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CORNELLUNIVERSITY LIBRARY

MUSIC

Cornell University Library

MLA

108.B16 1904dictionary of musical terms xontalnln

3 1924 017 810 106

Cornell University Library

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions intext.

the United States on the use of the

http://www.archive.org/details/cu31 92401 781 01 06

S^'u\^

"K.

S'iJtMn)

.

.

.

;

.

Cantile'na

(It.,

"'a little

Caniilene ; Fr. also, a candieval music, a solfeggio tus firmus as used in church-music. 2. Formerly, the higher or solo part of a madrigal also, a small cantata or short vocal solo. In modern usage, a ballad or light popular song ; also, in; ;

song"; Ger. cantil^ne.) I. In me-

a broken melody; a term applied to a tune which proceeded either by perfect or imperfect consonances. When accomp. by a faux bourC. frac'tus,

Cantus corona'tus. it was called [Stainer and Barrett.].. .C Gregoria'nus, Gregorian chant. C. mensuradon,..

instrumental music, a flowing melodious phrase of a vocal character ; often used to define a smooth and voice-like rendering of slow melodic passages.

mol'lis, see Moll. C. natura'lis, see Mutation. . C, pla'nus, plain song.bilis,. . . ..

see Notation, 3

C

Canun'.

See

Kanun.also Canzo'na.);

Cantilenac'cia (It.) A vile song. Cantilena're (It.) To sing in a low voice.Cantilla'tio (Lat.)

Canzo'nenally,

(It.,

Origi-

See Intonationas Chanterelle,

I.

Canti'no (It.) Can'tio (Lat.)

Same

CantiqueCan'to(^It.)

A song, an air. (Fr.) A canticleI.

;

also,

a

a folk-song (Fr. chanson) later, a secular part-song in popular style, hence the Canzo'ni Napolita'ni, Sicilia'ni, etc. many such songs closely resemble the madrigal. The name was sometimes applied to instrumental pieces in madrigal style. Canzonac'cia,;

choral, or hymn-tune.

the highCol c. est vocal or instrumental part. same as colla parte. 2. See Cantino. C. a cap3. A melody, song, chant. fella, same as Cappella, u...C. Ambrosia' no, Ambrosian chant. C. armo'nico, a part-song. . C. croma'tico, a melody in chromatic style. . C. fer'mo, see Cantus firmus. . . C. figura'to, figurate;

The soprano

.

.

a vulgar song. Canzonci'na, Canzonetta, a little song, a canzonet. Canzonie're, a collection of lyric poems or songs...

.

.

Canzonet(te).short part-song

A;

little

air or

song

;

a

a madrigal.

Capel'le (Ger.)

See

/C. .

. .

.

Ca'po

.

head, beginning:. .Z>a capo, from the beginning. Capolavoro, master- work. Capo-orchestra, conduc(It.). .

The

melody.chant...

.

.

C.

Greg-oria'no,

Gregorian.

tor.

pla'no, plain chant. . C. pri'mo, first soprano. C. recitati'vo, recitative or declamatory singing. C. ripie'no, see Ripieno. C. secon'do, secC.. . . . . .

Capodastre (Fr.) See Capotasto. Capota'sto (It.; also capo di tasto, " head of the fingerboard.") I. The nut

ond soprano. Can'tor i. (Lat.)

singer, a precentor. . . C. chora'lis, chorus-master. 2. (Ger.) See Kantor (on p. 238).

A

Canto're (It.) A singer a chorister. Canto'ris (Lat., " of the cantor.") Term Cappel'la;

of stringed instr.s having a fingerboard. 2. piece of wood or ivory which can be fastened across a fretted fingerboard, like that of the guitar, to raise the pitch of all the strings at once. Sometimes written, in Engl, usage. Capo d'astro.

A

designating the side of a cathedral choir on which the precentor (cantor) sits, i. e., on the left or north side of a person facing the altar ; opp. to the deca'ni

(It.,

"chapel.")

i.

A choir.

orchestra. (Incorrectly yirAitncapella.).. .A cappella, vocal chorus2.

An

("of the dean")

side..

Can'tus

(Lat.) song, a melody. . C. corona'ius, see C. fractus. . C. du'rus..

A

without instrumental accomp.. .Alia c, (a) same as a cappella; {b) see Aliabreve... Da c, in church-style, i. e. iis a solemn and devotional manner.

Capricciet'to

(It.)

A little capriccio.

CAPRICCIO CAVATINA.Capric'cio(It.) Title frequently given to instrumental pieces of free, uncon-

37

ventional form, and distinguished byoriginality

Ca'rynx (Gk.) An ancient Greek trumpet. Cas'sa (It.) A bass drum. (Also cassagran'de.)..

.C.

armonica,

(Compare

in harmony ScAerzo.). .A.

body

(of

and

rhythm.at

violin, etc.)

capriccio,

pleasure, ad libitum. Capricciosamen'ie^ capriciously, fantastically... 6a/nV'o'jtf, capricious, fantastic ; a capriccio.. .

Cassation' Castanets.

(Ger.)(It.

See X.castagnefle; Fr. casta-

Caprice

(Fr.)

Capriccio.

Carat'tere

(It.)

Character,^

dignity

;

style, quality.

Caressant (Fr.) Carezzan'do (It.) Carezze'vole (It.)Carica'to

[Caressingly, sooth)

'"^

^'

(It.) Overloaded as to graces, chromatics, peculiarities of instrumentation, or other means of mus. expres-

gnettes; Ger. Kastagnetten; from Span. castaiietas^) pair of small concave pieces of hard wood or ivory, each having a projection on one side, by means of which they are fastened together with a cord long enough also to pass over the performer's thumb, or thumb and forefinger. Generally used (especially in Spain) by dancers as a danceaccomp. They yield no mus. tone, but merely a hollow click or rattle.

A

sion.

Castra'to

Carillon (Fr.) i. A set of bells differing from those of a chime in being fixed, Catalectic. Lacking part of the last foot e. g. the second of the following and in their greater number played lines is catalectic either by hand (on a keyboard) or Lives of great men all remind us machinery (on the principle of the; ;:

(It.) eunuch (adult male singer with soprano or alto voice).

A

cylinder in the barrel-organ). 2. bell-piano, with pfte. -keyboard, and bells instead of strings. 3. melodyto

A

We can make our lives sublime.|_^II

(J.-,!-... 1-.^

_.^ |_^ |_.^|_,)

be played on

I.

piece imitating the peculiar character of carillon-music. 5. The "clashing" (ringing all at once) of several largebells.

4.

A An instrumental 7.

Catch.

6.

See Glockenspiel.

A mixand 8th

ture-stop yielding the 3rd, 5th,partials of the

fundamental represented

by the digital pressed (c' g^-e>-(*). Carillonneur (Fr.) A performer on thecarillon.

Carita'

(It.)

Lit. "charity."

Same

as

Originally, an unaccomp. round for 3 or more voices, written as a continuous melody, and not in score ; the catch " was for each succeeding singer to take up or catch his part at the right Later, a new element was introtime. duced, and words were selected in such sequence that it was possible, either by mispronunciation or by interweaving the words and phrases apportioned to the different voices, to produce the most ludicrous and comical effects.' '

Affetto.

Cate'na(Fr.)

di tril'li

(It.)

A chain

of

trills.

Carmagnole;

dance and song Catg^ut. Popular term for Gut strings{f\pj ^ in great vogue during the Reign of Catlings. Lute-strings of the smallest size. Terror it dates from the taking (1792) " bad.") Caitivo tempo., of Carmagnola, a tovi^n in Piedmont, Catti'vo (It., the weak beat. though the connection between the town and the air is not clearly established. Cau'da (Lat., "tail.") The stem of aI.

A

Carol.

A

circle-dance (obs.)

2.

A

note.

joyous song or ballad, particularly one celebrating Christmas.circle-dance similar to Caro''la (It.) the carmagnole.

Cavallet'to (It,

"little horse.")

A

bridge (usually ponticello). break in the voice.

i.

A

2.

The

Cavalquet

Carre

(Fr.)

Cartelle

A breve. (Fr.) A large leaf (for writing)

(Fr.) A piece played by a cavalry trumpeter-corps when approaching or maijching through a town.(It.)1.

of prepared ass's-skin, on which the lines of the staff are traced to jot down notes while composing, the notes being afterwards erased with a sponge. All cartelles come from Rome or Naples.

Cava'ta2.

Production of tone.i.

Cavatina.(It.)

Ca7ati''na

description.division,

2.

A short song of any A vocal air, shorteraria,

and simpler than thewithout

and

{Rousseau.].

Da

capo.

in

one

3.

Title

38

ement

BARRE CHAMBER-MUSIC.Cembanel'la,pipe or"flute.

given by Beethoven to the and moveof his Br) Quartet.(Fr.)

Cennamel'Ia

(It.)

Aanti-

C

barr6

The "barred C

($),

Cen'to

(It.),

Centon

(Fr.)

1.

The

indicating alia breve time.

C-def.Cebell.

See Clef.

theme for variation on the lute or violin, in 4-4 time and 4-measure phrases, characterized by the alternationof very high and low notes in the successive strains. (Obs.)

A

phonary of Pope Gregory the Great. 2. (Also cento'ne, "a patchwork".) A medley of extracts from the works of one composer, worked up into an opera orsimilar corn-position. (Pasticcio.)

Hence

the verb centoniza're (Fr. centoniser), meaning " to put together."

Cercar' la no'tai.

C6ciliuin (Fr.) A free-reed keyboard instr. inv. by Quantin de Crousard, exIt has the hibited at Paris in 1867. shape and nearly the size of the 'cello, and is held in the same way. The keys are pressed by the left hand, while the right operates the bellows by means of a handle like a bow. Compass about 5 octaves tone sweet and sonorous.;

(It.) To seek the note ; to sing in the same breath the tone belonging to the next syllable like a light grace-note, before its proper time of entrance, in portamento style e.g. written : sunge.;

p^Ces(Ger.)

Ifclari-

C6dez

(Fr.)

Go(Fr.)

slower

;

rallentate.

C61amustel

A

Cervalet', Cervelat'. Species of net with bassoon-like tone (obs.)Co...Ces'es,C\)\).

kind of reed-organ

having fundamental stops similar to those of the harmonium, and various additional effects, such as bells, Barp, echo, thunder, dove- and cuckoo-notes,etc.

Ce'lere

(It.)

Rapid,;

z-^Xit.. .Celerith',

celerity,

rapidity

con

celerita,

with

Cesu'ra, Caesu'ra. A term in prosody sometimes used in music to designate the dividing line between two melodic and rhythmic phrases within a period called masculine or feminine according as it occurs after a strong or a -wecUi;

celerity, etc.

beat.

Celeste

divine ".) y^a c, pedale c, organ-stops producing a sweet, veiled tone Pedale c. is also a pedal-mechanism on the pfte. for obtaining a sweet, veiled tone.. Voix c, the organ-stop vox angelica.(Fr.,celestial,; .

"

Ce'tera or Ce'tra

(It.)

A

cither.

.

.

C.

tede'sca," German cither," aio-stringed instr. of the lute class.

Chaconne', Chacone'.Span,

'CellOj-i.

Abbr. of Violoncello ^-i.(Fr.)

Cetnbal d'amour

Chalil, Ancient Hebrew instr., either a flute (flageolet) or reed-pipe. Cembalist. (It. cembali' sta^ A player on the cembalo (either harpsichord or Chalumeau (Fr. Engl, chalameau pfte.) Ger. Chaliimau, Chalamaus ; It. scia;

species of clavichord, twice as long as the ordinary instr.s, the strings of which were struck in the middle by the tangents, the vibration of both sections of the string thus yielding a double volume of tone ; inv. by G. Silbermann, 1st half of 1 8th century.

A

(It. ciacco'na ; chaco'na; Fr. chaconne^ I. Originally, a Spanish or Moorish (possibly Italian) dance or sarabande. 2. An instrumental composition consisting of a series of variations, above a ground bass not over 8 measures in length, in (See Passa3-4 time and slow tempo.

caglia.)

Chair-organ,

Variant of Choir-organ,Variant of Chalumeau.

Chalameau.

Cem'balocimer;

.

Originally, a dulname for various instr.s having several wire strings struck hammers. 2. harpsichord. by 3. pianoforte. cembalo, for harpsichord Tutio il cembalo, see Tutte (or pfte.). corde. . . Cembalo onnicor'do, a keyboard stringed mstr. inv. by Nigetti about 1650 ; also called Proteus.(It.)i.

a

general

A

A

A

.

.

Clariregister is the lowest register of the clarinet and basset-horn as a direction in clarinet-playing, chalumeau signifiesnet.

lumb,

salmb.')

i.

See

Shawm,

2.

The

"chalumeau";

.

.

"play an octave lower." 3. (In French usage.) The chanter of the bagpipe;

also, occasional for Pan's-pipe.

Chamber-music. Vocal or

instrumental

A;

...

CHAMBER-ORGAN CHARACTER.music

39

room;

suitable for performance in a or small hall opp. to concertmusic, church-music, operatic music, etc. ordinarily applied to quartets and similar concerted pieces for solo instr.s.;

cadence is called the mediation, and the arrangement of the words to the musicis Q.i&e:d.

pointing.

Any

short piece of.

like character is also called a chant.

Chamber-organ. A cabinet organ. Change, i. In harmony, see Modula-

In the voice, see Mutation. 2. 3. Any melodic phrase or figure executed on a chime of bells.tion.

Double chant, one twice as long as the usual chant, having 14 measures, 4 reciting-notes, and 4 cadences.. Changeable chant, one that can be sung either Free chant, om in major or rtanax having but 2 chords to each half-verse,.

.

.

.

for the declamatory singing of the canticles, etc.

Changer de jeuChange-ringing.

(Fr.)

To changeart

the

stops of an organ, etc.

Chantand practice in varying andtune;

(Fr.)

Song

;

singing.

;

melody,.

The

of ringing a peal of bells systematic order.

Changing-chord. A chord containing a number of tones (" changing-notes ")dissonant to the bass, and entering on Changing-note. (Ger. the strong beat. Wech'selnote, Diirch'gangston, durch'gehende Note ; Fr. note d'appogiature j dissonant note It. nota cambia'ta.) (tone) entering on the strong beat and generally progressing by a step to a consonance within the same chord sometimes by a skip to a chord-note or note belonging to another chord. passing-note differs from a cliangingnote by entering on a weak beat.. .

voice (i. e. vocal part in contradistinction to the accomp.). Ch. comCh. d'^glise plain song. (or pose, gr^gorien), Gregorian chant.. .Ch. en ison, or ch. ^gal, a chant sung on only 2 tones, thus having but one interval. Ch. Ch. figure, figurate counterpoint. royal, mode {ton) in which the prayer Ch. sur for the sovereign is chanted.. .. . .

.

.

A

an extemporized counterpoint sung by one body of singers to the plain-song melody (a cantus firmus) sung by the others. Chanter. The melody-pipe of the bagle livre,

pipe.

Chanter

(Fr.)

To

sing...C/i.

A.

livre

ouvert, to sing at sight.

Chanson

rather a vocal C^aso\o {Lied) with pfte.-accomp. {Canzonet.) sotmette, a short chanson.; . .

(Fr.) ballad-like song

A

song;

originally,

a

now

Chanterelle (Fr.) The highest string of an instr. belonging to the violin orlute family, especially the E-string of the soprano string. the violin;

Chansonniersongs. songs.

(Fr.)

i.

A composer

2.

AA

book or

of collection of

Chanteurteuse,

A male singer. a female singer.(Fr.)

.

.

Chan-

Chant.

Gregorian melody repeated with the several verses of a prose text, a number of syllables being inits toned on each reciting-note 5I.;

Chantonner (Fr.) Same as Canterellare. Chantre (Fr.) Leader of a choir. Grand le-c\ei respectively, because they fix the position The Cof the bass and treble notes. clef is variously called the Tenor-, Alto-, and Soprano-c\&i, according as it is set on Lhe 4th, 3d, or 1st line of the staff ; wherever placed, it marks the position view of the of Middle-C(Tenor-C.)

A

clefs

used at present

is

appended.

Treble-clef.

Tenor-clef (recent).

m^^^^^Theclef),

the letters/", t, and^, formerly plainly F-c\el on the 3rd line {Barytonewritten. the C-clef on the 2nd {MezzoSoprano-clei), the C-clef on the 1st line Cliquette (Fr.) The bones. (French violin-dei), or on the 3rd line, Close (noun; Ger. Schluss). See Caare no longer used (the C-clef on the dence 3. sometimes is 2nd line occa- -ft used in vocal Close harmony or position. See Har, sionally). The Close play, a style of lutemony. music as a tendouble G-clef lif^ playing in which the fingers were nept or-clef, signifying that the part lies an on the strings as much as possible. Our modern octave lower than written. forms of the clefs are corruptions of Co'da (It., " tail.") Specifically, a pas-

mm

.

.

:

.

CCELESTINA COMPLIN.sage finishing a movement, and beginning where the repetition of the first subject ends. Originally, it was a few chords (or a short passage) intended as a winding-up it became of growing importance in the canon, sonata, rondo, etc., and is frequently developed into an almost independent concluding division. Also, the stem or tail of a note icauda). Codetta, a short coda. (See;

47

first,

C. sta, as

C. sopra, as above.. as before. it stands, as written.. .

Co'mes

(Lat.)(in

Answera canon).

(in

a fugue)

;

consequent

Comma,

.

.

J^ugue.)

Ccelestina (or

-o).

A

name bestowed

in the l8th century on several modifications of keyboard stringed instr.s, in which alterations of the tone could be produced by mechanisms under the player's control.

comma (,) is often used l. (a) Didymic as a breathing-mark. 2. or syntonic c. : The difference between the greater and lesser whole tone, or 8o;8i (b) Pythagorean c, or c. maxima : The difference between the octave of a given tone and a tone 6 whole tones higher than the given tone, or

A

;

524288:531441.

Com'modo

(It.

;

also co'modo.);

Easy,as aleasily,,

leisurely, at

a convenient pace.

legro commodo..

Commodamen' te.

Coffre (Fr.) Case (of a pfte.) body (of a vioUn). Co'gli stromenti (It.) With the instru;

quietly, leisurely. easy or leisurely.

.

Commodefto, rather

Commontriad.. .

chord.

A

major or minor

ments.

Coi, col, coll', col'la, col'le, col'lo

(It.)

Common hallelujah metre, or Common long metre, a 6-line stanza;

With

the.

Colascio'ne (It.) See Calascione. Collet de violon (Fr.) Neck of a vioHn. Collinet (Fr.) A flageolet named after;

a celebrated player.

Col'ophony.colophane ;

Kohphon' ; Fr. (Ger. colofo'nia ; from Lat. coiopho' nium.) Resin or rosin.It.

formed of a common-metre stanza with thus,, half a long-metre stanza added 8 6 8 6 8 8... Common measure, see Common metre, a form of iambic: time. stanza, of 4 lines containing alternately 8 and 6syllables ; thus, 8 6 8 6... Double common metre, a stanza formed of 2 common-metre stanzas. Common particular metre, a 6-line stanza, the. 3rd

C

.

.

.

.

Color.

The characteristic rhythms, harmonies, and (Lat.) melodies of a composition. I.

Timbre

(tone-color).

2.

3.

See Notation, 3.

Colora'to (It.) Florid, figurate. Coloratu'ra (It.) Colorature, i. e. vocal runs, passages, trills, etc., enhancing the brilliancy of a composition and disAlso applaying the vocalist's skill. plied to similar instrumental music.

lines having 6 syllables, and thus, 8 8 6 8 8 6... the others 8 each Common time, a measure containing 2 (or 4) half-notes or 4 quarter-notes, with 2 or 4 beats respectively ; duple or quadruple time. (Ordinarily, common time is understood to mean 4 quarter-notes [and as many beats] to a measure.)

and 6th

;

Compass.son ;It.

Coloris

(Fr.; Ger. C{K)olonf [Far'iengebung\). The tonal "color-scheme," vocal or instrumental, of a composition, movement, or scene i. e. the modifications in vocal or instrumental timbre, or in the instrumentation, employed for obtaining special effects.;

(Ger. Um'fang ; Fr. diapaestensio'ne) The range of a voice or instr., i. e. the scale of all the tones it can produce, from the lowest to the highest.(It.)

Corapiace'voleto

Pleasing, delightful.

Com'plement. An interval which, addedany given interval not wider than an octave, completes the octave thus a fourth is the c. of a fifth, a minor Also comsixth of a major third, etc. plementary interval.;

Col'po

(It,

" blow".)

Di

colpo,

at

a

blow, suddenly, at

ofice.. .

Combination pedal. See

Pedal. Combination tones (combinational tones), see Acoustics.

CombinedTonart.

mode.As,Vike.

See.C.

Dur

Comple'tory. (Lat. completo'rium.) i. An anthem supplementary to an antiphon in the lauds and vespers of the Ambrosian rite. 2. See Complin. Moll-

Com'plin(e)..

The

last of the 7

canon-

Co'me

(It.)

prima, as

at

ical hours.

48

COMPONIST A CONJUNCT.organ, aout and on pushing in the bellows. Tenor, bass, and double-bass concertinas are also made. great variety of music can be played, and the literature is quite extensive the instr. is likewise capable of great expression, and the tone is susceptible of considerable modification.

Componi'sta (It.) Composer. Composition pedal. In the

pedal which draws out or pushes in several stops at once. (Comp. combination pedal.)

A

;

Composizio'ne

(It.)

Composition...

C. di tavoli'no, table-music.

CompoundC.

interval. See Interval. measure^ rhythm^ time, see Time. C. stop, an organ-stop having more than one rank of pipes.. .

Concerti'no

(It.)

i.

A

small concert.

2.

Equiv. to concertan'te,;;

ing, principal principal violin

as

i. e. leadconcertino, here opp. to ripie'no.

violino

Con

(It.)

With.

Concerti'staSee Radiating.Concord, harmony.;

Concave pedals.Concen'to

Concert-player, solo performer, virtuoso.(It.)

Concert-master.Concer'to.

(It.)

i.

2.

The simultaneous sounding

the tones of a chord

of all opp. to arpeggio.

Concen'tus mony. 2.

(Lat.)

i.

Part-music.

Concord, har3. See Ac-

See Konzert' meister. Konzert'.) An extended composition for a solo instr., commonly with orchestral accomp., in sonata-form modified to suit the char(Ger.acter of the solo instr. (e. g. the cadenza); pfte. -concertos in which the pfte.-part

centus.

Con'cert. i. A set of instr.s of the same family but different in size (see Chest,Consort)zert"; Fr.2.

concert; It. concer'to.) public mus. performance. Dutch conconcer'ti ecclesia' stici, or da chie'sa, cert, the singing of an entire company were simply motets with organ-accomp. in which each person sings whatever he Torelli was the first (1686) to write pleases or the persons present sing in concerti da ca'mera (for 2 violins and alternation any verse that comes into double-bass). their heads, the refrain by the whole company being a regular repetition of Concert-pitch. See Pitch. some popular verse.. Concert spirituel Concert'stiick (Ger.) A concert-piece ; (Fr.), sacred concert. a concerto. Concertan'te (It.) Concordant, harConcita'to (It.) Moved, excited, agimonious. Hence: l. concert-piece. tated. 2. composition for two or more Concord. I. Harmony opp. to dissolo voices or instr.s with accomp. by cord. 2. See Consonance. organ or orchestra, in which each solo (Fr.) 2. part is in turn brought into prominence. Concor'dant. i. Consonant barytone voice. 3. composition for 2 or more solo instr.s without orchestra. Concer- Conductor. (Ger. KapeW meister, Dirigent' ; Fr. chef d'orchestre ; It. capo tante parts, parts for solo instr.s in d' orchestra, mae'siro di cappel'la.) The orchestral music. Concertante style, a director of an orchestra or chorus. style of composition admitting of a brilliant display of skill on the soloist's Conduc'tus (Lat.) A form of polypho. . ; ; .

A concerto. 3. (Ger. KonA

comparatively inconspicuous are jocucalled "symphonies with pfte.accomp." The earlier concertos were in concertante style, 2 or more instr.s or voices bearing leading parts Viadana'sis

larly

A A

A

;

A

.

.

.

.

part.

.

.

Conceria'to, concerted.

nous composition (12th century) in whichthe tenor to the contrapuntal variations was not borrowed from plain song (as in the or'ganum and discan'tus), but, like the counterpoint, was original with the composer. C. du'plex, 3-part counterpoint C. sim'ple.x, 2-part coun. . ;

Concerted music.parts

Music written in

for several instr.s or voices, as trios, quartets, etc.

Concert-grand.

See Pianoforte.

Concerti'na. The improved accordion inv. by Wheatstone in 1829. The keyboards are hexagonal the compass of;

terpoint.

the treble c. is 4 octavesincludingall

Bva

double-action

Conduit

(Fr.)

i.

Conductus.

2.

A

t=

instr.,

wind-trunk (organ).Bell-gamba.

producing Cone-gamba.the same tone

chromatictones;

Conjunct'.to.)

(Fr. conjoint ; It. congiun'-

it

is

on

drawing

A

degree of the scale immediately

.

.

CONSECUTIVE INTERVALS CONTRE-.succeeding another is called a conjunct degree opp. to disjunct.;

49

voice,

havingacom-

.(.i)_

Consecutive intervals. Intervals the same kind following each otherimmediate succession;

ofin "

" consecutives

are progressions of parallel fifths or octaves, forbidden in strict harmony. See Parallel.

pass from about fV to e^, the extremes' being e g^ (Also Alto.) Male voices were exclusively employed in the old churchmusic, the tenor being called altus; hence the terra ^Uontr'alto", i.e. opposed to or contrasted with the altus.

:

'Conseguen'te

(It.)

Consequent.conseguen'te?)

.

.

Con-

seguen'za^ a canon.

Contrappunti'sta

(It.))

A contrapuntist...

Consequent,Canon.

(It.

See

Contrappun'to

(It

Counterpoint.

C.

Conser'vatory. (Ger. JConservato'rium;Fr. conservatoire;tical

A public institutionandmusic.

conservato'rio.) for providing practheoretical instruction inIt.

alia men' te, see Chant sur le livre. . C. alia zop'pa, "limping", i. e. syncopated, counterpoint. C. dop'pio, double C. syncoor invertible counterpoint. pa'to, syncopated counterpoint. . . C. so'pra i^sot'to) il sogget'to, counterpoint.. .

.

.

above (below) the theme.(It.)

Consolan'te

Consoling, soothing.

'Con'sonance.

(Ger. Konsonanz' ; Fr. comconsonance ; It. consonan'ssa^ bination of 2 or more tones, harmonious and pleasing in itself, and requiring no further progression to make it satisopp. to dissonance. (Comp. factory Acoustics, 3.). .Imperfect consonances, the major and minor thirds and sixths. octave, the consonances, . . Perfect

Contrapunc'tus (Lat.) Counterpoint. C. ad viden'dum, counterpoint written.

A

out opp. to contrappun'to alia men' te, C. aqua' lis, improvised counterpoint. C. diminu'tus or equal counterpoint.; . . . .

;

Jlor'idus, florid or figurate counterpoint. C, incequa'lis, unequal counterpoint.. .

.

Contrapun'tal,

Pertaining to the art or practice of counterpoint.

fifth,

and

fourth.

'Consonant chord.dissonant interval. sonance..

One.

C.

containing no interval, a con-

Contrapun'tist. One versed in the practice and theory of counterpoint. Contr'ar'co (It.) " Against the bow,"i.

e.

bowing contrary

to rule.

Con'sort.

i.

See Chest (of

viols).

2.

Con'tano

company of musicians. "they count.") Direc- Contra-tenor. Countertenor. tion in scores, that parts so marked are Contrattem'po (It.) i. A tone enterto pause. ing on a weak beat and ending on a Basso A Continua'to (It.) Continued (see 2. a syncopation. strong beator(It.,;

A band,

Contrary motion. See Motion. Contrasogget'to (It.) /^ountersubject.

continuo)

;

held, sustained.

sustained melody, as contrasted with

its

Continued bass.Conti'nuo.

See Bass.

A Basso continuo.,

accomp. Contravioli'no, -violo'ne (It.)figurate

A double.

Contranamesbelowbass... ;

Compounded with (Lat., It.) of instr.s, it signifies an octave a doublee. g. contrabbas' soContra-octave, see Pitch.

bass.

Centre-

Contrabass.

1. (It. contrabbas' so.) The lowest bass 2. double-bass. Contrainstr. in a family of instr.s. bassist, a player on the double-bass.

A

.

.

'Contraddan'zacountry-dance.

(It.)

Contra-dance or

Contra-, counter-. .. CoConiredanse, a French dance deriving its name from the position of the dancers opposite to or facing each other. Originally there were but 2 dancers there are now 8, and the dance is known in English as Also, dance-music for the Quadrille.(Fr.)tre-basse, double-bass..

.

;

a quadrille.

.

.

Contre-ifclisses, linings.

.

Contraffagot'to2. soon. imitative of

Ai.

double-bas(It.) i. reed-stop in the organ

A

Contral'to

(It.)

The

lowest

female

Contre-partie, a mus. part opp. to or contrasted with another, as bass and soprano ; said especially of either of the parts in a duet.. . Conirepoint, counterpoint contrepointisie, contrapuntist.;

50

CONVERSIO CORNO.countersubject. . Contre-sujet, ire-temps, see Contratiempo..

.

.

Con-

and

a

fingerholes.

wooden tube furnished with There were two classes,

Conver'sio (Lat.) Inversion. Coper'to (It.) " Covered," mufflediim'pani coper' ti^

the straight cornet (in 3 varieties, cornetto dirit'to,c.

as muffled kettledrums.;

mute, compass a

and

cornetti'no,

compass d^

a^

;.

g'^),

and

Co'pula;

(Lat.) (organ). 2.

I.

(also Fr.)

A

A

coupler

name

for

certain flue-

stops (a) the 8-foot open diapason ; (b) the 8-foot Hohl'flote or Kop'pelflote.

the bent cornet (cornetto cur'vo, compass a fl* and c. tor' to [or corno, cornot{\, compass d d''-). The cornon (cornetto basso) was the prototype of the Serpent. reed-stop in the organ, 2. imitating the blaring tone of C. i (see 4),

;

A

Cor

(Fr.) horn. . Cor-alt, cor-basse, see Corno alio (basso). . C. anglais, see Oboe...C, de basset, basset-horn. .. C. de chasse, a hunting-horn in particular, the large horn, whose tube is bent to form a circle of about ly turns. C. de signal, a signal-horn or bugle. C. de vaches, a cow-horn, used by herds. . ; . . . .

A

and

8-foot, of varying dimensions pitch, (or 2' or 4 ), also called Cornettino ; 16-foot pitch (Grand cornet)...:

Bass

a large deep-toned brass(Kornetf.) A com3. pound organ-stop of from 3 to 5 rankscornet,instr.

(obs.)

men.

omniionique, C. valve-horn inv. by Sax.. .

a

chromatic

and 8-foot or 4-foot pitch, differing from the Mixture in producing the Third among the harmonics. Echo cornet, a...

Cora'le (It.) Coran'to (It.)

A A

choral.

i.

A

courante.

2.

Ac..

soft-toned cornet-stop enclosed in a. wooden box. . Mounted'cornet, a cornetstop mounted on a separate soundboard.

country-dance.

Cor'dastring.

(It.)

string. .. Sopra

una

to render its tone more prominent. 4. reed-stop of 2 or 4-foot pitch, on the pedal.

A

play a passage on one Corda, direction to use the soft pedal of the pf te. Due corde, (a) release soft pedal or, when the soft pedal shifts the keyboard, "play with the pedal pressed halfway down" [Riemann] (K) in violin-playing, a direction to double a note by playing it simultaneously on 2 strings. Tutie (le) corde (all the strings), release thedirection. .

to

Una

Cornet a bouquin

.

.

;

(Fr.) See Cornet i. ..Cornet a pistons (Fr. Ger. Ventil'kornett), a brass instr. of the trumpet family, having a conical tube and;

cupped mouthpiece

;

.

.

improved from, ; the old post-horn by the additioa of 3 valves ; tone apt to be loud, and " brassy "; medium compass 2 octaves and 3tones.instr.

soft pedal.

It is a transposing noted in the G-clef:

Cordatu'ra

(It.)

Samestring.

as Accordaiu'ra.

Cordevide,

(Fr.)

A

an open..

string.. .

string out of tune.string.

jour, or a fausse, a C, sourde, a mute.

.C...

b.

actualpitch:

C.

?l^

this

being for the cornet in J^, th& one most in use. In rapidity and

^S5Ci..

Sur une

corde,

Sopra

una

corda.

CordierCorife'o

(Fr.)

Tailpiece.(Fr.)

Cordom^tre(It.)

String-gauge.

See Corypheus.i.

lightness of execution, the cornet almost vies with the flute and clarinet ; a certainlack of refinement in its tone alone prevents its entrance into the symphonyorchestra. . . Cornet d'icho or de rdcit, cornet-stop.

Cori'sta. male or

(It.)

female.

Chorister,2.

either

Tuning-fork

pitch-pipe.

Cornet-stop. See Cornets, 3, 4. Cornet'to (It., dimin. cornetti'no^small horn.

Cormorne (Fr.) See Cromorne. Cornamu'sa (It.), Cornemuse (Fr.)bagpipe in which the wind by the lungs (see Musette).is

A.

2.

A cornet. .

i.

A

Cor'noin

(It.)

A horn.

C. alto,

high horrt

supplied

B; C. basso, low horn in AND Barrett]. C. alto

Cor'net. lowing

h. pistons, in fol(Gee. Zin'ke.) An obsolete wind-instr. much used during the and centuries, 15th l6th with a narrow cupped mouthpiece of ivory or wood,

[See Cornet\.

art.]

(basso) alsorespectively, one of the twO' horn-players, in the orchestral group of four, who take the highest (lowest)' horn-parts. C. di bassetto, basset-horn. .C. da caccia, hunting-horn. . C. in^

B [Stainer

signify,

. .

.

gle'se,

English horn.

;

:

;;

; ..

CORNONCOUNTERPOINT.Cornon(Fr.) i. cornet. 2. A brass wind-instr. of broad scale, inv. in 1844.

51

A

Corno'pean,

An

i. Cornet k pistons. organ-stop on the swell-manual.;

2.

Co'ro(It.) Choruschorus...

choir.. .C.favori'to,full

a selected chorus, as opp. to theC. spezza'to,

(sung by several

a divided chorus choirs in different. .

parts of the church) .A cori batten' d, for divided chorus, one half imitating, in parallel or reverse progression, what the other half sings.

Coro'na (It.) A hold (o). Cor'onach (Gaelic.) A funeral lamenta dirge.

Corps

(Fr.)

Body (of a tone). ..C.d' harchord. . .C. de.

monies

a fundamental.

musique, a wind-band. .C.de rec/iange, a crook. .C. de voix, the range and volume of a voice, taken collectively.

higher octave as a high soprano. . Bass counter, a second bass part, either vocal or instrumental. Counter-exposition, re-entrance of the subject or subjects of a fugue, either directly following the exposition, or after the first epiCounter-subject, a f ugal theme sodes following the subject in the same part, as a contrapuntal accomp. to the answer often used independently as an episodal theme.. Counter-tenor, a high tenor or alto voice ; hence, the part sung by such a voice, or the singer. It is the highest adult male voice; compass; being nearly the same as that of the contralto Counter - tenor clef, the C-clef on the 3rd line used for the counter-tenor or alto voice, the viola, etc.. . . . . . ; .

'

^.

.

.

.

;

Counterpoint.Fr.

(Ger. Kon'trapunkt contrepoint ; It. contrappun'to.')

Correcto'rium Corren'te (It.)

(Lat.)

Tuning-cone.

[From the Latin " punctus contra punctum " (point against point), i. e. noteagainst note.] i. In a wider sense, the art of polyphonic composition ; opp. to homophoHy. The canon and fugue are the most highly developed contrapuntal forms. 2. In a restricted sense, the art of adding one or more melodies to a given melody (canlus Jirmus) according to certain rules ; hence, one of, or all, the parts so added. The Theory of Counterpoint generally recognizes 5 species, which, in practical (i) instruction, are variously combined Note against note, whole notes in the counterpoint against whole notes in the 2 against I, c. f. {cantus Jirmus); (2) half-notes in the counterpoint against whole notes in the c. f. ; (3) 4 against in the counterpoint 1, quarter-notes against whole notes in c. f.; (4) with syncopation, syncopated half-notes in counterpoint against whole notes in the c. f.; (5) florid, figurate, or figured, the counterpoint written in irregular rhythms. . Double c. that in which 2 parts are so written as to be capable of mutual inversion by an interval (octave, tenth, etc.) determined beforehand. . Quadruple c. , that written in 4 mutually exchangeable or invertible parts. . Single c. , that in which the parts are not in-

Courante.

Coryphs'usrife'o.)

(Lat.) (Engl, coryphe'us Ger. Koryphd'e ; Fr. coryphee; It. co-

In the ancient Greek drama, leader of the chorus hence, in modern usage, the leader of an operachorus or other company of singers.the;

Cotil'lion. (Fr. cotillon.) French dance, the same as the german, to quadrille-music.

A

Cottage organ.parlor

portable (reed-organ). Cottage piano. I. small style of upright pfte. small grand pfte. in upright 2. form, inv. by Wilhelm Kress of Vienna in 1891.

The ordinary

organ

:

.

.

A

A

Couac (Fr.) The "goose." Couched harp. A spinet.Coul6(Fr.)I.

Legato.

A harpsichord-gracewritten:

2.

{^AXso

Vask.)

played

.

,

Coulisse

(Fr.)

Slide (of

trombone or

trumpet).

.

Count.

accent, beat, or pulse of a measure. . . Counting, the marking of the successive beats of the measure by counting aloud.

An

Counter.

Any vocal part set to contrast with the principal part or melody ; specifically, the counter-tenor (hightenor, or alto), sometimes

sung

in the

to be mutually invertible. . Strict c. that in which the entrance of (most) unprepared dissonances is forbidden. [The correctness of this definition largely depends upon what is meant by " preparation". The dissonant intervals included in the chord of

tended

,

52the,

COUNTRY-DANCE CROOK.dimin.

7thare

augm. 2nd and 4thinant 7th,

dimin. 7th and and also the dom5th,

allowed to enter counterpoint; and preparation is often effected by a tone in a different part and octave from the one in which the following dissonance enters.]. Triple c, counterpoint in 3 mutually invertible parts. Tioopart. Three-part, Four-part counterfreely even in "strict". .

now

a machine with spiral turns of fine silver or copper wire, the process being termed " string-spinning."

Crackle.

In lute-playing, to play the chords brokenly [en batterie) instead ofsimultaneously.

.

.

Cracqvienne (Fr.) A Polish dance for a large company hence, the music or;

point, that in which 2,

3,

or 4 parts are

employed.

an imitation of the music employed, which is in duple time with frequent syncopations (rhythm

Country-dance.partners

A dance in which the form two opposing lines, which advance and retreat, the couples also dancing down the lines and returningto their

Also Krakowiak, cracoviak.

places.

The

time

Cre'do. Mass.

The

third(Lat.)

main division of theJew's-harp.

some tunes being in 2-4, others in 3-4 time the essential thing is, for the strains to be in phrases of 4 or 8 measures, to accompany the several evolutions.varies,;

Crem'balumCremo'na,

ordinarily applied to any old Italian violin made by the Amatis, Stradivarius, or Guarnerii.

A

name

Coup,

Coupertail

us, at Cremona. 2. See Krummhorn. d'archet (Fr.) A stroke of the Crescen'do (It.) Swelling, increasing bow. Coup de (la) glotte, see Kehl.Cr. -pedal, see Pedal. in loudness schlag. Coup de langue, a thrust or Crescen'dozug (Ger.) i. Crescendostroke of the tongue, tonguing double pedal. 2. A kind of organ-swell with Toup de langue, double-tonguing. shutters, a contrivance inv. by Abbe.

.

.

.

.

.

;

le sujet

(Fr.)

To

cut or cur-

Vogler.

the subject.(Ger. Koppel; Fr. copula;It.

Crescent

Coupler.unione.)

See Organ.

Couplet.

1, Two successive lines forming a pair, generally rhymed. 2. In triple times, 2 equal notes occupying the time of 3 such notes in the regular

rhythmthus:

;

=P=ff:(Tr. couranie;

also Chinese crescent, or (Ger. Halb'mond; Fr. chapeau chinois; It. cappel'lo ckine'se.) An instr. of Turkish origin used in military music, consisting of several crescent-shaped brass plates hung around a staff and surmounted by a cap around the plates little or pavilion bells are hung, which are jingled in time with the music.;

pavilion.

;

'

Cou'rant

\_ICoo'-'\.

It.

old French dance in 3-2 time ; hence, the instrumental couranie, piece called forming a part of the .Suite, in which it follows the Allemande. Though the time-signature calls for 3-2 time, measures in 6-4 time often occur, especially at the close the tempo is moderately rapid, and dotted rhythms abound. The Italian corrente is quite different from the above, its chief feature being swift passages of equal notes, whence the name corrente ("running"). The tempo is rapid; time 3-8 or 3-4.corren'te.);

An

Cre'ticus (Lat.)sisting of

long ones

(

.^

foot cona short syllable between 2

A

metrical

).

Cri'brum

(Lat.)

Soundboard (organ).eighth-note. Crockes having the hooks. .

Crochelie'es,

(Fr.)

An

ei ghth-n otes

joined

ifS~^.(Fr.)

Crochet

The

stroke of abbreviaj crotchet, or quartesr-

tion across the /

^\A

stems of notes Croche'ta(Lat.)note(J).

\^

Croisement

(Fr.)

Crossing (of parts).eighth-note.

CouronneCourse.

(Fr.)

A

hold (o.).set of strings

Cro'matuned

(It.)

An

A

group or

in unison.

Croma'tico (It.) Chromatic. Cromor'na. {Vr.cromome.) SeeKrummhorn.

Covered, See Octave. ...Covered strings,strings of silk, wire, or gut, covered by

Crook,

I.

(Ger. Bo'gen, Stiinm'bogen;

CROQUE-NOTESZARDAS.Fr. corps de rechange, ton; It. pezzo di reserva.) supplementary tube, which can be rapidly fitted to the main tube (or body) of a horn or trumpet, for the purpose of lowering the pitch. Each crook is named after the fundamental tone to which it lowers the pitch of the tube e. g. the Zf-crook of an instr. in

53

A

tone by half-stopping the bell of the French horn with the right hand.

Cum

sancto spi'ritu(It.)

(Lat.)

Part of there-

Gloria.

Cu'po

Dark, deep, obscureSee Courant.

;

served.

^.

;

Curran'to,

2.

The S-shaped tube forming Cushion-dance.

the mouthpiece of a bassoon, and containing the reed. 3. In the old harpaction, a crotchet engaging a string and raising its pitch by a semitone.

A Scotch and English round dance, in triple time, and performed in single file each dancer in turn drops a cushion before one of. the;

Croque-note

(Fr.)little

AA

player of facile

execution, but

taste

and judgment.

opposite sex, at a regularly recurring strain of the music, whereupon the two kneel and kiss each other, after which the dance proceeds as before.

Cross-relation.

See False relation.

Cus'tos

(Lat.)(Fr.)

A

direct.

Cro'talum

kind of clapper used by the ancient Greeks to mark the time of a dance.(Lat.)i.

Cuvette

Pedestal (of a harp).

Cyclical forms.

Crotchet,

A

a quarter-rest.

quarter-note2.

;

cr. -rest,3.

See Crook

(Ger. cyclische Formen.) Forms of composition embracing a cycle or series of movements, such as the old suite or partita, or theetc.;

Crowd

(Welsh also Croud, Crouth. An ancient Lat. chrot'ta.) bow-instr., apparently of Welsh or Irish origin, and regarded as the oldest European instr. of the class still found early in the igth century among the peasantry of Wales. Ireland and Britany. Its body was square, and terminated, instead of by a neck, by 2 parallel arms connected at the end by a crossbar, the centre of which supported the end of the narrow fingerboard it had originally 3, in modern times 6, strings, 4 lying over the unf retted fingerboard and 2 beside it. The strings passed over a bridge, which rested on the belly between 2 sound-holes the accordatura [Grove] was as follows;

crwth;

sonata, symphony, and concerto. Cylin'der (Ger.) Valve (in horns,

usually Ventil).

Cymbale

(Fr.)

i.

Cymbal.

2.

A steel

;

rod bent to a triangle, and bearing a number of rings, which are struck by a steel wand, the cymbale itself being dangled on a cord.

Cymbals,

;

i. (Ger. Becl/en; Fr. cyinbales ; Xt. piat'ti, cinel'li.) pair of concave plates of brass or bronze, varying in size from finger-cymbals something over an inch in diameter to the large

A

;

:

orchestral cymbals, which have broad, flat rims, and holes toward the middle for the insertion of the straps by which ,they are held ; used in orchestral music to mark time strongly, or to produce peculiar often weird and thrilling

besidefingerb.

over fingerboard,

Crucifixus (Lat.) Part of the Credo. Crush-note. An acciaccatura.

One of the cymbals is often attached on top of the bass drum, so that one player can manipulate both drum and cymbals. 2. In the organ, a mixture-stop of very high pitch.effects.

3.

See Cymbale

2.

A Cr-wth. See Crowd. C-Schliissel (Ger.) C-clef. Cue. A phrase, from a vocal or instrumental part, occurring near the end of a long pause in another part, and inserted Cym'bel. See Cymbal. in small notes in the latter to serve as a V Czakan (Bohemian.) A flute of cane or guide in timing its re-entrance. bamboo. Brass; les (Fr. "copper.") Cuivre V cuivres (pi.), the brass-wind. .. .ftj/V^ Czardas (Hung.; pron. tchar" dash.') A Hungarian dance, distinnational cuivrer, to obtain a metallic, ringingCym'balum(Lat.) i. Cymbal. 2. small drum of the medieval monks ; several such drums were tuned to form a scale of an octave, and played like a Glockenspiel.,

54

CZIMBAL DECISO.guished by its passionate character and changing tempo.ply repeated over and over in the above order, whatever may be the notes sung.

Czimbal (Hung.)

A dulcimer. Adance similar to the [Stainer and Bar-

Damper,foir ;

Czimken

(Pol.)

country-dance. rett.]

D.

(Ger. Ddm'pfer ; Fr. itoufsordi'no) A mechanical device for checking the vibration of a pfte.-string (see Pianoforte). Damperpedal, the right or loud pedal of the pfte. The m,ute of a brass instr., 2. e. g. a horn.i.It.. .

D. I. (Ger. ; Fr. ri ; It. re) The Dam'pfer (Ger.) A damper or mute. 2nd tone and degree in the typical diaDdm'pfung ("damping"), the damping-mechanism of the pfte. tonic scale of C-major. (Comp. Alphabetical notation, and Solmisation.) 2. Dance. (Ger. Tanz ; Fr. danse ; It. Abbr. of Da (D. C.=da capo), and Dal dan'za.) A succession of rhythmical (D. S.=dal segno). steps, skips, or leaps, accompanied by varying movements of the body, and Da (It) By, for, irom,oi...Da ca'po,.

D

(a) from the beginning {fi) as an exclamation, " encore ".. .D. C. alfi'ne, (repeat) from the beginning to the end (i. e. to the word Fine, or to a hold T^). . .D,C. al se'gno, (repeat) from the beginning to the sign (S-, ^, O). ..D.C. al segtio, poi {se'gue) la coda, (repeat) from the beginning to the sign, then (follows) the coda.. .D. C. dal segno, repeat from the sign. . .D.C. sen'za re'plica (or scnza 7'ipetizio'ne'), play through from the beginning without noticing the repeats. Da eseguir'si, to be executed.;!

generally timed by music (in primitive: nations, simply by beating on a drum or the like).(Ger.)

Darm'saite

Gut

string.

Dash.

staccato-mark (J or p). 2. In thorough-bass, a stroke through a. figure, indicating the raising of the interval by a semitone (^ 4^ etc.) 3. Same as tould 2.I.

A

,

Dasian'-Notie'rung

.

.

..Da means

tirar'si

"with slide";(Fr.)

("for drawing out"), as tromba da

.

(Ger.) Hucbald's system of noting a scale of 18 tones by twisting and turning the letter F into14 different positions and shapes, with 4 additional signs.(Ger.)

tirarsi, slide-trumpet.

Dau'menThe belly of a Dach'schweller,

Thumb.. .Dau'menauf-

D'accord

In tune.. .

satz, thumb-positions (in 'cellb-playing).

Dach

(Ger., "roof.") violin (usually Decke).

Dead-march.

A funeral march.(It.)

De'bile, De'bole

Feeble, weak..

see Crescendozug 2.

Dac'tyl(e). (Lat. dac'tylus, a finger.) metrical foot of 3 syllables arranged like the finger-joints, one long and two short, with the ictus on the first

A

Dfibut (Fr.) A first appearance. .Debutant{e), a male (female) performer or singer appearing for the first time.

Dec'achord.

(Fr. difcacorde.)

i.

A

10-

(^-^).Dactyl'ion.apparatus inv. by Henri Herz in 1835, consisting of 10 rings hanging over the keyboard and attached to steel springs used by pianists;

An

stringed instr., an ancient species of harp or lyre. 2. An obsolete French instr. of the guitar kind, having lo-

strings.

Dec'ad(e).

See Duodene.

for finger-gymnastics.

Deca'ni.

Comp.

Cantoris.2.

Daddy-mammy, A

familiar

name

for

the roll on the side-drum.

De'cem (Ger.) D6chant (Fr.)

See DecimaDiscant.

Da'gli, dai, dal, dall', dal'la, dal'le, dal'lo (It.) To the, by the, for the,

D6cid^ (Fr.) See Deciso. De'cima (Lat. and It.) i. The

from the, etc. Dal se'gno (It.)

See Segno.(SeeSolmisation.)

Damenisa'tion.

of a tenth. 2. An organ-stop pitched a tenth higher than the 8-foot stops ; also called Tenth, or Double tierce.

interval.

Graun's system of sol-faing with the syllables da, me, ni, po, tu, la, be, which are not (like do, re, mi, etc.) attached to special scale-degrees, but sim-

De'cime. See Dezime. Decimo'le (Ger.) See Decuplet. Deci'so (It.) Decided, energetic, witbdecision.

.; ;

..

DECKE Dl^RIVE.Oeck'e(Ger.) Belly (of the violin, etc.) belly or soundboard (of the pfte.)(It.);

55

Oeclaman'dodeclamatory

"Declaiming";

in

style.

Declamation.

In vocal music, the correct enunciation of the words, especially in recitative and dramatic music. (Comp.Deklaination.)

a song is (metre) into a musical one badly deklamiert' when an unaccented receives a strong musical syllable accent or a long note or when an accented syllable, or a word rendered prominent by the sense, receives a subordinate position in the melody on a weak beat or in short notes." [Riemann.];

Dcompos6 (Fr.) Unconnected. D^compter (Fr.) To sing with amento.

porta-

Del, dell', del'la, del'le, del'lo the than the.;

(It.)

Of

Ddlassement(Fr.)

(Fr.)

A

piece or performDeliberately.

D6couplez

In organ-music, "uncouple," "coupler off."(It)

ance of a light and

trifling character..

Deliberamen'te

(It.)

Decrescen'doOec'uplet.

GrowingSign

softer

Delibera'to, deliberate.

diminishing in force.

Delicatamen'te, con delicatez'^zaDelicately Delica'to, delicate, refined style.. . .

(It.)

A;

group of lo equal notes

delicate

;

in

a

executed in the time proper to 8 notes of like value, or to 4 notes of the next highest value marked by a slur over or under which a figure 10 is set. (Also Decimole, Dezimole.)

Dli6

(Fr.)(It.)

Non

legato ; leggero,;

Deli'rio

Frenzy

con

d.

,

with fren-

zied passion.

Delivery.

Deduc'tio

(Lat.) i. The ascending series of syllables or tones in the hexa-

Ace. to later theoreticians, the resolution of a dissonance to a consonance. Defective. Same as Diminished.2.

chords of Guido d'Arezzo.

Style (method and manner of singing) restrictedly, the enunciation of a singer.;

Dmanch, D^manchemeritthe neck ";

(Fr.)

"Offin

the..

thumb-positions

'cello-playing.

Dimancher, to quit the" Question,"i.

neck of the

'cello.e.

Deficien'do (It.) Dying away. De'gli (It.) Of the than the.;

DemandeDemimeasure.

(Fr.)

the

subject of a fugue.(Fr.,

(Usually sujet)

Degree.

(Ger. Siu'fe, Ton'stufe; Fr. gra'do.) I. One of the 8 consecutive tones in a major or minor Degrees are counted diatonic scale. from below upward, the key-note being degree. 2. line or space of the first 3. (The prevailing the staff. step. confusion of the terms degree and step might be obviated by applying degree only to the tones, and step only to progression between conjunct tones, of the scale ; the expressions whole step, halfstep, andstep and a half, are quite superfluous.) . . Scale-degree, a degree of a scale.. . Staff-degree, a degree on the staff.

degr^ ;

It.

A

A

"half".) Demi-bdton, 2.Demi-cadence, \i3Xi-c&dence. .Demi-croche, a l6th-note... A demi-jeu (a direction found mostly in reed-organ or harmonium-music), witht:^^^...

half the.

power of theinstr.

,

viezzo forte..

.Demi-mesure, half-measure. .Demipause, half-rest. .Demi-quart de soupir, Devii-soupir an eigha 32nd-rest teenth rest. Demi-temps, a half-beat Detni-ion, a semitone... . , . . . .

Demiquaver.

A

i6th-note. .

.

.

miquaver, a 32nd-note rare for Semitone.

.

DemiseDemitone,..

Deh'nenprolongtension,

(Ger.)

To

expand, extendexpansion,;

Demoiselle

(Fr.)

Tracker.

Deh'nung,prolongation

Dependent chord, harmony, triad. One which is dissonant, requiring resoDeh'nungsexlution to a consonant one dependent.;

;

to

strich, in vocal music, a line of continuation after a syllable, indicating that itis

opp. to In\)\))...

to be sung to all notes over the line dots are sometimes used instead . Gedehnt' , extended, prolonged hence, slow, stately.. ; ;

;

Depress. To lower (as by a |j orDerivative,i.

De-

pression, chromatic lowering ofe.

a

tone.

Dei (It.) Of the than Deklamation' (Ger.)

the.

i. Same as derivative chord, the inversion of a fundamental chord. 2. The root of a chord.

Musico-poetical scansion.^" In vocal composition, the transformation of the poetic rhythm

D6riv6(e) (Fr.,

"derived,

derivative".)

Accord dMvi, inverted chord (also simply d/riv^, an inversion) Mesure. . .

56d/riv^e,

DES DIAPASON.any measure indicated by2

figures (2-4, 3-8, etc.) as being derived from, i. e. a fractional part of, a whiole note. Des (Ger.) Dfc) . . .De/es, Xi\)\f.

ordinarily applied to formal compositions like the fugue or sonata. (See

Form.) Devo'to (It.)devosio'ne).

In a devotional.

style {con

Des'cant.

See Discani.

Dex'tra (Lat.) Righthand..

.

.

Manus d.

,

right

Descend.gression.

To.

lower pitch.

pass from a higher to a .Descent, descending pro-

.Manu(Ger.)

d.,

with the right hand.

De'zem

See Decima.

Deside'rio d., in ayearning.volto.

(It.)

style

De'zime (Ger.) The interval of a tenth. Desire, longing. .Con Di (It.) Of, from, to, etc. expressive of longing, Diag^ram'ma (Gk.) A diagram, i. The.

D^sinvolture, avec

(Fr.)

See Disin-

Dessin

(Fr.) The design, plan, or structure of a composition.

Greek written scale of 1 5 notes, divided into the various tetrachords. 2. In old music, the staff and the scale written on it ; also, a score or partition.

Dia'logo

Dessusthe

(Fr.)

I.

Soprano or

name

highest vocd part. Earlier 2. for the violin (dessus de viole).

treble,

i.

e.

(It.), Dialogue (Fr.) duet for 2 solo voices or divided chorus ; or a similar instrumental piece.

A

De'sto (It.) Sprightly. De'stra (It.) Right ... jT/n'wo destra, right hand (also destra mano, colla destra);

Diapa'son(Gk.) An octave (in ancient Greek and in medieval music). ./^/pason diapenie, or diapason con dia.

a direction in pfte.-plajdng,

sig-

nifying that the passage is to be played with the right hand. (Abbr. m. d. or d. m.),

Dtach

(Fr.) In violin-playing, detached, i. e. playing successive notes with alternate down-bow and up-bow, but not staccato Grand detachi, a whole (stroke of the) bow to each note...

pente, an octave plus a fifth, a twelfth. Diap.' diatessaron (diap. con diatessaron), an octave plus a major fourth a major eleventh . Diap. ditone, an octave plus a major third, a major tenth. .Diap. semi-ditone, an octave plus a. .,

.

.

.

minor

third, a

minor tenth.

Diapa'son

.

Deterinina'to(It.) Determined, resolute.

Detonation'

(Ger.),

D^tonnation

(Fr.).

False intonation, singing out of tune. Detonieren {detonner), to sing false especially, to flat (gradually lower the pitch) in a cappella singing.;

Det'to

(It.)

Aforesaid

;

the same..

Deutsch

'

(Ger.) German . . Deu'tsche Flote, the orchestral flute Deu'tscher Bass, an obsolete kind of double-bass, having from 5 to 6 gut strings. .Deutsche Tahulalur' , see Tablature.

.

.

.

.

.

.

Deutsche Tdn'ze, German dances, the old-fashioned slow waltzes.

i.

c.

(Engl.) i. An octave. 2. Either of the 2 principal foundationstops of the organ, the open diapason and the stopped diapason, both commonly of 8-foot pitch; if there are 2 op. diap.s on a manual, one is sometimes of 16' pitch pedal-diapasons are generally ; 16' stops. The open d. has metal pipes open at the top, and usually of large scale, though the scale differs when 2 or more diapasons are on one manual the tone is bright, full, and sonorous. . . The stopped d. has wooden pipes of large scale, closed at the top by wooden plugs, and yielding a powerful fluty, and somewhat hollow, tone. 3. Compass of a voice or instr. chiefly poetical.

;

Diapasonfor

Deux

(Fr.).

Two

.

.

.A deux mains,

or instr.

4.

(Fr.)2.

i

.

Compass

of a voice

A3.

rule or scale, ace. toinstr.s

2 \a'a&s. .Deux-quatre, 2-4 (see Mesure). .Deux-temps, or Valse h deux temps, a quick waltz, with 6 steps to every 2 of the ordinary waltz {trois temps)..

which makers of variouslate the size of the latter,

regu(dia-

An organ-stop A tuning-fork or pitch-pipe. Absolute Diapason northeir5.

and that of

parts.

pason).

'pAtia.

...

Deuxi&me

position (Fr.)

Half-shift.

mal, the standard pitch or scale adopted in 1859 by the

Development. (Ger. Durch'fuhrung.) The working-out or evolution of atheme by presentingdic,it in varied meloharmonic, or rhythmic treatment

French Academy

,

in

which

0}

has 870 single or 435 double vibrations per second of time (so-called " international pitch").

.

DIAPENTE DIMINISHED..

57

Diapen'te (Gk. and Lat.) The interval Diesa're (It.) To sharp.. .ZJzWj, a. of a fifth. D. cum ditono, a major 7th. sharp. D. cum semidiiono, minor 7th .D. Di6ser (Fr.) To sharp.. .Diese, a sharp. cum. semiionio, minor 6th .D. cum Dies irae (Lat., "day of wrath".) The tono, a major 6th. sequence of the Missa pro defunctis ; Diapenter (Fr.), Diapentisa're (It.) it now forms the 2nd division of the To progress by skips of a fifth. Requiem. The Pythagorean i. Diaph'ony. (Gk. diafhoni'a) i. A dis- Di'esis (Gk.) semitone (later Limma), which is the sonance. 2. See Organum. difference between a fourth and 2 Diaschis'ma (Gk.) The difference begreater whole tones, =256:243. 2. In tween the second tierce below the 4th modern theory, the difference between quint in the descending circle of fifths, an octave and 3 major thirds, the modand the 3rd octave below the given tone ern enharmonic diesis (128:125)..

.

.

.

.

.

(c:d\)\)

::2025

:

2048).

Diezeug'menon

(Gk.)

Disjoined (see

Diaste'tna (Gk.) An interval. Greek music, 1). Diates'saron (Gk.) The interval of a Difference-tone. See Acoustics.Differen'tia (Lat.) The differen'tia See Greek music, 2. tono'rum in the medieval Gregorian 2. (In modern usage.) By, through, chants were the different forms of the with, within, or embracing the tones of cadences or tropes to the Seculo'rumthe standard major or minor scale... a'men, according to the tone to which Diatonic instr., one yielding only the (Also transition was to be effected. tones of that scale of which its fundadistincHo.) mental tone is the key-note. .Diatonic Diffi'cile (It.), Diffici'le (Fr.) Difficult. interval, one formed by 2 tones of the Dig'ital. A key on the keyboard of the same standard scale. .Diatonic harpfte., organ, etc.; opp. to pedal (Jinmony or melody, that employing the ger-V^y opp. io foot-Vsj). tones of but one scale. .Diatonic modulation, .see Modulation. .Diatonic Digito'rium. A small portable apparatus for exercising the fingers, resemprogression, stepwise progression within bling a diminutive piano in shape, and one scale. .Diatonic scale, see Scale. 5 keys set on strong springs Diau'los (Gk.) A double aulas, the having sometimes called Dumb piano. tubes meeting in an acute angle, and connected by and blown through a com- Di gra'do (It.) (Progp-ession) by degrees, step-wise. mon mouthpiece. Diazeuc'tic (Gk.) Disjoined (see Greek Diiamb', DiiamHius. A double iambus a metrical foot consisting of 2 music, 1). .Diazeu'xis, the separation short and 2 long syllables in alternation of 2 neighboring tetrachords by the infourth.

Diaton'ic.

I.

.

.

.

.

.

;

.

;

also, the tone itself. terval of a tone Di'brach, Di'brachys. A metrical foot consisting of 2 short syllables (^ ^) a;;

Dilettact'.

(It. dilettan'te)

An

amateur.

pyrrhic.

An Di'chord. i. chorals. harp or lute having 2 strings. 2. Any instr. having 2 strings to each note. Diluen'do (It.) Decreasing in loudness, dying away. Dicho'ree, Dichore'us. A double choree or trochee a metrical foot consist- Dim'eter. i. Consisting of 2 measures ; ing of 2 long and 2 short syllables in alA verse or divisible into 2 feet. 2. w w). ternation ( period consisting of two feet. Dict^e musicale (Fr., "musical dicta- Diminished, (Ger. verklei'nert; Fr. dition".) A modern method of training minu^ie); It. diminu'to.) Dim. interthe faculty of musical apprehension, in val, a perfect or minor interval conwhich the teacher plays or sings short tracted by a chromatic semitone. .Dim. phrases which the pupils take down on chord, a chord, the highest and lowest paper. tones of which form a dimin. interval. .Dim. subject or theme, one repeated Diecet'to (It.) A piece for 10 instr.s.

Diligen'za (It.) Diligence, care. Dilu'dium (Lat.) An interlude, espeancient species of cially that between the separate lines of

;

.

.

58

DIMINUENDO DISSONANCE.or imitated in diminution.. .

Dim.

triad,fifth.

which

a root with minor third and dimin.

Diminuen'do (It ) Diminishing in loudDiscord, Dim. pedal, see Pedal. ness.

parallel motion was the rule. Treble or soprano (Fr. dessus.) voice the highest part in part-music.

2.

;

l.

.

.

A

dissonance.

2.

Caco-

phony.

Diminuer

(Fr.) To diminish (in loudness)... ^ diminuant beaucoup,-=.dxminuendo molto.

Discre'to

(It.)

Discreet

;

comparatively

Diminution.

(Ger. Verklei'nerung ; Fr.li.

diminution ;

diminuzio'ne^

I.

The

Wia&Vi&dL...Discrezio' ne, discretion; con discrezione, with discretion or due reserve ; with judicious subordination to a leading part or parts.

repetition or imitation of a theme in notes of smaller time-value (J^, ^, or 2. See Notayl that of the original).

Disdiapa'son (Gk., Lat.)Dis'dis (Ger.).

In medieval

music, the interval of a double octave,

tion, 2.

Dx Dx

(usually Disis).

Dioxia

(Gk.)

Less

common term

for

Disinvol'to (It.) Free, easy, graceful. Con disinvoltu'ra, with ease, grace. ;

Diapente.

Dis'is (Ger.);

.

[flowingly.

Dip. The

when

vertical fall of a digital or pedal depressed to the full extent also

Disjunct'. (Fr. disjoint,-e.) See Motion, Tetrachord (disjoined').

key-fall.

Dipho'nium2 voices.

(Lat.)

A

composition for

Diskanf

Diphtho'nia. A vocal anomaly produced by inflammatory nodules seated on the vocal cords, which on closure of the latter divide the glottis into an anterior prano-clef. and a posterior half, so that 2 tones are Dispar'te, in (It.) Aside. sounded on singing, instead of one. Dispera'to (It.) Desperate, hopeless. . Diplas'ic. Two-fold.../), footor rhythm, Disperazio'ne, con, in a style expresthat in which the thesis has twice the of desperation or despair.. ..

treble. (Ger.) i. Discant, Diskant'geige, the violin (the treble Diskantist' treble instr. of its class) Diskanf.Diskant' register singer stimme, in the organ, a half -stop (also Hal'bestim7)ie) Diskanf schliissel, so. . . , , . . .

length of the

sive

arsis.

Dip'ody.feet,

group of 2 similar metrical or double foot, especially when constituting a single measure.i. (Ger. and Lat. Cus'tos ; Fr. guidon ; It. gui'da, mo'sira.) The sign Av or r/ set at the end of a staff to show the position of the first note on (N. B. The Germans the next staff. often use it as a mere mark of continuation equivalent to "etc.", without reference to the pitch of any note.) 2.

A

Dispersed. See Harmony. Dispon'dee, Disponde'us.spondee;

A double a compound metrical footThe D.of an organ

Direct,

containing 2 spondees.

Disposition' (Ger.)is

See Motion and Turn. Disposition (Fr.) Gift, talent, genius. Directeur (Fr.) Conductor, director. A funeral hymn, or similar Dis'sonance. (Ger. Dissonanz'j Fr. Dirgfe.music.

properly the preliminary estimate of its cost, fixing the varieties of stops, number of manuals, etc.; but also signifies a concise description of the working parts of a finished organ, especially an enumeration of the stops, couplers, combination-stops, etc.

Dirigent' (Ger.) Conductor, director. Diriger (Fr.), Dirigie'ren (Ger.) Todirect, conduct.

dissonance; It. dissonan' za.) i. In the simultaneous sounding of tones so remotely related that theirtheory,

Dirit'to,-a

(It.)

Direct, straight.

.

.^//o

dirifta, in direct motion.

Dis

(Ger.)

DjJ.i.

.

Disis,

Dx

.

Dis'cant,

Diskanf;temptsat

(Lat. discan'ius ; Ger. Fr. de'chant.) The first at-

polyphony with contrary mo-

tion in the parts, beginning in the I2th century ; opp. to the organum, in

combination produces beats. 2. In practice, a combination of 2 or more tones requiring resolution opp. to Consonance Dissonant, consisting of tones forming a dissonance 2 opp. to consonant. .Dissonant interval, 2 tones forming a dissonance. The dissonant intervals are the seconds and their in. versions, the sevenths, also all dimin;.

.

.

;

.

ished and augmented intervals.. .ZJj>.

DISSONARE DOH.sonant chord, a chord containing onecassation.

59

more diss, intervals. Dissona're (It.) To be dissonant,or

to

form a dissonance. Distance. Interval.

[Seldom used.];

4. An entr'acte in an opera, or between compositions of considerable length, in the form of a short 5. Epiballet or other entertainment. development of a sode in a fugue principal theme.

;

Distan'za (It.) An interval distance... Divide. In dislanza, at a distance, markingmusic to be performed asDis'tich.if

To(It.)

play divisions.

far away.;

Divi'si

A

group of

2 lines or verses

usually called couplet in ing versification.

modern rhym-

Distinc'tio (Lat.) i. In Gregorian music, the pauses or breaks dividing vocal melodies into convenient phrases. 2. See Differentia.

Divided. direction in scores signifying that 2 parts appearing oh one and the same staff are not to be played as double-stops, but by the division into two bodies of the instr.s The return to playing from that staff. the unison is marked by the direction a due, (or by unis., or a 2).

A

Division,

Distin'to

(It.)

Distinct, .clear.

.

.Z);-

stintamen'te, distinctly.

Distona'retune;

(It.)

To

sing or play out of

also stonarc.

" dividing-up " of a melodic series of tones, vocal or instrumental, into a rapid coloratura passage if for voice, the passage was to be sung in one breath. (Obsolete.). . ^;

A

Dit'al. key which, on pressure with the finger or thumb, raises the pitch of a guitar-string or lute-string by a semitone opp. to pedal. , . Dital harp, a chromatic lute shaped like a guitar, having from I2 to i8 strings, each controlled by a dital to raise its pitch by a semitone; inv. by Light in I7g8, and later improved by him. (Comp. Klavier;

A

To run apassage.. .

division, to execute such a Division-viol, the Viola da

gamba. Division-mark. A slur connecting a group of notes, and provided with a figure indicating their number, showing that their rhythm differs from the ruling rhythm of the piece ; as for aquintuplet, triplet, etc.

Harfe.)

Divo'to, Divotamen'te.

See Devoto.

Dixibme (Fr.) The interval of a tenth. Diteggiatu'ra (It.) Fingering. Dith'yramb, Dithyram'bus. A form Do. The Italian name for C; supposed of Greek lyric composition, originally to have been introduced by Bononciniin praise of Dionysus ; later Its leading charmodified. acteristics were a lofty enthusiasm, frequently degenerating into bacchantic wildness (whence the adj. dithyram'bic), and the irregular form of its strophes, no two of which were identical.

a

hymn

greatly

Di'to

(It.)

Finger.

Ditone. (Lat. di' tonus; Fr. diton.) A Pythagorean major third of 2 greater wider by a whole tones (Si 64) comma than a true major third (5 4).:

;

It is now also generally of the in France instead Aretinian Ut. Do. In solmisation, the usual syllablename for the 1st degree of the scale. In the 7?.jr/-/5(; method of instruction, Do'\s the name for all notes bearing the letter-name C, whether key-notes or not. In the movable-Do method. Do is always the key-note, whatever key is sung in or modulation reached. In the Tonic Sol-fa system, spelled Doh.

in

1673.

adopted

:

Ditro'chee, Ditrochae'us.

A

compound

Doch'mius.

metrical foot consisting of 2 trochees -'); also Dichoree. ( -^

^

metrical foot consisting ^ ). of 5 syllables ( Doctor of Music. See Bachelor.

A

Ditty.

A

short, simple song.(It.)1 j.J

Dodecachor'don

Divertiraen'to

Divertissement

short poem to music, and interspersed with songs and dances, 2. Light and for some special occasion. easy pieces of instrumental music, such 3. An as variations, potpourris, etc. instrumental composition in 6 or 7 movements, similar to a serenade or(Fr.)set

a

i. See Bissex. Glareanus (1547) on the theory of the 12 keys or modes.

(Gk.)

2.

A treatise by

Dode'cupla

di cro'me (It.) di semicrome, \i-\ii time,

12-8 time;

Dodec'uplet. A group of 1 2 equal notes to be performed in the time of 8 in theregular rhythm.

Doh.

See Do.

6o Do'i(It.)

DOI DOT.Sameas

Due..

Doig^.

Finger. .ZIot^//, fingered. .Doigi/, or dottier, fingering doigUs fourckus, cross-fingerings.(Fr.);

Dol'can.

See Dukia'na.I.

Dol'ce

(It.)

cemen'ie, sweetly, softly.

Sweet, soft, suave dolsweet2.

fara, but at exactly the same height, sothat the tone does not beat, but is merely remiorc&d. .Dop'peljlugel, see Vis-a-vis ..Dop'pelfuge a double fugue or canon. Dop'pelgeige viola d'amore. Dop'pelgriff, double-stop (on the violin), paired notes (on keyboard-instr.s ;..

,

.

.

,

.

.

;

A

e.

g.

thirds,

sixths,

and octaves).....

toned organ-stop.

octave Dop'pelpunit, do\ih\s dot d^. .) Dop'pelDop'peloktave,

double

.

.

.

.

Dolcez'zacon

(It.)

Sweetness,

softness

d., softly,

gently.

Dolcian'(It.)I.

(Ger.),

A;

Dolcia'na, Dolcia'no species of bassoon in vogue

quintpommer, a large variety of bomDop'bard Dop'pelschlag, a turn pekunge, double-tonguing..

.

.

.

.

.

Dop'pio

during the l6th and 17th centuries. 2. In the organ, a reed-stop of 8 or 16foot pitch a fagotto.

Dolcia'to..

(It.)

See Raddolciato.

Dolcis'simo

(It.) Very sweetly, softly. Also, a very soft-toned 8-foot flutestop in the organ. (It.)

(It.) Double. .D. movimen'to, twice as fast.../), vo'te, d. valo're, twice as slow (absolute time-value of ./J./^rfa'/if (in organnotes is doubled) playing), the pedal-part in octaves... Doppio signifies, with names of instr.s, larger in size and consequently deeper. ..

in tone.

Dolen'do, Dolen'teive,

Doleful, plaint,

sad

.

.

.

Dolentemen' te dolefully,;

etc.

Do'rian or Dor'ic mode. See Mode. Dot. (Ger. Punkt ; Yr. point ; It. pun'to.)

Dolo're (It.) Pain, grief con dolore, in a style expressive of pain or griefpathetically (also dolorosamen'ie, doloro'so).

I.

A

dot set after a note prolongs(sf-

its

time-value by half

=J

w)

;

a

Dolz'flote (Ger.;

Fr.

fate douce;

second dot or third dot prolongs the time-value of the dot immediately preIt.

i. An obsolete*transJla'uto dol'ce^ verse flute, having a half-plug within the embouchure. 2. In the organ, an open flute-stop of rather narrow scale and 8-foot pitch.

ceding

it

by

half (^l..

.

=^ cl

J ^

J*).-

(The dot

after a.note

upon a

line is pre-

ferably written above the line when the next note is higher, below the line whenit is

lower

:

Dora'chor (Ger.) Dom'inant. i.

Cathedral-choir.(Ger.,

Fr.,

and

It.

Dominan'te.) The fifth tone in the major or minor scale .D. chord, (a) the dominant triad {i) the dom. chord of the 7th. .Z>. section, of a movement, a section written in the key of the dominant, lying between and contrasting with two others in the key of the tonic. D. triad, that having the dominant as root. 2. The reciting-tone in the Gregorian modes.. .

;

.

The dot of prolongation was formerly often set in the next measure, quite away from the note ; e. g.

Xwhich we now write

X

.

.

Dona nobis pacem. See Mass. Doodlesack. See Ger. Dudelsack.Do'po(It.)

2,

A dot set over orit is

dicates that

to

under a note inbe executed staccato:

After.

Dop'pel-

(Ger.) Double. . .DoJ>'pel-B, Dop'pelbe, the double-flat. .Dop'pelblalt, double reed. .Dop'pelchor, double chorus Dop'pelfagott, double-baSsoon. ..Dop'pelftote (Dtiijlote), (It. Jla'uto dop'pio), an organ-register of 8- foot stopped pipes, each pipe having 2 mouths, 2 windways, etc., one on either side (behind and in front) like the Bi. .. .

.

a slur connecting several such, (J dots calls for the mezzo-staccato. (Sometimes, especially in earlier authors, the staccato-dot calls rather for a sforzando than a staccato ) 3. In old music, several dots set above a note indicate that it is to be subdivided into so many short

P

;

notes

(

p

~ rrrn

;

now usedto

over

treraolo-sijn

in violin-music

a mark

^

.

-

. .

DOUBLE DRAMMA.the exact subdivision of the large note

6r

or four dots set in the spaces of the staff, before or after a double-bar, form a Repeat.

(^^_

p ).

wDouble-stop.

butwritten;

4.

Two

{the

German

tuning)

Double. I. A variation. 2. A repetition of words in a song. 3. In organ-playing, a 16-foot stop (as accompanying or

(Ger. Dop'pelgriff; Fr. double-corde; It. dop'pia ferma'ia.') In violin-playing, to stop 2 strings together, thus obtaining 2-part harmony.

doubling the 8-foot stops in the lower octave). 4. In the opera, etc., a substitute singer. 5. (Also Grandsire.) In change-ringing, changes on 5 bells. 6. As an adjective with names of mus. instr.s, double signifies "producing a tone an octave lower " e. g. double-

Double-tongue.Fr.

'

;

bassoon,

double-bourdon,

etc.

7.

The

Dop'pehunge; (Ger. double coup de langue.) In playing the flute, and certain brass instr.s, applying the tongue in rapid alternation to the upper front teeth and the hard palate, to obtain a clear-cut and brilliant staccato. (Also Double-tonguing.)

verb double signifies, to add (to any tone or tones of a melody or harmony) the higher or lower octave.

Double-trouble. "breakdown."

A A

step peculiar to the2-foot organ-stop,

Doublette

(Fr.)

Doubleminuet,

(Fr.)

Variation.

alternativo 2. The when merely a variation3.

I

(pi.

dotibles).

See in a

octave of the principal.

Doublophone.

the principal theme and harmonic basis of the latter.adjective,;

of retaining the

umair

A combined Euphoniand Valve-trombone, with one common mouthpiece a valve operated by;

double as double-bar d. coup de langue, doubletonguing dottble-croche, a l6th-note etc. .Double - corde, double-stop. Double-main, an octave-coupler (organ). Double-octave, double octave Double-touche, a mechanism in the keyboard;; ; .

As an double-barre,.

the left

thumb throws

the current of

.

from the mouthpiece into the tube of either instr. at will. Inv. by Fontaine Besson of Paris in 1891. Doublure (Fr.) See Double 4 (Engl.)

Doucement.Deux,

.

.

.

.

(Fr.) Gently, softly. douce, soft, gentle, sweet.

.

of harmoniums, etc., for adjusting the key-fall at 2 different levels, with corresponding differences in the degree of

Douzi&metwelfth.

(Fr.)

The

inter\'al

of a

loudness of tone ^xaisxc&A.triple, 3-2 time.

.

.Double-

Doubl6

(Fr.)

A

DoTwn-beat. i. The downward stroke of the hand in beating time, which marks the primary or first accent in each measure. 2. Hence, the accent

turn.

itself (thesis,

strong beat),

Double-bar.

Dop'peltaktstrich, (Ger. Fr. double-barre; It, The two thick dop'pio bar'ra.) i. vertical strokes drawn across the staff to mark the end of a division, (repeat), movement, or entire piece. 2. Two thin lines vertical (2) y^i (bars) dividing one section of a move- ~|i_ 1 ment from the next H h r~ section:Schluss'striclie;

Down-bovf.

(Ger. Herunterstrich; Fr. tlrez; It. arco in giii.) In violin-playing, the downward stroke of the bow

from nut to point;

;

1

double-bass, the stroke point usual sign (-1.

on the 'cello and from nut to

Doxology

(Gk.)

A

psalm or hymn ofGreater

|.

p

I

praise to God ; especially the Z>. (Gloria in excelsis Deo), Lesser /'.(Gloria Patri, etc.)

and the

Drag.

I.

A

rallentando.-

2.

A

&&-

Double-bass.

(Ger.

Kon'trabass; Fr.

sceading portamento in lute-playing.

contre-basse; violonar; It. contrabbas' so.) The largest and deepest-toned instr. of the violin family (with the exception of the rare contrabbasso doppio and the Octobass), with either 3 strings (Gi-D-A being the Italian, A^-D-G the English accordatura), or 4 strings

Draht'saite (Ger.) Wire string. Dramatic music, i. Same as Programmusic. 2. Music accompanying and illustrating an actual drama on the

stage.

Dram'malyric

(It.).

Drama.

D.

li'rico,

a.

(tuned Ei-Ai-D-G). Compass:

drarDn.

.D. musica'le, a music-

62

DRANGEND DULCIMER.drama, opera... Z). per mu'sica, a musical drama, o^ex&. .Dratnmaticadramatically. .Drainma'tico, men'te,. .

endlessbraces,

or

cord tightened by leathern by a system of rods and

dramatic.

Drang'endhurrying.

(Ger.)

Pressing, hastening,

Dra^7-stop.

In the organ, one of the projecting knobs within easy reach of the organist, which, when drawn out, shift the corresponding slides so as to admit wind to the grooves communicating with a set of pipes or a combination of stops, or else effect a coupling. Draw-stop action, the entire mechanism controlled and set in operation by the draw-stops.(Ger.) An obsolete variety of waltz resembling the Ldndler, of Bohemian or Austrian origin, in 3-8 or 3-4 time.(Ger.)

Dreh'er

screws. The two chief classes of drums are the rhythmical (those employed to vary and emphasize the rhythm), and the musical (those capable of producing a mus. tone distinct in pitch). The commonest forms of the first class in modern use are (i) The side-drum (Ger. Trommel; Br. tambour; It. tavibura); it has a cylindrical body of wood or metal, and 2 heads, is slung across the left thigh, and only the upper head is beaten with the 2 drumsticks when gut strings (snares) are stretched across the lower head, the instr. is The bass called a snare-drum. (2) drum (Ger. grosse Trommel; Fr. grosse:

Dreh'orgel Drei (Ger.)for 3.

A

barrel-organ.(a)

'Y)\xt.e....Drei'chdrig,

choirs ; (l>) trichord (said of a pfte.). .Drei'gestrichen, 3-lined, thriceaccented. .Z'm'i/aH^, a triad... Drei'stimmig, three-part, in 3 parts, voices. for 3.

form to I, but much larger, and beaten on one or both heads with a stick having a soft round knob at the end. (3) See Tambourine .. .Tht so\s representative of the second class is the Kettledrum (which see).

caisse; It. similar in

gran

cassa,

gran tambura),

Duc'tusstepwised.

(Lat.)

progression;

Drit'ta (It.) See Diritta. Driving-note. Syncopated note.solete.)

ascending circumcur'rens, then descending.

of tones in as d. rec'tus, d. rever'tens, descending ;series;

A

first

ascending and

(Obdroite,

Droit(e) (Fr.)right

Right ... AfazM

Du'delsack (Ger ) Bagpipe. Du'e (It.) Two...^ due, signifiesfor

(l)

hand

(abbr. m. d.)

Drone.

(Ger. Stim'mer, Bordun' ; Fr. bourdon; It. bordo'ne.) In the bagpipe, one of the continuously sounding.

as a due voci, for 2 parts or (2) both together (see Divisi). ..Due corde, "two strings"; see Cor da .. .Due volte, twice . / due pedale, both (pfte.-) pedals at once.

two;

;

voices

.

.

(Also see pipes of constant pitch. Drone-bass.). .Drone-bass, a bass on the tonic, or tonic and dominant, which is persistent throughout a movement or piece, as in the Musette 2. .Dronepipe, same as Drone..

Driick'balg (Ger.)

Concussion-bellows.

Duet'. (Ger. Duett'; Fr. duo; It. duefto.) I. A composition for 2 voices or 2 perinstr.s. 2. A composition for formers on one instr., as the pfte. 3. A composition for the organ, in 2 played on a separate parts, each to be manual.

A Duetti'no (It., dimin. of duetto.) short and simple duet. Drucker Dulcian' (Ger.) See Dolcian. an effect. Dulcian'a. i. An organ-stop having Drii'cker (Ger.) See Siecher. metal pipes of narrow scale and yieldDruck'vsrerk (Ger.) An organ-action ing a somewhat sharp, thin tone. 2. A 3. A small operating by the pressure of stickers on reed-stop of delicate tone. bassoon. the remoter parts of the mechanism. (See Zug'cuerk.) Dul'cimer. (Ger. Hack'breit; Fr. iyinDruck'er(sometimesspecially brilliant forced) effect einen auf'setzen, to bring out such

(Ger.)

A

a

;

Drum.

An

instr.

of percussion, consist-

panon

ing of a hollow body of wood or metal, over one or both ends of which a membrane (the head) is stretched tightly by means of a hoop, to which is attached an

; It. cem'balo.) very ancient stringed instr., greatly varying in construction and form typical characteristic, the wire strings stretched over a soundboard or resonance-box and struck;

A

.

DUMB PIANO DURUS.with mallets or hammers. In the modern forms the string-tension is regulated by wrest-pins, and the mallet-heads have one soft and one hard face, which produce different effects ^ Iff:)2 -& fi^Eg^: The dulcimer was the precursor, and is often called" the prototype, of the pianoforte. See Panialon. of tone.to 3 octaves,

63

Dur

(Ger.)(Fr.)

Major.

Dur,-e

Harsh, unpleasing in tone.(It.)

Duramen'te

Sternly, harshly.

Durch'fiihrung fGer.) In a general sense,the mus. construction or working-out of a movement ; specifically, the development of a theme, as in the fugue or sonata. (See Development, Form.)

Compass

g to

$

Durch'gang

(Ger.

;

Dumb

piano.

An

" passage " or progression

Lat. tran' situs.) The of one prin.

instr.

like

a small

piano in form, having a keyboard of narrow compass, but neither hammers nor strings intended for silent fingerpractice, i. e. merely for increasing the mechanical dexterity of