) A treble 'voice, or part. 
 
 Sordino. (Ital.) A small copper machine occasionally 
 used by violinists, to weaken the vibration of the instrument. 
 
 SospiRANDo. (Ital.) An expression in the Italian opera 
 scores, dictating the introduction of a sigh, sometimes to 
 be given with, and sometimes without, a note. 
 
 Sospiro. (Ital.) A word now seldom used ; but which 
 signifies rest or silence. 
 
 Sostenuto, (Ital.) A word by which the performer is 
 apprized, that the note, or notes, to which it refers must be 
 sustained. 
 
 161 
 
S O T S P I 
 
 Sotto. (Ital.) Under: as Sotto lo soprano, under the 
 soprano. 
 
 Sottinteso. (Ital.) Said of chords or combinations in 
 which more is to be understood than is expressed : as 
 when the harmony of the third, fifth, and eighth is in- 
 tended, though the bass note have under or over it, only 
 the figure of 3, a 5, or an S. 
 
 Sotto Voce. (Ital.) With restrained or subdued loud- 
 ness. See Mezza Voce. 
 
 Sound. By the word Sound, Musical Sound is under- 
 stood ; since, properly speaking, all other sounds are only 
 noise. Musical sounds are of two kinds; simple and com- 
 pound. When simple, they are single, or successive ; 
 when compound, are combined or simultaneous. Again, 
 when successive, and arranged with taste, they are melo- 
 dious ; when simultaneous, and united with judgment, are 
 harmonious ; and it is when this taste and this judgment 
 operate together, that Sound reaches its acme of effect. 
 
 So un ding- Board. That thin, broad board in a piano- 
 forte, over which the strings are distended ; also that part 
 of a harp through the apertures of which the lower end of 
 the strings are passed. In both these instruments, the 
 vibrations of the Sounding- Board so materially contribute 
 to the tone, that the quality of the wood of which they 
 are formed, is of the greatest consequence. 
 
 Soufer. (French.) A crotchet rest. See Crotchet 
 Rest. 
 
 Spaces. The four openings between the five lines of a 
 stave : also the local intervals between the ledger-lines 
 occasionally introdu<jed above and beneath the stave. 
 
 Spiccato. (Ital.) See Staccato. 
 
 Spinas. (Lat.) Thorns. The quills of the Spinet were 
 originally called Spince ; and from their name that of the 
 instrument itself was derived. See Spinet. 
 
 Spinet. (From the Latin word, Spince.) Formerly, a 
 stringed instrument first suggested by the construction of 
 the harp, and of which the harpsichord was but an enlarge- 
 ment and improvement. 
 
 The Spinet having been originally called a couched harp, 
 and its subsequent augmentation denominated a harpsichord, 
 the family connection of the two instruments is manifest. 
 See Harpsichord. 
 162 
 
S P I S T O 
 
 Spiritoso. (Ital.) With animation, with energy. 
 
 Square Piano-Forte. The piano-forte in its original 
 form, and as first introduced into this country by the in- 
 genious German, Zumpe. Its inferiority, even in its 
 present improved state, to the Grand Piano-Forte, consists 
 in the comparative weakness of its tones, consequent to its 
 having only two, instead of three, sets of strings, and the 
 body of the instrument being so much smaller than that of 
 the latter. 
 
 Squillante. (Ital.) Clear and brilliant in tone. 
 
 Staccato. The word Staccato alludes to the action of 
 the finger, and implies a touch or manner of performance, 
 which is generally expressed by dashes placed under or ov^r 
 the notes designed to be affected. Ex. 
 
 Stave. Five horizontal lines which, forming a ful- 
 crum or support for the notes, or signs of musical sounds, 
 were originally called by the collective name of Staff'. 
 Primarily, the Stave consisted of eight lines ; and, for a 
 long while, no use was made of the spaces, till Guido re- 
 duced the number of the former, and brought the latter 
 into play. 
 
 Stem. That short, vertical line which projects from the 
 head of a note. See the word Tail. 
 
 Stentato. (Ital.) An expression in vocal music, bor- 
 rowed from the name of Stejitor, the Greek herald men- 
 tioned by Homer, and implying a loud and emphatic 
 delivery. 
 
 Stic c ado. The Sticcado is an instrument consisting of a 
 kind of box, open at the top, and upon the edges of which 
 rest small lengths of wood, or of metal, or glass. It is a 
 pulsatile instrument, and tuned to the diatonic scale. 
 
 Stilo di Recitativo. (Ital.) A former style of compo- 
 sition bearing more resemblance to that of recitative, than 
 that of melody. It was heavy, monotonous, and tedious; 
 and, by consequence, grew out of favour. 
 
 Stop. In violin and violoncello music, that pressure upon 
 a string which brings it in contact with the finger-board, and 
 
 163 
 
s to — ; 
 
 STR 
 
 prevents the vibration from going beyond the point where 
 the pressure takes place. It is on account of this partial 
 hinderance of the vibration, that the action of pressing the 
 string is denominated a Stop. 
 
 Stop of an Organ. Each separate or distinct collection 
 of pipes in an organ forms what is called a Stop. These 
 are less or more numerous, according to the capaciousness, 
 of the instrument ; and upon these its power and variety- 
 depend. See Organ. 
 
 Strain. That portion, of a vocal or instrumental com- 
 position which is comprised in one of its movements, or 
 "between one double bar and another. 
 
 Strascino. (Ital.) A grace chiefly vocal, and used in 
 slow passages. It is a kind of drag, and consists of about 
 eight or ten notes given in an unequal and descending 
 motion. The Strascino has most effect when performed by 
 a sopra voice. 
 
 Strathspey. The tune by which the lively Scotch 
 dance of that name is accompanied. It is, for the most 
 part, in common time. 
 
 Strepitoso. (Ital.) In a vehement and impetuous style* 
 
 Stress. The name of the sign for pressing the fingers 
 of the left hand on the sounding board of the harp, imme- 
 diately after the higher strings have been struck by the- 
 right hand ; the effect of which operation is, to prolong 
 their tones, and impart to them a degree of pathos, of 
 which, otherwise, they would not be productive. See 
 JBochsa's Anima di Musica. 
 
 Stretto. (Ital.) Quick and concise. 
 
 Stret. The abbreviation of Stretto. See that word. 
 
 Strings, well-known appendages to those musical 
 instruments which are neither pneumatic, nor pulsatile. 
 The strings in modern use are generally of brass or steel 
 wire, or catgut : but the ancients improved upon their 
 original use of thongs of leather, by adopting strings first 
 of silver, and afterwards of gold. 
 
 Stringando. (Ital.) A word apprizing the performer, 
 that, where it appears, he is to press and bind the notes. 
 
 Stringed. Instruments, the sounds of which are pro- 
 duced by the vibrations of strings, receive the epithet 
 stringed. 
 
 Stringendo in Tempo. (Ital.) Keeping strictly to the 
 time. 
 
 164, 
 
S T R S U I 
 
 Strisciando. (Ital.) Gliding. A term chiefly used in 
 vocal music ; and which dictates a smooth, connected man- 
 ner of expressing the notes. 
 
 Stromento. (Ital.) A musical instrument. 
 
 Stromknti di Vento. (Ital.) Wind instruments. 
 
 Struscino. (Ital.) A word signifying a drawing down 
 of the notes of a descending passage, making of them a 
 concatenation of sounds. 
 
 Studio. (Ital.) A modern appellation for a piano- 
 forte or harp exercise ; or for a practical lesson for any 
 ether instrument. 
 
 Stylo Rappresentato. (Ital.) Because recitative is 
 almost exclusively dramatic in its nature, that is, resem- 
 bles scenic dialogue or speech, it is said to be in Stylo Rap- 
 presentato. 
 
 Sub. (Lat.) Under: as Sub- Diapente, under the fifth; 
 Sub-Diatessaron, under the fourth. 
 
 Subchanter. A cathedral vocalist, acting as the Pre- 
 centor's deputy. 
 
 Sub-Dominant. Under the Dominant ; the — ~ Q ■ 
 
 fourth note in the diatonic octave. Ex. -ffc j- 
 
 The subdominant in the key or scale of C. \y JKl 
 
 Subito. (Ital.) Quick; as Volti Subito, turn over with- 
 out loss of time. 
 
 Subject. A theme ; a series of notes following up a lead- 
 ing idea, and assuming a character with which the subse- 
 quent portions of the movement ought to have some sensible 
 affinity. 
 
 Sub-Mediant. The middle note between the octave 
 and the fifth below. In the scale of C, the note A. 
 
 Sub-Tonic. The sharp seventh of any 
 key, or scale. The Sub-Tonic of the key of 
 C will be B. Ex. 
 
 Succession. Melodious progression. As the notes of 
 harmony are in combination, so those of melody are in suc- 
 cession. See Combination. 
 
 Suite. (French.) Formerly, a set of lessons, sonatas, 
 &c. See Suites des Pieces. 
 
 Suites des Pieces. (French.) A collection or book of 
 pieces. 
 
 165 
 
S U O S Y M 
 
 S uo Loco. In its place. See Loco. 
 
 Super-acute Sounds. Those notes of a voice or instru- 
 ment which lie beyond the fair pale of its powers, or charac- 
 ter, and which only the greatly skilful can ever employ with 
 safety and advantage. 
 
 Super-Dominant. The note immediately 
 above the Dominant, or fifth, of any key. Ex. 
 A, the Super- Dominant in the kev, or scale 
 ofC. 
 
 Super-Tonic. The second of any scale, 
 or key, C being the scale, or key, D will be 
 its Super-Tonic. Ex. 
 
 Supposed Bass. A bass note differing in its literal deno- 
 mination from that of the chord by which it is accompanied. 
 On the harmony of C, the note E or G would be a Supposed 
 Bass. See Fundamental Bass. 
 
 Suspended Cadence. When, instead of immediately 
 proceeding from the dominant chord to the harmony of the 
 key-note, the Cadence passes through several protracted 
 modulations, it is called Suspended Cadence. Ex. 
 
 
 
 M en 
 
 o 
 
 H j 
 
 
 
 
 i 
 
 
 4t° 
 
 
 
 1 
 
 Suspension. The retention of some note or notes of a 
 harmony in the succeeding harmony. 
 
 Sustained Notes. Notes continued, or dwelt upon, 
 through the whole of their proper duration, so that, in point 
 of time, they may be said to touch the next succeeding 
 notes. 
 
 Svegliato. (Ital.) Lively, animated. 
 
 Swell. The gradual augmentation of any vocal or in- 
 strumental note. Also that part of an organ in which a 
 number of pipes are so inclosed that they can be partially 
 uncovered at pleasure, by virtue of a pedal provided for that 
 purpose, and a gradual vent given to their sounds. 
 
 Swell Box. That wooden case in the body of an organ 
 which contains the pipes of the swell. See that word. 
 
 Symphonial. (Greek.) Sounds agreeing in quality of- 
 tone are said to be Symphonial. 
 
 Symphonoi. (Greek, plu.) Sounds varying in pitch, 
 166 
 
S YM S YN 
 
 but which so intimately blend and mingle as almost seem 
 to be one and the same. By these the ancients meant 
 octaves, because for unisons they had another appellation. 
 See Homophonoi. 
 
 Symphonious. Said of any perfect concordance. 
 
 Symphonist. A composer of symphonies. 
 
 Symphony. In the ancient music, a complete combina- 
 tion of unisons in concert performance. A term used in 
 contradistinction to Antiphony, which implied a mixture of 
 unisons and octaves, or unisons and fifteenths. See Anti- 
 phony. Symphony, in its modern sense, implies either a 
 grand and richly variegated composition, or interposed in- 
 strumental passages, in song's, the purposes of which are, to 
 heighten the effect of the melody, and to relieve the singer. 
 
 Syncopation. (From the Greek.) Syncopation is the 
 cutting off half of a previous note, and throwing that half 
 into the length of the succeeding note ; and again, by cutting* 
 off half of the second, third, &c. to leave the first half that 
 was cut off to be accounted for at the end of the bar. When 
 this is done, the syncopation is said to consist of driving 
 notes : and when the last note of one bar is united by a tie 
 to the first note of the next bar, or one of the measures of a 
 bar is so conjoined with the contiguous measure, as vir- 
 tually to convert the two 
 into one, the notes so 
 joined form a driving 
 note. Ex. 
 Here we have a bar of driving notes. 
 
 Ex 
 
 
 
 * „- 
 
 4 
 
 
 
 Here we have an 
 example, first , of 
 the last note of one 
 bar tied to the first 
 note in the next ; and, secondly, of the second measure of a 
 bar conjoined with the third or contiguous measure. 
 
 Syncope. The Syncope is that process by which part of 
 the duration of a note is cut off and transferred to another 
 note. In the construction of harmony, this is one of the 
 composer's greatest resources ; since, without its aid, he 
 could neither prepare nor dissolve his discords: and in me- 
 lody, it is a constant source of expression. 
 
 Syntono Lydian. One of two modes in the ancient mu- 
 sic, so keen, yet tender and affecting, that Plato called them 
 the modes of tears. See Mixo-Lydian. 
 
 167 
 
S Y R T A B 
 
 Syringa. (Lat.) See Pipes of Pan. 
 
 System. Any settled principle upon which the great 
 scale of sounds, or its systematic portions, may be divided. 
 With the ancient Greeks this scale consisted of two octaves, 
 measured into tetrachords, or fourths ; which, again, were 
 subdivided into smaller intervals ; so that the principal sys- 
 tem comprehended other systems : as our own great com- 
 pass includes octaves, which octaves are systematically di- 
 vided into lesser distances. Guido's extension of the tetra- 
 chords into sixths, or hexachords, was a considerable ad- 
 vancement towards our system of eighths, the advantage of 
 which was not lost by the ingenious speculators of the suc- 
 ceeding age, whose labours established the octave, the major 
 and minor modes, on which harmony and melody are now 
 universally founded, and which taste and genius have ren- 
 dered the source of every species of melody and harmonic 
 beauty. 
 
 Systema Participato. That system which divides the 
 octave into twelve semitonic intervals. 
 
 Systema Perfectum. The Bisdiapason, or ancient Greek 
 scale. See Diagram. 
 
 Systema Temperato. (Ital.) The semitonic division of 
 the octave in an attempered state. See Temperament. 
 
 T. 
 
 T, the abbreviation of the Italian word Tutti. See 
 Tutti. 
 
 Tablature. A table or graphic view of the cliffs, notes, 
 and other signs in music : also the literal notation for the 
 lute was formerly known by the same name ; i. e. the lute 
 had a Tablature of its own. 
 
 Tabor. A small drum. See Tabor and Pipe. 
 
 Tabor and Pipe. The Tabor and Pipe have so long been 
 united, especially as accompaniments to dancing, that there 
 seems to be a propriety in describing them together. The 
 Tabor, or drum, is of small circumference, and very shal- 
 low ; the Pipe is short, and blown into at the end. They 
 are both used at the same time, the Pipe by the left hand, 
 the Tabor by the right ; and the combined effect is calculated 
 to excite hilarity, and delight the common ear. 
 
 Taboret. The diminutive of Tabor. See that word. 
 168 
 
T A B T E M 
 
 Tabret. A drum of the ancient Hebrews. 
 
 Tacet. (Lat.) Let it be silent. A word written over 
 passages in which certain instruments are not to join ; as- 
 Flauto Tacet, Let the flute be silent. 
 
 Tail of a Note. See Stem. 
 
 Taille. Formerly, the tenor pari in a score. 
 
 Tail-Piece. The slip of ebony at the lower end of a 
 violin ; the use of which is, to hold one end of the strings. 
 
 Tale-Tellers. The old Irish bards, or harpers, who 
 publicly chanted their poetical histories. 
 
 Tambour de Basque. (French.) A kind of tinkling- . 
 cymbal, or hand drum, formerly much used in dancing. 
 
 Tambourin. A dance so called, from the Tambourine,, 
 with which it was generally accompanied. 
 
 Tambourine. See Tambour de Basque. 
 
 Tardo. (Ital.) Slow. 
 
 Tastatura. (Ital.) The name by which the keys of the 
 organ and harpsichord, taken collectively, were formerly 
 known. 
 
 Tastature. (Ital.) The short extempore sweepings of 
 the fingers over the keys of a harpsichord or spinet, for the 
 purpose of trying the touch and tone of the instrument, used 
 to be called Tastature. 
 
 Taste. That truth of conception and refinement of feel- 
 ing, which qualify a composer to produce, and a performer 
 to elicit, the beauties of art and of nature. 
 
 Tasto. (Ital.) An expression implying the touch of any 
 keyed instrument ; as the organ or piano-forte. 
 
 Tasto Solo. (Ital.) Words by which the organ or 
 piano- forte performer understands that the bass of the pas- 
 sage over which they are written is not to be accompanied 
 with chords. 
 
 Teatro del Re. (Ital.) The King's Theatre. 
 
 Te Deum. A Latin canticle, or hymn. 
 
 Tell-Tale. An instrument attached to the old chamber- 
 organ, to sho w the exhaustion of the bellows. 
 
 Tema. (Ital.) The theme, or subject. 
 
 Temp. The abbreviation of Tempo. See that word. 
 
 Temperament. That equalization of the intervals of 
 keyed instruments which brings their whole system as near 
 to that of the diatonic and chromatic scales as possible. 
 
 Tempo. (Ital.) Time. 
 
 Tempo Frettoloso. (Hal.) An accelerated time. 
 
 I 169 
 
T E M T E N 
 
 Tempo a Piacere. (Ital.) An expression giving license 
 respecting the time. 
 
 Tempo di Ballo. (Ital.) Time of a dancing minuet. 
 
 Tempo di Capella. (Ital.) Time of two breves or mea- 
 sures in a bar. See Alia Breve, or Alia Capella. 
 
 Tempo di Marcia. (Ital.) In the time of a march, and 
 with a degree of pomp and dignity. 
 
 Tempo di Minuetto. (Ital.) In the time of a minuet. 
 
 Tempo diPolacca. (Ital.) In the time of a Polacca. 
 
 Tempo Giusto. (Ital.) In exact or correct time. 
 
 Tempo Ordinario. (Ital.) Movements to which this ex- 
 pression is prefixed, are to be performed in ordinary time. 
 
 Tempo Perduto. (Ital.) An expression implying a 
 slackening of the time : the converse of Tempo Frettoloso. 
 
 Tempo Primo. (Ital.) An expression used when the 
 original time, having been changed or interrupted, it has 
 become necessary to renew it. 
 
 Temp. Prim. The abbreviation of Tempo Primo. See 
 above. 
 
 Temporagiato. (Ital.) From this word the accompanist 
 learns, that he is to watch the voice or instrument he is 
 attending, in order to be ready to accommodate his time to 
 any pauses or extemporary graces that may be thrown in, 
 en passant. 
 
 Tempo Rueato. (Ital.) Words implying a time, that, 
 for the purpose of enforced expression, is alternately quick- 
 ened and retarded. 
 
 Ten. (Ital.) The abbreviation of Tenuto. See that 
 word. 
 
 Tendrement. (French.) Softly, soothingly. 
 
 TENEBRiG. (Lat.) A musical service among the Catho- 
 lics, in pious remembrance of the darkness which attended 
 the crucifixion. 
 
 Teneramente. (Ital.) Tenderly; in a soft and deli- 
 cate style. 
 
 Tenor. That part of the great scale next above the bass. 
 Its ordinary compass, or register, is from C on the second 
 space in the bass to G on the second line in the treble. 
 
 Tenor-Bass. An expression applied to that male voice 
 which forms a mixture of the Bass and Tenor ; which, par- 
 taking of both, consists of the higher notes of one, and the 
 lower notes of the other. 
 
 Tenor-Cliff. The cliff used for violoncello parts, and in 
 170 
 
TEN 
 
 THI 
 
 which all music for tenor voices should be written; hut 
 which is made to yield to the treble cliff, in compliment to 
 the ignorance of those tenor singers who are too negligent 
 to learn what they ought to know. Its place is on the fourth 
 line. 
 
 Tenor Violin. An instrument of the violin species, but 
 the scale of which extends a fifth lower. Its office in concert 
 is, to prevent a chasm between the bass instruments and the 
 second violins. See Viola. 
 
 Tenor Voice. The voice the scale of which is next 
 above that of the tenor-bass. 
 
 Tensile. Stringed instruments, on account of the ten- - 
 sion of their cords, are called Tensile. 
 
 Tenth. An interval consisting of a replicate of the third; 
 that is, a third and an octave. 
 
 Tenuto. (Ital.) Held. A word from which the per- 
 former understands that the notes over which it is written 
 are to be held on. See Sostenuto. 
 
 Ternary Measure. Triple-time : also called Perfect 
 Measure, 
 
 Terzetto. (Ital.) A composition for three voices or 
 instruments. 
 
 Testudo. The lyre of Mercury : so named because made 
 of a shell. See Shell. 
 
 Tetrachord. With the ancient Greeks, the interval of 
 a fourth. 
 
 Thema. See Subject. 
 
 Theorbo. A stringed instrument of a pleasing tone, but 
 long out of use. The Theorbo was somewhat like the lute, 
 but had the peculiarity of possessing two necks, to the 
 longest of which Avas attached the four lowest of its strings. 
 
 Theorist. A musician whose attention is more directed 
 to science than to the practical province of his profession. 
 One who speculates upon the laws and properties of sound, 
 as they concern harmony, modulation, and the construction ■ 
 of melody. 
 
 Theory. The principles of sound, as they regard concord 
 and discord — of systems, as they exist in the great compass 
 —and of harmonical and melodial arrangement. 
 
 Third. An interval consisting of three diatonic sounds, 
 and containing two lesser intervals of one whole tone each. 
 Some of the early theorists (chiefly among the French) ob- 
 jected to consecutive thirds ; and even when mixed of majors 
 1 2 171 
 
THI 
 
 : TIE 
 
 and minors, forbade their use, as we now interdict the em- 
 ployment of immediately succeeding fifths. 
 
 Thirteenth. An interval consisting of a replicate of 
 the sixth : that is, a sixth and an octave. 
 
 Thorough-Bass. A branch of the musical science which 
 teaches us to superadd to any bass the harmony required by 
 its own position and its accompanying figures. Regarded 
 theoretically, Thorough-Bass is to be considered as the 
 foundation of counterpoint and multisonant composition ; 
 viewed practically, it will exhibit itself as the hand's great 
 guide in taking the several chords as they are wanted ; and 
 as affording us the means of that ready selection and prompt 
 formation of concords and discords, which, together with 
 their spontaneous preparations and resolutions, constitute the 
 life and spirit of thorough-bass performance. 
 
 Thrilling. Sounds of a keen and penetrating quality 
 are said to be thrilling. 
 
 Tibia. The ancient Roman flute. 
 
 Tibiae Pares. (Lat. plu.) Two flutes similar in pitch, 
 but differently perforated, (one for the right-hand and the 
 other for the left,) and which were played together by the 
 same performer. 
 
 Tibicen. A Roman flute-player. 
 
 Tibicina. A Roman female flute-player. 
 
 Tied-Notes. Notes held together by lines drawn through 
 their stems, as are quavers and semiquavers : or notes 
 bound by curves, extending from the head of one to that of 
 another. Ex. 
 
 1 feggElj 
 
 In the first of these examples 
 the notes, though they might 
 have been separate, thus — 
 
 c7 
 
 are conjoined by the cross-lines ; and in the second, the 
 curves bind together the two G's and the two D's, virtually 
 rendering them one G and one D. 
 Tierce. The interval of a third. 
 
 Tierce op Picardy. In France, formerly, the major 
 third, when introduced in the final harmony of a composition 
 172 
 
TIM 
 
 in the minor mode, was called the Tierce of Picardy, because, 
 as is generally thought, it was in Picardy that the practice 
 continued the longest. 
 
 Timbrel. An ancient Hebrew drum. 
 
 Time. That department of musical acquisition which 
 teaches the just division of Time, according to the measure 
 in which any movement is composed. Of measures, the 
 old musicians had only two ; the binary and the ternary, 
 the imperfect and the perfect. The 
 imperfect time consisted of two semi- Qr 
 breves in a bar — — 
 
 that is, when a C, or semicircle, was the indicia! character, 
 the breve was only equal to two semibreves ; but when 
 that character was an Q t or entire circle, the breve was 
 equal to three semibreves. But these two measures soon 
 proving insufficient for use, others were added; and com- 
 pound common-time, and compound triple-time, gave birth 
 to new beauties in composition. But these new measures 
 were accompanied with new forms of notes. The large, the 
 long, and the breve (called a breve, because so short in 
 comparison of the large) gave way to the semibreve, the 
 minim, the crotchet, the quaver, &c, and together with four 
 or two crotchets, and three minims, three crotchets or 
 three quavers in a bar, there were twelve or six quavers in 
 a bar, and nine crotchets or nine quavers in a bar. In 
 addition to these, words and expressions grew into use, as 
 Largo, Lar ghetto, Allegro, Allegretto, &c, by which particular 
 degrees of velocity were directed, and the performer re- 
 lieved from uncertainty respecting the degree of quickness 
 with which the different measures were to be executed. 
 Of so much importance in music is the article Time, that 
 all these aids have been found needful; that while all the 
 measures of a bar, and all the bars of a movement are 
 made respectively equal, it is indispensable to take up the 
 measure with that exact quantity of motion intended by 
 the composer, and on which the just expression and effect 
 of his work depend. 
 
 Timeist. He who performs in time. 
 
 Time-Note. That note which is made the standard of 
 
 X73 
 
TIM 1 
 
 TON 
 
 reckoning for all the other notes. At first the large, then 
 the long, was the Time-Note. At present that note is the 
 semibreve, as being the longest note in common use. 
 Thus : Common-time of two crotchets in a bar we designate 
 
 by the figures, 2 ; i. e. two fourths of a semibreve : Triple- 
 
 4 3 
 
 time of three quavers in a bar, by 3 ; i. e.„ three-eighths of 
 
 a semibreve : and so of the rest. Ex. 
 
 Two Crotchets. 
 
 4—1 — w-m- 
 iftj — F* 
 
 i 
 
 Three Quavers. 
 
 m 
 
 —m P-t 
 
 Time-Table. A graphic or written representation of 
 the several notes in music, under the various forms by 
 which they announce the different durations it is a part of 
 their office to designate. 
 
 Timoroso. (Ital.) "With awe and timidity. 
 
 Tintinnabula. (Lat. plu.) The name of the little bells 
 of the ancients. 
 
 Tintinnalogia. (Greek.) The art of ringing. See 
 Bells > and Ringing. 
 
 Tipping. A flutist's expression, signifying a transitory 
 pressure of the tongue against the roof of the mouth ; by 
 which a smart or terse effect is produced. 
 
 Toccata. (Ital.) See Prelude. 
 
 ToccATiNA. (Ital.) The diminutive of Toccata. See 
 that word. 
 
 Tone. A Tone is a sound, as grave, or acute ; also a 
 certain interval ; and again, a quality of sound, as soft or 
 loud, pleasing or disagreeable. 
 
 Tonic. The key-note ; the fundamental 
 note of any key or scale. E 
 
 The Tonic of the key, or scale, of C. ^ 
 Tonic a. (Ital.) The Tonic. See that word. 
 174< 
 
 tal znfi: 
 
T O N ' 
 
 TRE 
 
 Tonorium. (Lat.) The ancient pitch-pipe. See Pitch" 
 Pipe. 
 
 Ton Pathetique. (French.) A plaintive, melancholy- 
 quality of sound, whether of a voice or instrument. 
 
 Touch. The repressure of the keys of an organ, or 
 piano-forte, upon the fingers, during performance. As this 
 repressure is great, or small, the Touch of the instrument 
 is said to be hard, or soft, heavy or light. 
 
 Town-Pipers. Certain Pipers of earlier times retained 
 by the chief towns in Scotland, to add to the eclat of their 
 public festivals. 
 
 Toys. Formerly, any trifling airs or light dance-tunes. ' 
 
 Tradotto. (Ital.) Transposed. See Transposition. 
 
 Tragedie en Musique. (French.) A serious opera. 
 
 Trainant la Voix. (French.) Drawing out the tones of 
 the voice in a tender, affecting manner. 
 
 Tranquilezza. (Ital.) A calm, serene, and smooth style 
 of performance. 
 
 Tranquillamente. (Ital.) Quietly, softly ; in a gentle 
 easy manner. 
 
 Transient Chord. A chord transitively introduced, for 
 the purpose of obtaining a more easy passage from one 
 harmony to another, but not including in its composition 
 any of the notes of either of the harmonies it thus connects . 
 
 * Transient Chord. 
 
 See Passing Chords. 
 
 Transition. A removal from one form of harmony to 
 another ; or from some particular passage of melody to one 
 that is distant or distinct ; or again, from any certain note, 
 to one of a strikingly different pitch. 
 
 Transposed. Shifted into another key. 
 
 Transposition. The removing of a composition from its 
 original key into a higher or lower : a process effected by 
 writing the music, note for note, in a different part of the 
 stave, and adopting such sharps or flats as will preserve all 
 the former intervals. 
 
 Trattato di Musica. (Ital.) A musical treatise, 
 
 Traversa. (Ital.) See German Flute. 
 
 Tre. (Ital.) Three. See A Tre. 
 
 175 
 
T R E T R I 
 
 Treble. The highest vocal part. 
 
 Treble Cliff. The cliff appropriated to the highest 
 province of the great scale. Its place is on the second line. 
 
 Treble-Cliff Note. Any note placed on the same line 
 with the Treble Cliff. 
 
 Treble Voice. The acutest species of the human voice. 
 
 'Tremando. (Ital.) In a tremulating manner. 
 
 Tremolo. A word by which the composer understands 
 fhat the notes are to be drawn out and delivered with a 
 tremulous emotion. 
 
 Tremulando. (Ital.) A word implying a wavering or 
 tremulous style of performance. 
 
 Triad. See Tria Harmonica. 
 
 Triade Semidiatonica. (Ital.) A Triad consisting of 
 two minor thirds. Ex. 
 
 thus- 
 
 or thus 
 
 In the fundamental or full Triad, the under third con- 
 
 sists of two whole tones, as thus 
 
 PP 
 
 or thus 
 
 but in the examples above, the inferior thirds comprise only 
 one whole tone and one semitone ; so that, as in both Triads, 
 the higher thirds are the same, i. c., a tone and a half, the 
 whole Triade Semidiatonica is less by half a tone, than the 
 fundamental triad. 
 
 Tria Harmonica. (Lat.) A triad : that is, a compound 
 consisting of a fundamental note, its third, and its fifth ; or, 
 the fundamental note, its third, and the third of its third. 
 When of these two thirds, the lower is — A 
 the greater, the triad is perfect ; and 
 when the lower third is the lesser, the 
 triad is imperfect. Ex. %J 
 
 Here the first triad is perfect ; the second imperfect, 
 course, the triad of every minor scale is imperfect. 
 
 Triangle. A little, three-sided steel frame, which, 
 beaten during a dance, or military parade, has a gingling, 
 but lively and animating effect. 
 
 Trill. A shake. 
 176 
 
T R I 
 
 ■TRU 
 
 Trillando. (Ital.) Shaking. 
 Trilletta. (Ital.) A transient shake. 
 Trillo. (Ital.) A quaver. See Quaver. 
 Trio. See Terzetto. 
 
 Triolet. (French.) A triplet. See that word. 
 
 Triple Croche. (French.) A demisemiquaver. See 
 Demisemiquaver. 
 
 Triple Time. Time of three measures. There are at 
 present three triple measures : one of three minims in a 
 
 bar, marked thus : 3 one of th ree crotchets in a bar, marked 
 3 2 g 
 
 thus : 4 J and one of three quavers in a bar, marked thus : g* 
 
 Triplet. Three notes sung or played in the time of two, 
 are so called. 
 
 Triplum. In earlier times, this was the name given to 
 the treble. 
 
 Troll. To Troll, is not only to sing in parts, but to take 
 them up one after another in the manner of catch singing, 
 so that they move in a circular motion. 
 
 Tromba. See Trumpet. 
 
 Tromb. The abbreviation of Tromba. 
 
 Trombetta. (Ital.) A diminutive trumpet. 
 
 Trombone. A wind instrument of which there are three 
 sorts. The scale of the first, or lowest, commences at G 
 on the first line in the bass, and rises to C above the bass- 
 cliff ; that of the second begins at A on the first space in 
 the bass, and extends two octaves upwards ; and that of the 
 third, or highest, descends toB flat on the second line of the 
 bass, and mounts to B flat on the third line in the treble 
 cliff. Each of these scales includes all the semitones be- 
 tween its extremes. 
 
 Trombono. (Ital.) See Trombone. 
 
 Trombono Picciolo. (Ital.) A small Sacbut. 
 
 Troop. A quick march. 
 
 Troppo Caricata. (Ital.) Said of an air when over- 
 bur thened with accompaniments. 
 
 Troubadours. The early poet-musicians of Provence. 
 See Bard. 
 
 Trumpet. A well-known wind-instrument, the tone of 
 which is powerful and inspiring. The scale of the trumpet 
 extends from A below the treble -cliff to D in alt; and by 
 the aid of a long sliding tube, it can now command the 
 semitonic intervals, 
 
 177 
 
T R U T U T 
 
 Trumpet of the Jubilee. A powerful wind-instru- 
 ment used by the ancient Hebrews on great and solemn 
 , occasions. 
 
 Trumpeter. A performer on the trumpet: with the 
 ancients, a practical musician of considerable importance. 
 In the field and on the stage, trumpeters were employed ; 
 and so ambitious were they of displaying the power of 
 their instrument, that the force with which they blew, 
 sometimes burst their cheeks. 
 
 T. S. The abbreviation of Tasto Solo. See that ex- 
 pression. 
 
 Tuba. A kind of trumpet. See Trumpet of the Jubilee. 
 
 Tune. A series of sounds qualified, by their particular 
 succession, and the time in which they are expressed, to 
 strike the ear with pleasure, and stamp their character on 
 the mind. 
 
 Tuneable. An epithet employed to distinguish those 
 pipes and strings, the equal density of whose vibratory 
 substances renders them capable of being perfectly tuned. 
 
 Tuneful. An adjective applicable to euphonious sounds, 
 or natural melody : as when we speak of the tones of bells, 
 or the notes of birds. 
 
 Tuneless. An epithet applicable, in common parlance, 
 to any unmelodious series of notes ; and also to the tones 
 of an unpleasant, grating voice. 
 
 Tuner. He whose profession is to tune musical instru- 
 ments. 
 
 Tuning-Fork. A little steel implement used by piano- 
 forte and harp tuners, for ascertaining a particular pitch, 
 as a standard sound for the whole cordatura. This pitch 
 is either A, C, D, E, or G. 
 
 Tuning-Hammer. The utensil with which piano-forte 
 and harp-tuners relax and distend the strings of their 
 instruments. 
 
 Turn. An ornament formed of the note embellished, 
 the note above it, and the semitone beneath it. Of the 
 Turn there are three kinds ; the Full Turn, the Partial 
 Turn, and the Inverted Turn; which see in their places. 
 
 Tutrice Musica. (Ital.) A musical instructress. 
 
 Tutti. (Ital. plu.) A word in concert music, implying 
 that where it appears, the whole of the band, or the whole 
 of the instruments of the kind employed in the movement 
 under performance, are to be introduced. 
 178 
 
T WE 
 
 i UNI 
 
 Twelfth. An interval consisting of a fifth and an oc- 
 tave ; i. e., twelve sounds and eleven degrees. Also the 
 Stop of an organ. 
 
 Tyes. The thick lines by which the stems of quavers 
 and semiquavers are crossed, except when, in vocal music, 
 only one note goes to a syllable : also the curves which 
 are occasionally drawn from the head of one note to the 
 head of another. 
 
 U. 
 
 Uguale. An expression applicable to time; and signi- 
 fying that it should be equal and regular. 
 
 Unaccented. Those measures of a bar on which the 
 emphasis, or expression, does not naturally fall, are called 
 Unaccented measures. In common time of four crotchets, 
 these consist of the second and fourth crotchet: in triple- 
 time, are the second and third measure. 
 
 Unaccompanied. Melodies which are sung, and recita- 
 tives which are spoken, without the concordance of instru- 
 ments, are said to be Unaccompanied ; and the epithet is 
 extended even to recitatives which have an instrumental or 
 guiding bass. 
 
 Under Part. That part in any composition above which 
 the other parts are stationed. This, in a duet, will be the 
 Second. See Second. 
 
 Undulation. That waving or swimming motion of the 
 voice which, in songs of passion and pathos, is found to be 
 very effective. 
 
 Unharmoniotjs. Out of harmony, dissonant. 
 
 Unison. That intimate union of two similar sounds 
 which gives them the effect of a single sound, or of a 
 doubling of the same : or, a Unison is that perfect con' 
 sonance produced by equal vibrations in equal times ; and 
 which, as implied by the very name we give it, is but a 
 junction of two or more undistinguished audible im- 
 pressions. 
 
 Unis. The abbreviation of Unison. See that word. 
 
 Unisoni. (Ital. plu.) By this word the performer is ap- 
 prised, that the parts in a score to which it alludes are in 
 unison with each other : thus — The words Violini Unisoni 
 signify that the first and second violins are in unison : 
 Oboi Unisoni, that the first and second oboe are in unison, 
 &c. &c. 
 
 179 
 
U N I V A L 
 
 Unisonant. In unison ; of the same pitch. 
 Unisonous. See Unisonant. 
 
 Univocal. Octaves and their replicates were, by 
 Ptolemy and other of the ancient theorists, pronounced to 
 
 be Univocal. 
 
 UnxIielodious. Without melody; insipid and unin- 
 teresting. 
 
 Unmusical. Said of sounds that are destitute of harmony 
 and melody. 
 
 Un Poco Ritenuto. (Ital.) Rather gentle and re- 
 strained. See Ritenuto. 
 
 Untuneable. Said of those pipes and strings which, 
 from some inherent defect, cannot he brought into perfect 
 unison with others. 
 
 Upright Grand Piano-Forte. A vertical copy of the 
 Horizontal Grand Piano-Forte. The advantages of this 
 erect position in the body of the instrument are two ; it 
 diffuses its tones more freely, and occupies less room ; but 
 it turns the back of the performer on the auditors, which is. 
 no trivial diminution of its eligibility ; especially if the 
 pianist be also a singer. 
 
 Upright Harpsichord. A harpsichord of that form and 
 position which gave birth to the idea of a vertical piano- 
 forte. The first instrument of the kind introduced to this, 
 country was by the celebrated Plenius, its reputed in- 
 ventor; and, for a time, his invention was encouraged; 
 though certainly it was more ingenious than useful. 
 
 Usus. (Lat.) A word collectively applied by the an- 
 cients to the several rules by which they regulated sounds 
 for the production of melody ; rules which included the 
 division of time, no less than the order of the intervals. 
 
 Ut. The monosyllable applied by Guido to the lowest 
 note of his hexachord, and afterwards by the French, to the 
 first of the octave. The Italian solmization has long 
 exchanged Ut for Do, as being softer and more expressible. 
 
 V. 
 
 V. the abbreviation of Violin : as V. Primo, first violin. 
 
 Va. An Italian imperative, directing a continuance of 
 the like energy of manner ; as Va con spirito% go on with 
 the same spirit. 
 
 Valse. (Ital.) See Walts. 
 130 
 
V A R V E R 
 
 Variamento. (Ital.) In a free and varied manner. 
 
 Variations. Embellished repetitions of an air, or 
 subject ; so constructed as to show, through a florid veil of 
 ornamented execution, the beauty and character of the 
 parent melody, the sight of which ought never to be lost. 
 
 Variazioni. (Ital. plu.) See Variations. 
 
 Vaudeville. (French.) A kind of ballad first used in 
 the town of Vaudevire in Normandy ; and the name of 
 which has since been applied, in a generic sense, to the 
 concluding scenes of comic operas and other musical 
 dramas. 
 
 Veloce. (Ital.) In a rapid time. 
 
 Verilay. A rural ballad, or Vaudeville. See Vaudeville, 
 
 Verse. So much of a ballad as is sung to one vocifera- 
 tion of the tune to which it is set. By consequence, as it 
 is the characteristic of a ballad to consist of distinct verses x 
 so it is of a verse, that, as one of the parts of a uniform 
 whole, it is repeated to the same melody as that to which 
 the other parts are sung. The term Verse also signifies 
 those portions of an anthem designed to be performed by 
 undoubled voices, (by a single voice to each part,) and such 
 parts are said to be in verse. 
 
 Verse Anthem. An anthem commencing with un- 
 doubled voices; i. e., with a plurality of parts, but the 
 parts in verse. See Verse. 
 
 Versetto. (Ital.) A short verse. The diminutive of 
 Verse. See that word. 
 
 Versi Sciolti. (Ital.) Italian blank verse ; that verse 
 in which those portions, or scenes, of the Italian operas 
 are generally written, which are intended to be delivered 
 in recitative. 
 
 Verso. (Ital.) A verse. 
 
 Vertical Slur. A curve which is drawn down the 
 back of a chord, to signify that it is not to be struck in an 
 abrupt manner, as one note, but to be swept in a graceful, 
 though rather quick style, the hand beginning with the 
 lower key or string, and suffering the vibrations to 
 continue. 
 
 Marked thus* 
 
 Performed thus s 
 
 181 
 
V E S V I O 
 
 Vespers. The evening vocal service of the Catholic 
 church. 
 
 Vespertini Psalmi. (Ital. plu.) Romish evening hymns. 
 
 Vibration. That motion in the tremulatory parts of 
 bodies which is the source of sound ; as the parts of a dis- 
 tended string between its fixed extremities, or those of an 
 organ-pipe which are free to act. 
 ^ Vibrato. (Ital.) A term used in the Italian opera, to 
 signify that at the note, or passage, to which it refers, the 
 Voice is to be thrown out, in a bold, heroic style. 
 
 Vido. (Ital) See Chord a Vido. 
 
 Vietato. (Ital.) An adverb of prohibition, used in 
 interdicting certain anomalies, or liberties, in composition ; 
 such are Vietato, forbidden. 
 
 Vigoroso. (Ital.) In a bold, energetic style. 
 
 Villanella. An old, whimsical, rustic dance tune, $ 
 peculiarity of which was, that of its always requiring to be 
 repeated with variations. 
 
 Villotte. (Ital.) The first secular compositions in 
 parts were produced in Naples, and founded on the me- 
 lodies then popular in that city. To distinguish them from 
 sacred pieces, they were called Villottes. 
 
 Viol. An old instrument, the form and tone of which 
 resembled those of the present violin, of which it was the 
 model and origin. 
 
 Viola. (Ital.) A tenor stringed instrument. The part 
 taken by the Viola,m concert, is between the bass and the 
 second violin. 
 
 Violars. Those itinerant performers of the twelfth 
 century, who played on the viol, and accompanied the 
 recitations of the troubadours or bards. 
 
 Viol da Bracia. (Ital.) Formerly, the name of the 
 Alta viola; so called, because, in performance, it rested 
 upon the arm, like the violin. 
 
 Viol da Gamba. A stringed instrument so called, be- 
 cause, during performance, it is held between the legs. 
 At one time the Viol da Gamba was somewhat in favour in 
 Germany; but it must have been more from whim than 
 taste, since its tone is both crude and nasal. 
 
 Viol d' Amour. A kind of violin, strung with brass 
 instead of catgut, formerly much in use. Its tone was so 
 mellifluous and soft, as to obtain it the appellation by 
 which it became universally known. 
 182 
 
VIO 
 
 Violetta Marina. A stringed instrument somewhat 
 similar to the Viol d' Amour, and first brought into this 
 country at the beginning of the last century, by Castrucci, 
 an Italian. 
 
 Violin. A well-known instrument, the brilliant tone 
 and versatile powers of which have long given it the pre- 
 eminence over all other single instruments, and, in concert, 
 rendered it the leader, and commander. The origin of the 
 violin cannot now be ascertained ; but there is no doubt of 
 its having arrived at its present perfection by gradual ad- 
 vances, and that it is a very different instrument from that 
 which was known under the name of Fithela, in the days 
 of Chaucer. Its progress to the state in which we now 
 possess it, has not, however, been entirely without inter- 
 ruption, since, during the Protectorship, it yielded to the 
 viol, and, comparatively, was little practised. The com- 
 pass of the violin is very extensive, since, though limited 
 downward, it is difficult to give its upper range a boundary. 
 The notes of the Cordatura, or open strings of the violin, 
 are G under the treble cliff; D under the treble cliff; A 
 next above the treble cliff ; and E under G in alt : thus— 
 
 1st, or lowest 2d string, 3d string, 4th, or highest 
 
 string, G, D, A, string, E. 
 
 Violinist. A performer on the violin. 
 
 Violino Principals. (Ital.) First violin. 
 
 Violoncello. This instrument, which is of the same 
 family as the viola and violin, possesses, like each of them, 
 four strings. The lowest of these is tuned to double C ; the 
 second to G gamut ; the third to D above G gamut ; and 
 the fourth to A above the bass-cliff note : thus : 
 
 1st, or lowest 
 string, C, 
 
 2d string, 
 G, 
 
 3d string, 
 
 r>, 
 
 4th string, 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
 @ 
 
 
 1 
 
 
 
 t 
 
 
 Violono. (Ital.) In Italy and in France, the original 
 name of the violoncello, but long since transferred to the 
 
 183 
 
VI R 
 
 , VOI 
 
 double-bass. Music for the Violono is written as for the 
 violoncello, but is played an octave lower. That difference 
 excepted, the cordature of the two instruments are similar. 
 
 Virelay. A Vaudeville. See that word. 
 
 Virginal. An old keyed instrument, in high favour with 
 Queen Elizabeth and the ladies of her time. The Virginal 
 is supposed to have been the origin of the spinet, as the 
 latter was of the harpsichord. 
 
 Virtu. (Ital.) Chasteness in judgment, and address in 
 execution. 
 
 Virtuosa Musica. (Ital.) The feminine of Virtuoso 
 Musico. See that expression. 
 
 Virtuoso. (Ital.) A scientific and tasteful lover of 
 music. 
 
 Vite. (Ital.) Lively, animated. 
 
 Vivace. (Ital.) A word implying a brisk and cheerful 
 style of performance. 
 
 Vivacetto. (Ital.) The diminutive of Vivace. Rather 
 lively. 
 
 Vivacissimo. (Ital.) Very lively ; the superlative of 
 Vivace. See that word. 
 Vivo. (Ital.) Cheerful, spirited. 
 
 Vocal. The sounds of the human voice, music composed 
 for the voice, and performances consisting of singing, are 
 vocal. 
 
 Vocalist. A singer. 
 
 Vocalize (To). To give an open and clear sound to the 
 vowels. Also, to repeat the notes of a vocal exercise, not 
 with words, but to some vowel, as A. 
 
 Voce. (Ital.) The voice. See that word. 
 
 Voce di Camera. A voice the powers of which only 
 qualify it for chamber performance. 
 
 Voce di Petto, (ital.) The natural voice, so called in 
 opposition to Voce di Testa. 
 
 Voce di Testa. (Ital.) A falsetto, or feigned voice. 
 
 Voce Musicale. The name formerly given by the Ita- 
 lians to the first note of the diatonic scale. 
 
 Voce Sola. (Ital.) The voice alone, i. e. without ac- 
 companiment. 
 
 Voce Umana. (Ital.) A tenor voice. 
 
 Voice. That vocal utterance by which musical sounds 
 are produced. Of the human voice there are six kinds : the 
 184 
 
V O I W A R 
 
 bass ; the baritono, or tenon; bass; the tenor ; the counter tenor j 
 the mezzo soprano ; and the soprano. All which see in their 
 places. 
 
 Voicing. The term by which organ-builders denominate 
 the operation of ad justing the tones and giving the relative 
 degrees of gravity and acuteness to the pipes of their instru- 
 ments. 
 
 Voix Argentine. (French.) A clear, full-toned voice. 
 Voix Monotone. (French.) A voice unvaried in its 
 intonation. 
 
 Volata. (Ital.) A rapid flight of notes. 
 Volee. See Volata. 
 
 Volta. (Ital.) A sound used in the sense of time; as 
 Volta Prima, the first time. 
 
 Volti. (Ital.) Turn over. 
 
 Volta Prima. (Ital.) First time. 
 
 Volta Seconda. (Ital.) The second time. Words in- 
 timating that the second time the strain is sung or played, 
 the bar over which they are placed is to be performed, in- 
 stead of that having over it the expression Prima Volta. See 
 Prima Volta. 
 
 Volti Subito. (Ital.) Turn over quickly. 
 
 V. S. The abbreviation of Volti Subito. See that ex- 
 pression. 
 
 Volume. A word expressive of the compass and fulness 
 of a voice. 
 
 Voluntary. An extempore organistic performance, in- 
 troduced in the service of parochial churches. The Volun- 
 tary derives its name from the circumstance of its perform- 
 ance having originally been a free offering of the organist. 
 
 Vox Acuta. (Lat.) The highest note in the ancient 
 music. 
 
 Vox Gravis. (Lat.) The lowest note in the ancient 
 music. 
 
 "Waltz. (German.) A particular species of tune used 
 as an accompaniment to a dance of the same name. Its time 
 is generally that of three quavers in a bar, allegretto. 
 
 Warble. To warble is to sing with a bird-like fluency 
 and sweetness. Of course, a tone and style of performance, 
 K * 185 
 
W A R W R I 
 
 #- .. ^ 
 
 adequate to such an effect, can only be displayed by soprano 
 voices. 
 
 Warbler. An appellation sometimes applied to a clear 
 and mellifluous female vocalist. 
 
 Water Music. Music composed for water excursions ; 
 • and which is always performed with wind-instruments ; as 
 horns, clarionets, bassoons, &c. 
 
 Waygh tes. Persons who annually, just preceding Christ- 
 mas, parade the streets at night with musical instruments, to 
 salute the inhabitants, and entitle themselves to a call upon 
 their future bounty. 
 
 Welsh Harp. One of the oldest instruments of this 
 island. Since its first introduction into Britain, it has un- 
 dergone various alterations and improvements, and from 
 time to time received many additions to its strings, which 
 now, when their number is complete, amount to nearly an 
 hundred. The keys chiefly adopted by the Cambrian harpers, 
 i are those of C, G, D, and A, (major,) and their relative 
 minors. 
 
 Welsh Singing. A mode of vociferizing in which the 
 accompanist is the principal, and the singer the accompanist. 
 The harper plays the melody, to which the singer chants an 
 according pari, chiefly on the dominant, or fifth of the key, 
 each contriving to finish with the other. In doing this, both 
 parties display considerable address, and the united effect is 
 not uninteresting. . . 
 
 Welsh Tunes. Cambrian melodies, supposed to have 
 been originally derived from Ireland ; an opinion somewhat 
 sanctioned, not only by the resemblance between the musical 
 instruments of the two countries, but by the general simi- 
 larity of the styles of the Irish and Welsh music. 
 
 Whistle. A well-known, small, wind instrument of a 
 thin, shrill tone. 
 
 Wild Music. Music produced by a wild, untutored ima- 
 gination ; such as is universally found in countries little 
 skilled in any of the arts and sciences. 
 
 Wind-Instruments. Instruments whose sounds are pro- 
 duced by the inflation of the breath of the performer, or by 
 the artificial means of bellows ; as the hautboy, bassoon, 
 bagpipe, or organ. 
 
 Wr^st-Guide. A certain brass wire attached to the 
 Logerian chiroplast, to prevent the wrist of the young 
 pianist from turning outwards, which would not only draw 
 186 
 
Z A Z U F 
 
 the thumb from the proper command of its key, but give an 
 awkwardness of position to the whole hand. 
 
 Z. 
 
 Za. A monosyllable formerly used by French musicians 
 to designate B flat. 
 
 Zampoona. The old name of the common flute. 
 
 Zinke. A small German whistle, in shape like the horn 
 of a deer. 
 
 Zopfo. A term used in Italy in allusion to a particular- 
 style of counterpoint, one characteristic of which is, that by 
 the aid of syncopation, it is made to proceed by leaps and 
 starts. 
 
 Zuffolo. A flageolet. 
 
 THE END. 
 
 187 
 
LONDON: 
 Printed by William Clowes, 
 Stamford-street.