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IOTIONARY
MUSICAL TEEMS
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DUDLEY BUCK,
V 3LISHED BY DITSON & CO.,
BOSTON. NEW YORK, AND PHILADELPHIA.
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Professor m. s. /Dilner
BUCK'S
NEW AND COMPLETE
DICTIONARY
MUSICAL TEEMS.
BY
DUDLEY BUCK.
PUBLISHED BY DITSON & CO.,
BOSTON, NEW YORK, AND PHILADELPHIA.
ML
\ 0*
6*3
furnish a MUSICAL DICTIONARY which should be full and
complete, and at the same time of moderate dimensions, has
been the aim of
THE COMPILER.
Entered according to Act of Congress, in the year 1873,
BY G. D. RUSSELL & CO.,
Im tfc* Office of the Librarian of Congress at Washington.
BUCK'S
MUSICAL DICTIONARY.
AGO.
/V (Ita.) To, for, by, at ; the alphabetical name given to the
sixth note of the scale of C in ascending, and termed La;
the open note of the second string of the violin, by which its
other strings are tuned and regulated ; the name of one of the
two natural modes.
A 2. (/to.) For two voices or instruments; A 8, for three
voices ; A 4, for four voices ; and so on.
Abandono ed Expressione, Con. (7te.) With self-aban-
don and expression.
Abendlied. (Crer.) Evening song or hymn.
Accel, (//a.) An abbreviation of Accelerando.
Accelerando. (Ita.) With gradually-increasing velocity of
movement.
Accent. A stress or emphasis upon a note or passage, to mark
its place and relative importance in a composition.
Accidentals. Sharps, flats, and naturals used to change the
sound of letters, as the chord, of which these letters are a part,
may require. They affect the sound of the letters upon which
they are set no farther than the compass of the bar in which
they are enclosed.
Accom. ad Lib. An abbreviation of Accompaniment ad libi-
tum.
I
6 AFP.
Accompaniment ad Libitum. Use the accompaniment or
not, at pleasure.
Adag. An abbreviation of Adagio.
Adagietto. (Ha-) Somewhat adagio.
Adagio, (/to.) The second degree, from slow to quick ; noting
a performance not only slow, but graceful and embellished ;
tender and plaintive in style.
Adagio Assai. (/to-) Extremely slow and expressive.
Adagio Cantabile e Sostenuto. (/'a.) The air or move-
ment to be executed in a slow time, with graceful, ornamental,
and sustained expression.
Adagio Molto. (/to.) Very slow and expressive.
Adagio non Troppo. (/to.) Not too slow.
Adagio Patetico. (/'a-) In a slow time, and with plaintive
expression.
Adagio poi Allegro, (-fro.) Slow, then quick.
Adagio quasi una Fantasia. (/to.) An adagio similar to
a fantasia.
Adagiosissimo. (/to.) Very slow.
Adagio Sostenuto. (/'«•) A, sustained adagio.
A Demi Voix. (Fre.) With moderate tone. (Half voice.)
A Deux. (-Fre.) For two voices or instruments.
A Deux Temps. (Fre.) Two equal times or measure-notes
in a bar ; common time.
Ad Lib. An abbreviation of Ad libitum.
Ad Libitum. (Lat.) At will, or discretion ; the time left to
the pleasure of the performer ; liberty to introduce whatever
embellishments fancy may suggest.
A Due. (/'a-) For two voices or instrument!.
A Due Corde. (/to.) Upon two strings.
A Due Soli, (/'a.) For two solo voices.
A Dur. (Gcr.) The key of A major.
^Esthetics. (Grk.) The philosophy of musical art ; that de-
partment of musical study which pertains to the sentiment, ex*
prcssion, and power of music over the mind.
Affetto, Con. (/to.) With tenderness and pathos.
ALF. 7
Affettuosamente. (/to.) Tenderly, plaintively.
Affettuoso. (Ita.) A soft and delicate style of performance.
Affettuoso di Molto. (/to.) With much feeling.
Afflizione, Con. (/to.) With sadness.
Agevolezza. (/to.) Lightness.
Agilita, Con. (/to.) With agility ; with rapidity.
Agilimente. (/to.) Lively ; with gayety.
Agitato, (/to.) With agitation ; excitedly.
Agitato Allegro. (/to.) A rapid and perturbed style of
performance.
Agitato un Poco. (/to.) With slight agitation.
Agitazione, Con. (/to.) With agitation.
Agnus Dei. (ia<.) One of the principal movements of the
mass.
A Grand Orchestre. (Fre.) For the entire or complete
orchestra or band.
AigU. (Fre.) Shrill.
A in Alt* The A placed on the first added line above the
staff; treble cleff.
A in Altissimo. An octave above A in Alt.
Air Irlandais. (Fre.) An Irish air.
Air Italien. (Fre.) An Italian air.
Airs Russes. (Fre.) Russian airs.
Airs Tendres. (Fre.) Airs or songs characterized by a ten-
derness of style ; amatory songs.
Air Varie. (Fre.) An air with variations.
Ais. (Ger.) A sharp.
Al. (/to.) To the ; in the style of.
A la Mesure. (Fre.) In time ; synonymous with the Italian
words A tempo.
A la Polacca. (/to.) In the style of the Polish music ; simi-
lar in rhythm to the Polonaise movement.
Al Fine, (/to.) To the end.
Al Fine e poi Coda, (/to.) At the close of the piece, per-
form the coda.
8 ALL.
All'. An abbreviation of Alia.
Alia, (//a.) To the ; in the style of.
Alia. Breve, (/fa-) A term employed to indicate a quick
species of common time, formerly used in church music.
Alia Camera, (/'a*) In the chamber style.
Alia Capella. (/<a.) In the sacred or church style.
Alia Marcia. (//a.) In the style of a march.
Alia Militaire. (/'a-) In a martial style.
Alia Morisca. (/'a-) In the Moorish style.
Alia Roverscio. (/'«•) In contrary or reverse movement
Alia Siciliana. (/'«•) In the manner of Sicilian dance
music.
Alia Stretta. (/'«•) Increasing the time ; accelerating the
decree of movement.
Alia Tedesca. (/to.) In the German style.
Allegramente. (//a.) With quickness.
Allegrante. (/'a-) Joyous; mirthful.
Allegretto. (/'a.) Cheerful, but not so quick as allegro.
Allegretto Scherzando. (/'a.) Moderately playful and
vivacious.
Allegrezza, Con. (//a.) With cheerfulness.
Allegro, (/'a-) Quick; lively; a rapid and vivacious move-
ment, but frequently modified by the addition of other words.
Allegro Agitato. (/<«•) Quick, with anxiety and agitation.
Allegro Appassionato, (-fro-) Vehemently joyful; with
passion.
Allegro Brillante. (/to.) An allegro intended for a brilliant
style of execution.
Allegro Comodo. (/to.) With a convenient degree of quick*
ness.
Allegro con Brio. (/<«•) Quick, with brilliancy.
Allegro con Puoco. (/'a.) Quick, with fire and agitation.
Allegro con Fuocoso. (/'a.) Very animated.
Allegro di Bravura, (//a-) Quick, dashing, and brilliant.
Allegro Furioso. (/fa.) Quick, with fury.
Allegro, ma Grazioso. (/'a.) Quick, but gracefully.
ALT. 9
Allegro, ma non Presto. (Ita.) Quick, but not to excess.
Allegro, ma non Troppo. (Tito.) Quick, but with modera-
tion.
Allegro Moderato. (/to.) Moderate allegro.
Allegro Molto. (/to.) Extremely quick.
Allegro non Molto. (/to.) Not very quick.
Allegro non Tanto. (/to.) Not too quick.
Allegro Veloce. (/to.) Quick to absolute velocity.
Allegro Vivace, (/to.) With vivacity ; rapidly.
Allegro Vivo, (/to.) With great life and energy.
Allemande. (Fre.) A slow dance or melody in common time
of four crotchets in each measure.
AH' Improvista. (/to.) Unpremeditatedly ; in the style of
an improvisation.
Allo. (/to.) In the style of; an abbreviation of Allegro.
Al Loco, (/to.) A term referring the player to some previ-
ous place in the piece.
All' Ongarese. (/to.) In the Hungarian manner.
All' Ottava. (/to.) In the octave ; an expression in scores
directing one part to play in the octave above or below another.
All' Ottava Alta. (/to.) In the octave above.
AH' Ottava Bassa. (/to.) In the octave below.
AIT Roversico. (/to.) By a contrary or opposite movement.
All' Unisono. (/to.) In unison, or occasionally in octaves.
All' 8va. An abbreviation of All' ottava.
Al Hovescio. (/to.) In reversed order.
Al Segno, (/to.) An expression signifying that the performer
must return to a sign of repeat in the course of the movement,
and play from that place to the word fine, or a mark over a
double bar.
Alt. (/to.) High ; an expression applied to those notes which
lie between F, on the fifth line in the treble staff, and G, on the
fourth ledger line above.
Altissimo. (/to.) Extremely high as to pitch ; a term applied
to all notes situated above F in alt ; i.e., those notes which are
more than an octave above F on the fifth line in the G, or treble
cleff.
10 AND.
Alto Clef. The C cleffon the third line of the staff.
Amabile. (/'a-) Amiably.
Amabilita. (/'«•) In an amiable or affectionate manner.
Amabilita, Con. (/'a.) With amiability.
Amarezza. (//a-) Bitterness and affliction.
Amarezza, Con. (//a.) With sorrow.
Amateur. One versed in, or a lover of, music, but not engaged
in it as a profession.
American Fingering. The use of the sign X to indicate
the thumb in piano-playing, in distinction from the German or
foreign fingering, in which the thumb is called the first finger.
A MolL (Ger.) The key of A minor.
Amore, Con. (/to.) With tenderness and delicacy.
Amorosamente. (/to.) In a tender and affectionate manner.
Amoroso, (/to.) To be performed in a soft, delicate style.
Anche. (Fre.) The reed or mouth-piece of the clarinet, oboe,
or of any other instrument formed of tubes or pipes.
Anche d'Orgue. (Fre.) A reed stop of an organ.
Andante, (/'a.) A slow and distinct movement
Andante Affettuoso. (/to ) Slow, and with much pathos.
Andante Amabile. An andante expressive of affection.
Andante Cantabile. (/to.) Slow, and in a pleasing, melodi-
ous style.
Andante, Con Moto. (/to.) Slow, but faster than andante.
Andante Grazioso. (/to.) Slow, but gracefully.
Andante Largo, (/to.) Slow, distinct, and exact.
Andante Maestoso, (/to.) Slow, and with majesty.
Andante ma non Troppo, e con Tristezza. (/to.) Not
too slow, but with pathos.
Andante, non Troppo. (/to.) Slow, but not in excess.
Andante Pastorale, (/to.) Slow, in a simple and pastoral
style.
Andante, piu tosto Allegretto, (/to.) Andante, or ra-
ther allegretto.
Andante, quasi Allegretto, (/to.) Andante nearly ai
rapid as allegretto.
ABI. H
Andantino. (//a.) A little slower than andante.
Andantino Sostenute e Semplicemente, il Canto un
poco piu Forte. (Jta.) In' a sustained and simple style,
with the melody somewhat louder than the other notes.
Anirna, Con. (/'a-) With animation and feeling.
Animato. (^a.) Performed with boldness and spirit.
Answer. To act reciprocally, as the strings of an instrument
to the hand ; in fugue, the response of one voice or part to a
subject announced in another voice or part.
Antiphone. (Grk.) Responses made by one part of the choir
to another, or by the congregation to the priest, in the Roman-
Catholic service.
Appoggiatura. (^a-) A note of embellishment generally
written small, intended to soften and smooth the effect of cer-
tain distances, and by causing the dwelling upon a note of any
chord to retard the completion of the subsequent harmony.
A Prima Vista. (/<«•) At first sight.
A Quartre Mains. (Fre.) For four hands; for two per-
formers on one pianoforte.
A Quatro. (Jta-) For four voices or instruments.
Arco. (Jta.y The bow ; in violin music, a term denoting that
the bow is again to be used, instead of applying the fingers to
the strings.
Ardente. (/'a.) With fire.
Ardito. (/ta«) Boldly ; energetically ; with emphasis.
Aria. (^-) An air or song.
Aria Buffa. (/'«•) A comic air, or humorous song.
Aria Concertata. (/'a-) An air with elaborate orchestral
accompaniments; a concerted air.
Aria di Bravura, (/'a-) A bold, spirited air, the passages of
which are marked by a striking, heroic style.
Aria di Cantabile. (/<a.) An air in a graceful and flowing
style ; elegant, graceful, and replete with feeling.
Aria Fugata. (//a.) An air, the accompaniments to which
are written in the fugue style.
12 ATR.
Arietta. (/to.) A short air or melody.
Arietta alia Veneziana. (/to.) Airs in the style of th«
Venetian barcarolles.
Ariette. (Fre. and Ita.) An arietta ; a cavatina ; a small song.
Arioso, (/to.) In the style of an air ; vocal ; melodious ;
graceful.
Armonioso. (//a. and Spa.) Harmonious ; sonorous.
A Rovescio. (/to.) Reversed ; in an opposite direction.
Arpa. (/to., Spa., and For.) A harp.
Arpeggiando. (/to.) A word implying that the notes of a
chord must be played in quick succession, generally from the
lowest note to the highest, in imitation of the harp.
Arpeggiato. (/to.) This term implies that the passage, or
movement, against which it is placed, is to be performed in the
style of harp music.
Arpeggio, (/to.) A rapid succession of the general notes
composing any chord.
Arrangement. That extension, or selection and disposal, of
the movements and parts of a composition, which fit and ac-
commodate it to the powers of some instrument or instruments
for which it was not originally designed.
As. (Ger.) A flat.
As Dur. (Ger.) A flat major.
As Moll. (Ger.) A flat minor.
Assai. (/to.) Very ; in a high degree.
Assoluta Prima Donna. The principal soprano of an opera
company.
A Tempo, (/to.) In time ; a term used to denote, that, after
some short relaxation or deviation in the time, the performer
must return to the original degree of movement
A Tempo GiustO. (/to.) In strict and equal time; in a
manner.
A Tempo Ordinario. (/to.) In an ordinary or moderate
degree of movement.
A Tre. (/to.) For three voices or instruments.
A Tre Soli, (/to.) For three tolo voice*.
BAR. 13
A Tre Soprani, (/fa.) For three trebles.
Attacca. (/to.) Implies that the performer must directly com-
mence the following movement.
Attacca 1' Allegro, (/to.) The allegro is immediately to
follow.
Attacca Subito. (/to.) Commence at once the movement
that follows.
Atto. (/to.) An act ; a division of an oratorio, opera, or play.
Aubade. (Fre.) A morning concert given in the open air.
Audace, Con. (/to.) With boldness.
Avec Allegresse. (Fre.) Lively ; with sprightliness.
Avec Ame ou Gout. (Fre.) With feeling or grace.
Avec Feu. (Fre.) With spirit.
Avec Force. (Fre.) With force.
Avec gout. (Fre.) With taste.
TDACHELOR OF MUSIC. The first musical degree
taken at the universities.
Bagatelle. (Fre.) A small musical composition.
Ballata. A ballad, the melody of which is designed to regulate
the measure of a dance.
Ballet. (Fre.) A theatrical representation of some story or
fable, of actions, characters, sentiments, and passions, by means
of mimic movements and dances, accompanied by music.
Ballet-Master, (/to.) The artist who superintends the re-
hearsals and performance of the ballet, and not unfrequently
invents the fable and its details.
Barcarola. (Ita.) A barcarolle ; a boat-song.
Barcarolles, (/to.) Airs sung by the Venetian gondoliers, or
boatmen, while following their avocations.
Baritone. The lowest but one of the six registers into which
the scale of the human voice is commonly divided.
Baritone Voice. A male voice intermediate in respect to
pitch between the bass and tenor, the compass usually extending
from B flat to F, one octave and a fifth.
Baritono. (/to.) Baritone.
14 BUB\
Bass, Ground. A bass which starts with some subject of il
own, and continues to be repeated throughout the moveraen
while the upper part or parts pursue a separate air, and suppl
the harmony.
Bassi. (I'a.) A term implying the entrance of the bass instm
ments.
Basso Buffo. (Ita.) The first bass singer in a comic opera.
Basso Cantante. (Ita.) The first bass singer in a seriou
opera.
Basso, Contra, (/'a-) The double bass.
Bass, Thorough. The art by which harmony is suporadde
to any proposed bass ; the fundamental rules of musical compc
sition ; harmonic science.
Begleitung. (Ger.) An accompaniment.
Bemol. B flat ; a semitone below B natural.
Ben. (Ita.) Well.
Bene. (Ita.) Excellent; good.
Ben Marcato. (Ita.) Well marked ; the passage must be ei
ecuted in a clear, distinct, and strongly accented manner.
Ben Marcato il Canto. (Ita.) Mark well the melody.
Bewegft. (Ger.) Moved ; rather fast.
Bluette. A short, brilliant piece.
B Moll. (Ger.) The key of B flat minor.
Bourdon. (Fre.) A drone bass ; a deep, unchangeable sound
accompanying a melody or series of notes moving above it ; th<
drone of a bagpipe ; one of the lowest stops in the organ.
Brats che. (Ger.) The tenor violin.
Breve. A double " whole " note.
Breve, Alia. (Ita.) A term used to indicate a quick specie
of common time, formerly employed in church music.
Brio. (Ita-) Briskness ; spirit ; animation ; brilliancy.
Brio ed Animate, Con. (Ita.) Animated, and with bril
liancy.
Brioso. (Ita.) With brilliancy and spirit.
Buffa. (Ita-) Comic ; a singer who takes the light and humor
ous parts ; a light, comic opera.
CAN. 16
Buffo, (-fro-) Ludicrous ; in the style of bufia.
Buffo Cantante. (//a.) A singing buffo ; a character in an
opera combining comic singing and acting.
Burlando. (Ita.) In a jesting and playful manner.
Burlescamente. (!&•) Facetious; droll. •
Burlesco. (/'a.) With extravagant and burlesque humor.
Burletta. (/'a-) A light species of musical drama, somewhat
in the nature of the English farce.
/CADENCE. A close in melody or harmony, either terminat-
ing the piece, or dividing it into periods.
Cadenza. (Ita.) A cadence, or close, at the termination of a
song or other movement introducing some fanciful and extempo-
raneous embellishment.
Calando. (Ita.) Gradually diminishing in tone and quickness,
becoming softer and slower by degrees.
Calma. (/'a-) Repose or tranquillity.
Calma, Con. (Ita.) With calmness.
Calmato. (Ita,) Calmed ; quieted ; at rest.
Calo. An abbreviation of Calando.
Galore. (Ita.) Much warmth and animation.
Caloroso. (Ita.) Warmly; animated.
Camera Musica di. (Ita.) Chamber music.
Campanella. (Lot.) A little bell.
Canon. A vocal composition in two or more parts, so constructed
as to form a species of uninterrupted imitation.
Canone. (Ita.) A canon or catch for several voices or instru-
ments.
Cantab ile. (Ita.) In a melodious, graceful, and singing style;
a performance smooth, elegant, and replete with feeling.
Cantando. (Ita.) In a melodious, singing manner.
Cantata. (Ita.) A species of composition consisting of an in-
termixture of air and recitative; any elaborate vocal composi-
tion not having a more specific name.
Cantatrice. (Ita.) A female singer.
Canticle. A hymn, or divine song.
16 CAP.
Cantilena. (#«•) The melody, air, or principal part, in an]
composition, — generally the highest vocal part; in ancien
times, secular music.
Cantilene. (Fre. and /to.) Cantilena ; melody.
Cantiuncula. (Lot.) A ballad, a catch.
Canto, (/'a-) The highest vocal part in choral music ; in an
cient church music, the soprano voice, or part.
Canto Clef. The C clef when placed on the first line.
Canto Fermo. (//a-) A chant or melody of the Romist
Church, anciently adopted as a standard melody ; any subjec
consisting of a few long, plain notes, given as a theme for coun
terpoint.
Cantor, (-fta-) A singer ; a leader.
Cantoris. (/'«•) A term used in cathedral music to indicate
the passages intended to be taken by those singers who an
placed on that side of the building where the cantor or precen
tor sits.
Cantus Ambrosianus. (Lot.) The melody or chant intro
duced into the Church by St. Ambrose.
Cantus Gregorianus. (Lot.) Gregorian chant; the cham
established by St. Gregory.
Canzone. (/'«•) An air in two or three parts, with passage
of fugue and imitation ; a kind of lyric poem, adapted, witl
some alteration, from the poetry of the troubadours, and intro
duced into Italy in the thirteenth century.
Canzonet, (^a-) A short canzone, or song.
Canzonetta. (/to-) A short song, expressive of delicate sen
timent,
Capellmeister. (Ger.) The leader of an orchestra, especially
in the service of a prince or great personage.
Capella, Alia. (/'«•) In the church style-
Capriccietto. (/'a-) A short capriccio.
Capriccio. (/'«•) A fanciful and irregular species of compo
sition ; a fantasia.
Capricciosamente. (/'a.) With a droll, comical manner of
delivery.
CHA. 17
Capriccioso. (//a.) Fanciful ; capricious ; humorous.
Caprice. A fanciful and irregular form of composition.
Carezzando. (/to.) In a caressing or coaxing style.
Carezzevole. (/to.) Caressingly ; in a persuasive style.
Carillon. (.fVe.) A melody for chimes.
Carillons. ( JFVe.) Chimes, consisting of a set of bells tuned to
the various degrees of the scale, on which airs are played by
clock-work, or by means of keys like those of the pianoforte ; an
air composed for chimes.
Carita. (/to.) Tenderness.
Carita, Con. (/to.) With tenderness.
Cassa Grande, (/to.) The great drum in military music.
Catch. A humorous composition for three or four voices, so con-
trived that the singers catch up each other's sentences, thus
giving to the words a different sense from that of the original
reading.
Cavatina. (/to.) An air of one movement or part only, occa-
sionally preceded by a recitative.
Cavatine. (Fre.) A cavatina.
C. B. The initials of Col Basso and Contra Basso.
C Dur. (Ger.) The key of C major.
Celerita. (/to.) Celerity.
'Cellist. An abbreviation of Violoncellist.
'Cello. An abbreviation of Violoncello.
Ces. (Ger.) C flat
Chanson. (Fre.) A song.
Chanson Bachique. (Fre.) A drinking song.
Chansonnette. (Fre.) A short or little song.
Chantant. (Fre.) In a singing manner ; instrumental music
of a smooth, melodious style ; tuneful ; adapted to singing ; har-
monious.
Chantante, Bass. (Fre,) Any bass the notes of which flow
in a smooth and pleasing manner, forming in themselves, inde-
pendent of the superior parts, a pleasing melody.
Chant d'Allegresse. (Fre.) A song of joy.
Chant d'Eglise. (Fre.) Church singing.
2
18 COM.
Chant de Guerre. (Fre.) War song.
Chant de Noel. (Fre.) A Christmas carol.
Chant du Soir. (Fre.) Evening song.
Chef d'Orchestre. (Fre.) The conductor of an orchestra.
Chef d'CEuvre. (Fre.) A choice performance ; a masterpiece.
Chiave. (Ita.) A clef or key.
Choir Organ. In organs with three rows of keys, the first or
lowest row, being the smaller or softer toned organ, employed to
accompany the principal singers in solos, duets, &c.
Choosing Notes. Two or more notes in a passage of music,
cither of which may be taken at the option of the performer.
Ciphering. The sounding Of the pipes of an organ when the
keys are not 'ouched.
Cis. (Ger.) C sharp.
Cis Dur. ( Jer.) C sharp major.
Cis MoJl. (Ger.) C sharp minor.
C MoU. (Ger^ C minor.
Coda, (//a.) A few bars added beyond the natural termination
of « composition, for purposes of climax.
Col. (/fa.) With the.
Col Arco. (/fa.) With the bow.
Co\ Basso. (/to.) With the bass.
Gol Canto. (Ita-) With the melody or voice ; an expression
implying that the accompanist must follow the singer in regard
to time.
Coll', (/to.) With the.
Colla. (Ita.) With the.
Colla Parte. (/to.) The accompanist must follow the princi-
pal part in regard to time.
Colla Punta dell' Arco. (Ita.) With the point of the bow
Colla Voce. (/to.) With the melody or voice ; the accompa-
nist must follow the singer in regard to time.
Colofonia. (/to.) Kesin for violin, violoncello, and double
bass bows.
Come. (Ita.) As.
Come Sopra. (Ita.) As above, or before.
DAC. 19
Come Tempo del Tema. (/to.) Same movement as the
theme.
Con. (Ita.) With.
Concerted Music. Instrumental music with different parts,
in which all the instruments are equally required.
Concerto, (/to.) A composition intended to display the
powers of some particular instrument, with orchestral accompa-
niments.
Concert-Stuck. (Ger.) A concerted piece ; a concerto.
Contra-Basso. (Ita.) The double bass.
Contra Fagotto. (/to.) Double bassoon.
Contrapuntist. A musician skilled in counterpoint.
Cor Anglaise. (Fre.) English horn.
Corde. (Fre.) A string.
Cor de Chasse. (Fre.) A French horn ; hunting horn.
Corno Bassetto. (/to.) A species of clarinet a fifth lower
than the C clarinet.
Counterpoint. The combination and modulation of sounds
either consonant or allowably discordant.
Counterpoint, Double. A counterpoint which admits of an
inversion of the parts.
Courant. (Fre.) A melody, or air, of three crotchets in a bar,
moving by quavers, and consisting of two strains, each begin-
ning with the last three quavers of the bar.
Courante. (Fre.) A sprightly dance ; an old dance tune.
Cracovienne. (Fre.) A kind of dance which originated at
Cracow.
Cres. An abbreviation of Crescendo.
Cres. al Porte, or Al ff. (/to.) Increasing to loud, or as
loud as possible.
Cres. al Fortissimo, (/to.) Increasing to very loud.
T^A CAPO, (/to.) From the beginning; an expression
written at the end of a movement to indicate that the per-
former must return to and finish with the first strain, or until
*jje sign is reached.
20 DEL.
Da Capo al Pine, (//a.) An expression placed at the end
of a movement, signifying that the performer must return to the
first part, and conclude where the word " fine " is placed.
Da Capo al Segno, (/to-) Repeat from the sign.
Da Capo fin al Segno, (/to.) From the beginning to the
sign.
Da Capo senza Repetitions, e poi la Coda. (Ita.)
Begin again, but without any repetition of the strain ; and then
proceed to the coda.
Da Capo Sign. A mark placed before a certain note when
a piece is to be repeated from that note.
Dactylion. A machine for strengthening the fingers, and ren-
• dering them independent of each other in pianoforte playing.
Dal. {Ita-) From, or by.
Dall. (Ita.) From the ; of the.
Dalla. (Ita.) Of the ; from the.
Dalle. (Ita.) From the ; of the.
Dallo. (Ita.) From the ; of the.
D. C. The initials of Da Capo.
D. Dur. (Ger.) D major.
Deer. An abbreviation of Decrescendo.
Decres. An abbreviation of Decrescendo.
Decrescendo. (Ita.) Diminishing the intensity or force of
the sound.
Decrescendo sin al Pianissimo. (Ita.) Diminishing to
the softest piano.
Deliberatamente. (Ita.) With deliberation.
Deliberato. (Ita.) Deliberately.
Delicatamente. (Ita.) Delicately.
Delicatissimo. (Ita-) With extreme delicacy.
Delicato. (Ita.) Delicate.
Delivery. The adaptation, as perfectly as possible, of the mo-
tions of respiration to the emission of sound, so as to bring out
the power of the latter without carrying it to that degree of
effort which causes it to degenerate into a cry.
Delia. (Ita.) Of the ; by the.
DIV. 21
Dello. (/to.) Of the ; by the.
Des. (Ger.) D flat.
Des Moll. {Ger.) D flat minor.
Destra Mano. (//a.) The right hand.
Detache. (Fre.) Staccato; to detach.
Deuxieme. {Fre.) Second.
Devozione. C^'a-) Devotion.
Dextra. (La:.) The right hand.
Diap. An abbreviation of Diapason.
Diapason. (Lai.) In the ancient Greek system, the interval
of the octave ; the rule or scale by which the measures of musi-
cal instruments are determined ; certain stops in an organ.
Dilettante, (-fta-) A lover of music; one who, though not a
professor, is interested in the advance of musical art.
Diluendo. (Ita.) A gradual dying-away of the tone till it
arrives at extinction.
Dim. An abbreviation of Diminuendo.
Dimin. An abbreviation of Diminuendo.
Dis. (Ger.) D sharp.
DlS Moll. (Ger.) D sharp minor.
Disperato. (Ita.) Despairingly.
Distinto. (/'a-) Distinct; clear.
Di Testa. (Ita.) Of the head, in speaking of the voice.
Div. An abbreviation of DivisL
Divertimento, (//a.) A short, light composition, written in
a familiar and pleasing style.
Divertissement. (Fre.) Certain airs and dances resembling
a short ballet, introduced between the acts of the French or
Italian opera ; a composition in a light and pleasing style.
Divisi. (ItQ-) A word occasionally met with in orchestral
parts, when a passage is written in octaves or other intervals.
It implies that one-half the performers must play the upper
notes, and the others the lower ones.
Divotamente. (!«*) Devoutly.
Divoto. (//a-) Devoutly ; in a solemn style.
Divozione, Con. (Ita.) With religious feeling.
22 DOT.
Dixiemes. (Fre.) Tenths.
D. M. The initials of Destro Mono.
D. Moll. (Ger.) .D minor.
Dol. An abbreviation of Dolce.
Dolce. (/to.) A soft and sweet style of performance.
Dolce con Gusto. (/to.) In a soft, sweet style ; with taste.
Dolce e Cantabile. (/to.) Sweet ; soft ; in singing style.
Dolce e Lusingando. (/to.) With a peculiarly soft and
attractive expression.
Dolcemente. (/to.) In a sweet and graceful style.
Dolcezza. (-/to.) Sweetly and softly.
Dolciss. An abbreviation of Dolclssimo.
Dolcissimo. (/to.) With extreme sweetness.
Dolemment. (Fre.) Dolefully ; mournfully.
Dolent. (Fre.) Doleful; mournful.
Dolente. (/to.) Grieving ; mournful.
Dolentemente. (/to.) Plaintively; mournfully.
Dolentissimo. (/to.) The superlative of dolente.
Dolore. (/to.) Sorrow; grief.
Dolorosamente. (/to.) Dolorously.
Doloroso. (/to.) A soft and pathetic style of execution.
Dominant. A name given by "theorists to the fifth note of any
scale, so called from its governing the key-note in harmony.
Doppio. (/to.) Double.
Doppio Movimento. (-Tto.) Double movement or time;
that is, as fast again.
Doppio Tempo, (/to.) Double time.
Dot. A point which, when placed after a note or rest, increases
its duration by the half of its original value.
Dot, Double. Two dots placed after a note, to increase its
duration three-fourths of its original length.
Dotted Double Bar. A double bar, with dots preceding it, in-
dicating that the preceding strain is to be repeated ; a double bar,
with dots following it, indicating that the following strain is to be
repeated ; a double bar, with dots on both sides of it, indicating
a repetition of both the preceding and the following strains.
BMP. 23
Doubles. Name formerly applied to variations.
Due. (Ita.) Two.
Due Clarini. (I(a-) Two trumpets.
Due Corde. (/to.) For two strings.
Due Volte. (Ita.) Twice.
Duo. (/to.) A composition for two voices or instruments ; a
duet ; among old teachers, a composition written in the strict
style, in contrast with duetto, a more free style.
Dur. (Ger.) Major, in relation to keys and modes.
Dux. (Lat.) The subject of a fugue.
T^ THE Italian conjunction and; the third tone of the natural
scale.
E ben Marcato. (Ita.) And well marked or accented.
Eclogue. (Grk.) A select piece ; a composition in a simple,
natural style ; a pastoral poem.
Ecole. (Fr?-) A school or course of instruction.
Ecossaise. (Fre.) A dance, tune, or air, in the Scotch styla
Ed. (/(a.) And.
E Dur. (Ger.) E major.
Eglise. (Fre.) Church.
Eguale. (Ita.) Equal.
Egualianza, Con. (/to.) With equality and smoothness.
Egualmente. (/to.) .Equably; smoothly.
Einfach. {Ger.) Simple.
Einleitung. (Ger.) An introduction ; overture ; prelude.
Eis. (Ger.) E sharp.
Elegamente. )
Elegante. > (Ita.) Elegantly ; elegant.
Elegantemente. )
Eleganza. (Ita-) Elegance ; grace.
Elegia. (Ita.) An elegy.
Elegiaco. (Ita.) Elegiac ; in a plaintive, pathetic style,
Elegique. (Fre.) Plaintively; tenderly.
E MoU. (Ger.) E minor.
Empfindung. (Ger.) Emotion; passion.
24 ERN.
En Accelerant. (Fre.) Accelerating.
Encore. (Fre.) Again; once more; a word employed by the
audience, at theatres and concerts, to signify their desire that a
song or other composition should be repeated.
Enorgia. (//a.) Energy.
} (/'a° Eneigetically ; with rniich energy.
English Fingering. In pianoforte music, the use of a sign
to indicate the thumb, in distinction from the German or for-
eign fingering, in which the thumb is designated as the first
finger.
English Horn. A species of oboe, a fourth or a fifth lower
than the instrument usually known by that name.
Enharmonic. Relating to a change of notes to the eye, while,
as the same keys are employed, the instrument can mark no
difference to the ear ; pertaining to a scale of perfect intona-
tion, recognizing all the notes and intervals resulting from an
exact tuning of diatonic scales and their transposition into
other keys.
Enharmonic Modulation. A modulation produced by
altering the notation of one or more intervals belonging to
some chord, and thus changing the key and the harmony into
which the chord would naturally have resolved.
Ensemble. (Fre.) Together; at the same time ; uniformity;
harmony ; in operatic or dramatic music, the introduction upon
.the scene of all the solo i>«>rformers at the same time, together
with the chorus, in a concerted movement.
Entr'acte. (Fre.) Music played between the acts of the
drama.
Entrata. (I(a-) A prelude ; a trumpet-piece for the entry of
a procession.
Epithalamium. (Grk.) A nuptial song or ode ; a congratu-
latory poem on a marriage.
Equabilmente. (f'o-) In the same manner.
Ernst. (Ger.) Earnest; seriousness.
Ernsthaft. (Ger.) Serious.
PAN. 25
Erntelied. (Ger.) Harvest-song.
Eroica.> ((M) Heroic
Eroico. >
Es. An affix made by the Germans to the letters used to repre-
sent the notes in their natural state when they are lo be ren
dered flat.
Es Dur. (Ger.) E flat major.
Es Moll. (Ger.) E flat minor.
Espr. An abbreviation of Espressivo.
Espress. An abbreviation of Espressivo.
Espressione. (/to.) Expression.
Espressivo. (/to.) With marked expression.
Estinte. (/to.) A gradual diminishing of tone and movement.
Estinto. (/'a.) Diminishing; gradually dying away, both as
to tone and movement.
Extempore. (£a<.) Unpremeditated ; extemporaneous ;
written or performed without previous thought.
"OACILE. (Fre.) Light ; graceful ; easy.
Facilita. (/to.) Facility ; a term generally placed over
a passage in small notes intended to facilitate any difficulty.
Facilmente. (/to.) With facility ; in an easy manner.
Packeltanz. ((7er.) Torch-dance.
Fagotto, (/to.) A bassoon.
Falsetto, (/to.) Certain notes of a man's voice which are
above its natural compass, and which can only be produced
artificially.
Fandango. (.Spa.) A Spanish national dance in -| or -J time,
generally accompanied by castanets, and at times with singing.
Fanfare. (Fre.) A trumpet tune ; a flourish of trumpets.
Fantaisie. (/Ve.) A fantasia.
Fantaisie Heroique. (Fre.) A bold, glowing flight of
fancy ; a fantasia in the heroic style.
Fantasia, (//a.) A piece of music in which the author gives
himself up wholly to the caprice of his imagination, and devi-
ates from the strict rules of composition.
26 FIS.
Fantastico. (fta.) Indicative of fantastical effect*.
Fantastique. (Fre.) Whimsical ; fantastical.
F Dur. (Ger.) F major.
Fermata. (/'"•) A pause ; a bold.
Fermate. (Ger.) A general pause.
Fermato. (/'a-) Firm and decisive.
Feroce. (/'<*•) Fiercely.
Ferocemente. (//a-) Ferociously ; fiercely.
Festlich. (Ger.) Festive; gay.
Festoso. (/'a.) Merry; gay.
F. F. Fortissimo; very loud.
F. F. Possibile. (/'a.) As loud as possible.
Fieramente. (/<«•) In a bold and energetic manner ; with
vehemence.
Fiero. (//a-) Haughty ; spirited ; lively.
Fin. (Fre. sind Spa.) The end.
Fin al. (/'<*•) End at ; play as far as.
Finale. (Ita-) The last piece of any act of an opera or of a
concert ; the last movement of a symphony or sonata in the
German style.
Fine. (Ita.) The end; an expression used to indicate the
termination of a musical composition.
Fine del Aria, (ft"-) The end of the air.
Fine del Atto. (Ita.) The end of the act-
Fingering, American. The use of the sign X to indicate the
thumb in piano-plaving, in distinction from the German or for-
eign fingvmng, in which the thumb is called the first finger.
Fingering, English. American fingering.
Fingering, Foreign. German fingering.
Fingering, German. A method of marking the fingering of
piano-music which designates the thumb as the first finger.
Fioritura. (f(a-) Embellishments in singing ; divisions of
rapid notes.
Fis. (Ger.) F sharp.
Fis Dur. (Ger.) F sharp major.
Fis Moll. (Ger.) F sharp minor.
FUG. 27
Flautando. (/to.) With a flute-like tone; a term sometimes
met with in violin music, the desired quality of tone being
obtained by drawing the bow smoothly and gently across the
strings over that end of the finger-board nearest the bridge.
Flauto. (Ita.) A flute.
Flebile. (//a.) In a mournful style.
Flebilmente. (/fa.) Mournfully.
Flessibilita. (/to.) An easy, free, flexible mode of execu-
tion.
Florid. Ornamental ; figured ; embellished, either in composi-
tion or performance.
Focoso. (//a.) With fire ; a word which, when placed over
a movement or passage, signifies that it is to be sung or played
with spirit.
Forte, (/'a-) A word implying that the passage over which
it is placed is to be sung or played loudly.
Fortement. (Fre.) Loudly; with energy and vigor.
Forte, Mezzo, (//a.) Rather loud.
Forte Piano, (/ta-) A term denoting that a tone is to be
struck forte (loud), and then continued piano (soft).
Fortissimo. (/*«.) Very loud.
Forz. An abbreviation of Forzando.
Forza. (//a.) Force.
Forzando. (7m.) A word designating a tone produced sud-
denly and forcibly, and instantly diminished ; indicated by a
mark over each note of the passage, or by the letters sf or fz
at the commencement of the passage.
Forzato. (//a.) Force.
Pp. and fp. The initials of Forte Piano.
Fuga. (//a.) Fugue.
Fuga Autentioa. (/to.) A fugue in which the leading notes
ascend.
Fuga Doppia. (/to.) Double fugue ; a fugue with two sub-
jects.
Fugato. (Ita.) In the style of a fugue.
FugQ. (Ger.) Fugue.
28 QON.
Fughetta. (It a.) A short fugue.
Fugue. A form of composition peculiar to the strict or contra-
puntal style, in which a subject is proposed by one part, and
answered by other parts, according to certain rules.
Fugue, Double. A fugue on two subjects.
Full Score. A complete score of all the parts of a composi-
tion, whether vocal or instrumental, or both combined.
Funebre. (Fre. and Ita.) Funeral.
Fuoco. (Ita.) Fire; animation.
Fuocoso. (Ita.) Extremely spirited.
Furiosamente. (Ita.) Furiously.
Furioso. (//a-) Furious ; vehement.
Fz. An abbreviation of Forzando, or Forzato.
/"^.AIEMENT. (Fre.) A gay, spirited manner.
Gamut. The scale of notes belonging to any key ; the
lines and spaces on which notej are placed.
Gavot. A lively dance or tune consisting of two strains, in
common time, each of which is played twice.
Gavotta. (Ita.) A gavot.
Gigue. (Fre.) A jig; a lively species of dance.
Giocosamente. (Ita.) Facetiously; sportively.
Giocoso. (Ita.) Humorous; sportive.
Giojoso. (Ita.) Joyously ; with buoyant hilarity.
Gis. (Ger.) G sharp.
Gis Moll. (Ger.) G sharp minor.
Giustamente. (Ita-) Justly; with precision.
Giustezza. (Ita-) Precision.
Giusto. (Ita.) In an equal, steady, and just time.
Glissade. (Fre.) Gliding ; the act of passing the fingers in a
smooth, unbroken course over the keys of a piano ; to slide the
thumb over the keys.
Glissando. (Ita.) In a gliding manner.
G Moll. (Ger.) G minor.
3-ondellied. (Ger.) A gondolier song.
Gondolier Songs. Songs composed and sung by the Vene-
HAU. 29
tian gondoliers, of a very graceful and pleasing style ; barca-
rolles.
Gracieux. (Fre.) Graceful.
Gracioso. (Spa.) Graceful.
Graduellemente.. (Fre.) Gradually.
Grand Cassa. (Ita.) The double drum.
Grandioso. (Ita.) In a noble and elevated style; great,
magnificent, either in composition or performance.
Grand Jeu. (Fre.) The full organ in organ playing.
Gran Tamburo. (Ita.) Great drum.
Grave. (Ita.) A slow and solemn movement; a deep, low
pitch in the scale of sounds ; a dignified mode of delivery.
Gravemente. (Ita.) With gravity ; dignified and solemn.
Gravita. (Ita-) Gravity.
Grazia. (Ita.) In a flowing style.
Graziosamente. (Ila.) In a flowing and graceful style.
Grazioso. (Ita.) A graceful style ; with smoothness and ele-
Gregorian Chant. A style of choral music, according to the
eight celebrated church modes introduced by Pope Gregory in
the sixth century, and incorporated by Charlemagne into the
liturgy of the Roman-Catholic Church A.D. 789.
Gruppetto. (Ita.) A group of notes ; a turn.
TT THE seventh degree in the diatonic scale, and used by the
* Germans for B natural.
Harmony, Close. A harmony whose tones are compact, and
nearly allied in regard to pitch.
Harmony, Dispersed. A harmony in which the notes form-
ing the different chords are separated from each other by rela-
tively wide intervals.
Haupt. (Ger.) Principal.
Hauptmanual. (Ger.) The set of keys belonging to the
great organ.
Hauptwerk. (Ger.) The great organ.
Haut. (Fre.) Acute; high; shrill.
30 IMP.
Heiter. (Get.) Lively; merry.
Hidden. A term applied to octaves and fiftLs when the
arrangement of the chords makes it seem to the ear that those
intervals immediately follow each other ; though, taking the
composition as it appears to the eye, they do not.
H Moll. (Ger.) B minor.
Hold. A short curved line drawn over a point, to indicate a
prolongation of time cither on a note or rest.
TDYL. A short pastoral hymn or poem.
Idylle. (Fre-) A short, idealized composition ; an idyl.
H. (Ha.) The.
H Colorito. (/'«•) A term used in reference to dramatic
singing, to denote the adaptation of the performance to the
character represented.
Imitando. (/'a.) Imitating.
Imitando la Vooe. (^a-) Imitating the inflections of the
voice; a phrase employed to direct the instrumental performer
to imitate the style of the vocal performance.
Imitation. The technical term for a studied resemblance of
melody between the several passages of the harmonical parts of
a composition ; a likeness in which only the motion, or the gen-
eral figure lormed by the notes, is imitated, without preserving
the exactness in the corresponding intervals required by the
rigorous rules of fugue and canon.
Imitato. (Ita.) Imitation.
Imitazione. (/'«•) A particular style of composition,
wherein each part is made to imitate the other.
Imperio3O. (Ito.) Authoritative ; imperative ; commanding.
Impeto. (//«•) Impetuously.
Impetuosamente. (//a-) Impetuously.
Impetuosita. (Ita.) Impetuosity.
Impetuoso. (/'«•) Impetuous.
Impressario. (Ita.) The manager of an opera or concert;
a stage-uiauager.
JUS. 31
Impromptu. (Fire.) An extemporaneous production ; a per-
formance given without preparation.
Improvisamente. (/to.) Extemporaneously.
Improvisata. (/to.) An extempore composition.
Improvisation. (.Fre.) The act of singing or playing, or of
composing vocal or instrumental music without preparation,
the act of improvising ; extemporaneous performance.
In Alt. Notes situated above F on the fifth line of the treble
staff.
In Altiss. (//a.) An abbreviation of In Allissimo.
In Altissimo. (//a.) A term applied to all notes which run
higher than F above the third additional line in the treble.
Indeciso. (//a.) Undecided ; a term indicating slight changes
of time, and a somewhat capricious value of the notes.
Inflnito. (/to.) Perpetual, as a canon whose end leads back
to the beginning.
Innig. (Ger.) Sincere; cordial.
Innocente. (/to.) Innocent ; simple.
Innocentemente. (/to.) In a simple and artless manner.
Innocenza. (/to.) Simplicity; innocence.
Insensibilmente. (/to.) Insensibly ; by small degrees.
In Tempo, (/to.) In time.
Intrata. (/to.) A martial air performed at a triumphal en-
trance of an army or procession ; a prelude.
Introduzione. (/to.) An introduction.
Introit. (Fre.) The entrance or beginning of the mass in the
Roman-Catholic Church ; a passage of Scripture sung or chanted
when the priest enters within the rails of the altar ; a vocal
composition appropriate to the opening of church service.
Istesso. (/to.) The same.
Istesso* Tempo, (/to.) The same time.-
JAEGER CHOE. (Ger.) Hunting-chorus.
Jeux Forts. (Fre.) The loud stops in organ-playing.
Jubiloso. Joyful.
Justo, Con. (/to,) With exact precision.
32 LAB.
TT'ECK. (Gcr.) Pert; fearless; bold.
Kettle-Drum. A spherical-shaped ketle or basin of
brass, over the top of which is drawn a parchment or skin, and
used in pairs, one of which is tuned to the key-note, the other
to the fifth of the key.
Klagend. (Ger.) Plaintive.
Kraft. (Ger.) Power; strength.
Kriegerisch. (Ger.) Warlike; martial.
~T IN pianoforte music, indicates the use of the left hand.
"^' Lagrimando. (/'a.) Weeping; tearful; a sad, pathetic
style of expression.
Lagrimoso. (Ifa-) 1° a mournful, dolorous style.
Lamentabile. (//a.) Plaintive ; lamentable.
Lamentabilmente. (Ila-) Mournfully.
Lamentabondo. (ft<*-) Mournful ; rueful.
Lamentazione. (fta.) A lamentation.
Lamentevole. (//a.) Plaintively.
Lamentoso. (Ita-) Lamentable.
Landler. (Ger.) A country dance or air in a rustic and popu-
lar style, generally in -| time.
Langsam. (Ger.) Slowly.
Languemente. (/'«•) Languishingly.
Languendo. (/'«•) Languishing.
Languente. (//a-) With languor.
Languido. (/<«•) With languor.
La Prima Volta. (Ita.) The first time.
Largamente. (/to.) In a full, free style.
Largamento. (/'a-) In a full, free, broad style of perform-
ance.
Larghetto. (Ita.) A slow and measured movement, but less
so than that of largo.
Largo. (Ita.) A very slow and solemn degree of movement,
one degree quicker than grave, and two degrees quicker than
adayio.
Larmoyant. (Fre.) Weeping ; tearfully ; -with a sad expres-
sion.
LIE. 33
La Stretta. (/to.) A term designating that portion or pas-
sage to be given in quicker time.
Lebhaft. (Ger.~) Lively ; vivacious.
Ledger Lines. Ledger lines ; lines added above or below the
five composing the staff for the reception of such notes as are
too high or too low to be placed upon or within it.
Legatissimo. (/to.) Very smoothly connected.
Legato. (/to.) Tied, — a term applied to a series of succes-
sive tones produced in a closely-connected manner, and often
indicated by the sign called a tie.
Leger. (Fre.) Light ; nimble ; sprightly.
Lege'rement. (Fre.) With lightness and gayety.
Leggeramente. (/to.) Lightly; nimbly.
Leggerezza. (/to.) Light and elastic movement.
Leggerissimo. (/to.) Extremely light and elastic.
Leggierissimo. (/to.) With the greatest possible facility
and lightness of touch and execution.
Leggiennente. (/to.) Lightly; gayly; gracefully.
Lent. An abbreviation of Lento and Lenlando.
Lentamente. (/to.) Slowly; gently.
Lentando. (/to.) With increased slowness.
Lente. (/to.) A word used to indicate that the passage over
which it is placed is to be sung or played slowly.
Lentement. (Fre.) In a moderate time.
Lentemente. (/to.) Slowly.
Lentement, Tres. (Fre.) Very slow ; between grave and
largo.
Lenteur, Avec. (Fre.) With slowness; in a sedate and
lingering pace.
Lento, (/to.) In slow time.
L. H. Initials indicating the use of the left hand in pianoforte
music.
Liberamente. (/to.) Freely; easily.
Libretto, (/to.) The text of an opera or other extended
piece of music ; a small book containing the words of an opera.
Lied. (Ger.) A song ; a lay.
3
84 MAL.
Lieder. (Ger.)
JLieder Ohne Worte. (Ger.) Songs without words.
L' Istesso. (/fa.) The same.
L' Istesso Movimento. (//a-) The same movement
I/ Istesso Tempo, (/to.) In the same time.
L' Istesso Tempo Poi a Poi di Nuovo Vivente
(//a.) The same time, with gradually-increasing animation.
Lobgesang. (Ger.) A hymn ; a song of praise.
Looo. (Lot.) A word implying that a passage is to be played
just as it is written, in regard to pitch.
Lugubre. (/fa-) Mournful ; sad ; dismal.
Lunga Pausa. (/*«•) An expression signifying that th*
performer must cease playing for a considerable time.
Lusingato. (/'a.) In an insinuating, persuasive manner.
Lusinghevole. (/'«.) Insinuatingly.
Lustig. (Ger.) Lively; merrily.
L'Ut de Poitrine. (Fre.) The high « chest " C in tenor voices.
TVJA. (Ita.) But,
Madrigal. An elaborate composition for voices, in five
or six parts, in the ancient style of imitation and fugue.
Maesta. (/fa.) Dignified and majestic.
Maesto. (/fa.) An abbreviation of Maestoso.
Maestoso, (/fa.) Majestic ; performed with majesty and
grandeur.
Maestri, (/fa-) Masters.
Maestro, (/fa. and Spa.) A master ; a director ; a composer.
Maggiore. (/fa-) Greater, in respect to scales, intervals, &c.»
when used in opposition to minor ; major.
Main. (Fre.) The hand.
Main Droit. (Fr«r.) Th« right hand.
Main Gauche. (Fre.) The left hand.
Maitre de Chapelle. (Fre.) Chapel-master.
Majestueux. (Fr«.) Majestic.
Malinconia. (/fa.) Melancholy.
Malinoonioamente. (/fa.) Sorrowfully;
MEN. 35
Man. An abbreviation of Mamicde.
Mane. An abbreviation of Mancando.
Manca. (/to.) Left hand.
Mancando. (/to.) A gradual decrease in the quantity of
tone, terminating in an almost inaudible breathing of the tones.
Mano. (/to-) Hand.
Mano Destra. (/to.) The right hand.
Mano Diritta. (/to.) The right hand.
Mano Manca. (/to.) The left hand.
Mano Sinistra. (//a.) Left hand.
Manual. The key-board ; used to denote the hand-keys of an
organ or other instrument, in contradistinction to foot-keys, or
pedals ; service-book of the Catholic Church.
Manuale. (Fre.) Manual.
Marc. An abbreviation of Marcato.
Marcatissimo. (/to.) Very strongly marked.
Marcato. (/to.) A term implying a marked and emphatic
style, expressed by a dot placed over a note, showing that the
note should be struck short.
Marcato il Basso. (/to.) The bass well marked.
Marcato la Melodia ed Accell. (/to.) In a marked style
and increased time.
Marcia. (/to.) March.
Marcia, con Moto. (/to.) A quick march ; a spirited mar-
tial movement.
Marcia Funebre. (/to.) Funeral march ; dead march.
Martellando. (/to.) Strongly marking ; heavily striking th«
notes.
Martellato. (/to.) • Forcibly marked.
Marziale. (/to.) Martial ; in a martial style.
Massig. (<7er.) Moderately.
M. B. The initials of Musicce Baccalaureus, Bachelor of Music
M. D. The initials of Main Droit, the right hand.
M§me. (Fre.) The same.
Meme Mouvenaent. (Fre.) In the same time.
Meno. (/to.) L<*3.
36 MOL.
Mono Allegro, (/to.) Less quick.
Meno Forte, (-fro.) Less strong.
Meno Mosso. (/'a.) Slower.
Mozza. (/'a-) Medium ; in the middle ; half.
Mezza Forza. (/to.) Middling force ; moderately loud.
Mezza Voce. (/to.) With a moderate strength of tone, and
in a delicate manner ; with a medium fulness of sound.
Mezzo Forte. (/to.) Rather loud
Mezzo Piano, (/to-) Rather soft.
M. F. The initials of Mezzo Forte, or Mezza Forza.
M. G. The initials of Main Gauche.
Mi Contra Fa. (/to.) Terma applied by ancient theorists to
all false relations between the notes of one chord as compared
with the notes of that which immediately preceded or followed it.
Mignon. (Fre.) Favorite.
Militaire, A la. (Fre.) In a martial style.
Militarmente. (/to.) In a military style.
Minnelieder. (Ger.) Songs of the minnesanger.
Minnesanger. (Ger.) The troubadours of Germany.
Minnesinger. (Ger.) A love-singer ; one of the ancient Ger-
man lyric poets and musicians.
Missa. (Lot.) A mass.
Missa Brevis. (Lai.) A short mass.
Misterioso. (fta.) In a mysterious manner.
Misurato. (/to.) In measured or strict time.
Mit. (Ger.) With.
Mit Begleitung. (Ger.) With an accompaniment.
Mit Sanften Stimmen. (Ger.) With soft stops, — used in
organ music.
Mit Starken Stimmen. (Ger.) With loud stops, — used
in organ music.
M. M. The initials of Maelzel's Metronome.
Moderate. (Ita.) A time of a moderate degree of quick*
ness.
Moll. (Ger.) Minor in relation to modes and keys.
Molto. (/to.) Very; extremely.
M. P. 37
Molto Adagio. (/fa-) Extremely slow.
Molto Allegro, (/fa.) Very quick.
Molto MOSSO. (Ita.) With quick emotion.
Molto Passione, Con. (//a.) In a highly feeling arid
effective style ; with passionate expression.
Monochord. (Grk.) An instrument with one string, for
ascertaining and elucidating the mathematical relations of mu-
sical sounds.
Morendo. (/fa.) Gradually diminishing the sound of the
voice or instrument till it dies away, and at the same time
slackening the time.
Mormorando. (/fa-) With a gentle, murmuring sound.
Mosso. (//a.) Moved.
Motet. A very ancient form of vocal music, consisting of elabo-
rate compositions formed of several parts, the subjects of which
were generally sacred : at the present time, any composition
adapted to sacred words, in church style ; an anthem.
Motette. (Ger.) A motet.
Motetten. (Ger.) Motets.
Motetti. (/fa.) Motets.
Motetto. (/to.) A motet.
Motive. Notes forming the basis of a composition, and brought
into prominence at various times through the whole ; the char-
acteristic and predominant passage of an air ; the theme or
subject of a composition.
Motivi. (/fa.) The themes of a composition.
Motive, (/fa., Spa., and Por.~) The subject or prominent pas-
sage of a musical composition.
Moto. (//a.) Movement ; manner of movement ; an increased
rapidity of movement.
Moto Accelerate, (/fa.) Accelerated motion.
Moto Contrario. (//a.) In contrary movement ; a term used
in counterpoint to imply that one part moves in an opposite
direction to another.
M. P. The initials of Mezzo Piano.
38 NON.
M. S. The initials of Mono Sinistra.
Mus. Bac. An abbreviation of Bachelor in Music.
Mus. Doc. An abbreviation of Doctor in Music.
Music, Classical. That music which, from its intrinsic merit
and superior excellence, is worthy of being studied by masters
of the art.
Mute. A small instrument employed to deaden or soften the
sounds of a violin or other stringed instrument by checking its
vibrations.
M. V. The initials of Mezza Voce.
"KTACHTSTUCK. (Ger.) A night piece; a serenade
piece ; a nocturne.
Negligenza, Con. (/'a-) With negligence.
Nel. (Ita.) In the.
Nello. (//a.) In the.
Nobile. (//a-) Noble; grand.
Nobilita, Con. (//a-) With nobility ; dignified.
Nobilmente. (J'a-) Nobly ; grandly.
Nobilmente ed Animate. (/«*•) With grandeur and spirit.
Nocturn. A nocturne.
Nocturne. (Fre.) A part of the service of matins ; a light,
fanciful vocal or instrumental composition adapted to a night
performance or serenade.
Nocturne. (/'«•) A nocturne.
Nodal Points. Those points in a string extended between
two fixed objects, which, when the stiing is put in vibration,
are found to remain at rest.
Noels. (F re.) Christmas-carols ; canticles or songs of joy
sung at Christmas.
Non. (//a.) Not.
Nonetto. (/'a.) A composition in nine parts ; a composition
for nine voices.
Non Molto. (Ita.) Not much.
Non Molto Allegro, (/'a.) Not very quick.
Non Tanto. (Ita.) Not too much.
ORG. 39
Non Troppo. (/<«.) Not too much.
Non Troppo Allegro, (/to.) Not too quick.
Notturno. (//a.) A nocturne ; a serenade.
(/to.) A word indicating part or parts of ?.
^"^ composition indispensable to its just performance, and some-
times used in a more restricted sense as synonymous with
concerting, concertant, or concerted.
Obligate Accompaniment. An accompaniment that must
be used, being distinct and independent of the voice part or
parts, or of the solo instrument.
Octet. A composition in eight parts, or for eight voices ; an
ottetto.
Octetto. (-fro.) An ottetto ; an octet.
Octuor. A piece in eight parts ; an octet.
Od. (/to.) Or.
CEuv. An abbreviation of (Euvre.
CEuvre. (Fre.) Work, — a term used in numbering a com-
pos,er's published works in the order of their publication.
Offertoire. (Fre.) The offertory, — an anthem of the Catho-
lic Church.
Offertorium. (Lot.) An anthem ; offertory.
Op. An abbreviation of Opera, Operatic, and Opus.
Orchestration. The arranging of music for an orchestra;
scoring ; instrumentation.
Organ, Choir. In an organ with three rows of keys, the first
or lower row, being the smaller or softer-toned organ, used to
accompany the principal singers in solos, duets, &c.
Organ, Great. In an organ with three rows of keys, usually
the middle row, so called because it contains the greatest num-
ber of stops, and the pipes are voiced louder than those in the
swell or the choir organ.
Organ, Swell. In an organ with three rows of keys, usually
the third or upper row, controlling one or more sets of pipes
which are enclosed by a set of sliding shutters, by the opening
or closing of which the tone can be increased or diuainishei by
degrees.
40 PAU.
Orgue. (Fre.) Organ.
O sia. (Ita.) Or ; or else.
O sia piu facile. (Ita.) Or else in this more easy manner.
Ossia. (Ita.) Or else.
Ottava. (I to-) An octave.
Ottava Alta. (Ita.) Play an octave higher than written.
Ottava Bassa. (Ita.) Play an octave lower than written.
P.
THE initial of Piano.
Parlando. (Ita-) In a speaking or declamatory man-
ner.
Parlante. (Ita.) Accented ; in a declamatory style ; partak-
ing of the recitative or speaking style.
Parte. (Ita.) Part.
Parte Cantante. (Ita.) The canto, singing or vocal part
Partition (Fre-) A score or entire draught of a composition
in several parts.
PartitUT. (Ger.) A score.
Partitura. (Ita.) A score.
Partizione. (Ita.) A score.
Pas de DeilX. (Fre.) A dance by two persons.
Pas Redouble. (Fre.) A quickstep.
Passacaglio. > (Ita.)
T-. -n r / r- \ A slow dance in } time.
Passacaille. J (Fre.)
Passepied. (Fre.) An old French dance in f or | time,
resembling a minuet, but more cheerful.
Passionato. (Ita.) With pathos and passion.
Pastorale. (Ita.) A soft, rural movement, generally in f or
^ time ; a kind of dance, or figure used in a dance.
Pastorelle. (Fre.) A pastoral.
Pastorello. (Ita.) A pastorale.
Pateticamente. (Ita.) Pathetically,
Patetico. (Ita.) Pathetic.
Pathetique. (Fre.) Pathetic.
Pausa. (Ita., Spa., and Lot.) A rest.
Pause. A character, consisting of a dot surmounted by a
PIU. 41
curve, placed over a note or rest to indicate that the tone or
silence is to be prolonged beyond its natural length to an ex-
tent at the pleasure of the performer ; a hold.
Per. (/to.) For; by; through; in.
Perdendo. (/to.) A gradual diminution, both in the quantity
of tone, and speed of movement.
Perdendosi. (/to.) A term signifying that the passage over
which it is written is to be performed in a time gradually
decreasing to the last note, and with a tone insensibly sinking
on the ear till entirely lost.
Period. A complete musical sentence containing several mem-
bers ; a satisfactory and agreeable close.
Periode. (/to. and Fre.) A period.
Pesante. (/to.) In an impressive manner; with importance
and weight; with a heavy touch (in piano-music).
Pen. (Fre.) A little.
Philharmonic. (GW:.) Loving harmony or music.
Piacevole. (/to.) In a delicate and pleasing manner.
Piacevolmente. (/to.) Gayly and gracefully ; delicately.
Piacevolezza. (/to.) Liveliness.
Piangendo. (/to.) Plaintively.
Piangevole. (/to.) Despondent ; sorrowful ; sad.
Pianissimo, (/to.) Extremely soft.
Piano Score. A score in which the orchestral accompani-
ments are compressed into a pianoforte part.
Piatti. (/to.) Cymbals.
Piccolo, (/to.) Small.
Piccolo Flute. A small flute which is an octave higher thap
that of the ordinary flute ; an octave flute.
Pieno. (/to.) Full.
Pieno Organo. (/to.) With the full organ.
Pietosamente. (/to.) Pitifully; compassionately.
Pietoso. (/to.) With pity ; compassionately ; a connected,
very slow, and carefully-accented delivery, — usually applied to
church music.
Piu. (/to.) More.
42 PBB.
*iz )
> An abbreviation of Pizzicato.
»1ZZ. )
Piu Allegro. (/'«•) Faster.
Piz.
Pizz.
Pizzicato. (/'«•) In violin or violoncello music, indicates
that the notes are to be snapped or sprung with the finger,
instead of being played with the bow.
Placidamente. (Ita.) Placidly ; quietly.
Placido. (Itu-) Culm and quiet ; placid.
Plein Jeu. (Fre.) Full organ.
Plus. (Fre.) More.
Plus Anime. (Fre-) With greater animation.
Pochettino. (/'a-) A very little, more or less.
Poco. (Ita.) A little.
Poco a Poco. (Ita.) By degrees; gradually.
Poco a Poco Creso. ) _ j Louder and louder,
Poco a Poco Crescendo. ) ^ (by degrees.
Poi. (Ita.) Then.
Polyphonic. (Grk.) A general name for all compositions
consisting of a plurality of parts, but generally confined to
instrumental music, as concertos, overtures, &c. ; a style of com-
position in which all the voices are essential ; contrapuntal.
Pomposo. (Ita.) In a grand and pompous manner.
Pomposamente. (Ita.) Pompously.
Portamento. (Ita.) The manner of sustaining and conduct*
in^ the voice ; a gliding from one note to another.
Portamento di Voce. (Ita.) Carrying the voice ; the
blending of one tone into another.
Portando la Vooe. (Ita.) Sustaining the voice; blending
of tones nicely, and giving to each strength and fulness.
Possibile. (Ita.) Possible.
P. P. Pianissimo.
Precipitamente. (Ita.) Hurriedly.
Precipitando. (Ita-) A gradual acceleration of the movement.
Procipitato. (I&-) In a precipitate manner.
Precipitazione, Con. (Ita.) With a quick action.
Precipitoso. (Ita.) In a quick, hasty manner.
BEC. 43
Precisions, (/to.) Precision ; exactitude.
Preghiera. (//a.) A prayer.
Pressante. (/to.) Quick; hurrying.
Prestissimo. (/to.) Exceedingly quick.
Presto. (/to.) Very quick, but not the quickest time.
Prima Vista. (/to.) At first sight.
Prima Volta. (/to.) The first time.
/~\UARTET, SOLO. A quartet in which one of the voices
^w is predominant.
Quasi, (/'a.) In the manner or style of.
Quasi Allegretto, (/'a-) Like an allegretto.
Quasi Recitativo. (/to.) Resembling a recitative.
Quatre Mains. (Fre-} Four hands.
Quatuor. (Frc.) Quartet.
Quintet. ) ( . -
Quintette. C (Fre) \ A comP°sltlon in five ?*«*> f°r **•
Quintetto.) (//a.) i voices or instruments.
TD IN piano music, indicates the use of the right hand.
' Raddolcendo. (Ita.) With augmented softness.
Raddolcente. (I la-) With increased softness.
Rail. An abbreviation of Ratlentando.
Rallentando. (/to.) An expression implying that the time
of the passage over which it is written is to be gradually
decreased; also a corresponding decrease in the quantity of
tone.
Rapidamente. (//a.) Rapidly.
Rapidamente e Brillante. (/to.) Rapidly and brilliantly.
Rapidita. (Ila.) Rapidity.
Rapido. (/to.) Rapid; swift.
Rasch. (Ger.) Swift; spirited.
Rawivando. (/to.) Reviving; re-animating; ac ;elerating.
Rawivando il Tempo, (/to.) Animating or quickening
the time.
Recit. An abbreviation of Recitative,
44 RIS.
Recitando. (/'a-) In the style of recitation ; declamatory.
Recitante. (Ita.) In the style of a recitative.
Recitatif. (Fre.) A recitative.
Recitative. A tuneful pronunciation more musical than com
mon speech, and less than song; vocal dramatic passages ir
music which are not adapted to any particular strain of length
of melody ; in French organ-music, the name of the swell organ.
Recitative. (Ita.) A recitative.
Recitative Secco. (Ita.) Unaccompanied recitative.
Reiselied. (Ger.) A travelling song; a pilgrim's hymn or
song.
Religiosamente. (/'a-) Devotionally.
Religiose, (-fro.) In a solemn style; expressive of religious
feeling.
Repetition. (Fre.) Rehearsal
Replica. (Ita-) A repeat.
Reprise. (Fre.) A repetition or return to some preceding
part ; a pause or suspension ; an extempore grace ; a burden ;
a refrain.
Reprise d'un Opera. (Fre.) The representation of an
opera which has not been given for some time.
Rf. An abbreviation of Rinforzo.
Rfe. An abbreviation of Rinfonato.
R. H., in piano music, indicates that the right hand is to be
used.
Rhapsodic. (Fre.) Rhapsody; a capriccio.
Rinf. An abbreviation of Rinforzando.
Rinforzando. (Ita.) With additional tone and emphasis.
Rinforzato. (Ita.) Increased tone and emphasis.
Ripieno. (Ita.) A term applied to such parts, in concerted
music, as are introduced to fill up and augment the effect of a
full chorus of voices or instruments.
Risolutamente. (Ita.) Resolutely.
Risoluto. (Ita.) Decided.
Risoluzione. (Ita.) The resolution of a discord.
Risvegliato. (Ita.) With much animation.
RUB. 46
Hit. An abbreviation of Ritardando.
Ritard. An abbreviation of Ritardando.
Ritardando. (Ita.) A gradual retarding or slackening of
the time, with a corresponding diminution in point of tone.
Ritardato. (//a.) Retarded; delayed.
Ritardo un Pochettino. (Ita.) Slacken the time a little.
Riten. An abbreviation of Ritenuto.
Ritenente. (//a.) A sudden diminution of time.
Ritenuto. {Ita.) Slackening the time. The effect differs
from the ritardando by being done at once, while the other is
effected by degrees.
Ritornello. {Ita.) A short symphony or introduction to an
air ; the symphonies between the members or periods of the
air ; the tutti parts, introductory to and between the solos of a
concerto ; a repeat ; the burden of a song.
Ritournelle. (Fre.) Ritornello.
Rohr. (Ger.) A reed.
Rohrwerk. (Ger.) Reed work; the reed stops taken collec-
tively.
Romanesque. (Fre.) Romantic.
Romania. (Ita.) Romance.
Rondino. (Ita.) A short rondo.
Rondo. (Ita.) A vocal or instrumental composition, generally
.consisting of three strains, the first of which closes in the origi-
nal key, while each of the others is so constructed, in point of
modulation, as to reconduct the ear, in an easy and natural
manner, to the first strain ; a roundelay ; a rondeau.
Rondo Form. In the manner of a rondo.
Roulade. (Fre.) A division or rapid flight of decorative or
extemporaneous notes.
Round. A species of fugue in the unison, composed in imita
tion of a catch, in which the performers follow each other
through the various parts.
Rovescio. (Ita.) Inverted; reversed.
Rovescio, Alia. (Ita.) In contrary or reverse motion.
Rubato. (Ita.) Robbed; borrowed.
46 SCO.
Rubato Tempo. Indicates that the performer may acceler
ate or retard the time in keeping with a heightened musical ex-
pression.
Ruhig. (6'cr.) Tranquil.
Q WITH dots affixed to it, is used as the Da Capo sign, and
' marks a repeat.
Saltando. (J'«-) Proceeding by skips or bounds.
Saltarello. (/''a-) A particular kind of jig, so called from
the dance of that name, chiefly consisting of leaping motions.
Sanfb. (Ger.) Soft.
Sans. (Frt.) Without.
Sans Pedales. (Fre.) Without the pedals; a term em-
ployed in organ music.
Saraband. ^ ( An antique, slow, Spanish
Sarabanda. r (//a. and Por.) -j dance ; a tune in f or f
Sarabande. ) (^re-) ' time-
Scena. (/'a-) A scene or portion of an opera.
Scene. So much of an opera as passes without change of lo-
cality or time, or important change of character ; the decora-
tions and fittings of a stage.
Scherz. An abbreviation of Scherzando and Scherzato.
Scherzando. (/<<*•) Light and sportive.
Scherzante. (//«•) Sportive; playful.
Scherzato. (/<«•) Light and playful.
Scherzo, (//a.) A composition in a playful or sportive style
in | measure.
Scherzosamente. (//a.) Lightly; playfully.
Scherzoso. (Ita.) Playful; merry.
Scioltamente. (/to-) With freedom and agility.
Scioltezza. (fta.) Dexterity; freedom.
Sciolto. (/'«•) With freedom and boldness, in a disconnected
style sometimes; staccato.
Score. A complete and orderly assemblage, in one view, of the
parts of a vocal or instrumental composition ; to collect and
arrange under each other the several detached parts of a com-
position.
SES. 47
Score, Full. A complete score of all the parts of a composi-
tion, either vocal or instrumental, or both.
Score, Piano. A score in which the orchestral accompani«
merits arc compressed into a pianoforte part ; an arrangement
of music for the piano.
Score, Vocal. The notes of all the voice parts placed in
their proper bars under each other, for the use of the sonductor
of a vocal performance.
Segue, (Ita.) Now follows; it follows; like manner; go on
to.
Segue il Coro. (//a.) The chorus follows.
Segue la Finale, (//a.) The finale now follows.
Seguente. (Ita.) Following.
Semplice. (Ita.) Simple and unafiected.
Semplicemente. (Ita.) Simply; plainly.
Semplicita, Con. (Ita.) With simplicity ; artlessly.
Sempre. (Ita.) Always.
Sempre con Forza. (Ita.) Perform loud throughout.
Sempre Forte. (Ita.) Always loud.
Sentimento, Con. (Ita.) With feeling and sentiment
Senza. (Iia.) Without.
Senza Repitizione. (Ita.) Without repetition.
Senza Replica. (Ita.) Without repetition.
Septet. -> C . ,.
0 ( / r, \ i A composition for seven voices or in-
Septette. }- (Ita.) -{
\ ' } struments ; a septet.
Septuor. )
Sequence. A regular alternate succession of similar chords or
intervals ; a hymn of the Roman-Catholic Church introduced
on festival-days after the graduate or introit.
Serenata. ) ,Tt \ *
y (Ita.) A serenade.
Serenate. >
Seria. (Ita.) Serious.
Seria, Opera. (Ita.) A serious or tragic opera.
Serioso. (Ita.) In a grave and serious style.
Sestet. (Ita.) A vocal or instrumental composition in six
parts.
48 SMO.
Sestetto. (/'«•) A sestet
' . ) (A piece for six voices or instruments ;
Sextnplet. >• (//a.) -< f .
( ; a sestet ; a group of six notes.
Sextuor. )
Sf. An abbreviation of Sforzando.
Sff. An abbreviation of Sforzato AssaL
Sforz. An abbreviation of Sforzato.
Sforzando. (//a.) A term implying that a particular note is
to be played with emphasis and force.
Sforzato. (/to.) Pl'»y with emphasis and force.
Sforzato Assai. (Ita-) A term implying that the note is
to be played with great emphasis and force.
Sfz. An abbreviation of Sforzando.
Siciliana. (7ta.) A movement of a slow, soothing:, pastoral
character, in •$ time, resembling the dance peculiar to the peas-
antry of Sicily.
Siciliana, Alia. (!(<*•) In the style of the Sicilian dance
music.
Sin*. An abbreviation of Sino.
Sin' al Fine. (Ita.) To the end.
Sinf. An abbreviation of Sinfonia,
Sinfonia. (/'a.) An orchestral composition in many parta ;
a symphony.
Sinfonie. (Ger.) A symphony.
Sinistra Mano. (Ita-) The left hand.
Sino. (Ita.) As far as.
Sino al Fine, (//a.) To the conclusion.
Sino al Segno, (/'a.) As far as the sign.
Slentando. (/to.) A gradual diminution in the time of the
movement.
Smorz. An abbreviation of Smorzando.
Smorzando. (/'a-) An expression implying that the sounds
of the passage over which it is placed are to be gradually
diminished.
Smorzato. (/'a.) A word indicating that the sounds of the
passage over which it is to be placed are to be gradually dimin-
ished.
SOP. 40
Soave. (/to.) Gentle; delicate.
Soavemente. (/to.) With suavity ; affably ; softly.
Sogetto. (/to.) A subject or theme.
Sogetto di Fuga. (/to.) Subject of the fugue.
Solenne. (/to.) Solemn.
Solennemente. (/to.) Solemnity.
Solennita. (/to») With solemnity.
Solfa. (/to.) To pronounce the notes of the gamut, ascend-
ing or descending ; solfaing.
Solfaing. (/to.) The practice of solfeggi by means of the
syllables Do, Re, Mi, Fa, Sol, La, Si, corresponding to the
notes C, D, E, F, G, A, B.
Solfeggi, (//a.) Solfeggios ; exercises for the voice.
Soli, (/to.) The performing of two or more instruments or
voices playing their respective parts singly : written over a pas-
sage, it implies that the part is to be performed by single instru-
ments or voices.
Solo, (/to.) Alone ; a composition or passage for a single
voice or instrument, with or without accompaniments.
Solo Quartet. A quartet in which one voice sounds predomi-
nantly.
Sonata, (/to.) A composition consisting of three or four dis-
tinct movements, each with a unity of its own, yet all so
related as to form a perfect whole, and generally for a single
instrument.
Sonatina, (/to.) A short and easy sonata.
Sonatine. (Fre.~) A small sonata.
Sonore. (Fre.) Sonorous; full-toned.
Sonorita, Con. (/to.) With sonorousness.
Sopr. An abbreviation of Soprano.
Sopra. (/to.) Above; upper; superior.
Soprani, (/to.) Plural of Soprano; the treble or higher
voice parts.
Soprano, Mezzo, (/to.) A species of female voice holding
a middle between soprano and alto.
4
60 SUB.
Sordine. A small instrument or damper put on the bridge of
a violin or violoncello to render the sound fainter.
Sordini, (fro.) Mutes; dampers.
Sordino. (/to.) A sordine.
Sospirando. (/to-) With apprehension ; despondingly.
Sostenuto. (/to.) A term implying that the notes are to be
sustained or held on to the extremity of their lengths, and
closely conjoined.
Sotto Voce. (/'a.) In a soft or subdued manner ; in an
undertone.
Spirito, Con. (/to.) With spirit or animation.
Spiritosamente. (/to.) Spiritedly.
Spiritoso. (fta.) Spirited ; dashing ; lively.
Staccatissimo. (//a.) Very detached.
Staccato, (/to.) A term denoting that the notes are to be
played distinct, short, and detached from each other by rests.
Standchen. (Ger.) Serenade.
Stentato. (/to.) In a loud, forcible manner.
Strepito, Con. (/'«.) With impetuosity.
Strepitosamente. (/to.) With much noiso and power.
Strepitoso. (/to.) In an impetuous, boisterous style; noisy
manner.
Stretta, Alia, (/to.) Increasing the time.
Stretto. (/to.) Shortened ; contracted ; compressed ; in
fugue writing, it implies that the subject and answer begin
much nearer to one another than at the commencement of the
fugue.
Stringendo. (-/to-) Accelerating the degree of movement;
compressing.
Suave, (/to. and Spa.) Sweet and delicate.
Suavemente. (/to. and Spa.) Sweetly and delicately.
Suavita, Con. (/to.) With sweetness and delicacy <f ex-
pression.
Sub. (Lot.) Under; below.
Sub-Bass. An organ stop or set of pipes belonging to it? ped
als ; tho lowest note* of ao organ ; tbo ground
TEL, 51
Bubito. (Ita.) Quick; sudden; hasty.
Subject. The principal melody, theme, or text, of a movement
Suite. (Fre.) A series ; a collection ; a single piece consist-
ing of several movements.
Sujet. (Fre.) The subject, theme, or motive, of a composition.
Sul. (fta.) On or upon the.
Sul A. (Ita.) On the A string.
Sul D. (/ta.) On the D string.
SulT. (Jta.) An abbreviation of Sulla.
Sulla, (-fra-) On or upon.
Swell Organ. In organs having three rows of keys, the third,
or upper row, controlling a number of pipes enclosed in a box,
which may be gradually opened or shut, and thus the tone
increased or diminished by degrees.
Symphony. An instrumental composition for full orchestra,
in several movements in the so-called sonata-form ; a sonata for
the orchestra in extended form.
Syncopation. (Grk.) The disposition of the melody or har-
mony of a composition, so that (in addition to the regular
rhythm) an accent falls upon parts of the measure usually
unaccented, thus creating a sort of conflict with the regular
rhythm.
System, Tonic Sol Fa. A system of instructioa in vocal
music, the leading feature of which is the recognition of the
absolute identity, so far as intervals are concerned, of all the
major scales.
rpACET. (Lot.) Silent; a word "implying, that during a
movement, or part of a movement, some particular instrument
is to be silent.
T^mburo Grande. (Ita.) A large drum.
Tanto. (^«-) Too much ; much.
Tedesca, Alia., (/to.) In the German style.
Tell-Tale. A movable j)ieee of metal, bone, or ivory, attached
to an organ, indicating by its position the amount of wind sup-
plied by the bellows.
52 THE.
Tema. (//a.) A subject or theme.
Temper. To modify or amend a false or imperfect concord by
transferring to it a portion of the beauty of a perfect one by
dividing the tones ; to modify or equalize, as the tones of an
instrument, so as to distribute the imperfections as uniformly ai
possible among the different intervals.
Temperament. The accommodation or adjustment of the
imperfect sounds by transferring a part of the defects to the
more perfect ones, in order to remedy, in some degree, the false
intervals of the organ, pianoforte, and similar instruments,
•whose sounds are fixed.
Temperament, Equal. A species of temperament in which
the twenty-four keys deviate in an equal degree from perfect
purity.
Temperament, Unequal. A species of temperament in
which one or more keys are brought nearer to the ideal purity,
while others are removed so much the farther from it.
Tempesta. (//a.) A passage in imitation of a storm.
Tempestoso. (I(a.) In a tempestuous manner; violently
agitated.
Tempo, (/to-) Time ; the degree of movement.
Tempo, A. (//a-) In time ; an expression used after some
relaxation in the measure to indicate a return to the original
degree of movement.
Tempo Rubato. (/to-) The time to be alternately quick-
ened and retarded, but so that one process may compensate for
the other.
Ten. An abbreviation of Tenute, Tenuto, and Tenor.
Tendre. (Fre.) Tender.
Tendrement. (Fre.) Affectionately; tenderly.
Teneramente. (/'a-) Tenderly ; delicately.
Tenerezza, Con. (/to.) With tenderness.
Tenute. (/to.) Implying that the note or notes must be held
on, sustained, or kept down the full time.
Tenuto. (/to.) Tenute.
Thema. (Grk. and Lot.) The subject ; the theme.
TOS. 53
Theme. The subject of a composition.
Theme, Counter. A second subject.
Thorough Bass. A comprehension of the connection and
disposition of all the several chords, harmonious and dissonant,
including all the established laws by which they are formeo.
and regulated.
Timbale. (Fre.) A kettle-drum.
Timbales. (Fre.) The kettle-drums.
Timbre. (Fre.) The degree and quality of vibration and
tone peculiar to any instrument or voice.
Timpani. (Ita. and Spa.) The kettle-drums.
Timpani Sordi. (/'a-) Drums having dampers.
Tirasse. (Fre.) The mechanism by which the pedals of an
organ act upon the keys by pulling them down ; couplers.
Toccata. An old form of composition for the organ or piano-
forte, somewhat in the style of a fantasia, the peculiarity of
which was, that, in its performance, the hands of the player
changed places with each other.
Toccatina. (Ita.) A short toccato.
Tone, Passing. . A tone introduced between two others for
the purpose of softening a distance or melodizing a passage, but
which forms no essential part of the harmony; a passing note.
Tonguing, Double. A mode of articulating quick notes,
used by flutists.
Tonic. The key-note of any composition ; the first tone of the
scale.
Tonica. (Ita. and Ger.) Tonic ; key-note ; key-tone.
Tonic Sol Fa System. A system of instruction in vocal
music the leading feature of which is the recognition of the
absolute identity, so far as intervals are concerned, of all tho
major scales. It changes the symbol of the tonic, or key-note,
upwards or downwards, and compels all the other notes of the
scale to follow suit.
Tonkunst. (Ger.) Musical science.
Tonkiinstler. (Ger.) A musician.
Tosto. (fta.) Soon ; quickly.
54 TUB.
Tr. An abbreviation of Trill.
Trait. (Fre.) A run or passage.
Trait^. (F. re.) A treatise either on the practice or the theory
of niusii-.
Tranquillamente. (/'a.) Quietly; tranquilly.
Tranquillita, Con. (/to.) With marked tranquillity.
Tranquillo. (/to.) Tranquil.
Transcription. An arrangement, for the pianoforte, of a song
or other composition, not originally designed for that instru-
ment; a free translation of a vocal composition into an instru-
mental one ; an adaptation.
Transposition. A change made in a composition, by which
the whole is removed into another key, higher or lower, as the
compass of the voices or instruments requires.
Trauermarsch. (Ger.) A funeral march.
Trem. An abbreviation of Tremolo.
Tremolo. (/to.) A term implying the reiteration of a note or
chord with great rapidity, so as to produce a tremulous kind of
motion ; in drum music, a roll.
Trill Chain. A succession of trills on different tones.
Trio, (/to.) A piece for three voices or instruments ; a com-
position in three single parts ; a second movement to a waltz,
march, minuet, &c., which always leads back to a repetition of
the first or principal movement.
Triola. )
_ . . Y A- triplet
Triole. >
Triolen. (Ger.) Triplets.
Triomphant. (•P're.) Triumphantly.
Trionfante. (/to.) Victoriously.
Triplet. Three notes sung or played in the time of two; a
group of three notes arising from the division of a note into
three equal parts of the next inferior duration.
Tromba. (/to.) A trumpet.
Troppo. (/to.) Too much.
Turca. (/to.) Turkish.
Turca Alia, (/to.) In the Turkish style.
VAR. " 55
Turn. An embellishment formed of appoggiatures, consisting
of the note on which the turn is made, the note above, and the
semitone below it.
Tutta. (Ita.) All.
Tutta Forza. (Ita.) With the utmost vehemence ; as loud
as possible.
Tutte. (/to.) All.
Tutti. (/to.) All ; the entrance of all the instruments, before
or after the solo.
Tyro. One just commencing musical practice.
Pyrolienne. (JFVe.) A dance peculiar to the inhabitants of
the Tyrol.
TT C. The initials of Una Corda.
' Una Corda. (/to.) A term denoting that a passage is
to be played upon one string ; in piano music, denotes that
the " soft" pedal should be employed.
CJnisoni. (Ita.) A term implying that two, three, or more
parts are to be played in unison with each other ; or, if this be
not practicable, at least in octaves.
CJnisono. (Ita. and Ger.) A unison ; with one voice.
CJn Peu. (Fre.) A little.
Un Peu Lent. (Fre.) Rather slow.
CJn Poco. (/to.) A little.
CJn Poco Meno Allegro, (/to.) . A little less gay.
CJn Poco Piu Allegro, (/to.) A little more brisk.
CJt. (.Fre.) A monosyllable used by the French to name and
solfa the note C.
CJt Mineur. (Fre.) C minor.
TTACILLANDO. (/to.) Wavering; fluctuating; vacillating.
Valse. (Fre.) Waltz.
Valse a Deux Temps. (Fre.) A modern waltz, in which
the dancers make two steps in each measure.
Var. An abbreviation of Variation and Variazioni.
Variato. (/to.) Varied; changed; altered.
66 VTV.
Varia-zione. (/to.) Variation.
Variazioni. (/to.) Variations.
Varied (-FVe.) Varied ; arranged with variations.
Vc. An abbreviation of Violoncello.
Veemenza, Con. (/to.) With vehemence and force.
Veloce. (/to.) In a rapid time ; as quickly as possible.
Velocemente. (/to.) Quickly.
Velocissimo. (/to.) With extreme rapidity.
Velocita, Con. (/to.) With velocity.
Verse. A portion of an anthem or service intended to be per-
formed by one singer to each part.
Versetten. (Ger.) Short movements for the organ, intended
as preludes, interludes, or postludes to psalm-tunes, &c.
Vibrante. (/to.) A peculiar manner of touching the keys of
the ] >i:i no, by which an especially resonant tone is produced.
Vierhandig. (Ger.) For four hands.
Vierstimmig. (Ger.~) For four voices.
Vigore, Con. (/to.) With force and vigor.
Vigorosamente. (/to.) Boldly.
Vigoroso. (/to.) Bold ; with vigor.
Vif et Anime. (F re.) Quick and spirited.
Viola. A tenor violin ; an instrument similar in tone and forma-
tion to the violin, but larger in size, and having a compass a
fifth lower in the great scale of sounds.
Violentemente. (/to.) Violently.
Violenza, Con. • (/to.) With violence.
Virtuosita. (/to.) Taste and skill in performance.
Virtuoso, (/to.) One who possesses great execution upon
any instrument.
Vite. (-FVe.) With quickness ; spirited ; lively.
Vivace, (/to.) Vivaciously ; quickly ; briskly.
Vivace, ma non troppo presto, (/to.) Lively, but not
too quick.
Vivacemente. (/to.) Quick and lively.
Vivacissimo. (/to.) With extreme vivacity.
\Ttvacita. (/to.) Vivacity.
ZWB. 57
Vivamente. (/to.) In a sharp, lively manner.
Viva, (/to.) Animated; lively.
Vllo. An abbreviation of Violoncello.
Vocalize. To perform with the voice ; to practise singing on
the vowels, chiefly the Italian A, for the improvement of the
voice or the acquisition of vocal skill.
Voce. (/to.) Voice.
Voce di Petto, (/to.) The chest; the lowest register of
the human voice.
Voce di Testa, (/to.) The head voice; the falsetto or
feigned voice.
Volante. (//a.) Flying ; in a light and rapid manner.
Volksgesang. (6rer.) A national song ; popular song.
Volkslied. (Ger.) A national song ; a popular song, tune,
or ballad.
Voll. (Ger.) Full.
Voiles Werk. (Ger.) With the full organ.
Volta Prima. (/to.) The first time.
Volta Seconda. (/to.) The second time.
Volti. (//a.) Turn over, or change.
Volti Subito. (/to.) Turn over quickly.
Volubilita, Con. (/to.) With freedom and ease.
Volubilmente. (/to.) With volubility and freedom of per-
formance ; with ease.
TTTALDHORN. (Ger.) Hunting-horn.
Walzer. (Ger.) A waltz.
Werk. (Ger.) Work ; opus.
Werk Haupt. (<7er.) Principal work.
(Ger.) Tender; delicate.
Zartlich. (<?er.) Affectionate; tender.
Zogernd. (Ger.) Tarrying.
Zugeeignet. ((?er.) Dedicated.
Zunehmend. (Ger.) Increasing.
Zuruckhaltend. (Ger.) In retard.
Zweistimmig. (Ger.) For two voices or parts.
ROBERT SCHUMANN'S
HOME AND LIFE RULES
FOR MUSICIANS.
TRANSLATED BT C. JATS.
IT is highly important to cultivate the ear. Strive, from
the first, to distinguish tones and keys. Seek to define the
tones of bells, window-panes, and the cuckoo.
Practise scales and other finger-exercises diligently. But
many people think that they can thus accomplish every
thing, and carry this daily practice on to mature age. It is
about the same as though one tried, day by day, to say
one's A, B, C, faster and faster. Spend your time more
profitably.
So-called " mute key-boards " have been constructed. A
little experience will convince one that they lead to noth-
ing. One cannot learn to speak from the dumb.
Play evenly. The performance of many public players
is like the gait of a drunkard. Take none such for -a
model.
Learn the foundation of harmony early.
Do not alarm yourself at the words " theory," " thorough-
bass, •*' " counterpoint," &c. They will come easily to you
when you need them.
Never drum. Always play with animation, and not half
do it.
H
LIFE RULES FOR MUSICIANS. 59
Dragging and hurrying are both great faults.
Strive to play simple pieces correctly and expressively.
This is better than playing difficult ones indifferently.
Keep your instrument always in tune.
You should know your piece, not by your fingers only,
but bo able to hum it without the piano. Cultivate your
mind, so that yonr memory shall not only retain the melody
of a composition, but the harmony accompanying it.
Try to sing from the notes, without the help of an in-
strument, even if you have but a poor voice : in this way
your ear becomes always improved. If you have a fine
voice, cultivate it without delay ; accounting it the highest
gift that Heaven has bestowed on you.
You should be able to understand written music by sight
alone.
Never care who listens when you play.
Always play as though a master heard you.
When any one puts a composition before you for the first
time, read it over first, that you may be able to play it.
When you feel tired after your day's music-work is done,
do not attempt to continue it. It is better to rest than to
work on without pleasure or animation.
As you grow older, play no popular trash. Time is pre-
cious. One must live a hundred lives to learn that which
is good alone.
Children do not grow into strong men on sweetmeats,
pastry, and sugar-plums. Like the bodily, so must the
mental food be simple and strengthening. The great
masters have provided the latter : keep to them.
All finger-music grows old in time. Mere execution ia
only of value when it serves a higher purpose.
You should never give circulation to worthless compo-
60 LIFE RULES FOR MUSICIANS.
sitiong : on the contrary, help, with all your power, to
suppress them.
Never play worthless compositions; nor listen to them,
unless obliged to do so.
Seek not for brilliancy, so called, in execution. En-
deavor to draw forth from a composition the inner expression
which the composer felt : one can do no more. Any thing
further is caricature.
Consider it something contemptible to alter or omit any
thing, or to introduce new-fashioned embellishments into
the works of good composers. This is the grossest injury
you can do to art.
Consult your elders as to your choice of pieces to sttAj :
you will thereby save much time.
You should familiarize yourself, by degrees, with a* the
celebrated works of the celebrated masters.
Be not led astray by the applause given to the exeitions
of so-called virtuosi. The commendation of real artists is
worth more than the applause of the multitude.
Mere fashion becomes, after a while, unfashionable; and,
if you still adhere to it, you become a fool, esteemed by
nobody.
Frequent playing in society does more harm than good.
Suit your audience ; but never play any thing of wLiich you
are inwardly ashamed.
Neglect no opportunity of performing with others in
duets, trios, &c. This makes your play flowing and free.
Accompany vocalists often.
Should we all wish to play first violin, we should never
become an orchestra. Let every musician, therefore, b«
honored in his position.
Cherish your instrument; but do not, in your conceit,
LIFE EULES FOE MUSICIANS. ' 61
imagine it to be the best, or unique. Remember that there
are others equally good. Remember, too, that there are
singers ; and that in chorus and orchestra the noblest of
music finds expression.
As you grow older, have more to do with scores than with
players.
Sedulously practise the fugues of good masters ; above
all, those of John Sebastian Bach. His " Well-tempered
Harpsichord" should be your daily bread. You will thus
become, certainly, a capable musician.
Choose your companions from those who know more than
yourself.
Relieve your musical studies by a diligent perusal of the
poets. Go out into the country frequently.
You can learn many things from singers; but do not
believe them all.
You are not the only one in the world. Be modest.
You have discovered and thought of nothing which others
before you have not discovered and thought of also. Should
you have, regard it as a gift from above, to be shared with
others.
The study of the history of music, and a hearing of the
master-works of different periods, will most readily cure you
of conceit and egotism.
An admirable work on music is that by Thibaut, " On
the Purity of Musical Science." Read it often as you
grow older.
Should you hear an organ as you pass a church, go in
and listen to it. Should you receive permission to seat
yourself at the instrument, try your little fingers, and won-
der at this mighty power of music.
Neglect no opportunity to practise the organ : there is no
62 LIFE BULKS FOR MUSICIANS.
instrument which so clearly betrays incorrect composition,
and lack of neatness in execution, as the organ.
Sing often in choruses, particularly the medium parts.
This makes you musical. •
But what, then, does " musical " mean ? You are not so,
if, with your eyes anxiously fixed upon the notes, you play
your piece through laboriously ; you are not so, if, should
any one turn over two pages at once, you come to a stop,
and cannot continue : but you are so if you can foresee
what is coming in a new piece, and remember one that is
known to you ; in a word, when you have music, not only
in your fingers, but in your head and heart also.
But how does one become musical ? .My dear child, the
chief qualifications — a nice ear and a quick comprehension
— come, as in other things, from above; but the founda-
tion is left to be built up and elevated. You do not become
so by practising mechanical studies all day long, shut up
like a hermit, but by intercourse with the living world and
its varied ideas, by familiarity with chorus and orchestra.
Make yourself early familiar with the scope of the hu-
man voice in its four registers ; watch it in chorus, and
seek to observe in which parts its highest power lies, in
which others it is best expressive of the tender and pa-
thetic.
Give attention to national songs : they are a mine of the
most beautiful melodies, and often give you a glance at the
character of the different nations.
Practise reading the old clefs early. Many treasures of
the past will otherwise be locked from you.
Give attention early to the tone and character of the
different instruments : endeavor to impress upon the eai
their individual peculiarities.
LIFE RULES FOR MUSICIANS, 63
. Never neglect to hear good operas.
Honor the old, but sympathize warmly with the new.
Have no prejudice against names you do not know.
Judge not a composition upon a first hearing. That
which at first pleases you is not always the best. Masters
must be studied. Many things will only become clear to
you in after-years.
. In your judgment of compositions, consider whether they
are intended as works of art, or for the entertainment of
amateurs. Give your support to the first ; but do not vex
yourself at the others.
" Melody " is the war-cry of amateurs ; and music with-
out melody is surely worthless. Understand, however,
what they mean : an easily understood, pleasantly rhythmic
strain is sufficient for them. But there are others of a dif-
ferent kind ; and when you open Bach, Mozart, and Beet-
hoven, you see these in a thousand various forms. Of the
worthless ones, particularly the melodies of the new Italian
operas, I hope you will soon become weary.
It is very well for you to attempt to make little melodies
while at the piano : but if they come of themselves, with-
out the piano, you should be yet more pleased ; for the inner
musical sense is awakened in you. The fingers must work
as the head directs ; not the contrary.
When you begin to compose, work entirely with your
head. When you have completed a piece, try it on the
instrument. If the music came from within, and you felt
it, it will impress others in a like manner.
If Heaven has given you a lively fancy, you will sit in
hours of solitude closely held to your piano, striving to ex-
press your inner emotions in harmony ; and the more mys-
terious you shall feel, as though in a magic circle, the more
64 LIFE RULES FOR MUSICIANS.
obscure the realm of harmony will perhaps be. These are
youth's happiest hours. Beware, then, of being seduced
into an indulgence of talents which leads you to lavish
your ability and time alike on phantoms. The command
of form, and power of lucid expression, are obtained by
habits of writing : therefore write more than you im-
provise.
Obtain early a. knowledge of musical direction by ob-
servation of good conductors : even direct with them, si-
lently, if not objectionable. This gives distinctness to your
idea.
Look around you attentively upon life, as also upon
other arts and sciences.
The laws of morals are also those of art.
By diligence and perseverance you will ever improve.
Out of a pound of iron, which costs a few cents, many
thousand watchsprings may be made, whose value increases
a hundred thousand fold. That pound which God has given
you must you use trustily.
Without enthusiasm, nothing genuine can be wrought in
art.
Art does not exist as a means of wealth. Become an
ever-advancing artist, and all the rest will come of itself.
Not until the form is clear to you will the spirit be clear
also.
Perhaps genius alone thoroughly comprehends genius.
Some think that a thorough musician should be able, on
hearing for the first time a complicated orchestral work, to
see it like a real score before him. This is the highest
point that thought can attain.
There is no end to learning.
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
ML Buck, Dudley
108 New and complete dietion-
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The possessor of one or more volumes will find them full to re-
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one hundred years, which cannot be excel!'
The accompaniments in all the books of vocal music may be
played either upon the Pianoforte or Keed Organ.
OF TJIE POME
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Ti.f Hun tiin<- of NOD*.
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