Please handle this volume with care. The University of Connecticut Libraries, Storrs mus, ref ML 108.E493 1909 Elson's pocket music dictionary : 3 ^153 DlD33bEE E Reference Bovok OTTO BETAKE ^ W MUSI : ID"' Reiure ce NOTTOBETA< >M MUSIC LIB _COOKS0N MUSIC MBRA'^Y STORRS. CONNECT/CUT ■'"''^^ciiiaM^ NOTATION. MUSIC LIB bl All'' ELSON'S P C K E T M U S I C DICTIONARY THE IMPORTANT TERMS USED IN MUSIC WITH PRONUNCIATION AND CONCISE DEFINITION, TOGETHER WITH THE ELEMENTS OF NOTATION AND A BIOGRAPHICAL LIST OF OVER SEVEN HUNDRED NOTED NAMES IN MUSIC BY LOUIS C. ELSON Professor of Theory of Music in the New England Conservatory of Music COOKtON iviUbiU LibHARY UNlVERSiTY OF CONNECTiCUT STORRS, CONNECTICUT OLIVER DITSON COMPANY THEODORE PRESSER CO.. DISTRIBUTORS BRYN MAWR, PENNSYLVANIA Copyright, MCMIX, by Oliver Ditson Company Printed in the U.S.A. PREFACE. TN this book will be found all the important terms used in music with their pronunciation and con- cise definition. Where clear explanation could not be given in a few words, necessary space has been taken. The Italian terminology is given preference to a large extent, for it has most general use. (See El- son's Music Dictionary, note on page 302.) In this connection it may be stated that some Italian words are quite similar to their English equivalents and can be easily translated: for instance, abbandono " with abandon," affabile, " affable," carezzando, " caressingly," etc. There are many terminal vari- ants in Italian words, such as dolore, dolente, doloro- samente, doleutemente, etc. In a condensed work, such as this, only the root-forms are given, but as many as possible of these. Where compound terms are not given look up the words separately. For practical and immediate use in the class-room, I believe that the little volume will be found suf- ficient to the needs of the teacher. LOUIS C. ELSON. THE ELEMBN'TS 01 NOTATION. THE STAFF. The Staff upon which music is written consists ol five horizontal, parallel lines and the four inter- vening spaces. Ledger lines are added to extend the Staff above or below as needed. THE GLEES. Clefs are placed on the Staff to locate the position of one note, from which the positions of the other notes are determined. The following clefs all show the position of Middle C. (See Clef in body of the book.) F-Clef, Bass G-Clef, Treble C-Clef, Tenor (modem usage) M: I C-Clef, Tenor C-Clef, Alto OClef, Soprano I m^ t The Notes and Rests. — Note-heads are placed upon the Staff to represent the notes proper, giving the pitch of the note by their position, and the time- value or duration of the note according to their shape. Characters called Rests, with corresponding time- value to notes, are used to indicate periods of silence, through which the pulse of the music, however, pro- ceeds. The Double Whole-Note or Rest is rarely seen in modern music, and has been principally con- fined to church music. Double Double Whole-Note Whole-Rest Whole- Note Whole- Rest 4f^: ^ Half- Note Half- Rest Quarter- Note Quarter Rest m THE ELEMENTS OF NOTATION Eighth- Note Eighth- Rest Sixteenth- Note Sixteenth Rest Thirty- second- Note Thirty- second- Rest Sixty fourth- Note Sixty- fourth- Rest F — « a fc a H ^ — - — — ^— — — — ' •^ 2— -Vi THE SCALE. The Scale (or ladder) is a direct succession of notes or tones. The difference between these consecutive notes is measured by Steps and Half-steps. Scales are classified as Major, Minor, Chromatic or Whole- tone according to their content of Steps and Half- steps. There are two forms of the Minor Scale in common use, called Harmonic and Melodic; in the latter, the notes chromatically raised in ascent are restored to their original pitch in descent. In the following examples, the Half-steps occur- ring in the Natural Scale (C) and its relative minor (A) are indicated by ties (^-^) between the notes. Observe the Augmented Second between the 6th and 7th degrees of the Minor (Harmonic) Scale, in- dicated by an asterisk (*). SCALE FORMULAS. Diatonic. Major Minor (Hannonic) THE ELEMENTS OF NOTATION Chromatic. The Chromatic Scale is composed exclusively of Half-steps. In the ascending scale, the Half-step succession is brought about by the use of sharps to raise certain natural notes; in the descending scale, flats are used to lower certain 'natural notes. Whole Tone. I ^S ^ fei The Whole-tone scale is only used in ultra modem music. It is so called through its succession of Whole-steps and en- tire lack of Half-steps. The octave is divided into six parts, in two divisions, three from C to F#. and three from Gb (En- harmonic equivalent of FS) to C above. SCALES IN ALL KEYS. The Scale Formulas given above are all in the Natural Scale (key of C) ; but 'they apply to scales built on any Key-note. Enforcing the formula as to succession of steps and half-steps results in the addi- tion of sharps or flats to the natural notes. These necessary sharps or flats instead of being applied to the notes as they occur, are placed at the beginning of the staff after the clef, and constitute the Key- signature. INTERVALS. An Interval is the measurement of distance be- tween any two notes, counted by degrees on the staff. They are always reckoned by counting the lowest note one. e. g., from c to d is the interval of a second, from c to f, a, fourth, etc. Apart from their numerical name, Intervals are in addition classified as Major, Minor, Perfect, Augmented and Dimin- ished, according to their notation and content The following table of Intervals while based on C, estab- lishes a measurement for corresponding intervals in any position or key. THE ELEMENTS OF NOTATION Intervals. Intervals may oe either Perfect, Major, Minor, Augmented or Diminished, e.g. Primes Seconds i^pi^SP^^^^ Per. Unison, Aug. or Prime Thirds Maj. Min. Aug. Fourths ^^^^i^p^ Maj. Min. Dim. Per. Dim. Aug. Fifths Sixths Sevenths ^ "# -•- -«- -«- -W- ■■» ■■»- ■■»■ J«- Per.Dim.Aug.Maj.Min.Aug.Maj.Min.Dim. Octaves I ife^ t=t ■t*i Ninths :Ei h3 Per. Dim. Aug. Maj. Min. Aug. CHORDS. A Chord is a combination of three or more notes sounded simultaneously. Chords may be formed on any note of the scale, and variously classified, as follows: Major Mode. Primary Triads with their Inversions. Dominant Major Sub-Dominant Major 1st Inv. 2nd Inv. 1st Inv. 2nd Inv. Secondary Triads (Inversions as above). 1st Inv. 2nd Inv. Super- Super- Leading- Tonic Mediant Dominant Note Minor Minor Minor Diminished F=r ^ VI THE ELEMENTS OF NOTATION Minor Mode. J*rimary Triads with their Inversions. Tonic Minor Dominant Major Sub-Dominant Minor ;|^d^ :3t ^^ Secondary Triads (Inversions as before). Super- Super- Leading- Tonic Mediant Dominant Note Diminished Augmented Major Diminished i r=s^ g=B Note: The Triad on the sixth degree (Super-Dominant) often called Sub-^iediant. Dominant Seventh Chord with Inversions. Major Minor 1st Inv. 2nd Inv. 3rd Inv. 1st Inv. 2nd Inv. 3rd Inv. The Dominant Seventh Chord is the Principal^ but Secondary Seventh Chords may be formed on all other degrees of the Major and Minor Modes. Among the Secondary Seventh Chords of impor- tance may be mentioned the Diminished Seventh Chord, formed on the Leading-Note in the Minor Mode: Chords of the Ninth. Chords of the Ninth are formed by adding the third above to a Seventh Chord, that is, the Ninth from the Root. The Dominant Ninth Chord is in most common use: Major Minor THE ELEMENTS OF NOTATION Key-Signatures with the Tonic Triads. C Major A Minor G ^Major E Minor D Major B Minor A Major Fjt Minor E Major CS Minor B Major GS Minor m ^. ^z r# Major D^ Minor ^= F Major D INIinor Bb Major G Minor k E'p Major C Minor Ab Major F Minor S^ Db Major Bb Minor Gb Major Eb Minor ^m^^^^^m Time-Signatures. Simple. Duple Triple ^E^ i^i :H^L_2_ m Simple. Quadruple Compound. Duple ^^ :or; ±L -4 — Hznifciz: COMPOUXD. Triple Quadruple The lower figure shows the character of the unit of which the measure is composed. The upper figure denotes the nutw ber of said units into which the measure is divided. viii THE ELEMENTS OF NOTATION FUNDAMENTAL TEMPO MARKS. From the Slowest to the Fastest. The term Moderato may be considered the neutral or me dium point between the slowest and fastest movements. Larghissimo — The superlative of Largo. Extremely slow and the slowest tempo used. Largo — Very slow and stately. Largamente — Quite slow. Broadly. Larghetto — Somewhat faster than Largo, of which term it is the diminutive. Grave — 8eriously, solemnly. Slower than Adagio. Lento — Slowly, often used temporarily. Adagissimo — The superlative of Adagio. Slower than Adryqio. Adagio — Slowly with great expression. Adagietto — Slightly faster than Adagio, of which term it is the diminutive. Andaatino — Rather slower than Andante, but generally interpreted as slightly faster. Andante — In tranquil or quiet time, but moving (literally =' going"). Moderato — Moderately. Allegretto — With some animation, but less than Allegro, of which term it is the diminutive. Allegro — Lively, animated in movement. Vivace — Vivaciously, with more rapid movement than Allegro. Presto — With great rapidity. Prestissimo — With extreme rapidity, the superlative of Presto, and the fastest tempo used. These terms are relative and do not indicate an absolute rate of speed. They must therefore be interpreted only in a general way. Exact speed can be mdicated only by metronome marks. ACCELERATIONS. Accelerando — With gradual, though definite, increase in speed. Affrettando — Hurriedly, a spasmodic, or temporary, in- crease in movement. Doppio movimento — Double movement. Twice as fast as the previous movement. Incalzando — With growing warmth and fervor, Piu mosso ) With more speed of movement immediately, but Piu moto i steadily when assumed. Veloce — A greatly increased speed of movement. Veiocissimo — With the utmost velocity. Piit means more, poco a poco, little by little. RETARDATIONS. Allargando — Retarding and broadening, gradually or sud- denly. Calando — Gradually slower and more subdued. Mancando — Decreasing the time and volume of sound. Meno mosso ) With less speed of movement immediately, Meno moto j but steadily when assumed. ix THE ELEMENTS OF NOTATION Molto meno mosso — Much slower than the previous move- ment. The opposite of Doppio Movimento. Morendo — Dying away by degrees, gradually slower and softer. Ritardando° 1 Slower by degrees, without decrease of volume. Ritenuto — Detained, generally for a short period. Slenfando I R^'^'^^^^? ^^^^ vigor or spirit of the movement. Smorzando — Literally "smothering." Rapidly diminish- ing the time and volume. Strascinando — Dragging the movement. Tardando — Lingeringly. Trattenuto — Holding back. Meno means less. Accelerations of tempo often presuppose, and generally in- cite, an increase in volume of sound. Retardations, on the contrary, oft-en tend toward diminishing the volume, but judg- ment must be used in either case, according to the term used, and the musical contest. ABBREVIATIONS IN GENERAL USE A. sec p. 1 accel accelerando accomp accompaniment ' Adg" or Ad°. .Adagio ad lib ad libitum affett" affettuoso affrctt" affrettando ag° or ag;t. . .agitato Air Allegro Allgetf Allegretto air ott air ottava al seq al .segno And"" Andantino And** Andante Aniin" animato arc arcato, or coll' arco arp° arpeggio B. see p. 16 B. C. or Bass Con basso continuo Bl Blaser Br Bratsche Brill brillante C. see p. 25 cad cadenza cal calando calm calmato cantab cantabile C. B contra basso or col basso Cb Contrabasse c. f canto fermo 'callo violoncello Ch choir organ Clar clarinet Clar" clarino coir ott. or 0.8^*. coir ottava con espr con espressione Cor corno cresc crescendo C'** concerto c. voc colla voce D. see p. 45 d destra, droite D. C da capo D. C. S. R. . .da capo senza replica, or senza ripetizione Dec decani decresc decrescendo Diap diapason dim diminuendo div divisi dol Holce dolciss dolcissimo dopp. ped . . . doppio pedale D. S dal segno E. see p. 55 esp. or espres. espressivo Energ energico F. see p. 61 f forte Fag fagotto ff fortissimo Hi f ortississimo Fl flauto F. O full organ f p forte piano f z. or f ortz . . . f orzato or for- zando G. see p. 76 G. O great organ Grand grandioso Graz° grazioso H. see p. 77 Haut hautboy Hlzbl Holzblaser Hr. or Hm. . . Horner I. see p. 82 lacalz incalzando Intro Introduction L. see p. 92 leg legato lagg leggiero 1. h left hand, linke Hand lusing lusingando M. see p. 96 Magg Maggiore mane mancando marc marcato m. d ma,no destra, or main droite men meno mez mezzo mf mezzo forte m. g main gauche M. M Maelzel's Met- ronome mod. ormodto moderato mor morendo mp mezzo piano MS manuscript m. s m ano sinistra Mus. Bac. or Mus. B. Bachelor of Music Mus. Doc. or Mus. D. Doctor of Music m. V mezza voce O. see p. 107 Ob oboe Obb obbligato Op Opus Opp Oppure Org organ Ott., O^S or 8'». ottava P. seep. 112 p piano XI ABBREVIATIONS IN GENERAL USE p. a. p poco a poco Fed pedal Perd Perdendosi Pes Pesante P. F PiCl forte Piang Piangendo Pianiss Pianissimo Pizz Pizzicato PP Pianissimo PPP Pianississimo I-^a Prima (volta) I™ Primo Ott, ( Quartet ^ ( Quintet R. see p, 122 Rail Rallentando Recit.,orRec. Recitative Rf.,rfz.,orrinf. Rinforzando R. H Right Hand Rechte Hand Ritar Ritardando Riten. or Rit. .Ritenuto S. see p. 126 Salic Salicional •iS: A Sign from which to repeat Scherz Scherzando 2** Seconda (volta) 2*° Secondo Seg Segue Sem. or Semp. Sempra 7" Septet 6" Sextet Sf z Sf orzando Sinf Sinfonia Smorz Smorzando S. R Senza ripeti- zione S.S. or S. sord Senza sordini Sos or Sos'. . . Sostenuto Spir Spiritoso Stacc Staccato Stent Stentando St. Diap Stopped Dia- pason String String^endo Sw Swell Organ Sym Symphony T. see p. 142 T. C Tre corde Tem Tempo Tern. 1° Tempo primo Ten Tenuto Timp Timpani Tr Trillo Tratt Trattenuto Trem Tremolando Tromb Trombi Trom- boni T. S Tasto solo U Una U. C Una corda Unis Unisoni V. see p. 155 Va Viola Var Variation Vc, VcL Violoncello Viv Vivace Vo ) Vno > Violino Viol» ) V. S Volti subito V" Violini See also, Trill, Signs, RestSt and Repeats. VOWEL SOUNDS AND THEIR MARKINGS AS USED TO INDICATE PRONUNCIATION IN THIS DICTIONARY. a as in ah; a as in hate; ^ as in at; e as in tree, S as in eh; i as in pine; i as in pin; 6 as in tone; 6 as in dove; 6 as in not; Has in up; ii the French sound of w. su ELSON'S POCKET MUSIC DICTIONARY A. 1. The sixth tone of the diatonic major scale of C; in France and Italy called La. 2. The first note of the natural minor scale (the relative of C major), which, as the older scale, begins on the first letter of the alphabet. See C. 3. The note from which the orchestra is tuned. usually sounded by the oboe. A. (It.) (ah.) By, for, to, at, in, etc. Ab (Ger.) (ab.) Off. Used in organ music. A ballata (It.) (a baWa-ta.) In the style of a ballad. Abandon (Fr.) (a-banh-d6nh.) Without restraint. A battuta (It.) (a bat-^oo-ta.) As beaten; strictly in time. Abbandonatamente (It.) (ab-ban-do-na-ta-meri-t5.) Vehemently; violently. Abbandono (It.) (ab-ban-do-n5.) With passionate expression ; with abandon. Abbellire (It.) (ab-b6l4ee-re.) To embellish with ornaments. Abbreviation marks. For abbreviations in notation see Elsojis Music Dictionary. Abellimento (It.) (a-bSl-le-wen-to.) A decoration, ornament, or embellishment. Abendmusik (Ger.) (a-bSnd-moo-2i/c.) Evening or night music; serenade. Abgestossen (Ger.) (a6-ghS-stos-s'n.) Detached, struck otf, staccato. Abkiirzung (Ger.) (d&-kiert-soong.) Abridgment, abbreviation. Abnehmend (Ger.) (ob-nay-mend.) Diminishing. Abrege (Fr.) (ah-bray-zhay.) Abridgment; also the trackers in an organ. Abstossen (Ger.) (a6-stos-s'n.) Similar m manner of performance to staccato. Abwechselnd (Ger.) (ab-veck-s'lnd.) Alternating, changing. In organ playing, alternately; in choir singing, antiphonally; in dance music, change of movements. A cappella (It.) (a kap-peZ-la), In the church or chapel style, that is, vocal music, unaccompanied. A capriccio (It.) (a kap-preei-sho.) In a capri- cious style; according to the taste of the performer. 1 MUSIC DICTIONARY Accarezzevole (It.) (ak-ka-r6t-2e/i-vt5-le.) Bland- ishing; in a persuasive and caressing manner. Accelerando (It.) (at-chay-lay-mri-do.) Acceler- ating the time; gradually increasing the velocity of the movement. Accelerato (It,) (at-chay-lay-ra/i-to.) Accelerated; increased rapidity. Accent. A stress or emphasis upon a certain note or passage te mark its position in the meas- ure, or its relative importance in regard to the composition. Accento (It.) {sit-tshen-to.) Accent or emphasis laid upon certain notes. Accentuare (It.) (at-tshgn-too-a-rS.) To accentuate; to mark with an accent. Accessory notes. Those notes situated one de- gree above, and one degree below the principal note of a turn. The upper note of a trill is also called the accessory or auxiliary note. Acciaecato (It.) (at-tshak-A:a-to.) Brusquely, for- cibly. Acciaccatura (It.) (at-tshah-ka-too-ra.) A very short grace note; an accessory note placed before the principal note, which latter takes the accent. Written. Played. I The acciaccatura is distinguished by a light di- agonal line through note hook. See Appog- giatura. Accidentals. Sharps, flats, naturals, introduced apart from the signature. See Chromatic Signs. Accidental chords. Chords containing one or more notes foreign to their proper harmony. Accompaniment. The secondary parts or voices that accompany the principal parts or voices in any form of composition. Most accompani- ments are necessary to the general effect, but some are ad lib. and can be omitted. Accompaniments, Additional, are parts added to a composition by an editor, generally to supply the place of an obsolete instrument. Accopiato (It.) (ak-ko-pe-d-to.) Bound, tied, joined together. 2 MUSIC DICTIONARY Accord (Fr.) (iik-kQr.) A chord; a concord; consonance. Accordamcnto (It.) (ak-kSr-da-men-to.) Con- sonance, unison, harmony of parts. Accordatura (It.) (ak-k6''-da-^oo-ra.) Concord, har- mony. Also, the set of notes to which the open strings of an instrument are tuned. Accordeon. An instrument consisting of two oblong sound boxes enclosing metal reeds; the flexible connection between the two boxes form- ing a bellows. The key-board for right-hand giving a diatonic scale, that of left giving a few fundamental basses and chords. Accrescendo (It.) {ak-ki6-shen-dd.) Increasing; augmenting in tone and power. Acoustics (Ger. Akustik; It. Acustica; Fr. AcouS' tique.) The science of sound; the science treat- ing of the laws of sound. Action. The mechanism attached to the keys of a piano or organ; also, the mechanism attached to the pedals of a harp, which changes the pitch of the strings b}'- shortening them. Acuta (Lat.) (ah-.^oo^-a.) A mixture stop in the organ. Acute, nigh, in reference to pitch. Adagletto (It.) (ah-dah-jiei-to.) 1. A short adagio. 2. A movement soi^ewhat less slow than adagio. Adagio (It.) (ah-da/i-jio.) Slow, but quicker than largo and slower than andante. Adagio assai (It.) (as-sa-^.) \ y , Adagio di molto (It.) ] ^^^^ ^^°^- Addoiorato (It.) (ah-doh-lo-ra/i-toh.) Sorrowful. A demi jeu (Fr.) (ad-mee-zhu.) With half the power of the instrument. A demi /oix (Fr.) (ad-mee voo-wah.) At half voice; whispered. A deux (Fr.) (a-dw/i.) For two instruments or voices. A deux mains (Fr.) (ii-diih manh.) For two hands. Adiratamente (It.) (a-di-ra-tii- ) wen-te. / Angrily, stemly- Adirato (It.) (ad-i-ra-to ) ) Adjunct notes. Unaccented auxiliary notes. Ad libitum (Lat.) {Sid-lih-i-txim..) At will; at pleasure; changing the time of a particular passage at the discretion of the performer; also a part that may be omitted if desired. 3 MUSIC DICTIONARY A due, or A 2 (It.) (a doo-&.) For two voices or instruments; a duet. Also used to indicate that two instruments playing from the same part or score are to play in unison, after diuisi or a solo passage for one of the instruments. A due corde (It.) (a-doo-6 kdr-de.) Upon two strings; the soft pedal of a grand piano pressed half way down. A^dur (Ger.) (a doer.) The key of A major. il£olian Harp. A simple contrivance of sound- box and strings so constructed that a current of air sets the strings in vibration. Affabile (It.) (iif-/a-be-lg.) In an affable and pleasing manner. Affabmta (It.) (af-fa-be-le-ta.) With ease and ele- gance; with affability; in a pleasing and agree- able manner. Affannato (It.) (af-fa-na-to.) Sad, distressed. Affannoso (It.) (af-fa-no-zo.) With anxious ex- pression. Affettivo (It.) (af-f6t-ie-v6.) Affecting; pathetic. Affetto (It.) (af-/e/-t6.) Feeling; tenderness; pathos. Affettuosamente (It.) (af-f6t-too-o-za-?/j€n-te.) With tenderness and feeling. Afifettuoso (It.) (af-fet-too-o-zo.) With tender and passionate expression. Afflitto (af-fleet-to.) ) Sorrowfully; with (It.) ? mournful expres- Afflizione (af-flee-tse-o-nS.) ) sion. Affrettando (af-fr6t-^ari-do.) ) Hurrying; quick- (It.) > ening; accelerat- Affrettate (af-fret-^d-tS.) ) ing the time. After-note. A small note occm-ring on an unaccented part of the Written. Performed. measure, and taking its p-y-f^-j time from the note preced- '~^-' - ing it. Agevole (It.) (si-jeh-vo-\&.) ) -r • u^i^. Agevohnente (It.) (a-jeh-vol-men-t6.) \ ^^S^^^y^ easily; with agility. Agevolezza (It.) (a-jay-vo-Zay-tsa.) Lightness, agility. Agilita (It.) (a-jeeZ-e-ta.) Lightness, agility. Agiliti, con. (It.) With agihty; with lightness; with rapidity. Agitamento (It.) (a.-ie-ta-men-td.) Agitation, rest- lessness, motion. 4 MtrsiC DICTIONARY Agitato (It.) (aj-i-^a-to.) Agitated, hurried, restless. Agite (Fr.) (a-zhee-toi/.) Agitated. Agnus Dei (Lat.) (dg-nus dd-e.) Lamb of God; oue of the movements in a Mass. Agraffe. A metallic support of the string in a pianoforte, between the pin and the bridge, serving to check vibration at that part. Agrements (Fr. pi.) (a-gray-manh.) Embellish- ments applied in Harpsichord or Spinet music. Ai (It.) (ae-.) To the; in the style of. Aigrement (Fr.) (agr-raanh.) Sharply, harshly. Aigu (Fr.) (a-gii.) Acute, high, sharp, shrill. Air. A short song, melody, or tune, with or with- out words. The upper voice in a harmonized composition. Air a boire (Fr.) (ar-a-boo-war.) A drinking song. Air varie (Fr.) (ar-va-ri-ay.) Air with variations; an air embellished and ornamented. Ais (Ger.) (ah-?S6\) The note A sharp. Aisement (Fr.) (ay-za-manh.) Easily, freely. Ajoutez (Fr.) (ah-zhoo-tay.) Add. Used in organ- music. Alberti Bass. A species of bass, the chords of which are taken in arpeggios of a particular kind; broken chords. Album leaf. A short and simple piece. Alcuna licenza, con. (It.) (al-koo-na. le-tschSn- tsa, kon.) With a little license. Al fine (It.) (al fee-ne.) To the end. Al fine, e poi la coda (al fee-n& a po-e la fco-da.) After playing to where the Fine is marked, go on to the coda. Al (It.) (al.) All. (It.) (al.) AUa (It.) (al-la.) Alle (It.) (al-16.) AgU (It.) (al-yee.) AUo (It.) (al-lo.) Alia Breve (It.) (ill-la brd-v&.) This was originally I rhythm, so called from the fact that one breve, or double-whole-note, filled each measure. To- day the term is more generally applied to f rh5rthm, marked ^. Alia caccia (It.) (dZ-la A;a/-tsha.) In the style of hunting music. Alia camera (It.) (aWa kd-m^rd,.) In the style of chamber music. 5 To the; in the style or maimer of. MUSIC DrcnoNARY AUa Cappella (It.) (aZ-la kap-peWa.) In the church or sacred style; derived from Alia Breve style, the measure being sub-divided, also unaccom- panied vocal music. See AUa Breve. Allargando (It.) (ah-lahr-^an-doh.) Growing broader, i.e., louder and slower. Alle (Ger.) (dZ-l6.) All: alle Imtrumente, all the instruments; the whole orchestra. Allegramente (It.) (al-lS-gra-men-tS.) Gaily, joy- fully, quickly. Allegretto (It.) {a\-\&-gret-t6.) Rather light and cheerful but not as quick as Allegro. Allegrissimo (It.) (al-la-grjs-si-mo.) Extremely quick and lively; the superlative of Allegro. Allegro (Fr. and It.) {al-ldy-gro.) Quick, lively; a rapid, vivacious movement, frequently modi- fied by the addition of other words that change its expression: as, Allegro assai (It.) {sd-lay-gro as-sd-e.) Very quick. Allegro di bravilra (It.) (al-Zd-gro de bra-yoo-rii.) Quick, with brilliant and spirited execution. Allegro di molto (It.) (al-Zd-gro di rnol-io.) Ex- ceedingly quick and animated. Allegro giusto (It.) (al-Zd-gro joos-to.) Quick, with exactness; in steady and precise time. Allegro moderate (It.) (al-Zd-gro mo-d6-rd-to.) Moderately quick. For various other modifi- cations of Allegro look for the secondary words. Alleluia (Fr.) (a,l-l&-loo-ya.) Praise the Lord; Hallelujah. Allemande (Fr.) (all-manhd.) A Hvely German dance in | and also in | rhythm; also a slow dance or melody in | rhythm. The first dance movement in the old suite. Alle Saiten (Ger.) (alleh zigh-ten.) Tutte Corde. All the strings. Release the soft pedal. All' Espagnuola (It.) (al§s-pan-yoo-o-la.) In the Spanish style. All' Inglese (It.) (al en-glay-z^.) In the English style. All' Italiana (It.) (al e-ta-le-d-na.) In the Italian style. AlimShlich (Ger.) (al-wd-llkh.) Little by little. All' Ongarese (It.) (al on-ga.-ray-z&.) In the Hungarian style. Allonger (Fr.) (al-l6nh-zhay.) To lengthen, pro- long, delay. 6 MUSIC DICTIONAKY Monger I'archet (Fr.) (al-l6ah-zhay lar-shay.) To leng;;t.hen or prolong the stroke of the bow in violin music. Allontandosi (It.) (al-on-/a^i-do-ze.) Gradually dis- appearing in the distance; further and further away. Al rigore di tempo (It.) (al ri-go-re di lem-po.) In very vigorous and strict time. A la Russe (Fr.) (a la rilss.) In the Russian style. Al Segno (It.) (al sen-yo.) See Dal Segiw. Alt (It.) (alt.) High. This term is '-^ applied to the notes wiiich He be- r ~^ ^' 1=^ tween F on the fifth line of treble 1- ^ — - staff and G on the fourth added hne *^ above. Al Tedesco (It.) (al t^-des-ko.) In the German style. Altemativo (It.) (al-ter-na-^ee-vo.) Alternating one movement with another. Altgeige (Ger .) (d/Z-ghl-ghe.) The viola. Altieramente (It.) (al-te-€r-a-meAi-t6.) With gran- deur; haughtily. Altisono (It.) (aUe-so-no.) Sonorous. ^ Altissimo (It.) (aUees-se-mo.) The high- est; extremely high as to pitch. It is applied to notes above the staff. Alto (It.) (al-to.) High. In olden days an arti- ficial or head voice (counter-tenor) was culti- vated in men, and this voice singing the high- est part was called Alto; in modem vocal terminology'; the word applies to the lowest female voice ©r unchanged (young boy's) voice, which is of about the same range and pitch. Q The Viola is sometimes called -^ \ ^ — the Alto. Alto is also the name J J' given to a brass instrument of the '^ Sax-hom group, standing in El?, a fifth below the B'? Cornet, and with about the same written compass. Alto clef. The C clef on the thu-d line of the staff. ^:i Alt' ottava (It.) (alt ot-ia-va.) The same notes an octave higher. Altra (It.) (d/-tra.) / ^,v ,, Altro (It.) (al-tv-o.) \ ^^^^'' ^°°'-^^- Alzamento (It.) (al-tsa-?7ien-to.) An elevating of the voice; liftmg up. 7 MUSIC DICTIONARY Alzando (It.) (al-fsan-do.) Raising; lifting up. Amabile (It.) (a-ma-be-16.) Amiable, gentle, grace- ful. Amabilita (It.) (a-ma-be-le-fa.) Tenderness, amia- bility. Amabilmente (It."* (a-ma-beel-??ien-te.) Amiably, gently. Amaro (It.) (a-ma-ro.) Grief, bitterness, afflic- tion. Ambrosian Chant. A series of sacred melodies or chants collected and introduced into the church by St. Ambrose. It was purely diatonic. ..onen (Heb.) (a-m6n.) So be it. A word used as a termination to psalms, hymns, and other sacred music. American fingering. See Fingering. A moll (Ger.) (a m6ll.) The key of A minor. Amore (It.) (a-mo-r6.) Tenderness, affection, love. Amore, con. (It.) With tenderness and affec- tion. Amore vole (It.) (a-mo-ra-v6-l6.) Tenderly, gently, lovingly. Amorevolmente (It.) (a-mo-ra-v6l-men-tg.) With extreme tenderness. A moresco (It.) (a mo-res-ko.) In the Moorish style; in the style of a Moorish dance. Amorosamente (It.) (a-m5-ro-za-men-t6.) In a tender and affectionate style. Amoroso (It.) (a-mo-ro-zo.) See Amorosamente. Amphibrach (Gr.) (Sm-fi-brak.) A musical foot, comprising one short, one long and one short note or syllable, accented and marked thus, An {Ger.) (ahn.) On; to; in organ music, draw, or add. Anapest (Gr.) (an-a-p6st.) A musical foot, con- taining two short notes or syllables, and a long one, accented and marked thus, ^^ '^ — . Anche (Fr.) (anhsh.) The reed of the oboe, bas- soon, clarinet, etc.; also the various reed stopL in an organ. Ancora (It.) (an-/co-ra.) Once more; repeat again; also, yet, still, etc. Andacht (Ger.) (an-dakht.) Devotion. Andante (It.) (an-c?an-t6.) A movement in mod- erate time but flowing easily, gracefully. An= 8 MUSIC DICTIONARY dante literally means " going." For various qualifications of Andante see secondary words. Andantmo (It.) (an-diin-iee-no.) A little slower than Andante is the literal meaning of Andan- tino, but it has become a doubtful term, and is generally used as meaning quicker than Andante. Andare (It.) (ahn-da/i-rg.) To go; go on. Anfang (Ger.) (an-fang.) Beginning, commence- ment. Angemessen (Ger.) (ari-gh6-m&-s'n.) Comfonn- able, suitable, fit. Angenehm (Ger.) (an-ghSn-aym.) Agreeable, pleasing, sweet. Anglaise (Fr.) (iinh-gldz.) ) In the English style; Anglico (It.) (an-glee-ko.) J a tune adapted for an English air or country dance. It has been used by Bach in his French Suites. It some- what resembles the Hornpipe. Angoscia (It.) (an-^os-sha.) J . Angosciamente (It.) (an-gos-sha-men-tg.) ) xiety, anguish, grief. AngstUch (Ger.) (eiigst-likh.) Uneasy, timid, an- xious. Anhang (Ger.) (an-hang.) A coda; a postscript; an appendix. Anima, con. (It.) (ah-nee-mah.) With life and animation. It can also be applied as meaning "soulful"; thus Chopin uses Lento e con anima, as " slow and with soul." Animato (It.) (an-e-7m-to.) Animated; with life and spirit. Anime (Fr.) (anh-e-may.) Animated, lively, spir- ited. Animoso (It.) (an-e-mo-z5.) In an animated manner; lively, energetic. Anlage (Ger.) (an-la-ghe.) The plan or outline of a composition. Anlaufen (Ger.) (an-lou-f'n.) To increase in sound; to swell. Anleitung (Ger.) (an-li-toong.) An introduction; a preface, guidance, instruction. Amnuthig (Ger.) (an-moo-tlg.) Agreeable, sweet, pleasant. Ansatz (Ger.) (aw-sats.) The embouchure of a wind instrument; the setting of the lips of a wind instrument player; the attack of a vocal phrase. 9 MUSIC DICTIONARY iinschlag (Ger.) (an-shlag.) A stroke; the per- cussion of a chord; the striking of a chord or key; the touch in piano playing; a double grace note. Anstimmen (Ger.) (an-stim-m6n.) To strike up; to begin to sing; to tune. Anstimmung (Ger.) (an-stlm-moong.) Intonation, tuning. Answer (Lat. Comes; Ger. Gefdhrte; Fr. Response; It. Riposta.) The response to the subject of a fugue, given by the second voice, either above or below. Antecedent (an-te-se-dSnt.) The subject of a fugue or of a canon; the first phrase of a musi- calperiod. Anthem. A vocal composition, the words of which are usually selected from the Bible, used in church either with or without organ accompani- ment. Antibacchius (dn-ii-bdk-kl-T^.) A musical foot of three syllables, the first two long or accented and the last short or unaccented, thus, •^. Anticipation. One or more harmonic voices or parts moving to their particular position in a new cnora, m aavance of the other parts, or the accent. Antico (it.) (an-/e-k6.) Ancient. Antiphon. See Antiphone. Antiphone (Gr.) (a/i-tMo-ne.) The response made by one part of the choir to another, or by the congregation to the priest in the Roman Catholic service; also, alternate singing. Antithesis. In fugues, this term is applied to the answer. Antwort (Ger.) {ahnt-Yohvi.) Answer. Anwachsend (Ger.) (an-vakh-sgnd.."" Swelling, in- creasing. Aperto (It.) (k-pair-io.) Open; in pianoforte music it signifies that the damper or open pedal is to be pressed down; clear, distinct; (organ) open pipe. Aphony (a/-o-ny.) Dumbness; loss of voice. A piacefe (It.) (a pe-a-fs/iair-re.) At pleasure. Aplomb (Fr.) (a-pl6nh.) Firm, in exact time steadiness, coolness. A poco (It.) (a po-ko.) By degrees; gradually. A poco a poco (It.) (a po-ko a po-ko.) By little and Httle. 10 MUSIC DICTIONARY Apollo. In ancient mythology, the god of music, and said to be the inventor of the lyre. Appassionatamente (It.) (ap-pas- 1 se-o-na-tii-m^n-tg.) Passionately; Appassionatamento (It.) (ap-pas- with intense se-o-nti-tPi-Tnen-to.) emotion and Appassionato (It.) (ap-pas-se-o- feeling. nd-to. ) j Appenato (It.) (ap-pg-nd-to.) Grieved, distressed; an expression of suffering and melancholy. Appoggiato (It.) (ap-pod-je-a-to.) Leaning upon; dwelt upon; drawn out. Appoggiatura (It.) (ap-pSd-je-a-ioo-ra.) Leaning note; grace note; note of embellishment. Ob- serve that in contradistinction to the Acdac- catura, there is no diagonal hne through the stem and hook. The word " Appoggiare," to lean against, accu- rately describes the character of this long grace- note. It is one of the most charming embel- lishments of song and of instrumental music. The character of the appoggiatura is almost always yearning, sorrowful or tender. The cause of writing so long and accented a note as a grace note lies in the fact that the appoggiatura is almost alwaj^s extraneous to the melodj and to the harmony. It has become customary, in recent daj'^s, to write the appoggiatura out in full notation. Before an even note the appog- giatura generally receives its face value, i.e., one-half the value of the note which follows. Before a dotted note it receives more than its face value, i.e., it should be given two-thirds of the value of the following note. ^ — ev=^ m MUSIC DICTIONARY If the next note is of the same pitch as the prin- cipal note of the appoggiatura, the grace note 1 ^ ___ receives the entire - yf 2 r^ ^ H— <»^^^ ^"=H value of its prin- ^4 I _ | B -i — I Hcipal note, but is *^ carried to the next note with a strong portamento. This occurs chiefly in vocal music. Apprestare (It.) (ap-pres-/a-rS.) To prepare, or ^ put in a condition to be plaj'^ed. Apre (Fr.) (apr.) Harsh. A ptinta d'arco (It.) (a poon-ta, d'dr-ko.) With ^ the point of the bow. A quatre mains (Fr.) (a katr-manh.) For four hands. Arabesque or Arabesk. An ornament, or an em- bellished work. From the Moorish architecture which was much ornamented. Arbitrio, al (It.) (ar-6e-tre-o.) At the will or pleas- ure of the performer. Arcato (It.) (ar-A;a-t6.) Bowed; played with the bow. Archet (Fr.) (ar-shay.) ) . • ,• , Arco (It.) (ar-ko.) S ^ ^^°^'^ ^°^' Ardente (It.) (ar-d!en-t6.) With fire; glowing, vehement. Ardentemente (It.) (ar-den-te-7?ien-te.) Ardently, vehemently. Ardito (It.) (ar-de-to.) Bold; with energy. Ardor e (It.) (ahr-do-reh.) Con Ardore; with ardor and warmth. Aretinian syllables. See Solfaing. Aria (It.) (a-re-a.) An air; a song; a tune; sung by a single voice either with or without an ac- companiment. Generally composed of two con- trasting movements or divisions (I and II), ending with a literal or elaborated repeat of Div. I. The aria first developed into shape in the early operas. Aria buffa (It.) (d-re-a boof-ia,.) A comic or hu- morous air. Aria cantabile (It.) (d-re-a-kan-^d-be-16.) An air in a graceful and melodious style. Aria concertata (It.) (d-re-a k5n-tsh6r-^d-ta.) An air with orchestral accompaniment in a Con- certante style; a concerted air. Aria di bravura (It.) (d-re-a de bra-yoo-ra.) A 12 MUSIC DICTIONARY florid air in bold, marked style and permitting great freedom of execution. Aria fugata (It.) (a-re-a foo-ga-ta.) An air ac- companied in the fugue style. Aria parlante (It.) (d-re-a piir-ldn-t&.) An air in the declamatory style; a recitative a tempo. ^iL''(^.rr':yr(i5«n,|A-orso„gs. Arietta (It.) (a-re-ei-ta.) 1 Arietta (Fr.) (a-re-6t.) [ A short air or melody. Ariettina (It.) (a-rc-6t-/e-na.) J A rigore del tempo (It.) (a re-gd-T& dSl ^e??i-po.) In strict time. Ariosa (It.) (a-re-o-za.) In the movement of an aria or tune. Arioso (It.) (d-re-o-zo.) Melodious, graceful; a short piece in the style of an aria, but less sym- metrical in construction. Annoneggiare (It.) (ar-m5-ngd-je-d-r6.) To sound in harmony, Armonica (It.) (ar-mo-ne-ka.) The earliest form of the accordion; a collection of musical glasses, so arranged as to produce musical effects. Armoniosamente (It.) (ar--md-ne-o-za-meri-t6.) Har- moniously. Armonioso (It.) (ar-mo-ne-o-z6.) Concordant, har- monious. Arpa (It.) (dr-pa.) The harp. Arpa doppia (It.) (dr-pii dop-pe-a.) The double action harp; it meant formerly a harp with two strings to each note. Arpeggiando (It.) (ar-ped-je- | j^^^;^ p,^y^j ^^. Ar"paggmio (It.) (ar-ped-i^ &X°hirp.'"'"^"°" a-to.i J ^ Arpeggiare (It.) (ar-ped-je-d-rS.) To play upon the harp. Arpeggio (It.) (ar-pe(i-je-o.) Playing the notes of a chord consecutively (harp style). In piano music the rapid arpeggio is abbreviated in no- tation by drawing a wavy line before ^ ^J the chord. The arpeggio beginning E^'.:i«^ on the accent, and with lowest note. 13 MUSIC DICTIONARY Arrangement. The selection and adaptation of a composition or parts of a composition to instru- ments for which it was not originally designed, or for some other use for which it was not at first written. Arsis (Gr.) (dr-sls.) The upstroke of the hand in beating time. The light accent of the meas- ure. Not employed by musicians in the same sense that it is used in poetry. See Accent. Articolato (It.) (ar-te-ko-/a-t6.) Articulated; dis- tinctly enunciated. Artificial Harmonics. Tones produced on a string; the vibrating length of which has been tempo- rarily fixed by stopping: See Harmonics. As (Ger.) (as.) The note A flat. Asas, Ases (Ger.) (as-as, as-az.) The note A double flat. As dur (Ger.) (as doer.) The key of A flat major. As moll (Ger.) (as moll.) The key of A flat minor. Asperges me (Lat.) (3,s-per-ggs ma.) The open- ing of the Mass in the Catholic service. Not a number of the musical Mass itself, but sung during the purification of the altar at the be- ginning of the service. Asprezza (It.) (as-pred-sa.) Roughness, dryness, harshness. Assfii (It.) (as-sa-e.) Very, extremely; in a high degree, as Allegro Asedi, very quick. iissai pia (It.) (as-sd-e pee-oo.) Much more. Assez (Fr.) (as-say.) Enough, sufliciently. Assoluto (It.) (as-so-loo-to.) Absolute, free, alone, one voice. Assonanz (Ger.) (as-s6-nanfs ) ) similarity, or Assonanza (It.) (as-so-nan-tsa.) ) . consonance of tone. A tempo (It.) (a <^m-po.) In time; a term used to denote that after some deviation or relaxa- tion of the tempo, the performer must return to the regular tempo. Athemlos (Ger.) (d-t§m-los,) Breathlessly. Attacca (It.) (at-fdfc-ka.) Go on. Begin the next. Attacca subito (It.) (at-tdfc-ka soo-he-tb.) Attack or commence the next movement immediately. Attack. The method or clearness of beginning a phrase. The term is apphed to solo or concerted music, either vocal or instrumental. 14 MUSIC DICTIONARY Attendant keys. Those scales having most sounds in common with the scale of any gi\*en key; the relative keys. In C major the attendant keys are: its relative minor A, the dominant G, and its relative minor E, the sub-dominant F, and its relative minor D. Atto (It.) (a/-t6.) An act of an opera or play. Aubade (Fr.) (o-bad.) Morning music; a morn- ing concert in the open air. Audace (It.) {a.-00-dd-tsh^.) Bold, spirited, au- dacious. Auf (Ger.) (ouf.) On, upon, in, at, etc. Auf dem Oberwerk (Ger.) (ouf d6m o-b6r-vark.) Upon the upper-work or highest row of keys in organ plaj'ing, Auffiihrung (Ger.) (ow/-fear-roong.) Performance. Aufgeregt (Ger.) (oM/-g6-raygt.) With agitation, excitedly. Aufgeweckt (Ger.) (ou/-gh6-v6kt.) Lively, sprightly, cheerful, wide awake. Aufhalten (Ger.) (au/-hal-t'n.) To stop; to re- tard; to keep back. Aufstrich (Ger.) (ow/-streekh.) An upbow. Auftakt (Ger.) (oM/-takt.) The arsis; the up-beat. Augmentation. Writing a theme or melody in notes of longer duration than the original presen- tation. Augmented intervals. Those perfect nfth Augmented eub which are larger by a half- step than major or perfect intervals; as, A iina corda (It.) (a 00-na fcor-da.) The soft pedal, in piano playing; one string. Aus (Ger.) (ous.) From; out of. Ausdruck (Ger.) (ous-drook.) Expression. Ausdrucksvoll (Ger.) (ous-drooks-foll.) Expres- sive. Ausgabe (Ger.) (ows-ga-bS.) Edition. Ausgehalten (Ger.) (ous-ghS-hal-t'n.) Su.stained. Ausgelassen (Ger.) (ous-gh^lds-s'n.) Wild, un- governable, with abandon. Aushalten (Ger.) (ous-hal-t'n.) To hold on; to sustain a note. Authentic cadence. The old name for a perfect cadence; the harmony of the dominant followed by that of the tonic, ©r the progression of the dominant to the tonic. See Cadence. 15 MUSIC DICTIONARY Authentic mode. A church mode or scale in which the final or key-note was the lowest tone. Auxiliary notes. Notes (generally grace) imme- diately above or below a principal or harmonic note. Ave (Let.) (a-v6.) Hail. Avec (Fr.) (a-ve/c.) With. Ave Maria (Lat.) (a-ve ma-ree-a.) Hail, Mary. A hymn or prayer to the Virgin Mary. Ave Maris Stella. (a-v6 ma-ris stel-\k.) A hymn of the Catholic Church, the words meaning, " Hail, Star of the Sea." Ave Regina (Lat.) (a-vg rS-^e-na.) Vesper hymn , to the Virgin. A volonte (Fr.) (a vo-l6nh-ia.) At will; at pleasure. B B. The seventh note in the scale of C. It is called Si in France and Italy, ard H in Germany. The Germans use the letter B to designate B flat. As the flat came from the letter B the Germans still call flats " B's." See Flat, Sharp, Natural. Babillage (Fr.) (ba-biy-ahg.) Playful chatter. Bachelor of Music. The first musical degree taken at the universities. Badinage (Fr.) (ba-dl-nazh.) Playfulness, spor- tiveness. Bagatelle (Fr.) (bSg-a-tSl.) A trifle; a toy; a short easy piece of music. Bagpipe. An instrument of great antiquity. One or more reed pipes are attached to a wind bag or bellows. The most elaborate bagpipes are the Irish and Scotch, the latter having three or four drone or single note pipes and a " chanter," or fingered pipe, for the melody. Baldamente (It.) (bal-da-men-tS.) Boldly. BaMbile (It.) (bal-^-bee-lS.) In the style of a dance. Ballad. A short, simple song of natural construc- tion, usually in the narrative or descriptive form. It formerly had a wider signification and was applied to music set to a romance or historical poem, and also to a light kind of music used both in singing and dancing. Ballade (Ger.) (bal-Za-de.) ) A dance; dancing: Ballata (It.) (bal-Za-ta.) ) also a Ballad. 16 MUSIC DICTIONARY Ballerino (It.) (bal-16-ree-no.) A dancing master; a male dancer. Ballet (Fr.) (ba-la.) ) A theatrical represen- Balleto (It.) {ha\-let-t6.) ) tation of some story by means of dances or pantomimic action ac- companied with music. Ballo (It.) (6dM6.) A dance or dance tune. Band. A number of instrumental performers playing together, generally wood-wind, brass and percussion instruments. Band-master. The leader or conductor of a band, generally military. Bandola (Spa.) (ban-Jo-la.) An instrument re- sembling a lute. Bandurria (Spa.) (ban-door-re-a.) A species of Spanish guitar; a Bandora. Banjo. The typical instrument of the American Negro; consisting of an elongated neck and fret- ted finger-board attached to a circular, parch- ment covered body, over which the five strings are vibrated. Bar. Lines drawn perpendicularly across the staff to divide it into measures; the term is also ap- plied to each of these measures by European usage, but strictly the bar is the line itself, not the measure it defines. The bar came into use in music after 1600. Barcarola (It.) (bar-ka-ro-la.) i A song or air sung Barcarolie (Fr.) (bar-ka-rol.) ) by the Venetian gondoliers, or boatmen, while following their voca- tions; it is generally in | time. Bar, double. Heavy Unes dra^^Ti across the staff to divide off different parts of the movement or show the end of the piece. Dots either side of the double bar show that the preceding or fol- lowing measures are to be repeated. Bariolage (Fr.) (bSr-ee-o-lazh.) A passage for the violin, etc., in which the open strings are more especially used; a group of notes on several strings played in the same position; a Cadenza; a Medley. Bariton (Fr.) (ba-r!-f on/i.) ) A male voice in- Baritono (It.) (ba-re-io-no.) > termediate (in Baritone. ) respect to pitch) between the bass and tenor, w^ the compass usually extending cs^ £=3 from: F^ J ^ 1 17 MUSIC DICTIONARY Also a brass instrument in Sax-horn group, stand- ing an octave belew Bb Comet, and with similar compass. Barocco (It.) (ha-rdk-kd.) ) A term applied to Baroque (Fr.) (ba-refc.) f music in which the harmony is confused and abounding m unnatural modulations; eccentric; bizarre. Bane (Fr.) (bar-ra.) In guitar playing, a tem- porary nut formed by placing the forefinger of the left hand across some of the strings. Barrel organ. An organ, the tones of which are produced by the revolution of a cylinder. See Orchestrion. Baryton (Fr.) (ha-n-ldnh.) See Baritone. Base. / The lowest or deepest male voice; the Bass. ) lowest part in a musical composition. See Voice. Also i:he deepest Sax-horn. Bassa (It.) (6ds-sa.) Low, deep; 8va bdssa; play the notes an octave lower. Bass bar. A strip of wood on the inside of a violin, etc., running under the lower string. Bass clef. The base or F clef, placed upon the fourth line. See Clefs. Bass, double. The double bass viol; the contra bass. Basset horn. (It. Corno di Bassetto.) An ob- solete instrument of the clarinet family similar in shape, tonal quality and compass to the modem Bass clarinet. Bass, fundamental. The bass which contains the roots of the chords only. Bass, given. A bass to which harmony is to be added above. Bass, ground. A bass consisting of a few notes or measures containing a subject of its own repeated throughout the movement, and each time ac- companied by a new or varied melody. Basso (It.) (basso.) The lowest male voice; the bass part; the contra-bass; an 8-foot organ stop. Basso buffo (It.) (6as-so boof-io.) A humorous bass; a musical comedian of bass register. Basso cantante (It.) (6as-so ka.n-tdn-t&.) A bass voice of baritone quality; a lyric bass. Basso concertante (It.) (:bds-s6 kon-tshgr-fa/i-t6.) The principal bass; also, the lighter and more delicate parts performed by the violoncello or bassoon. 18 MUSIC DICTIONARY Basso continuo (It.) {bds-sd kQn-/e-noo-o.) The continued bass; a bass that is figured to indi- cate the harmony. Basso ostinato (It.) (basso os-te-na-to.) A ground bass; a single bass figure constantly repeated. Bassoon (Ger. Fagott, It. Faggotto.) 1. A double reed wind-instrument of deep pitch, with a com- pass of about three octaves. The bassoon or- dinarily forms the bass of wood wind-instruments, and is capable of excellent independent effects. It is often used for comical or b^ ^^=^m grotesque effects. 2. A reed stop in the organ which unitates the tones of the bassoon. Bass trombone. A trombone with a compass ex- tending from C below the bass staff to the E above. Bass tuba (Lat.) (bass too-ha..) A brass wind in- strument, the lowest in pitch -^ of the Sax-horn family. The F^ ~ . - tone is powerful and impres- E^^^^T — ^ ■ sive, the compass is as fol- rt 3 lows: b-^-or*- Baton (Fr.) (Bah-tong.) A conductor's stick. Batterie (Fr.) (bat-tree.) The roll of the drum; also the percussion instruments of an orchestra collectively. Battuta (It.) (Bii-too-tah.) A beat; a measure or bar; A Battuta, in strict time. B dur (Ger.) (Ba doer.) The key of B flat major. Bearbeitet (Ger.) (b6-ar-bi-t5t.) Arranged; adapted. Beat. The rise or fall of the hand or baton in marking the divisions of time in music; an im- portant musical embellishment, consisting of the principal note and the note below it, resembhng a short trill; a throbbing which is heard when two tones are slightly out of unison. Bebung (Ger.) {bay-hoong.) A shaking; a vibra- tion; a German organ stop. Becken (Ger.) (bek'n.) Cymbals. Be (Ger.) (ba.) Flat, b flat. Begleiten (Ger.) (be-^Zl-t'n.) To accompany. Bel canto (It.) (bell-A;a/in-to.) Literally, " beau- tiful song." In one sense it can be applied to all good singing, but, practically, it means a 19 MUSIC DICTIONARY tender, pure, and sympathetic legato, the op- posite of bravura singing. Belieben (Ger.) (b&-/e-b'n.) Pleasure; at pleasure. Bell. A hollow metal instrument, set in vibra- tion by a clapper inside or a hammer outside. Tubular chimes have been substituted with some success for regular bells. The small scale or chime of bells used in the orchestra is called Glockenspiel. The flaring end of the tube of various wind instruments is called the bell. Bellezza (It.) (bel-let-sa..) Beauty of tone and ex- pression. Bell gamba. A gamba stop in an organ; the top of each pipe spreading out like a bell. Bellicosamente (It.) (bel-le-ko-za-me/i-tg.) ( jr, o BelHcoso (It.) (b6l-le-/co-zo.) f ^^ ^ martial and warlike style. Bellows. A pneumatic appendage for supply- ing organ pipes with air. Belly. The sound-board of an instrument; that part over which the strings are distended. Bemol (Fr.) (ba-mol.) ( rp, , ■,.. n , ... Bemolle (It.) (ba-m6l.) ( ^^^^ ^"^^^ ^^^^^^ ^ ^^' '^''^* Ben (It.) (ban.) I ,y ,, i Bene (It.) (6a-ne.) \ ^^^^^' ^°°^- Benedictus (Lat.) (b^-ne-dik-tHs.) One of the movements in a Mass. Bene placito (It.) (5e-n6 pZd-tshe-to.) At will; at pleasure. Ben marcato (It ) (bSn mar-A:a-t6.) I ^y^^ ^^^j^^ Bene marcato (It.)i6a-ne mar-^-a-to.) S in a distinct and strongly accented manner. Be quadro (It.) (bay gwa-dro.) /The mark called a Bequarre (Fr.) (bay-kar-ra.) ( natural (tj). Bequem (Ger.) (h^-quaim.) Convenient. Berceuse (Fr.) (bair-says.) A cradle song; a lul- laby. BerfoSisr ^^^'^ (bgr-ga-mas-ka.) | a kind of rustic dance. Used in Shakespeare's " Midsummer Night's Dream." Bes (Ger.) (bes.) The note B double flat, Bbl?, also called Doppel B, or 66. Bestimmt (Ger.) i^^steemt.) With decision. Dis- tinct. Betonend (Ger.) (b6-^o-ngnd.) ) A^ppnt^ Betont (Ger.) {h^tont.) ] ^ccentea. 20 MUSIC DICTIONARY Betriibt (Ger.) (b&-truht.) Afflicted, grieved. Bewegung (Ger.) (bg-m-goong.) Motion, move- ment. Bewegt (Ger.) (b^vdgt.) Moved; rather fast. Binary. Two-fold. Binary form, — a form of two divisions, periods, or sections. Binary measure. Two beats to a measure. Bis (Lat.) (bis.) Twice; indicating that the pas- sage marked (a few measures only) is to be re- peated. It may mean a subdivision of some sec- tion or number of a musical work, as 1 bis, 2 bis, etc. Bizzarramente (It.) (bIt-sar-ra-men-tS.) Oddly; in a whimsical style. Bizzarria (It.) (bit-sar-ree-a.) Written in a ca- pricious, fantastic style; sudden, unexpected modulations. Bizzaro (It.) (bit-sar-ro.) Whimsical, odd, fan- tastical. Blas-musik (Ger.) (blds-moo-zek.) Music for wind instruments. Blasen (Ger.) (bld-z'n.) To blow; to sound. Blech-instrumente (Ger.) (bl6kh-in-stroo-men-t6.) The brass instruments, as trumpets, trombones, etc. Blockflote (Ger.) (bldk-^6-t&.) An organ stop com- posed of large scale-pipes, the tone of which is full and broad. Bluette (Fr.) (blu-et.) A short, brilliant piece. The word means a spark, or a flash. B-mol (Fr.) (bay-mol.) The character called a flat (b). See Bemol. B-moll (Ger.) (bay-mol.) The key of B-flat minor. Bocca (It.) (bok-ka,.) The mouth-piece of a horn, trumpet, trombone, and similar instru- ments. Bocca chiusa (It.) (bok-ka ke-oo-za.) With closed mouth. Humming. Body. The resonance box of a string instrument. That part of a wind instrument which remains after the removal of mouth-piece, crooks, and bell. The tube of an organ-pipe above its mouth. Boehm Flute. A flute with perfect system of sound holes, closed by pads; with a key mechanism that greatly facihtates execution. Invented by Theobald Boehm. 21 MUSIC DICTIONARY Bogen (Ger.) {ho-^n.) The bow of a violin, etc.; a sltir or tie. Bolero (Spa.) (bo-Za-ro.) A lively Spanish dance, in f time. It is much like the Andalusian ca- chucha. It is accompanied by castanets, and sometimes with singing. Bombarde (Fr.) (b6nh-bard.) ) A powerful reed Bombardo (It.) (b6m-6dr-do.) ) stop in an organ of 16-foot scale; also an old wind instrument of the oboe species. Bombardon (Ger.) (6(5m-bar-don.) A form of Tuba. Bones. Strips of wood or bone slightly curved, a pair being held in each hand and clicked together in varied rhythm. Typical of negro minstrel music. Boot. The foot of a reed pipe. Bordone (It.) (b6r-d5-n6.) I An -organ stop, the Bourdon (Fr.) (boor-donh.) J pipes of which are stopped or covered, and produce the 16-foot, and sometimes the 32-foot tone; also a drone bass. Boudhe fermee (JBoosh fair-may.) With closed mouth; humming. Bouchee (Fr.) (Boo-shay.) Applied to wind-in- struments this means muted; applied to organ pipes it means stopped. Bourree (Fr.) (boor-ra.) An old French dance said to have come from Auvergne, but others claim it to be a Spanish dance coming from Biscay, where it is still in use. It is very rapid and hearty, generally in | or in | time. Bow. An instrument of wood and horsehair, em- ployed to set the strings of the violin, etc., in vibration. The bow, originally curved, as its name implies, has been subject to many changes of shape from time to time, from a large curve to an almost flat form. Bow hand. The right hand; the hand which holds the bow. Bowing. The art of using the bow; playing with the bow. " The bowing " also refers to the marks used to guide the player, as i i a down- stroke, V an upstroke, etc. Brace. A character curved or straight used to connect together the different staves; the leather slide which tightens or loosens the cords of a drum. 22 MUSIC DICTIONARY Branle (Fr.) (briinhl.) A lively old dance in f time; a species of " follow my leader," in which all the motions of the leading couple were imi- tated. Brass band. A number of performers whose in- struments are exclusively brass. Brass wind. The term applied to the horns, trumpets, trombones, and tuba of an orches- tra. Bratsche (Ger.) (5m-tshS.) The viola or tenor violin. See Viola. Braut-lied (Ger.) (brout-led.) A bridal hymn; a wedding song. Bravo (It. mas.) (6ra-va.) An exclamation of approval often used in theatres; excellent, very good, etc. Bravissima, etc. (It. fem.) (bra-yes-se-ma.) Ex- ceedingly good; exceedingly well done. Bravura (It.) (bra-yoo-ra.) Spirit; skill; requiring great dexterity and skill in execution. Bravura, con. (It.) (brA-voo-rii, kon.) With spirit and boldness of execution. Brawl. See Branle. Break. 1. The point of change in the quality of tenor, soprano, and alto voices. A genuine bass voice has no break. The lower range is called voce di petto, or chest voice; the upper, voce di testa, or head voice; and the place of junction is called the break. A properly cultivated voice should have the break so under control, that the change of the quality should be practically im- perceptible. 2. In the clarinet the break in the tone of the instrument occurs between B flat and B natural. i i^ 3. An imperfectly-formed tone on horn, trum- pet or clarinet. Breit (Ger.) (brit.) Broad. Breve (It.) (5ra-vg.) 1. Short; in ancient times the Breve was the shortest note. The notes then used were the Large, the Long, and the Breve. The Breve is now the longest note; it is equal to two semibreves or whole notes. 2. A Double whole note (il=^) or 0=0' 23 3n octaves. Octaves r~# ^ ~ l f ~? which the notes are I W ^ | * [* i i^ MUSIC DICTIONARY Bridge. That part of a stringed instrument that supports the strings. Brillante (It.) {hre\-ydn-te.) I Bright, sparkling, Brillante (Fr.) (bre-yanht.) ) brilUant. Brindisi (It.) (breen-dee-zee.) A drinking song. Brio (It.) (bree-6.) Vigor, animation, spirit. Brioso (It.) (bree-o-zo.) Lively; vigorous; with spirit. Brise (Fr.) (bre-zay.) Split; broken into an ar- peggio. Broken chords. Chords whose notes are not taken simultaneously, but su^ccessivel;^. Broken in played separately, as Bruit (Fr.) (brii-e.) Noise, rattle, clatter. Brummen (Gr.) {broom-men.) To hum; to growl. Bniscamente (It.) (broos-ka-wen-tg.) Abruptly, coarsely. Biiffa (It.) (boof-ia.) ) Comic; humorous; in the Biiffo (It.) (boof-io.) f comic style; also a singer who takes comic parts in the opera. Buffonescamente (It.) (boof-fo-nes-ka-men-tS.) In a burlesque and comical manner. Buffa, opera (It.) {boof-ia, o-p6-ra.) A comic opera; a burletta. Bugle. 1. A hunting horn. 2. An instrument of copper or brass, similar to the cornet, but higher and more piercing in pitch. Formerly it was equipped with keys or valves, but now exists only in natural form and is used in mili- tary field music. It gives the following open tones. Burden. A regular return of a theme or phrase in a song, at the close of each verse; the drone of a bagpipe. Burla (It.) (boor-la.) ] Facetious, droll, com- Burlando (It.) (boor-Zan-do.) [ ical; in a pla5^ul Burlesco (It.) (boor-Z^s-ko.) J manner. Burletta (It.) (boor-Z^^ta.) A comic operetta; a light musical and dramatic piece, somewhat in the nature of the English farce. 24 MUSIC DICTIONARY C. The first note of the natural scale. The note Ut of the Guidonian System. (See Solfaing.) The note from which pianos and organs are tuned. C is called Ut in France and Do in Italy. It is an error to suppose that the sign g is C as an ab- breviation for " Common Time." The sign came from a broken circle, used in the Middle Ages and called the Imperfedum. See Time. Cabaletta (It.) (ka-ba-^^ta.) A simple melody of a pleasing and attractive character; an operatic air like the rondo in form; a cavaletta. Cachucha (Spa.) (ka-ic/ioo-tcha.) A popular Span- ish dance in triple time, very similar to the Bo- lero. Cadence (Fr.) (ka-danhs.) A shake or trill; also a close in harmony. (See Cadenza.) Cadence. 1. A close in melody or harmony, divid- ing it into numbers or periods, or bringing it to a final termination. 2. An ornamental pas- sage. See below and also Cadenza. Cadence, authentic or perfect. A perfect or final cadence; the harmony of the dominant followed by that of the tonic or the progression of the dominant to the tonic. Cadence, church. The plagal cadence. Cadence, complete. A full cadence; when the final sound of a verse in a chant is on the keynote. Cadence, deceptive. When the dominant chord re- solves into another harmony instead of the tonic. Cadence, half or imperfect. When the dominant harmony is preceded by the common chord of the tonic; a half cadence. Cadence, plagal. When tonic harmony is pre- ceded by subdominant. Perfect Cadences. Half p^S^s^: g m w 25 MUSIC DICTIONARY or Imperfect Cadences. Inter- ^=g=P.^ 3^ =g: ^ V I V V rupted, False or Deceptive Cadences. VI V IV V VI JL^ — — «— ] = — - \-^ D ^ \ 1 n^s V Plagal Cadences. IV3|7 Cadenza (It.) (ka-cZen-tsa.) A cadence; an orna- mental passage introduced near the close of a song or solo, either by the composer or extem- poraneously by the performer. Caisse (Fr.) (kass.) A drum. Caisse grosse (Fr.) (kass gross.) The bass drmn. Caisse roulante (Fr.) (kass roo-lanht.) The side drum. Caland (It.) (ka-feinrf.) I Gradually dimmishing Calando (It.) (ka-Zan-do.) \ the tone and retard- ing the time; becoming softer and slower by degrees. Calcando (It.) (kal-fcan-d5.) Pressing forward and hurrying the time. Calcant (Ger.) (A^dZ-kant.) The bellows treader, in old German organs. Calliope (KaWee-6-p6.) 1. In pagan mythology the muse that presided over eloquence and heroic 26 MUSIC DICTIONARY poetry, 2 A pipe (or whistle) organ of limited compass, the loud and coarse tone being pr» duced by steam instead of air- Calma (It.) {kal-mH.) ] Cfl]mr^9^^ tnnniiiH#v Calmate (It.) (kal-ma-te.) I <-almness, tranqmlL«y, Calmato (It.) .(kal-?Ma-to.) J ^^Pose. Galore (It.) (ka-^o-re.) I Warmth, anima- Caloroso (It ) (kal-o-ro-zo ) ) tion. Camera (It ) (Axz-mS-ra.) Chamber; a term ap>- plied to music composed for private perform- ance or small concerts. Caminando (It.) (ka-mi-nan-do.) Flowing; with easy and gentle progression. Campana (It.) (kam-pa-na ) A bell. Campanella (It ) (kam-pa-n^Wa.) A little bell. Canaries (Eng ) (k3,-?ia-r6s.) An old dance, in lively I or f , and sometimes -V- time, of two strains. It derives its name from the Canary Islands, whence it is supposed to have come. Cancelling sign. A natural (3), employed to re- move the effect of a previous accidental. Cancion (Spa.) (kan-the-ow.) A song; words set to music. Cancrizans (It.) (kan-^re-tsans.) ( t?«4.„«„^„j« Cancrizante (It.) (.kan-kie-tsdn-te.) ( ^-etiograde movement; going backward; crab-like. Canon. The strictest form of contrapuntal com- position, in which each voice imitates exactly the melody simg or played by the first voice. See Richter, Chadwick, Jadassohn, Goetschius, works on Counterpoint or " Elson's Music Dic- tionary," Cantabile (It.) (kan-^-bi-lS.) Singing or playing in a melodious and graceful style, full of expres- sion. Cantando (It.) (kan-^n-doh.) In a singing style; canlabile. Cantare (It.) (kan-^-rS.) To sing; to celebrate; to praise. Cantata (It.) (kan-^-ta.) 1 A poem set to mu- Cantate (Fr.) (kanh-tat.) [sic; a vocal com- Cantate (Ger.) (kan-fa-tS.) J position of several movements, comprising airs, recitatives and choruses. Cdntica (It.) (kan-^-ka.) } Canticle; the anc^t Canticae (Lat.) (kan-tirsa^) f laudi, or sacred songs of tiie Roman Catholic Church. MUSIC DICTIONARY Canticle. A sacred hymn or song. One of the non-metrical hymns of praise and jubilation in the Bible. Cantilena (It./ (kan-t!-Za?/-na.) The melody, air, or principal part in any composition; generally the highest vocal part; it is also applied to any light and simple song, or in instrumental music, a piece of song-like character. It sometimes indicates a smooth, cantabile style of play- mg. Cinto (It.) (kdn-to.) 1. Song, air, melody; the highest vocal part in choral music. 2. A part or division of a poem. Canto fermo (It.) (kan-to fair-mo.) 1. A chant or melody. 2. Choral singing in unison on a plain melody. 3. The subject or '' fixed song " against which other melodic figures are set, " point against point," in contrapuntal writing; also, Cardus firmus. Cantor (It.) (kan-^dr.) A singer; a chanter. Cantoris (Lat.) (kan-io-ris.) A term used in ca- thedral music to indicate the passages intended to be sung by those singers who are placed on that side of the choir where the cantor or precentor sits. This is usually on the left-hand side on entering the choir from the nave. See Decani. Cantus (Lat ) (/can-ttis.) A song; a melody; also, the treble or soprano part. Canto. Cantus firmus (Lat.) {kdn-tus /?r-mtis.) See canto fermo. Cantus Gregorianus (Lat.) (/can-tiis Gre-go-rl-a-niis.) See Gregorian cJmnt. Canzona (It,) (kan-^sd-na.) \ . r, ballad- Canzone (It.) (kan-^sd-nS.) ( ^' ^^^S' ^^^^^^ canzonet. 2 A graceful and somewhat elaborate air in two or three strains or divisions. 3. An air in two or three parts with passages of fugue and imitation, somewhat similar to the madri- gaL Canzonet A short song m one, two, or three parts. Canzonetta (It ) (kan-tso-nef-ta ) A short can- zone. A little song, Capell-meister. (Ger.) (ka-p^Z-mls-ter.) The di- rector, composer, or master of the music in a choir or orchestra. 28 MUSIC DICTIONARY Capo (It.) (kd-po.) The head or beginnmg; the top. Capotasto (It.) (ka-po-Ms-to.) 1. The nut or upper part of the finger board of a viohn, violon- cello, etc. 2, A piece of wood or ivory with clamp, used by guitar players to form a tempo- rary nut upon the finger board, to raise the pitch of all the strings simultaneously. Incorrectly written in English Capo d'astro. Cappella (It.) (kap-peMa.) 1. A chapel or church. 2. A band of musicians that sing or play in a church, or in private employ. 3. An or- chestra. Cappriccietto (It.) (ka-pret-she-^i-to.) A short ca- pricaio. Capriccio (It.) (ka-pre^-she-5.) A fanciful and ir- regular species of composition; a species of fan- tasia; in a capricious and free style. Capricciosamente (It.) (ka-pret-she-o-za-meri-tS.) Capriciously. Capriccioso (It.) (ka-pret-she-6-zo.) In a fanci- ful and capricious style. Caprice (Fr.) (ka-pres.) A caprice. See Capriccio. Carattere (It.) (ka-m^-tai-r5.) Character, quality, degree. Caressant (Fr.) (ka-r6s-sanh.) Caressing, tenderly. Carezzando (It.) {ka-ret-tsdn-do.) ) In a caressing Carezzovole (It.) (ka-ret-s5-2;o-le.) ) and tender manner. Caricatura (It.) (ka-re-ka-too-ra.) A caricature; an exaggerated representation. Carillon (Fr.) (ka-re-yonh.) Chime. Carillons (Fr. pi.) (ka-re-y6nh.) 1. Chimes; a peal or set of bells, upon which tunes are played by the machinery of a clock, or by means of keys, like those of a pianoforte. 2. Short simple airs adapted to such bells. 3. A mix- ture stop in an organ, to imitate a peal of bells. Carita (It.) (ka-re-ta.) Tenderness, feeling. Carita, con. (It.) (ka-re-ta, kon.) With tender- ness. Carol. 1. A song. 2. A song of joy and exul- tation; a song of devotion. 3. Old ballads sung at Christmas and Easter. Cassa (It.) (kds-ssi.) A large drum. Cassa grande (It.) (kas-sa. grdn-6&.) The bass drum in military music. MtrsiC DICTIONARY Castanets. Clappers used to accompany dancing; formed of small concave shells of ivory, or hard wood. Castanets are used by dancers in Spain and other southern countries to mark the rhythm of the holer 0, cachucha, etc. Castrato (It.) (kas-ira-to.) A male singer with a soprano voice; a eunuch. Catch. A humorous composition for three or four voices, supposed to be of English invention and dating back to the Tudors. The parts are so contrived that the singers catch up each other's words, thus giving them a difTerent sense from that of the original reading. The oldest catches were rounds. Catgut. A small string for violins and other in- struments of a similar kind, made of the intes- tines of sheep, lambs, or goats. Cavatina (It.) (ka-va-^Je-na.) An air of one strain only; generally of simple and expressive char- acter. C clef. It is called the C clef, because, on what- ever line it is placed, it gives to the notes on that line the name and pitch of middle C. Is used for Tenor, Sop., and Alt. See Clef. C dur (Ger.) (tsa doer.) The key of G major. Cebell. The name of an old air in common time, characterized by a quick and sudden alterna- tion of high and low notes. Celere (It.) (is/ia-16-re.) Quick; rapid; with veloc- ity. Celerita (It.) (tsha-la-re-ta.) I Celerity, velocity, Celerite (Fr.) (sa-la-re-ta.) ) rapidity. Celesta. An instrument invented by Mustel in Paris, in 1886. It consists of steel tuning forks set in sound boxes and struck wif :.h mallets through medium of a key-board. Celeste (Fr.) (sa-16st.) Celestial, heavenly; voix celeste, a, sweet-toned organ stop. Celestina (It.) (tsha-l6s-^e-na.) An organ stop of small 4-foot scale, producing a very delicate and subdued tone. 'Cello (It.) (tshel-lo.) An abbreviation of violon- cello. Cembalo (It.) {tsh&m-h?i-\o.) A harpsichord. Ces (Ger.) (ts6s.) The note C flat. Ces dur (ts6s doer.) The key ctf C flat major. .^0 MUSIC DICTIONARY Chaconne (Fr.) (sha-konne.) A graceful, slow Spanish movement in f time, and composed upon a ground bass. Also an instrumental form Hsed by the old masters. Chalmeau (Fr.) (shal-mo.) ) The lowest regis- Chalumeau (Fr.) (shal-u-mo.) \ ter of instruments of the clarinet family is called the chalumeau, from the obsolete instrument shawm, shalmey, precursor of the oboe and clarinet. Chamade (Fr.) (sha-mad.) Beat of drum declaring a surrender or parley. Chamber band. A company of musicians whose performances are confined to chamber music. Chamber music. In a broad sense " chamber music " is amj music suited to a room, or small hall, as distinct from music for a large audito- rium, as church, operatic, or symphonic music. Practically, the term is most frequently applied to concerted pieces of instrumental music in the sonata form, as string or wood-wind quar- tets, quintets, etc. Changes. The various alternations and different passages produced by a peal of bells. Changing notes. A term apphed by some theo- rists to passing notes or discords, which occur on the accented parts of a measure. Chanson (Fr.) (shanh-s6nh.) A song. Chant. 1. A short sacred song, generally har- monized in four part^, to which IjTical portions of the Scripture^- are set, part of the words being recited ad libitum, and part sung in strict time. A Gregorian chant consists of five parts: the intonation; the first reciting note or dominant; the mediation; the second reciting note or domi- nant; the cadence. The Gregorian chant is the one chiefly used in the Catholic and Anglican service. 2. To recite musically; to sing. Chant (Fr.) (shanh.) The voice part; a song or melody; singing. Chantant (Fr.) (slianh-tanh.) Adapted to singing; in a melodious and singing style. Chantante (Fr.) (shanh-tanht.) Singing. ' - Chant, double. A chant extending through two verses of a psalm. It should have four recit- ing-notes and four cadences. Chanter. The melody pipe in a bagpipe. Chanterelle (Fr.) (shanht-rel.) Treble string; the 31 MUSIC DICTIONARY E string of the violin. The highest string of any instrument of the violin or lute family. Chant, plain. A single chant, seldom extending beyond the limits of an octave, or through more than one verse of a psalm. Chant, single. A simple harmonized melody, ex- tending only through one verse of a psalm. Charivari (Fr.) (shii-ri-va-re.) Noisy music made with tin dishes, horns, bells, etc.; clatter; a mock serenade. Chasse (Fr.) (shass.) Hunting; in the hunting style. Che (It.) (ka.) Then, that, which. Chef (Fr.) (sh6f.) Leader, chief. Chef-d'oeuvre (Fr.) (sha d'oovr.) A masterpiece; the principal or most important composition of an author. Chef-d'orchestre (Fr.) (sha d'6r-k6str.) The con- ductor of an orchestra. Chest vSce* I ^^^ ^°^^^* register of the voice. Chest, wind. A reservoir in an organ for holding the air supplied by the bellows. Chiamare (It.) (ke-a-ma-rg.) To chime. Chiaramente (It.) (ke-a-ra-7na?i-t6.) Clearly, brightly, purely. Chiarezza, con. (It.) (ke-a-rei-sa.) Clearness, neat- ness, purity. Chiesa (It.) (ke-a-za.) A church. Applied to various musical works. Chmie. A set of bells tuned to a musical scale; the sound of bells in harmony; a correspond- ence of sound. Chitarra (It.) (ke-for-ra.) A guitar; a cithara. Chiuso (It.) (ki-oo-zo.) Close; hidden; Bocca chiuso, with closed mouth; humming. Choir. 1. That part of a cathedral or church set apart for the singers. 2. The singers them- selves taken collectively. Choir, grand. In organ playing, the union of all the reed stops. Choir organ. In a large organ, the lowest row of keys is generally the choir organ, which con- tains some of the softer and more delicate stops, and is used for accompanying solos, duets, etc. Choral. Belonging to the choir; full, or for many voices. 32 MUSIC DICTIONARY Choral (Ger.) (ko-rdZ.) ( -Lr,,^„ +„„«o «' +u« Chorale (pZ.)(ko-m-l6.) ( ^^^^ *^^^^ ^ *^« early German Protestant church. Chord. The union of two or more sounds heard at the same time. Chords are often indicated by figures attached to their bass notes. See Thorough Bass. Consult Stainer's " Harmony," or York's " Harmony Simplified." Chord, accidental. A chord produced either by anticipation or suspension. Chord, common. A chord consisting of a funda- mental note together with its third and iifth. Chord, dominant. 1. A chord that is found on the dominant of the key in which the music is written. 2. The leading or characteristic chord. Chord, fvmdamental. A chord consisting of the fundamental tone with its thhd and fifth. Chord, inverted. A chord, the notes of which are so dispersed that the root does not appear as the lowest note. -4f r*^ •*- Chord. Inversions. Chorister. A leader of a choir; a singer. Chorus. 1. A company of singers. 2. A com- position intended to be sung by a number of voices. 3. A refrain. Christe eleison (Gr.) (krls-te-^-li-s6n or a-Za?/-ee- s6n.) "O Christ, have mercy"; a part of the Kyrie or first movement in a Mass. Chromatic. 1. Proceeding by half -steps. 2. Any music or chord containing notes not belonging to the diatonic scale. Chromatic keys. 1. The black keys of a piano- forte. 2. Every key in the scale of which one or more chromatic tones occur. Chromatic scale. A scale which divides every whole step of the diatonic scale, and consists of twelve half-steps in an octave. Chromatic signs. Accidentals; sharps, flats, and naturals. The chromatic signs used in mod- ern music are the sharp (i?), the ^"b), the natural (5), the double sharp (^), and the double flat (i>b). See ELson's "Theory of Musio,'* and "Elson's Music Dictionary." 33 MUSIC DICTIONARY Church Cadence. Another name for the Plagal Cadence. Church modes. See Gregorian modes. Ciaccona (It.) (tshee-a-A;o-na.) ( q^^ nu^^^^^^ Ciacconne (It.) (tshee-a-/con-n6.) } ^^^ Chaconne. C in alt. The fourth note of the alt octave. m See Tahlature. Cmelli (It.) (tschi-ncWee.) Cymbals. Ciphermg (s2-f6r-ing.) The sounding of the pipes of the organ when the kej^s are not touched. Circle of fifths. A method of modulation, from dominant to dominant, which conveys us, round through all the scales, back to the point from which we started. Cis (Ger.) (tsis.) The note C sharp. Cis-cis (Ger.) (tsis-tsls.) The note C double sharp. Civetteria (It.) (tshe-v6t-^-re-a.) Coquetry; in a coquettish manner. Clarabella (Lat.) Qda-rsL-bel-lh..) An organ stop of eight-foot scale, with a soft fluty tone; the pipes are of wood and not stopped. Clarinet (also Clarinette.) A rich full-toned wind in- strument of wood, with a single reed mouth-piece. It is one of the most important wood wind-instru- ments. It is said to have been invented about 1700, by J. C. Denner, of Nuremburg. It consists of a cylindrical tube, with finger-holes and keys, which terminates in a bell, and has a beak-like mouth-piece. Its extreme compass is There are clarinets of different pitch; those commonly used in the orchestra are the clarinets in C, in Bb, and in A. The clarinets in Eb or Ab are rarely used except in military bands. All clarinets, the one in C excepted, are transposing instruments. See A. Elson's " Orchestral In- struments and their Use," and Front's " The Orchestra." Clarinet, bass. A clarinet whose tones are an oc- tave deeper than those of the C or B-flat clarinet. Clarinette (Fr.) (klar-i-n6t.) ) Theclarmet; also an Clarionet. ) organ reed stop of 8-foot scale and soft quahty of tone. 34 i MUSIC DICTIONARY Clarino (It.) (kla-ree-no) . I A stiiall or octave trum- Clarion. ( pet; also the name of a 4-foot organ reed stop tuned an octave above the trumpet stop. The term is also used to indi- cate the trumpet parts in full score. Classical music. Standard m"sic; music of first rank, written by composers of the highest order. Music whose form and style has been accepted as suitable for a model to composers. Clavecin (Fr.) (klilv-o-sanh.) The harpsichord, or the spinet. Clavichord. A small, keyed instrument, like the spinet, and the forerunner of the pianoforte. The tone of the clarichord was agreeable and impressive, but very weak. Its mechanism pushed a sharp edge, like the point of a chisel, against the wire, and this point remained, press- ing the wire while the key was held, forming a bridge. See Weitzmann's " History of Piano- forte Music." Clavier (Fr.) (kla-vee-ay.) I The keys or key-boai'd Clavier (Ger.) (klii-fcer.) \ of pianoforte, organ, etc. The German name for spinets, harp- sichords and clavichords. At present the Germans call the piano " Clavier " or " Kla- vier." Clavier-auszug (Ger.) (klsi-feer ous-tsoog.) An arrangement of a full score for the use of piano players. Cle (Fr.) (kla.) I A key; a character used to Clef. ( determine the name and pitch of the notes on the staff to which it is prefixed. The following are used in music to-day : — The G clef, placing g on the second line, thus the bass, or F clef, placing f on the fourth line, thus " ^'=^= ; these two are now fixed, im- movable clefs. The C clef, which fixes the po- sition of middle c, or c, is a movable clef, and is used to-day, as follows: Alto clef 1*1 ^ 35 MUBlC DICTIONARY Tenor clef ^.^=^^=3 and often in America In Italy vocal tenor parts are written nowa- days with a combined treble and tenor clef as follows: See Elson's " Realm of Music," article on " The Rise of Notation." Cloche (Fr.) (klosh.) A bell. Close. A cadence; the end of a piece or passage. Close harmony. Harmony in which the notes or parts are kept as close together as possible. C moll (Ger.) (tsa mol.) The key of C minor. Co (It.) (ko.) ) ,^.,, .,, ., Coi (It.) (/co-ee.) \ WitH, with the. Coda (It.) (/co-da.) The tail or end; a few meas- ures added to the end of a piece of music to make a more effective termination. From the Latin " Cauda " — a tail. The coda, originally a few added chords after the completion of the musical form, was developed into a great sum- ming-up of the movement or composition; a climax of the entire work. The final episode of a fugue is called Coda. Codetta (It.) (ko-det-t-d.) A short coda or passage added to a piece; a connecting passage in a fugue. ct&V) ^'^-'"'^ \ ^h *>>- Colla parte (It.) (/coWa par-te.) With the part; indicating that the time is to be accommodated to the solo singer or player. Colla voce (It.) (/coWa yo-tshe.) With the voice; implying that the accompanist must accommo- date and take the time from the singer. CoU' arco (It.) (k6l-Z'ar-ko.) With the bow; the notes are to be played with the bow, and not pizzicato. Cor legno (It.) (k6\-ldn-y6.) With the bow stick. Colophon (Fr.) (k6l-o-f6nh.) Resin. 36 MUSIC DICTIONARY Coloratura (It.) (ko-lo-ra-^oo-ra.) Ornamental pas- sages, roulades, embellishments, etc., in vocal music. Combination pedals. See Composition Pedals. Come (It.) (A:o-me..) As, like, the same as. Come prima (It.) {ko-m& prc-ma.) As before, as at first. Come sopra (It.) (ko-m^ so-prii.) As above; ai before; indicating the repetition of a previous or similar passage. Come sta (It.) (A;o-me std.) As it stands; perform exactly as wTitten. Comma (It.) {ko7n-msi.) An extremely small dif- ferentiation in pitch barely recognizable by the ear, but which exists theoretically between so- called enharmonic notes hke D^ and Eb. In the science of musical sound a whole step or tone is divided into nine commas. The sign of a comma (,) is often used as a breathing mark in vocal music. Common chord. A chord consisting of a root with its third and fifth. Common hallelujah metre. A stanza of six lines of iambic measure, the syllables of each being in number and order as follows: 8, 6, 8, 6, 8, 8. Common measure. That measure which has an even number of parts m a measure; HBEi I rhythm, sometimes marked Common metre. A verse or stanza of four lines in iambic measure, the syllables o^ each being in number and order, thus: 8, 6, 8 6. Common time. A term sometimes used to ex- press that time which has an even number of parts in a measure; common measure; | rhythm. Comodamente (It.) (ko-mo-da-weri-te.) [ r^^^..^^ Comodo (It.) (/vo-mo-do.) ] '-o^v^^" iently, quietly, easily, with composure. Compass. The range of. notes or sounds of which any voice or instrument is capable. Compiacevole (It.) (k6m-pe-a-^s/ie-v6-le.) Agree- able, pleasing. Compiacevolmente (It.) (kSm-pe-a-tshS-vol-men- te.) In a pleasant and agreeable style. Complementary part. That part which is added to the subject and counter-subject of a fugue. Complin (Lat.) {k6m-\Am.) The latest evening ser- vice of the CathoHc church. 37 MUSIC DICTIONARY Composition. Any musical production; the art of inventing or composing music, according to the rules of harmony. Composition pedals. Pedals connected with a sys- tem of mechanism for arranging the stops of an organ. Composso (It.) (kom-pos-so.) \ Composed; set to Composto (It.) {k6m-pos-i6.) ) music. Compound harmony. Simple harmony with an octave added. Compound intervals. Those which exceed the ex- tent of an octave; as a ninth, tenth, etc. Compound stops. Where three or more organ stops are arranged so that by pressing down one key a note from each stop is sounded. Compound times. Those which include or ex- ceed six parts in a measure, and contain two, or more, principal accents, as f, f, |, |, V- ^^^ Rhythm, and Time. Con (It.) (kon.) With. For definition of various phrases beginning with con see other words. Coucento (It.) (k6n-t^hen-to.) Concord; agree- ment; harmony of voices and instruments. Concert. 1. A performance in pubhc of practical musicians, either vocal or instrumental, or both. 2. Harmony, unison; (Ger.) a concerto. Con- cert Spirituel (Ft.) (con-sair spee-ree-tii-ell), a sacred concert. Concertant (Fr.) (k6hn-sair-tanh.) Performer in a concert; a musician. Concertante (It.) (,V:6n-tsh6r-fan-t6.) 1. A piece in which each part is alternately principal and subordinate, as in a duo concertante. 2. A con- certo for two or more instruments, with ac- companiments for a full band. 3. A female concert performer. Concertato (It.) (k6n-tsh5r-^a-to.) Concerted. See also Concertante. Concerted music. Music in which several voices or instruments are heard at the same time; in opposition to s6lo music. Concert-grand pianoforte. The largest grand piano- forte. Concertina (It.) (kon-tshgr-^ee-na.) A small in- strument, similar in principle to the accordion, the sound boxes being hexagonal in shape instead of oblong. The Enghsh concertina has a com- 38 MUSIC DICTIONARY plete chromatic scale of four octaves The tone is clear and sweet, and much is possible in way of expression and harmonic effect. Concert-meister (Ger.) {kdn-tsert-mis-i&r.) The chief violinist of the orchestra. Concerto (It.) {kon-tschair-to) ; (Ger.) Konzert (kont-sairt.) Also pronounced as an English word — concerto. Originally the term was ap- plied loosely to almost any kind of concerted music. The central idea of the modem concerto is the display of a solo instrument, or sometimes more than one. The accompaniment being generally orchestral, and the form that of Sanata. Concert pitch. The pitch adopted by different manufacturers of musical instruments as best suited to display them. It is a dubious and vague standard, but almost always means a very high pitch. In America it has been dis- placed by the " International Pitch." See Pitch. Concert-stuck (Ger.) {k6n-tsert stiik.) A concert- piece; a concerto. Concord. A harmonious combination of sounds; the opposite to a discord. Concords, perfect. The perfect fom'th, fifth and eighth. Con dolce maniera (It.) (kon dol-tsh^ ma-ne-a-ra.) Conductor. A director or leader of an orchestra or chorus. See " Elson's Music Dictionary." Coaduttore (It.) (k6n-doot-^-rS.) A conduc- tor. Conjoint tetrachords. Two tetrachords or fourths of which the highest note of one is the lowest of the other. Conjunct degree. A degree in which two notes form the interval of a second. Conjunct succession. Where a succession of tones proceed regularly upward or downward through several degrees. Connecting note. A note held in common by two successive chords. Consecutive fifths. Two or more perfect fifths, immediately following one another in similar mo- tion. Consecutive intervals. Where two parallel partp or voices of a score proceed in succession by similar motion. 39 MUSIC DICTIONARY Consecutive octaves. Two parts moving in oc- taves with each other. Consecutives covered. Passages in which consec- utive fifths may be imagined, though they do not really exist; as, where a third or a sixth moves to a fifth. Consequent (Lat.) (A:ow-se-qu6nt.) ) The answer in Consequente (It.) {k6n-s&-quen-t&.) ) sl fugue, or of a point of imitation. A musical phrase fol- lowing a similar one. In musical periods the antecedent and consequent are two b^ilancing divisions, like two rhyming lines, in a verse or couplet. See Form. Conservatoire (Fr.) (k6n-s6r-va-twar.) ) A school Conservatory. ) or acad- emy of music, in which every branch of musical art is taught. Consolante (It.) (kon-so-Zan-tS.) In a cheering and consoling manner. Consolatamente (It.) (k6n-s6-la-ta-men-tS.) Quiet- ly, cheerfully. Console. The keyboard, pedals, stops, of an or- gan, etc. Sometimes apart from the sounding portion and connected by electric cable. Consonance. An accord of sounds agreeable and satisfactory to the ear; the opposite to a dis- cord or dissonance. Perfect consonances, Fourths, Fifths and Oc- taves. Imperfect, Major and Minor Thirds and Sixths. Consonant. Accordant, harmonious. Consonare (It.) (k6n-so-no-r6.) To tune in uni- son with another. Consoniren (Ger.) (k5n-so-?ie-r'n.) To harmon- ize; to agree in sound. Con sordini (It. pi.) (kon sor-cZe-ne.) With mutes, in violin playing; in pianoforte music, urith dam- pers, indicating that the dampers are not to be raised by the pedal; the damper pedal not to be used. Contano (It.) (k6n-fa-n6.) To count or rest; a term apphed to certain parts having rests for the time being, while the other parts continue. Continued harmony. A harmony that does not change, though the bass varies. Continued rest. A long rest or period of silence for a certain voice or instrument while others 40 ^m MUSIC DICTIONARY proceed. A large figure with or without a block under it denotes the number of measures to be counted in silence. Continuo (It.) (k6n-. different ways when Fv^ ' h ' 3~['$^~^ ' changing from one key fc^-f^_3^=^^— to another, thus: •^ Enharmonic change. A passage in which the notation is changed, but the same keys of the instrument are employed: g^a^agEE^ »tc. Ensemble (Fr.) (anh-sa?i/i-bl.) Together; the whole, applied to concerted music when the whole is given with perfect smoothness of style. It 58 MUSIC DICTIONARY means precision of attack; unity of shading. A morceau d'ensemhle is a composition for two or more parts, more especially quintets, sextets, septets, etc., in an opera, oratorio, or similar work. Entr' acta (Fr.) (anh-tr' akt.) Between the acts; music played between the acts of a drama. Entscheidung (Ger.) (ent-s/ii-doong.) Decision, determination. Entschlafen (Ger.) (Snt-s/i?a-f'n.) See Einschlafen. Entschiossen (Ger.) (Snt-sA/!os-s'n.) Determined, resolute. Entschluss (Ger.) {&nt-shlooss.) Resolution. Entusiasmo (It.) (gn-too-ze-as-mo.) Enthusiasm. Entwurf (Ger.) (Snt-voor/.) Sketch; outline of a composition. The exposition of a fugue. Enunciare (It.) (a-noon-tshe-d-r6.) To enunciate; to declare; to proclaim. Epico (It.) (a-pe-ko.) Epic, heroic. Epilogue. A speech or short poem addressed to the spectators by one of the actore, after the conclusion of the play. A concluding piece. Episode. An incidental narrative or digression. A portion of a composition not founded upon the principal subject or theme. An accessory- part of a composition, as contrasted with the themes and their development. An interme- diate division. The parts of a fugue that inter- vene between the repetitions of the main theme. Equabile (It.) (e-gua-be-le.) Equal, alike, uni- form. Equabihnente (It.) (S-qua-bel-T/ien-tS.) Equally, smoothly, evenly. Equal counterpoint. A composition in two, three, four, or more parts, consisting of notes of equal duration. Equal temperament. That equalization, or tem- pering, of the different sounds of an octave which renders them all of an equal degree of purity; the imperfection being divided among the whole. The division of the octave into twelve equal semi- tones. See Temperament. Erhaben (Ger.) (er-/ia-b'n.) Elevated; sublime; in a lofty and exalted style. Erkiingen (Ger.) (eT-kling-&n.) To ring; to re- sound. Emiattet (Ger.) (er-nid/i-tet.) Wearied, exhausted. 59 MUSIC DICTIONARY Ennuntenmg (Ger.) /'er-moon-te-roong.) Anima- tion, excitement. Ernst (Ger.) (airnst.) ) Earnest; serious; in Emsthaft (Ger.)(air«s^-haft.) ) a grave and earnest style. Emtelied (Ger.) (drri-tS-led.) Harvest song. Eroica (It.) (e-ro-e-ka.) Heroic. Erotic (er-o^ik.) An amorous composition, a love song. Erst (Ger.) (arst.) First. Erweckimg (Ger.) (er-vek-oong.) Animation, ex- citement. Erweitert (Ger.) (er-w-tert.) Expanded, devel- oped, extended. Es (Ger.) The note E flat. Es dur (Ger.) (ess doer.) The key of E flat major. Es es (Ger.) (ess ess.) The note E double-flat (Ebb). Esitamento (It.) (a-zee-ta-men-to.) Hesitation. Es moll (Ger.) (ess moll.) The key of E flat minor. Espagnol (Fi*.) (es-p&n-yul.) ) Spanish; in Espagnuolo (It.) (es-piin-yoo-o-l6.) ( the Spanish style. Espirando (It.) (es-pee-ran-do.) Breathing deeply; gasping. Espressione (It.) (es-pres-se-o-nS.) Expression, feel- ing. Espressivo (It.) (es-pres-see-vo.) Expressive; to be played or sung with expression. Estinto (It.) (es-^en-to.) Becoming extinct; dying away in time and strength of tone; extinguished. Estravagante (It.) (es-trav-a-^an-tg.) Extravagant; a fanciful and extravagant work. Estremamente (It.) (es-tra-ma-?nen-t6.) Extremely. Esultazione (It.) (ay-zool-tat-se-o-ne.) Exultation. Et (Lat. ef; Fr. a.) And. Et incamatus (Lat.) (et In-kiir-na-ttis.) A portion of the Credo, in the Mass. Kt resurrexit (Lat.) (et ray-zur-rex-it.) A brilliant part of the Credo, in the Mass. Etta (It.) (et-t'A.) ) Little; an Italian final dimin- Etto (It.) (e^to.) S utive; as Trombetta, a little trumpet, Adagietto, a little adagio. £tud( (Fr.) (a-tud.) A study; an exercise. An etude usually furnishes technical difl&culties of 60 MUSIC DICTIONARY some description. Etude de concert is a very difficult study for concert performance. Cho- pin's Etudes are among the most famous. « Et vitam (Lat.) (et-yee-tam.) A part of the Credo, in the Mass. Etwas (Ger.) (e^vas.) Some; somewhat; a little. Euphonium. A modern Sax-horn; see Baritone. Euphony. Agreeable sound; an easy, smooth enunciation of sounds. Exaltation (Fr.) (6x-al-ta-se-5nh.) In an exalted, digninsd manner. Exercise. A musical composition calculated to improve the technique of the performer. Ex- ercises for the purpose of imparting instruction in musical execution. Expression. That quality in a composition or performance which appeals to our feelings, taste or judgment displayed in rendering a composi- tion and imparting to it the sentiment of the author. Expression marks are signs, words or phrases, written against the music to direct the performer in giving its proper expression. F F. The fourth note in the diatonic scale of C. It was the note first used as a clef sign to give definite pitch to the mediaeval notation (Neumes) because " small f " was a good medium note in the baritone voice in the chants, which were therefore almost always composed around this note, f is also the abbreviation of Forte; ff, fortissimo; fTf, fortississimo; ffff is rarely used. Fa. The name applied to F in France and Italy; the fourth note of the syllables us 3d in solfeggio. In the " fixed do " system it is always F; in the " movable do" it is the fourth note of any diatonic scale. In " Tonic sol-fa " it is spelled " Fah." Fabliau (Fr.) (fah-blee-oh.) A fable. Facile (Fr.) (fa-sel.) I j • , , Facile (It.) (/a-chee-lay.) ( ^'S^*' ^'^^' Facilita (It.) (fa-tshel-e-^a.) Facility. Fackel-tanz (Ger.) (jd/j-' 1-tants.) Dance with torches. Fagott (Ger.) (isL-gott.) A bassoon. 61 MUSIC DICTIONARY Fagotto (It.) (Vsi-g6t-td.) A bassoon; also an organ- stop. Fagotto contra (It.) {isL-got-to kdn-trsi.) The coutra-bassoon. Faiblement (Fr.) (fay-bl-manh.) Feebly, weakly. False accent. When the accent is removed from the first beat of the measure to the second or fourth, it is called false accent. False relation. When a note which has occurred in one chord is found chromatically altered in the followed chord, but in a different part. Falsetto. The male head-voice as distinguished from the chest-voice. A false or artificial voice; that part of a person's voice that lies above its natural compass. Fandingo (Spa.) {in,n-ddn-go.) A dance much used in Spain, in | or | time, generally accompa- nied with castanets and having a strong emphasis upon the second beat of each measure. Fanfare (Fr.) (fanh-far.) A short, lively, loud and warlike piece of music, composed for trumpets and kettledrums. A flourish of trumpets or hunting-horns. Fantaisie (Fr.) (fan-ta-zee.) 1 Fanaj, imagination, Fantasia (It.) (fan-ta-5;ee-a.) [ caprice; a species Fantasia (Ger.) (fan-tiwee.) J of music in which the composer yields to his imagination and gives free scope to his ideas, without regard to restrictions in form. Fantasiren (Ger.) (fan-ta-see-r'n.) To improvise; to play extemporaneously. Fantastico (It.) (fiin-Ms-te-ko.) Fantastical; whim- sical; capricious in relation to style, modulation, etc. Farandole (Fr.) (fa-ranh-dol.) A lively dance in I or I time, peculiar to Provence. Farsa (It.) (fdr-sii.) Farce. Fastosamente (It.) (fas-to-za-wcn-t6.) Pomp- ously, proudly. Fastoso (It.) (fas-^o-zS.) Proudly; stately; in a lofty and pompous style. F clef. The bass clef; a character placed on the fourth line of the staff so that the two dots are in the third and fourth spaces. See Chfs. F ^-— —-] F dur (Ger.) (f doer.) The key of F major. Feier (Ger.) (/i-Sr.) Festival, celebration. 62 MUSIC DICTIONAKY Feierlich (Ger.) (/I-6r-lIkh.) Solemn, festive. Fenna (It.) {far-ma,.) Firm, resolute, steady. Fennamente (It.) (far-ma-77ien-t6.) Firmly, stead- ily- Fermata (It.) (iar-mu-ta,.) I A pause or hold Fermate (Ger.) liax-?nd-te.) ) marked thus, '^. Its length can be varied by the words, lunga (long), piccola (a little), G. P. (grosse pause, great pause), and other signs. Over a double bar it usually signifies the end of the composition. Fermato (It.) (far-77id-t5.) Firmly, steadily, reso- lutely. Fenno'(It.) (far-mo.) Firm, resolute. Feroce (It.) (fa-ro-tshS.) Fierce; with an ex- pression of ferocity. Ferocita (It.) (fa-ro-tshe-/a.) Fierceness, rough- ness. Fertig (Ger.) (/er-tig.) Quick, nimble, dexterous. Fervente (It.) (far-yen-te.) Fervent, ardent. Fervido (It.) (/ar-ve-do.) Fervent, vehement. Fes (Ger.) (les.) The note F flat. Fast (Ger.) A festival; firm; steady. Musi fest, a musical festival. Festiglich (Ger.) (/es-tig-llkh.) Firmly, steadily. Festivamente (It.) (f6s-te-va-mcn-te.) Gayly, bri? liantly. Festivo (It.) (fes-^e-vo.) Merry, cheerful, gay. Festlich (Ger.) (/esMikh.) Festive, solemn. Festoso (It.) (fes-io-zo.) Meny, cheerful, gay, Feuer (Ger.) (foi-er.) Fire, ardor, passion. Feurig (Ger.) (Joi-vlg.) Fiery, ardent, passionate. F holes. The sound holes on a violin are so called because of their resemblance to an /. Fiacco (It.) (fe-a/j-ko.) Feeble, weak, languishing. Fiato (It.) (fe-a-to.) The breath; the voice. Fiducia (It.) (fe-(ioo-tshe-a.) Confidence. Field music. Music for military instruments, mar- tial music. Fife and drum. Fieramente (It.) (fe-gr-a-me/i-te.) Proudly, vehe- mently, boldly. Fiero (It.) (fe-a-ro.) Bold, energetic, proudly. Fife. A small, shrill-toned flute, used only in martial music, together with sva drums. It has six holes and from .-0.. one to six keys — compass about An organ-stop of 2-foot pitch; a piccolo-stop. 63 m MUSIC DICTIONARY Fifteenth. An interval measuring fifteen dia- tonic degrees. Also an organ-stop tuned two octaves above the diapasons, and of 2-foot pitch. Fifth. An interval measuring five diatonic de- grees. Figuration. An ornamental treatment of a pas- sage; a mixture of concords and discords. Figurato (It.) (fe-goo-ra-to.) Figm-ed, florid. Figured. A free and florid melody. Figured bass. A bass with figures placed over or under the notes to indicate the harmony. See Thorough bass. Filar la voce (It.) (ie-ldr la w-tshg.) To spin out; to prolong the tone; gradually augmenting and diminishing the sound of the voice. Fin al (It.) (fe nal.) End at; play as far as. Finale (It.) (fi-na-16.) Final; concluding; the last piece of any act of an opera or of a concert; or, the last movement of a sonata or symphony, etc. Fine (It.) (/ee-nay.) The end; the termination. Finement (Fr.) (feen-manh.) Finelj-, acutely. Fingering. 1. The method of applying the fingers to the keys, strings, or holes, of different in- struments. 2. The figures which are written in nausic to show the performer which finger to use in sounding a note. (See English fingering.) In Germany, as early as the time of Bach, the figures were used as they are to-day — 1, 2, 3, 4, 5. Fingering, American. The use of the sign (x) to indicate the thumb in pianoforte playing, in distinction from the German or foreign fingering, in which the thumb is called the first finger. Fingering, foreign. I A method of fingering Fingering- German. ( piano music which desig- nates the thumb as the first finger. Finger-satz (Ger.) (/in^-6r-satz.) Fingering. Fino al (it.) (/e-no al.) See Fin al. Fioriture (It.) (fe-o-re-^oo-rS.) / Literally, little flowers; Fiorituri (It.) (fe-o-re-ioo-re.) j graces and embelhsh- ments in singing. Fis (Ger.) Cfis.) The note F sharp Fis-is, F double sharp. Fis dur (Ger.) (fIs doer.) The key of F sharp major. Fis moll (Ger.) (/is-moll.) The key of F sharp minor. Fixed syllables. Vocal syllables which do not 64 MUSIC DICTIONARY change with the change of key. The ItaHans and French use fixed syllables. The fixed-Do system is that in which the tone C and all its chromatic derivatives (C^t, Cx, and , Cb» are called Do, D and its derivatives Re, etc., in whatever key or harmony they may appe^' Fixed-tone instruments. The piano, organ and harp have a fixed scale of steps and half-steps where no difference can be made in pitch be- tween sharp and flat notes, for instance C^ and Db, which is possible and sometimes indulged in on the viohn and other fingered string instruments. See Temperamsnt. Flageolet (Fr.) (fla-zhe-o-la.) I 1. An instrument Flageolet (Ger.) (fla-ghe-5-^5/.) ) similar to the flute in construction, but played through a small bone or ivory mouth-piece (artificial em- bouchure) which renders the tone slirill and un- suited for combination with other instruments. It is comparatively easy to play. The compass is slightly over two octaves extending from about " g " on treble staff upwards. The flageolet is analogous to the flute d bee. 2. An organ stop of 2-foofc tone and wooden pipes. Flageolet tones. See Harmonics. Flat (Ger., Be; Fr., Bemol; It., Bemolle.) The sign b, which lowers the pitch of the note fol- lowing it by a semi-tone. It came originally from the letter 6, as its shape and its foreign names indicate. See Chromatic signs. Flat, double. A character composed of two flats which lowers a note two semi-tones, (bb). Flauto (It.) (fla-oo-to.) A flute. Flauto coupled with am/ihile, amoroso, di Pan^ dolce, grave, traverso, etc., constitutes names of various organ stops of generally soft and agreeable tone. Flautone (It.) (fla-oo-fo-ne.) A 16-foot pedal-stop in an organ, of soft tone. Flauto piccolo (It.) (fla-oo-to pik-kd-\6.) An oc- tave flute, a small flute of very shrill tone. See Piccolo. Flauto trans verso (It.) (fla-oo-to trans-m?r-so.) ) Flauto traverso (It.) (fla-oo-to tra-ya?>-so.) ^ ) The old designation of the flute now in use (blown at the side) in contradistinction to the hiUe a bee, flageolet, recorder, etc., blown through a mouth-niece affixed to the end. The so-called 65 MUSIC DICTIONARY Grerman flute. The name is also applied to an organ-stop. FlebUe (It.) C/Za-be-16.) Mournful, sad, doleful. Flessibile (It.) (fi6s-see-be-le.) Flexible; pliant. Florid. Ornamental, figured, embellished. Florid counterpoint. Free counterpoint. Flourish. A fanfare of trumpets or brass instru- ments. Fliichtig (Ger.) (flukh-tlg.) Lightly, nimbly. Fliigel (Ger.) (flu-g'L) A grand piano, so called because it is shaped like a " wing," or " fliigel." Fliigelhom. Similar to the cornet, but of larger caliber and bell. The tone is soft and velvety and best adapted to sustained, expressive melo- dies. Fluit. (Dut.) (floit.) I , . . Fluta (Lat.) (fioo-tk.) \ ^^ute. Flute. A well-known wind-instrument, gener- ally made of wood, but sometimes of metal, consisting of a tube closed at one end and being furnished with holes and keys. It is also called Traverse flute, German flute, and D flute. It was greatly improved by Theobald Boehm about 1334, and flutes with his system of keys attached are also called Boehm flutes or concert flutes. The usual compass of the flute is: Sva although the instrument may, exceptionally, have an added semi-tone above and below. It is generally a non-transposing in- strument, although transposing flutes are sometimes used in military bands. The piccolo or octave flute sounds an octave higher than the ordinary flute. Consult Prout's " Orchestra " and A. Elson's " Orchestral In- struments and their Use." Flute. An organ-stop of the diapason species, the tone of which resembles that of the flute. Flute a bee (Fr.) (fliit a bek.) Flute with a beak; the old English flute, with a lip or beak; it was blown at the end. The Recorders used in Eng- land in the Elizabethan era. Flute, Boehm (bom.) See Boehm Flute. Flute-work. In the organ, the flute-work includes all flue-stops not belonging to the principal- work and gedackt-work, as well as various modi- fications of these two groups. 66 MUSIC DICTIONARY F moU (Ger.) (M moll.) The key of F minor. Fois (Fr.) (fwii.) Time. Foot. 1. A certain number of syllables constitut- ing a distinct metrical element in a verse. In very old English music it was a kind of drone accompaniment to a song which was sustained by another singer. 2. That part of an organ-pipe below the mouth. 3. The unit of measure in organ-pipes. An open pipe 8-foot long sounds, :m| 3 and if a series oi organ-pipes begin -^ A with this tone given by such a pipe, -"^ we call the series "' 8-foot tone." Any stop sounding its actual pitch (as a piano- key would do) is called "S-foot." If sound- ing an octave higher, " 4-foot," two octaves higher, " 2-foot," an octave lower c ^ " 16-foot," etc. The sound-waves of k^ - being eight feet long, of the octave -"^- lower sixteen feet, the octave higher four feet, etc. Forlana (It.) (for-^-nii.) | A lively Venetian Forlane (Fr.) (f6r-lan.) ( dance in f time, used by the gondoliers. It is introduced in Pon- chielli's " La Gioconda." Form. Although modern music has become very vague in its shapes and frequently eludes an- alysis, yet there is in most music a definite ar- chitecture that can be studied as readily as the shape of a building. Forte (It.) Cfor-tS.) Loud, strong. Fortement (Fr.) (fort-manh.) ( Loudly, power- Fortemente (It.) (for-tS-me/i-te.) S fully, vigorously. Fortezza (It.) (for-tei-za.) Force, power, strength. Forte-piano (It.) (/or-te-pe-a-no.) Attack the note strongly, but diminish instantly. Forte possibile (It.) (/or-te-pos-se-be-le.) As loud as possible. Fortissimo (It.) (for-fes-se-mo.) Very loud. Fortsetzung (Ger.) (/ori-set-soong.) A continua- tion. Forza (It.) (fort-sa..) Force, strength, power. Forzando (It.) (for-tsdn-dd.) ) Forced; laying a Forzato (It.) (for-^^a-to.) ) stress upon one note or chord; sometimes marked a or >. Fourth. All interval measuring foiu" diatonic de- 67 MUSIC DICTIONARY Francaise (Fr.) (franh-sayz.) 1, A graceful dance in I time. 2. In the French style. Franchezza (It.) (fran-A;e/-za.) Freedom, con- fidence, boldness. Freddamente (It.) (fred-da-me^i-tS.) Coldly; with- out animation. Freddezza (It.) (fred-dc-tsa.) Coldness, frigidity. Free composition. In a free style; a composition not in strict accordance with the rules of musical form. Free reed. A reed-stop in an organ, in which the tongue by a rapid vibratory motion to and fro produces the sound. The tone of a free reed is smooth and free from rattling, but not usually so strong as that of the heating reed. Frei (Ger.) (fri.) Free; unrestrained as to style. French horn. See Horn. French Sixth. One form of an augmented sixth; a chord composed of a major third, augmented fourth, and augmented E^3L sixth. *J Frescamente (It.) (fres-ka-men-te.) ] Freshly, vig- Fresco (It.) (/res-ko.) ) orously, lively. Fretta (It.) (/ret-tii.) Increasing the time; ac- celerating the movement. Frets. Narrow strips of wood, ivory, or metal, set across the fingerboard of mandolin, banjo, guitar, etc., to mark the exact points for ** stopping " the strings and serving as temporary bridges to render the tone of " plucked " strings more bril- liant. Freudig (Ger.) (froy-dig.) Joyfully. Frisch ((jer.) (frish.) Freshly, briskly, lively. Frohlich (Ger.) (fro-llkh.) Joyous, gay. Frosch (Ger.) (frosh.) Literally Frog. The lower part or nut of a violin bow. Friihlingslied (Ger.) (/rw-lings-led.) Spring song. F-schliissel (Ger.) (6f-sAZws-s'l.) The F or bass clef. Fuga (It.) f/oo-ga.) A flight; a chase. See Fugue. Fugara (Lat.) (foo-gra-ra.) An organ-stop of the gamba species. Fugato (It.) (foo-gra-to.) In the style of a fugue. Fuge (Ger.) (/oo-gh6.) ) . ^ Fugha (It.) (/oo-ga.) f ^ ^^^ue. Fughetta (It.) (ioo-get-tH.) A short fugue. Fugitive pieces. Ephemeral compositions. 68 MUSTC DICTIONARY Fugue (fug.) A term derived from the Latin word Juga, a flight. It is a composition m the strict style, in which a subject is proposed by one part and answered by other parts, according to cer- tain rules. A fugue may be strict or free, ac- cording to the style of its treatment. Fugues differ greatly in their construction, but in one point they are all alike; every fugue is a contra- puntal development of the subject which is announced quite alone at the beginning. Most fugues use more than this material; they de- velop the entire exposition. This exposition is made up of: 1st. The subject, which is a figure or phrase, nol a complete melody. 2d. The answer, which is the subject reproduced on the degree of the dominant, either above or below. 3d. The counter-subject, which is a contrasted phrase, accompanying the subject or the answer, from the entrance of the second voice. See Front's " Fugue " and '' Fugal Analysis.'* Fugue, double. A fugue on two subjects. FuU. For all the voices of instruments. Full anthem. An anthem in four or more parts, without verses or solo passages: to be sung by the whole choir in chorus. Full orchestra. An orchestra in which all the or- chestra stringed and wind instruments are era- ployed. Full organ. An organ with all its registers or stops in use. Full score. A complete score of all the parts of a composition, vocal or instrumental, or both combined, wTilten on separate staves placed under each other. FundamcntaL 1. A tone producing a series of harmonics. 2. The root on which any chord \s built. Fundamental Chord. 1. The chord founded on the key-note. 2. A chord founded on one of the Fundamental tones. See Fundamental Position. Fundamental Key. Original Key. Fundamental Note. The root of any chord. Fundamental Position. Applied to any chord when the root is the lowest note sounded. See In- versions. Fundamental Tones. The tonic^ dominant, and sub-dominant of any scale or key, 69 MUSIC DICTIONARY Funebre (Fr.) (fu-nabr.) 1 Funerale (It.) (foo-n&-rd-l?.) [ Funereal, mournful. Funereo (It.) (l"oo-na-re-o.) J Fiinf (Ger.) (funf.) Five. Fiinf-fach (Ger.j (Jiinf lakh.) Fivefold; five ranks; speakmg of organ-pipes. Fuoco (>t.) (foo-o-ko.) Fii-e, energy, passion. Fuocosr^ (It.) (foo-6-A;o-20.) Fiery, ardent, im- petuous. Fiir (G«r.) (fiir.) For. Furia