Powers directory, 1828

Philip Rees

Digitized by the Internet Archive

By THOMAS BUSBY, Mus. Doc.

Author of a " Musical Grammar ;" a "History of Music " Musical Anecdotes ;" and a " Translation of Lucretius ;" fyc. fyc.

Printed by WILLIAM CLOWES, Stamford-Street.

The daily accumulation of new terms, expressions, and phrases, introduced by the continued refinements in musical science, taste, execution, and the ever-changing stream of fashion, having more than kept pace with the various vocabularies which have successively ap- peared, the author of the present Lexicon conceived that a publication containing, not only a clearer and more intelligible definition of the terms scattered through other explanatory works, but illustrations of all the newest words and phrases, would form a mass of technical information, that, from its novelty and com- prehensiveness, could not fail to prove equally accept- able to the novice and to the already initiated ; to the first, as embracing all the points, the explanation of which is necessary to the purposes of present practice ; to the latter, as calculated to refresh the memory, and save occasional embarrassment.

But though the extended plan of the present publica- tion - a publication deriving its pretensions of utility from the multiplicity of its articles, the clearness of its definitions, and its graphic examples - -has necessarily induced a considerable expense in its preparation, one object has been kept in view - that of limiting its price, as far as the nature of the' undertaking would permit, by keeping its matter, as much as possible, within a portable

"bulk ; both that the most economical practitioner might not be denied the advantage of consulting the work, and that amateurs and professors might use it as a vade mecum, or pocket companion.

To favour these essential purposes, the numerous articles are given in as compressed a form as their necessary lucidity would allow. While obscurity has been avoided, conciseness has been studied : brevity has uniformly been sought, though never at the expense of clouding the explanation. While no terms have been insufficiently defined, every thing requiring to be more than ordinarily perspicuous has received the fullest light that care could throw upon it. In a word, what- ever regards theory or execution, composition or per- formance, has been studiously treated ; and the author trusts, that this Verbal Guide will be found to comprise all that a musical vocabulary can be expected to con- tain, whether to gratify the curiosity of adult amateurs, or to enlarge the knowledge of juvenile students and

On the science of Music, as one of the most delight- ful that can engage the human mind, - as an accom- plishment intellectual 3 sensitive, and qualified by its elegance to embellish and refine society, - much pre- liminary observation might be offered ; but conform- ably with the professed design of presenting this Work to the public in a circumscribed compass, this introduction is confined to a notice of the principal stages of the progress of the science, from the early age of Tubal to our own times. To what state Music had arrived in the days of that ancient inventor of wind instruments, or even at the time of the royal lyrist, David, we have no means of precisely ascer- taining. We know, however, that it must have reached a tolerable degree of perfection, because in Judea it was employed to dignify the service of the Temple, in the solemnities of which it was constantly exercised, both vocally and instrumentaily. From the Holy Land it passed to Egypt, and thence to

Greece, where it embellished the rhapsodies of her

poets - her Homers, her Hesiods, and her Pindars : but it was not till long after that country was sub- dued by the Romans, that it made any material advances towards the excellence it was destined to reach in future ages, and a more cultivated state of society. Under the protection of Constantine, in the fourth century, it was employed in the Christian church, and soon afterwards devotionally introduced by St. Ambrose at Milan, whence it spread through Italy. But still the system was Grecian ; and it was not till the eleventh century that its tetrachords, or scales of four sounds, underwent that reformation by which Guido Aretino, a Benedictine monk, so ex- tended and regulated the modification as to render the sounds susceptible of harmonica! arrangement. This learned priest and theoretical musician not only divided the great compass into hexachords, or equal classes of six immediately successive tones and semi- tones, but suggested an improved manner of writing music. Instead of following the method of his pre- decessors, by placing the usual characters upon a single line, which necessitated the distinguishing them from each other by alphabetical signs, he used staves, first of four, and subsequently of five lines, upon which he stationed yjoints, higher or lower in 4he staves, according to the sounds he meant to indi-

cate. By these points, disposed under each other, he formed that harmonical combination now desig- nated by notes. But this concordance, or counter* jjoint, of Guido was of the simplest description, con" sisting only of the fundamental note and its third, fifth, and eighth. Melody, in the time of this mo- nastic musician, was little more artificial than the harmony by which it was accompanied and sustained ; the sounds were all of equal and intolerable length, the distances, or intervals, quaint and awkward; and it was not till the ingenious John de Muris, in the fourteenth century, shortened and varied the former, and gave some little ease and grace to the latter, that Music made any approach towards what is now called melody. This scientific Advocate of the Parliament of Paris, by his invention of the large, the long, the breve, the semibreve, and the crotchet, furnished the means of dividing the time into various measures, and of giving new advantages to harmony. Thus aided, the science advanced with comparative rapidity; the formation of discords, their preparations and resolutions, began to be understood; and composition in several parts was successfully cultivated. At length, a Palestina, a Marenzio, a Marcello, and a Giovanelli arose ; and early in the seventeenth century Italy might boast of her noble and numerous sped-

mens of harmony and melody, sacred and secular, ecclesiastical and operatic. From Italy, Music passed to Germany, and from Germany to England, where it flourished under the protection of the Anglo-Saxon priesthood, whose cloisters and cathedrals resounded with the Gregorian and Ambrosian chants. To what perfection the harmonic art has since arrived, not only on the continent, but in this country, is sufficiently shown by the works of Handei, the Bachs, Mozart, Haydn, and Beethoven ; Purcell, Arne, Boyce, and Battishill ; and it is not more obvious that its daily improvement necessarily introduces new terms, than that their perpetual accession neces- sitates fresh explanations, both in regard of the pro- duction and the performance of harmony and of

These - harmony and melody, - sounds in conjunc- tion and sounds in succession - constitute the two great provinces of Music. As the laws of harmony direct the arrangement of simultaneous sounds - the materials of concords and discords, - so the rules of melody govern the disposition of successive sounds - the elements of air or tune 3 and as these rules equally apply to vocal and to instrumental Music, and excel- lence, either in its production or execution, depends on genius and science, aided by judgment, sentiment,

and taste, it only remains to observe, that the author's care has been proportioned to the multiplicity of new terms to which the free exercise of those qualities is constantly giving birth \ that, watching the inno- vations of talent, fancy, and ingenious caprice, he has collected and illustrated their characteristic expres- sions, meaning to supply every information properly lying within the sphere of a Technical Directory ; hoping to furnish the musical world with a work which, comprehending, together with elucidations of the less modern words, definitions of all the indi- cial expressions of the present day, should com- prise, not only scientific phrases and terms' of art, but signs, characters, abbreviations, whatever is needful to be understood, and a thorough knowledge of which can be obtained only through the medium of a publication similar to the present.

A, the letter nominally applied to the sixth note of the key of C, the natural diatonic major scale ; also the name of the fundamental note of the natural diatonic minor scale ; and of the note sounded by the third string of the violin, when open. The letter A is likewise an Italian preposition, bearing the signification of in, for, at, with, &c, as the context

A Ballata. (Ital.) In the ballad style. A common prefix to little, familiar Italian melodies.

Accelerando. (Ital.) A term implying, that the passage over which it is placed must be performed in a continually- quickened time.

Acceldo- The abbreviation of Accelerando. See that word. Accent. That emphasis thrown by the voice on certain words, or syllables ; and on which so greatly depends the beauty of good vocal performance.

Accented. Accented notes are those which are naturally given with emphasis ; either on account of their situation in the bar, or because they carry with them some strong meaning.

Accidental Chords. Accidental Chords result from one of two causes - anticipation, or retardation. When their construction assumes some note of a succeeding chord (a chord not yet struck) they are Accidental Chords by anticipa- tion ; when their combination retains some note of a pre- ceding chord (a chord previously struck) they are Accidental Chords by suspension.

Ex. Accidental chord -

by suspension,

by anticipation,

Accidents. A term applied generally to sharps, flats, and naturals which are extraneous to the key, or scale, in which a piece, or movement, is composed.

Accolade. (Ital.) That extended vertical brace prefixed to polyphonic compositions, to bind together its several parts. See Braces.

Accompagnatore. (Ital.) An accompanist.

Accompaniment. A distinct instrumental part; an addi- tion accessary to the general effect.

Accomp. The abbreviation of Accompaniment. See that

Accompaniment ad Libitum. (Eng. & Lat.) An Accom- paniment which may be used or omitted, as judgment or convenience shall direct.

Accomp. ad Lie. The abbreviation of Accompaniment ad Libitum. See that expression.

Accompaniment Obligato. (Eng. & Ital.) Words inti- mating that the Accompaniment is indispensable, not only to the intended effect, but even to the performance of the

Accomp. Obto- The abbreviation of Accompaniment Obli- gato. See that expression.

Accompaniments. Those orchestral parts of a vocal or instrumental composition, which embellish and embody the general effect.

Accompanist. The performer who accompanies another.

Accopiat.e. (Ital.) When two parts are brought toge- ther, they are said to be Accopiate : i. e. coupled, or joined.

AccoPvDAtura. (Ital.) The scale, or tuning of the open,, or unstopt strings of any instrument.

Accorder. (French.) To tune any pipe, or string, &c.

Accordo. (Ital.) A concord.

Accrescimento. (Ital.) Augmentation. See that word.

Accres. The abbreviation of Accrescimento. See that word,, and Augmentation.

A Cembalo. (Ital.) An expression found in the title- pages of compositions for the harpsichord, but which, toge- ther with that instrument, is now obsolete.

Acoustics. (From the Greek.) The science which con- siders the nature of sound, its causes, and its musical and other effects.

Act Tunes. The appellation formerly given to the pieces played between the acts of a tragedy or comedy.

Acute. An adjective applicable to any sharp or shrill

Adagio. (Ital.) Slow, but less so than Largo. The word Adagio is not always used adjectively. Musicians speak of Adagios, as things having a substantive character. A slow movement they call an Adagio.

Ada0- The abbreviation of Adagio. See Adagio.

Adagio Assai. (Ital.) An expression implying a greater * degree of slowness than is signified by the word Adagio alone.

Adagio Patetico. (Ital.) In a slow time, and with a plaintive style of expression.

Adagio Religioso. (Ital.) An expression directing not only slowness of time, but a religious gravity of style.

Adasio. (Ital.) Synonimous with Adagio. See that word.

Addition. When notes are lengthened by dots, they are said to have received Addition.

Additional Keys. The keys added to the former extre- mities of the compass of the piano-forte.

Ad Libitum. (Lat.) An expression giving license to the performer to introduce whatever decorations his taste and fancy may suggest.

Ad Lib. The abbreviation of Ad Libitum. See that

A Double-Flat. A Flat which de- presses the note A Natural two semi- tones ; and, on the piano-forte, lowers

Here we have A Flat flattened ; that is, depressed half a tone : and since, on the piano-forte, G Natural is the next sound below A Flat, G Natural is the key to which, on that instrument, the finger is conducted by A Double-fiat.

raises the note A Natural two semitones ; j -

and, on the piano-forte, lifts it to B Na- -{fg-

tural. Ex.

Here we have A Sharp sharpened; that is, raised half a tone: and since, on the piano-forte, B Natural is the next sound above A Sharp, B Natural is the key to which the finger of the pianist is led by A Double-sharp.

A Due, or A 2. (Ital.) An expression signifying, that the composition is designed for two voices.

A Due Corde. (Ital.) Said of keyed instruments with

only two strings to each note : as of the common square piano-forte.

iEoLiAN Harp. A stringed instrument, little indebted to art for its construction, and not at all for a performer. Its form an oblong box of wood, and its catgut vibrated by the wind, it sends forth a soft, murmuring sound, that is both agreeable and soothing.

iEQUisoNANT. (Lat.) Strictly speaking, only unisons are eequisonant ; but the same property is often allowed to octaves, because, to the common ear, octaves seem but a doubling of the same sound.

Affettuoso. (Ital.) A word dictating a tender and affecting style of performance.

Affett0- The abbreviation of Affettuoso. See that word.

A Flat. The note A depressed half a tone: as thus -

- jf- - j - -I j- directs the finger of the piano-forte per-

than the natural A.

A Flat Major. The key, or scale, of A Flat, with four flats ; b flat, e flat,

A Flat Minor. The key, or scale, of A Flat, with seven c flat, and f flat : except in ascending the scale ; when the notes F and G are natural. Ex.

Agitato. (Ital.) A word dictating a hurried, interrupted manner of execution.

Agit0- The abbreviation of Agitato. See Agitato.

Agitato un poco. (Ital.) Somewhat agitated : in rather a disturbed manner.

A Grand Chceur. (French.) For a Full Choir. An ex- pression denoting that the anthem, or service, to which it is prefixed, is composed for the whole choir.

A Grand Orchestra. (Ital.) For a Full Orchestra: i. e. a full band.

A in Alt. (Ital.) That A which stands on the first ledger line above, in the treble stave : and A which A (G above the fifth line of that stave being the first note in alt) is the second note in alt. See Alt. Ex.

A in Altissimo. (Ital.) That A which is an octave above A

Air. A series of single sounds forming a tune or me-

Air Varie'. (French.) An expression generally corre- sponding with our Air with variations, but sometimes signi- fying an Air variegated and embellished ad libitum, agree- ably to the taste or fancy of the innovator.

Airs des Bateliers Venitiens. Melodies sung by the Venetian boatmen, or gondoliers. See Barcarolles.

Airs Tendres. (French.) Airs characterized by their amatory softness.

Air Varie'. (French.) An air with variations.

A la Grecque. (French.) The appellation given by the French to those choruses which are introduced at the ter- minations of the acts of their dramas ; and which are styled a la Grecque, because their introduction is in imitation of the usage of the ancient tragic dramatists.

Al Fine, e poi Coda. (Ital.) To the last bar of the subject-matter of the composition, and then to the Coda, or winding up of the whole.

A la Polacca. In the manner of a Polacca. See Polacca.

All' Antica. (Ital.) In the style of the old school. An expression not implying that the composition to which it is prefixed is so antiquated as to be obsolete, or out of use; but only, that it is no longer considered as modern or

Alla Breve. (Ital.) A species of common time ; a mea- sure of two breves, formerly called Tempo di Capella, and in general use ; but now seldom employed. See Tempo di

Alla Caccia. (Ital.) In the style of music of the chase. In imitation of hunting strains.

Alla Capella. (Ital.) In the church style. An expres- sion also referring to measure, or time, especially to that of two breves in a bar. See Alla Breve.

Alla Madre. (Ital.) To the Virgin Mary. The Italian mode of heading hymns and sacred songs addressed to the

boldness and dignity.

Alla Moderna. (Ital.) An expression used in oppo- sition to that of All' Antica. See AW Antica.

Alla Russe. (Ital.) In the style of Russian music.

Alla Scozzese. (Ital.) Of a Scotch cast.

Alla Siciliana. In the Sicilian style. An expression signifying that the movement to which it is prefixed is pastoral. Movements Alla Siciliana are, for the most part, in the compound common-time of six quavers, or twelve quavers, in a bar ; and are sung or played rather slowly, and with a degree of pathos and tenderness.

Alla Turca. (Ital.) In the Turkish style.

Alla Veneziana. (Ital.) In imitation of Venetian music.

Allegramente. (Ital.) Somewhat quick ; and lively.

Allegressimo. (Ital.) Extremely quick.

Allegress0. The abbreviation of Allegressimo. See that word.

Allegretto. (Ital.) The diminutive of Allegro : less quick than Allegro.

Allegretto Scherzando. (Ttal.) In a lively, sportive

Allegri di Bravura. (Ital.) Brilliant and striking

Allegro. (Ital.) Quick, even to rapidity. An adjec- tive applied both to lively and to impetuous movements ; and often joined with other words expressive of the feeling meant to be excited ; as Allegro Vivace, quick and lively.

Allegro Assai. (Ital.) Very quick.

Allegro con Fuoco. (Ital.) Quick and animated.

Allegro di Molto. (Ital.) Exceedingly quick.

Allegro Furioso. (Ital.) Rapid and vehement.

Allegro, ma Grazioso. (Ital.) A phrase intimating a quick time, but graceful manner.

Allegro, ma Non Presto. (Ital.) Quick, but not ex- tremely quick.

Allegro, ma Non Troppo. (Ital.) Quick, but not too

Allegro Vivace. (Ital.) Quick and lively.

Allelujah. Praise the Lord. An exclamation by which the Hebrew priests called upon their congregations to wor- ship the Creator. See Hallelujah.

Allievo Musico. (Ital.) A musical pupil.

Allemande. (French). An old style of air, of German origin, the measure of which is slow, and of two or four crotchets in a bar.

All' Improvista. (Ital.) An expression applicable to any extemporary performance, but especially to a vocal strain: a kind of prolonged ad libitum, unstudied, unpre- pared, and independent.

A l' Italienne. (French). Of an Italian cast.

Al Loco. (Ital.) To the same place. An expression in violin music, applying to the shifting of the hand, and sig- nifying that it is to resume that place on the neck of the instrument which it has just quitted.

All' Ottava. (Ital.) To take the notes an octave higher or lower than some other part, or parts, with which the ottava part is to be sung or played.

All' Roversico. (Ital.) An expression implying a con- trary or reversed motion in the parts of any piece.

All' Segno. (Ital.) The sign or character to which this expression alludes is made thus, .0 and its use is, to direct the performer to the place to which he is to return, in order to repeat, and end with, the first strain of what he is singing or playing.

All' Seg. The abbreviation of AW Segno. See that ex-

Alt, (Ital.) The term Alt refers to those notes which lie between F on the fifth line in the treble stave, and G in altis- simo, or the first of the additional notes of the piano-forte.

Alta, or ST°. (Ital.) This word indicates that the pas- sages over which it is placed are to be played an octave higher than they are written.

Alternations. Changes, or melodies, composed for bells.

Altissimo. (Ital.) This word is the superlative of Alto, and is applicable to whatever notes are higher than F in

Altissmo. (Ital.) The abbreviation of Altissimo. See that word.

Altitonans. (Lat.) In the choral music of the sixteenth, century, this word signified the highest part under the treble, or what is now termed the alto, or counter-tenor. See Alto.

Alto. (Ital.) That vocal part in a score which lies be- tween the tenor and the treble. See Countertenor.

Alto Cliff. (Ital. and Eng.) The C cliff, when placed on the third line of a stave, - thus,

Alto Concertante. (Ital.) The under part of the semi- chorus, forming the bass to the treble parts.

Alto Primo. (Ital.) The higher of two Altos.

Alto Ripieno. (Ital.) The tenor of the great chorus ; and which is only introduced in the full parts of the compo-

Alto Secondo (Ital.) The lower of two Altos. Alto Tenore. (Ital.) The higher tenor. See Alto. Altus. (Lat.) The higher, or counter-tenor. Amabile. (Ital.) In a gentle and tender style.

A Major. The key or scale of A, with three sharps ; f sharp, c sharp, and g sharp.

Amateur. (French.) One who loves and practises music, but not as a professor.

Amateur Music Meetings. Of these periodical assem- blages of non-professing musical performers there are several in the provincial parts of England ; nor is Wales, or Scot- land, without them. The most celebrated meeting of this kind is that called the Yorkshire Amateur Music Meeting, which consists of the Amateurs of York, Sheffield, Hull, Der- by, Leeds, Manchester, Wakefield, Halifax, Doncaster, and other principal and neighbouring places ; and not only mus- ters strong, but displays considerable vocal and instrumen- tal talent.

Amateur Concert. A concert in which the performers are non-professors, and sing, or play, solely for the purpose of amusing themselves and their friends. In London there were, formerly, many musical performances of this descrip- tion, which, like the Catch and Glee Clubs, once so common through the metropolis, prevented numerous persons of all ranks from devoting their leisure hours to less innocent and less rational entertainments.

Amen. (Hebrew). This is generally the concluding word of anthems and other parts of the cathedral service. Though chiefly used as an imperative verb, in the sense of So be it, it is sometimes employed adjectively, as when we speak of an Amen Chorus.

A Mezza Aria. (Ital.) A phrase implying that the notes of the melody to which it refers lie within a moderate com- pass. It also signifies an air partaking of the style of reci- tative, a style between those of singing and speaking.

A Mezza di Voce. (Ital.) In a softened or subdued tone of voice : also an expression directing a swell of the

A Morisco. In the Moorish style; in the style of a Moorish or Morisco dance.

Ambrosian Chant. A chant, or melody, supposed to have been borrowed by Saint Ambrose from some vocal relic of the ancient Greeks. Though founded on the arithme- tical division of the diapason, it was so simple and familiar in its construction, as to admit of the choristers being joined in it by the congregation ; and hence it became so highly popular, that it was very generally sung, and added not a little to the Saint's pious and devotional renown.

A Minor. The key or scale of A, without either sharps or flats, except in ascending the scale, when the notes F and G are sharpened.

Amoroso. (Ital.) A word from which the performer learns that the movement to which it is prefixed should be performed in a soft and tender style.

Amusemens. (French). Pleasing entertaining trifles, composed for young practitioners.

Amorosamente. (Ital.) An abverb, signifying a soft,, gentle, tender style of performance.

Anacreontic. An adjective formed from the name of the gayest and most convivial of the Greek poets, Anacreon ; and applied to songs and glees having for their theme the pleasures of wine and mirthful sociality.

A Natural. The note A, neither sharpened nor flat- tened. See Natural.

Ancient Music. An expression formerly applicable to any music composed earlier than the beginning or middle of the last century, but now principally confined to compositions of a somewhat later date. The directors of the King's Con- cert deem all music to be ancient that has been produced twenty years.

Ancient Songs. Ancient Songs, strictly so called, con- sisted of certain popular strains, each of which was exclu- sively appropriated to some particular calling or occasion,

and was considered by the Greeks as profaned, or perverted, if any otherwise employed. Among these lyrical effusions, they had the Shepherd's Song, the Reaper s Song, the Miller's Song, the Weaver's Song, the Wool-carder's Song, the Nurse's Song ; and others of the same kind, as the Lover's Song, the Lady's Song, the Song of the Young Girls, the Hymenea, or Marriage Song, the Datir, or Festive Song, the Ialema, or Song of Lamentation, and the Linos, or Funeral Song.

Ancilla. (From the Greek.) The name given by the Greeks to those shields, by the clang of which they marked the measure of their music on occasions of public festivity.

Andante. (Ital.) A word denoting that the movement to which it applies is to be performed in a gentle, delicate, and tender style. It is sometimes used adjectively ; as, when we say an Andante movement.

Andte . The abbreviation of Andante. See that word.

Andante Cantabile. (Ital.) In an easy time, and a sing- ing style.

Andante con Moto. (Ital.) In a moderate time, but with a degree of emotion.

Andante Affettuoso. (Ital.) In a somewhat slow and affecting style.

Andantino. (Ital.) Somewhat slower than Andante. See that word.

Andant0. Abbreviation of Andantino. See that word.

Anima di Musica. (Ital.) The soul of music. From this expression the executant understands that he is to throw into his performance all the spirit and pathos of his

Animatio. (Lat.) Animation. A word directing an ar- dent and spirited style of performance.

Animato. (Ital.) Spirited, bold, animated.

Anthem. A sacred composition for one, two, or more voices , and the words of which are generally taken from the prose translation of the Psalms. The Anthem is of various kinds and denominations : we have the Verse and Chorus Anthem, the Verse Anthem, the Full Anthem, the Solo Anthem, and the Intrumental Anthem; the first and second consisting of verse and chorus, the third of chorus only, the fourth of solos and chorus, and the fifth of any mixture of these, accompanied with instruments.

Anticipation. Anticipation consists of the introducing

in a chord any notes which are to form a part of the imme- diately succeeding chord : also that action of the voice or finger by which a succeeding note is sounded before its regular time. See Anticipating Grace.

Anticipating Grace. An embellishment consisting of a note which forestalls the succeeding note.

Antiphonarium. (From the Greek.) The name given to the melodies and chants of the Antiphony, taken collectively ; i. e. to the volume in which they are contained.

Antiphone. (From the Greek.) The response made by one side of the choir to passages of a chant vociferised by the other.

Antiphonizing. (From the Greek.) Vocalists are said to be Antiphonizing when they sing in octaves.

Antiphons. (From the Greek.) Sacred dialogues, or conversational compositions, used by the early Christian

Antiphony. (From the Greek.) A mode of sacred com- position which originally consisted of octaves and fifteenths, but which was afterwards extended to anthems and hymns, the different portions of which were sung responsively. At present the word Antiphony is principally applied to short scriptural passages bearing some allusion to the particular festival, or occasion, on which it is used.

A Parte Equale. (Ital.) An expression applied to two or more vocal performers, who, in an opera, or concert, sus- tain parts of equal difficulty and importance, and which are alike indispensable to the general and intended effect.

A Piacere. (Ital.) See Ad Libitum.

A-Plomb. (French). With energy and firmness ; mark- ing the time with emphasis and precision. A term originally applied to that evolution by which a dancer descends upon his feet with exactitude and fixity ; but now extended to a similar decisive point, or steadiness, in a singer.

A poco piu Lento. (Ital.) Somewhat slower.

A poco piu Mosso. (Ital.) With a little more briskness, or motion.

Apollonicon. A well-known, noble, and stupendous organ, built by our countrymen, the very ingenious Messrs. Flight and Robson. This instrument comprises no fewer than six sets of keys, all of which, by as many performers, may be acted upon simultaneously. It is also furnished with immense cylinders, by the revolutions of which alone the whole combined powers of the instrument are, at pleasure, brought into operation, and the most extraordinary effects

Appeau. (Ital.) A small pipe, or bird-call; also a warbling of the voice, in imitation of birds.

Appogiatura. (Ital.) See Appogiature.

Appogiature. (From the Italian). A grace-note written diminutively, because seldom inharmony with the notes, or chords, it accompanies. For instance, - Here the Appogiature, G, forming no part of the harmony, yet being deemed necessary as a note of embellishment, is written small, to avoid offending the eye with a visibly discordant combination.

Apprize. An Apprize is a sign placed after the last note of a stave, to guide the eye to the first note of the succeeding stave. See Direct.

Arbitri. Unstudied preludes, the passages of which are arbitrarily dictated by the momentary suggestions of the

Arcato. (Ital.) A word used in violin music, or the violin parts of a composition, to denote that the passage to which it refers is to be played with the bow. It is after pizzicato passages that it is introduced, to apprize the per- former that the notes are no longer to be produced by the finger, but by the bow. See Pizzicato.

Archet. (French.) A violin, violoncello, or double-bass

Arch-Lute/ A stringed instrument formerly much ad- mired, and still used in Italy. In construction and tone, the Arch- Lute resembles the Theorbo. See that word.

Arcieluto. (Ital.) See Arch-Lute.

Arco. (Ital.) See Archet.

Ardito. (Ital.) With ardour and spirit.

Aria. (Ital.) Aria, strictly speaking, is a course or series of vocal sounds, so arranged as to have a certain relation to

each other by their characteristic symmetry, and to produce that unity of effect which constitutes a tune. In its more ex- tended sense, the word aria implies any melodious succession of passages suited to vocal expression.

Aria Buffa. (Ital.) A comic or humorous air.

Aria Concertata. (Ital.) A superior species of vocal composition, one of the prevailing characteristics of which consists in the rich and orchestral style of its accompani- ments, which are generally so constructed as to include solo passages for the principal instruments employed.

Aria d'Abilita\ (Ital.) A great song, or melody, the "brilliancy and difficulty of which demand for its just exe- cution the higher of the vocal powers.

Aria di Bravura. (Ital.) An air distinguished from less brilliant and striking melodies by the gay, volatile floridity of its divisions, and general ardour and spirit of its passages. A style of song, which, in the Italian opera, is always re- served for the prima donna, and which can be effectively executed only by the higher order of soprano voices.

Ariadi Cantabile. (Ital.) An air chantante ; i. e. an air smooth, flowing, and finished in its style, and elegantly pathetic in its effects.

Aria Fugata. (Ital.) An air formerly so called from the fugue-like style of its accompaniments. A kind of compo- sition which had little other merit than that of the labour with which it was produced, and which has yielded to the more interesting excellence of moving the passions.

Aria Parlante. (Ital.) An air, the style of which par- takes of melody, properly so called, and of melodious or mea- sured recitative ; an air that speaks, or sl recitative that sings.

Aria Tedesca. (Ital.) A German melody, or melody in the style of German song.

Arie Aggiunte. (Ital. plu.) Airs superadded to a drama, and which formed no part of the piece in its original

Arietta. (Ital.) The diminutive of Aria. See that

Arietta alla Veneziana. (Ital.) Little Venetian melo- dies. See Barcarolles,

Ariettina. (Ital.) See Arietta.

Ariose Cantate. (Ital. plu.) Airs, the style of which is between that of melody and recitative, and which consist of frequent changes in their time, manner, and humour.

Arioso. (Ital.) In a singing, air-like manner. Armonia. (Ital.) Harmony.

Armonica. A musical instrument invented by Dr. Frank- lin; described under the article Musical Glasses. See that definition.

Armonica. (Ital.) An adjective, signifying harmonious.

Arpa Doppia. (Ital.) A double-actioned harp.

Arpeggio. (Ital.) In a sweeping manner ; in the style of harp music. An expression especially applicable to chords taken on the piano-forte, when the notes are not intended to be struck abruptly and at once, but in rapid

Arpeg. The abbreviation of Arpeggio. See that word. Arpeggio Accompaniment. An accompaniment in the arpeggio style.

Arrangement. The altered form given to any move- ment or piece, for the purpose of adapting it to the powers and genius of some particular instrument, or instruments ; and producing from it a new effect.

Ars Canendi. (Lat.) That art which teaches to sing -with truth, judgment, and taste.

Ars Componentis. (Lat.) The science of composition.

Arsis and Thesis. (From the Greek.) The terms Arsis and Thesis, strictly speaking, are prosodial terms, and regard the most essential property of melody, or air. As the word Arsis implies the raising of the hand in beating time, or preserving the measure, so Thesis signifies the descent of the hand. Thesis, therefore, as belonging to the accentuated, and Arsis as appertaining to the unaccentuated part of the "bar, not only have an immediate relation to melody, but are its indispensable ingredients, since, without measure or time, melody could never have existed.

Ars Musica. (Lat.) The musical science.

Articulation. This substantive has reference to music of every description. Without that distinctness and truth of expression implied by the word Articulation, neither vocal nor instrumental performance can be perfect or correct, any more than it can be impressive or gratifying.

Artificial. This word is applicable to every province of music, whether music be considered as an art, or as a science, because its whole edifice is of artificial construction. Nevertheless, custom has given one especial application

the term, and thereby rendered it technical. Those chords or combinations, which are at once dissonant and admissible, are exclusively called Artificial.

Artificial Harmony. Discords which are allowable, because they have some relation to the triad. See the word

A Sharp. The note A raised half a tone. See Sharp.

Assai. (Ital.) A word adverbially subjoined with any other that applies to the time of a composition ; the sense of which word it augments, as Presto, quick, Presto Assai, very quick ; Lento, slow, Lento Assai, very slow.

A Table Sec. (French). An expression applied to vocal practice when unassisted by any instrument. So to exercise the voice, is to practise A Table Sec.

A Tempo. The time of a movement having been deviated from, the words A Tempo signify a return to the original

A Temp. The abbreviation of A Tempo. See that ex-

A Tempo dell' Allegro. (Ital.) In the time of an Allegro ; or in the time implied by the word Allegro.

A Tempo di Gavotta. (Ital.) In the time of a Gavot. See Gavotta.

A Tempo Giusto. (Ital.) In a due and steady time.

A Tempo Ordinario. (Ital.) An expression indicating that the movement to which it is prefixed should be per- formed in moderate or ordinary time.

A Tre Corde. (Ital.) Piano-fortes with three strings to each key, are said to be A Tre Corde.

A Tre. For three voices.

A 3. The abbreviation of A Tre. See that expression.

A Trois Mains. (French.) A composition for three hands on the same instrument.

Attaca. (Ital.) An imperative, directing the performer to pass immediately to the succeeding movement ; as Attaca il Allegro, proceed directly to the Allegro.

Atto. (Ital.) An Act. One of the divisions of an opera or oratorio.

Atto di Cadenza. (Ital.) An Atto di Cadenza, or Act of Cadence, is that harmonic preparation by which an ap- proaching cadence is denoted. This is effected by various means ; but generally by the fall of a fifth, or rise of a fourth, in the bass.

Aubade. An Aubade is a morning concert in the open air, as a Serenade is an evening performance in the open air. See Serenade.

Augmentation. When, in any part of a fugue, the subject is taken up in notes of double the value of those in which it was given out, (semibreves for minims, minims for crotchets, crotchets for quavers, and so forth,) the process is called

Auletes. (From the Greek.) A flute-player, or flutist.

Authentico. (Ital.) Authentic. An adjective of appro- bation, by which the Italian theorists distinguish certain of the church modes. See the word Mode.

Autos Sacramentales. (From the Greek.) The musical representations formerly ordained by the Spaniards, and made in their churches on great and solemn occasions, were called Autos Sacramentales, or Sacred Acts.

Ave-Maria. (Lat.) An expression which, as that uttered by the angel Gabriel, in his salutation of the Virgin Mary, has always been hallowed, and long become a subject of musical exultation in the Catholic church.

Auxiliary Notes. Notes employed as substitutes far passing notes where passages are of a nature not to admit the latter. When Auxiliary Notes are lower than their prin- cipals, the intervals should be only half tones ; but when higher, they may be either half tones, or whole tones.

Here the Auxiliary Notes on the third line are half a tone beneath the principals ; but those on the fourth line, a whole tone above.

Avena. (Lat.) A Reed. One of the humble instru- ments of sound by which the first cultivators of music arrived at the power of producing melody. The tones of the shell, the horn, and the oaten straw, opened the way to superior euphony ; became the patterns of improved models ; art proceeded with the task which nature began; and at length we can boast of instruments, of the beauteous effects of which former ages had no conception, and of orchestras, the result of whose multifarious excellences seems of more than human contrivance.

Azione Sacra. (Ital.) A solemn or sacred musical drama.

B, the alphabetical appellation of the seventh of the seven notes of which nyisic is said to consist, reckoning from C, the fundamentaVtiote of the natural major scale. B is also the nominal of the second of A, the fundamental of the natural minor scale.

Bachelor of Musjc. A musician who has received from some university the second, or inferior degree of Bachelor in the Faculty of Music. To obtain this honour, a candidate must compose an anthem in six real parts, of sufficient cor- rectness and ingenuity to merit the approbation of the Music Professor.

Back-Turn. A turn which begins on the note below, instead of the note above, that which is embellished.

Bagpipe. An ancient, well-known Scottisli wind instru- ment, supposed to have been brought into North Britain by the Danes or the Norwegians. It has its name from its own chief constituent parts, a pipe, and a bag by which it is

Bagpiper. A performer on the Scotch wind instrument called a bagpipe. See that word.

Ballad. A species of song of the simpler construction, and said to have been originally invented by the Jongleurs, or itinerant bards of France and Germany in the 15th and 16th centuries. Its present description is that of a little lyric tale, or short series of obvious reflections, expressed in a few verses, each of which is sung to the same tune.

Ballata. (Ital.) A term applicable to any tune or me- lody fit for an accompaniment to a dance : also to any air qualified for a dance tune in a ballet or opera.

Ballet. (French.) A dramatic story told in metrical action, accompanied with music. A species of entertain- ment peculiar to the Opera House, and sometimes most improperly introduced between the acts of the principal

Ballet Master. He whose profession is to produce ballets, and to arrange and regulate their representation.

Balli. (Ital,) Dances introduced between the acts of Italian operas. This injudicious practice has offended good taste for nearly a century : but there is reason to hope that, ere long, a better judgment will allow the lovers of the

operatical drama to enjoy the interest of its scenes uninter- rupted by the distracting intrusion of unconnected dumb-

Band. A number of instrumental performers assembled for the purpose of uniting in concert.

Banda. (Ital.) In the Italian Opera, either a band of musicians, or of soldiers : as, Banda Prima, first band of musicians, or soldiers ; Banda Seconda, second band of

Barcarolles. The songs sung by the Venetian Gondo- liers. These boatmen are fond of vociferating them on the water ; and the effect is as pleasing as the melodies are familiar and simple.

Bard. A Welsh nominal, synonimous with Minstrel, and applied by modern writers to the poets of old times. The powers of the bards in exciting the courage of armies, pro- cured them such high consideration with antiquity, that not only were they the convivial companions of princes and heroes, but often the chosen negotiators between the belli-

Baritono. (Ital.) A word which, when applied to the voice, signifies a Tenor-Bass ; a compass of tones the lowest of which are not so deep as the gravest of a bass voice, nor the acutest so high as the upper tones of a tenor voice.

Baritono-Cliff. An expression signifying ' the F or Bass Cliff, when placed on the third line, instead of the fourth ; as thus - - IZZZ in which case, the melody on the same stave with the cliff is a Baritono, or Tenor-Bass melody.

Bar of Music. A Bar of Music is that quantity of music contained between any two adjacent bars of a composition; a, quantity which has no reference to the number, but only to the value of the notes so contained, taken together. By consequence, any one bar of music in a movement is equal to that of any other bar in the same movement. See Bars.

Barrel Organ. An Organ the tones of which are pro- duced by the revolution of an inclosed cylinder, and the tunes it plays, by the disposition of the pins and staples with which the cylinder is studded. The Barrel Organ has been lately brought to a degree of perfection, of the possibility of which the musical mechanicians of the last age had no idea. See Apollonicon.

Bars. Certain lines which, drawn perpendicularly through the staves of a composition, divide the music equally, in respect of time : as thus -

Here the three crotchets in the first bar being equal to the minim and crotchet in the second, and the minim and crotchet in the second bar equal to the crotchet and four quavers in the third, the contents of each bar is equal to the contents of each of the other two ; i. e. the three bars are equal to each other.

Bass. The lowest part in any composition ; apart which derives its name from its quality and office, as being the gravest in sound, and the support, or basis, of all the other

Bass Chastante. (French.) A Bass which, besides being the foundation of the higher parts of a composition, possesses a degree of melody, flatters the ear, and forms a singing bass. Bass Cliff. The Cliff which, when in its usual

situation (the fourth line of a stave), implies that

the notes on that stave are bass notes ; that that ZZZUZZ stave contains the bass part of the composition.

Bass-Cltff Note. A note so called rgjT because its station is on the same line with the bass cliff; viz. the fourth line -

Bass ClifF Note.

Bassetto. (Ital.) This term signifies a bass less deep than that implied by the v/ord Basso, of which it is the

Basso. (Ital.) The Bass.

Basso Concertante. (Ital.) That bass by which the lighter or more delicate parts of a composition are accom- panied, and which is generally performed by the violoncello, and sometimes by the bassoon.

Basso Continuo. (Ital.) A bass that is

figured, for the purpose of indicating the 5_ZZ^~ superincumbent harmony of which it is the g-

foundation ; as thus - 5 Here the 5 placed under the note C, signifies that the har- mony formed by the notes of the other parts immediately over it, consists of the third, fifth, and eighth, or chord, of C.

Basso Fondamentale. (Ital.) See Fundamental Bass.

Basso Primo. (Ital.) The fundamental bass, or bass consisting of that note of which the incumbent harmony is the common chord ; called the Basso Primo, in opposition to that which is termed Basso Seco?ido, or inner bass.

Basso Recitante. (Ital.) An expression used in contra- distinction to Basso Ripieno, and implying that the partto which it is affixed is the bass of the little chorus. See Basso Ripieno.

Basso Ripieno. (Ital.) Used in opposition to Basso Recitante, and signifying, that the part to which it applies is the grand and main bass, or bass of the great chorus.

Basso Rivoltato. (Ital.) That bass which does not con- sist of the fundamental note of the harmony, but is derived from it; as when the harmony being that of C, the bass

Basso Secondo. (Ital.) That bass which, instead of being the fundamental note of the harmony, consists of the third, or fifth, of that note. See Basso Rivoltato.

Bass Part. The lower part in a composition ; that part on which the harmony is founded.

Bass Solo. An air or melody designed for a bass voice, or bass instrument.

Bass Song. A song composed for, and adapted to, a bass

Bass-Viol. An instrument with four strings, and eight stops, subdivided into semi-stops. Its name announces that its register lies in the lower province of the great scale, and that, like the violoncello, it is of the violin species. For- merly the Bass- Viol was in much esteem.

Battuta. (Ital.) See Beating Time.

B Double-Flat. A Flat which de- presses the note B Natural two semi- tones ; and, on the piano-forte, lowers it to A Natural. Ex. Here we have B Flat flattened ; that is, depressed half a tone : and since, on the piano-forte, A Natural is the next sound below B Flat, A Natural is the key to which, on that instrument, the finger is conducted by B Double-flat.

B Double- Sharp. A Sharp which raises the note B Natural two semi- tones ; and, on the piano-forte, lifts it

Here we have B Sharp (C Natural) sharpened; that is,

raised half a tone : and since, on the piano-forte, C Sharp is the next sound above B Sharp, C Sharp is the key to which the finger of the piano-forte performer is carried by B Double-sharp.

B Durum. (Lat.) B hard : so named in contradistinction to B Molle, or B soft.

Beat. A short note of embellishment, ^ m3-A

which is always a semitone lower than the note it graces, and always precedes it. When written, it is exhibited thus - _

when not written, designated thus -

Beating Time. The act of regulating the measure of a movement by the continuous and uniform motion of the hand or foot.

Beatings. Those pulsative or palpitating sounds issuing from an organ, when the pipes are false, or out of tune ; when the vibrations of those of the same key are not con-

Becarue. (French.) B Natural. Belfry. That part of a church steeple in which the bells are suspended. For the purpose of giving free vent to their sounds, the sides of the belfry are constructed with spacious openings ; and that, when they have issued from the steeple, they may spread the more freely around, the belfry is, or should be, stationed sufficiently high to convey them over

Bell. A well-known musical instrument, consisting of a round body, or barrel, widening towards the bottom, and furnished with a tongue, or clapper, and an ear, or cannon, by which it is suspended. It is made of cast metal, the com- position of which consists of tin and copper, and the tones of which, when conveyed over an expanse of water, are strikingly mellifluous.

- Bellezza della Voce. (Ital.) Beauty or sweetness of

Bell-Harp. A stringed instrument, at present little known, and less used. The Bell-Harp takes its name from the circumstance of its being swung by the hand when per- formed on. Its strings are more than thirty in number, and, of course, include a compass exceeding four octaves.

Bell of a Horn. The wide, circular expanse of the horn. That part of the instrument by which the sound is propa-

Bell-Tone. That clear, sweet quality possessed only by superior soprano voices.

Belly of an Instrument. In a piano-forte, the belly is the broad, smooth board which lies immediately under the strings : in a double-bass, violoncello, tenor, and violin, it is that part of the body over which the strings are distended.

Bel Metallo di Voce. (Ital.) A clear and brilliant tone of voice. Generally, but not exclusively, applied to sopranos.

Bemol. (French.) B Flat. See that expression.

Bene Placito. (Ital.) A phrase by which the performer understands that he is at liberty to ornament and variegate the passages at 'pleasure,

Benmarcato. (Ital.) Well marked ; in a pointed manner.

B Flat. The note B depressed half atone; which B, when so depressed, forms the flat seventh of C, the natural diatonic major mode ; and the flat second of A, the natural diatonic minor mode. Ex.

B Flat Major. The key, or scale of BFlat, with two flats ; - E flat, and e flat. Ex.

B Flat Minor. The key, or scale, of B Flat, with five

See A Flat.

flat ; except in ascending the scale ; when

the notes G and A are natural.

third note in alt. Ex.

See Alt.

B in Altissimo. (Ital.) The third note in Altissimo. Ex. See Altissimo.

Binary Measure. Common called Imperfect Measure.

time of two in a bar : also

Binding-Notes. Notes of the same denomination and pitch, bound together by curves, which curves, or bindings, imply that only the first of such notes is to be struck, and the remaining note or notes not to be struck, but held down ; the whole forming, in effect, but one note ; as thus -

in performance, form one note of the length of the three taken together.

Bird Organ. A little cylindric organ, the scale of the notes of which are sufficiently acute to produce a tolerably faithful imitation of the tones of singing birds.

Bis. (Lat.) Twice. The extent of this term of repeti- tion is generally determined by a curve drawn over the passage intended to be repeated, and which curve includes every note of such passage ; as thus -

In this example, the notes to be repeated are those of the third bar, those included by the curve over the word Bis.

Bisdiapason. (From the Greek and Lat.) A bisdiapason comprehends a compass of two octaves, as thus -

or thus -

Bisinia. (Lat.) A term used in piano-forte music, when the notes or passages performed by one hand are regularly repeated by the other. The term is founded on the word Bis. See that word.

Bizzaro. (Ital.) A term indicating that fantastic ana whimsical style of execution sometimes adopted in light

Blanche. (French.) A minim. See Minim.

B Major. The key, or scale, of B, with five sharps : - f sharp, c sharp, g sharp, d sharp, and a sharp. Ex.

B Minor. The key, or scale, of B, with two sharps ; - f sharp, and c sharp ; except in ascending the scale, when the notes G and A are sharpened. Ex. _

B Natural. The note B, neither sharpened nor flat- tened. See B Quadrum.

Bollero. An old Spanish dance. .

Bombardo. A hass instrument of the inflatile species, resembling the Bombix of the ancient Greeks. See Bombix.

Bombix. An ancient Greek instrument, formed of a Jong reed or tube. It was blown at the olmos, or mouth, but owed the depth and fulness of its tone to its eupholmy, or

Border Tunes. Tunes so called from their being (like the Border Poetry) the productions, and the favourites, of the inhabitants of the countries in the vicinity of North Britain. They are all simple, natural, and somewhat in the Scotch style.

Boubonniere Musicale. (French.) A pleasing musical

Bourdon. (French.) A term applied to the drone-bass of any melody: a heavy, fixed sound, dwelling upon one note (the key note) throughout the tune, like the settled, dronish note of a bagpipe's bass : a kind of burden. See that word.

Boure'e. (French.) An old French dance in the measure of four crotchets. One of its characteristics is, that of its commencing with the last quaver, or last crotchet of the

Boutade. (French.) A kind of impromptu ballet, in the capriccio or fantasia style, and formerly in great favour with the Parisians.

Bow. The utensil used in performing on instruments of the violin species, from the kit to the double-bass. Its length, formerly, was not equal to what it now is. The

present dimension of the violin bow is from twenty-seven to thirty inches.

Bow-Hand. The hand with which violin performers hold the bow - the right hand.

Bowing. The art of using the bow, on the skilful ma- nagement of which the tone of the violin, or violoncello, greatly depends, as also the grace and freedom of the per-

B Quadrum. (Lat.) The name originally given to the note B natural, on account of the square form of its sign - jj, called Square B, in contradistinction to B Rotundum, the representative of B flat - \) - or Round B.

Braced Points. Characters, several of which signify, that the expression of the notes over which they are placed must, at once, partake of distinctness, and of a smooth, glid- ing motion ; that is, must be so performed as to mix the manner indicated by the slur curve, and that implied by the staccato dash. Ex.

Bracelet. A highly useful implement recently invented by Mr. Bochsa, the distinguished harpist, for assisting harp practitioners in acquiring a proper position of the hand. It is so suspended from the neck of the instrument, that, while it keeps the hand at a due height, it permits it to move freely backward and forward. This ingenious little machine affords to beginners an aid of which they had long felt the want. With such a permanent advantage, they are no longer destitute of a manual guide during the absence of the master.

Braces. Vertical curves placed at the left extremities of the staves of a composition, to bind together such -parts as have an harmonical connexion with each other. In music of few parts, Braces are constantly used ; but in full and multifarious scores, they are sometimes dispensed with.

Braces op a Drum. Cords extending obliquely from the upper to the lower rim of the drum, and which, as they are tightened or slackened, stretch or loosen the parchment, and thereby raise or lower the sound.

Bravura. (Ital.) The word Bravura, when used as a substantive, has a general application to all songs of a bold, animated, and brilliant description; especially when intended for a soprano voice. When employed adjectively, It only announces the nature of the style of such a song ; as, when speaking of the concluding song in Dr. Arne's Ar- taxerxes, or of the " Son Regina' of Sacchini, we say, it is in the bravura style.

Breve. A note equal in duration to one-fourth of the old character called a Large, and to one-half of the Long. Long as is the breve, compared with the modern semiquavers, demisemi quavers, and double-demisemiqu avers, it derived its name from its comparative shortness, in respect of the large and the long, formerly in general use. The Breve was ori- ginally of a square shape, but now is made thus - |o| -

Bridge. That arch by which the strings of a violin, or viola, a violoncello, or double-bass, are raised above the "body of the instrument, and enabled to obtain a free and uninterrupted vibration.

Brillante. (Ital.) A word implying a gay, volatile, striking style of composition, and performance.

Brio. (Ital.) Vivacity, animation.

Broderies. An old term applied by the French to casual, unstudied ornaments in performance.

B Rotundum. (Lat.) The name originally given to the note B flat, on account of the round form of its sign - \) - called Hound B, in contradistinction to B Quadrum, the representa- tive of B natural - j| - or Square B. See B Quadrum.

* This character, - by carrying the finger of the pia-

B Sharp. The note B raised half a tone

mer to the white key next above B natural, gives ocular proof of its raising that note half a tone.

Buccina. An ancient, military wind instrument, the form and tone of which are supposed to have resembled those of the trumpet.

Buffet Organ. A small organ. See Positif. Buffo. (Ital.) An Italian vocalist who performs comic operatical parts.

Buffo Caricato. (Ital.) A comic character in an Italian

Bugle. A horn whose shape is straight, and the notes-

of which are very few. An instrument almcxst exclu- sively used in the chase.

Buonaccordo. (Ital.) An instrument, the key-board of which is made smaller than that of a common piano-forte, for the accommodation of young children.

Buon Cantante. (Ital.) An accomplished singer; a vocalist, who, to a fine voice, adds taste, execution, and

Buon Gusto. (Ital.) Good taste ; a clear and correct idea of what is excellent in composition and performance.

Buono Mano. (Ital.) An instrumental performer, who is master of a brilliant style of execution, is said to have a Buono Mano, a good hand.

Burden of a Song. The term Burden (of French deri- vation) implies a monotonous return of the same words and music at the end of each verse of a song. This form of song is almost as old as poetry, and its interesting effect, when the subject-matter of the burden is pleasing, has perpetuated the practice.

Burlesque Songs. Songs, the objects of which are, to place serious things in a ridiculous point of view, and to excite laughter by the oddity of the rhyme and versification, and the affected quaintness of the melody.

Burletta. The Burletta (a species of comic opera) is of Italian invention. The union of humour with the " con- cord of sweet sounds/' proved so acceptable to the ears and feelings of the public, that this light, humorous species of entertainment quickly spread through Europe, in all the refined parts of which it is enjoyed and encouraged to this

C, the letter by which the natural major scale is nomi- nally distinguished. C is the only major scale, or key, which has neither sharps nor flats ; it is, therefore, that the key of C, like its relative minor, the key of A, is called

Cabinet Piano-Forte. An instrument possessing much of the advantage of the upright grand piano- forte ; but which, like that, turns the back of the performer on the company. It is sometimes furnished with two sets of strings, and sometimes with three ; when, with the latter, the tone is both sweet and powerful.

Caccia. (Ital.) A chase - a hunting song, or an instru- mental imitation of hunting music.

Cacophony. (From the Greek.) A dissonant mixture of incongruous sounds.

Cadence, or Reprise. A graceful extempore embellish- ment with which a singer closes his performance. The -term Cadence is also sometimes applied to the pause made at the end of an air, previous and preparatory to a Cadence.

Cadenza. (Ital.) The spontaneous ornament with which a singer closes his song. See Cadence.

Cadenza Sospesa. (Ital.) See Suspended Cadence.

Cadenz. The abbreviation of Cadenza. See that word.

Calamus Pastoralis. (Lat.) A reed, or hollowed cane, used as a wind instrument. See Avena.

Calando. (Ital.) Gradually diminishing in velocity.

Caledonian Melodies. The ancient and genuine melo- dies of North Britain ; i. e. of the masters of those early times when the notes of the Scotch scale were confined to the first, second, and third, and fifth, sixth, and eighth, of the key.

Cambrian Melodies. The ancient and genuine melodies of Wales, i. e. of the old Welsh Bards.

Camera. (Ital.) A word applied to music composed for the chamber, and not for the church or the stage.

Can. (Welsh). A Song ; as Can y Prophwyd Davydd ; the song of David, the prophet.

Canaries. An old English dance in the measure of three quavers, and consisting of two strains. The introduction of this species of dance in some of PureeU's operatic pieces, seems to prove that, in the time of that great composer, the Canaries was popular.

Canon. A Rule. A word announcing a species of com- position, so called because every bar of it is written agree- ably to certain rigid rules previously prescribed. These rules, whatever the number of parts, dictate a perpetual fugue, which fugue may be simple, double, or triple ; re- versed, or inverted ; resolved, or unresolved ; finite, or in-

Canon Chiuro. A continued fugue, the construction of which admits of its being written upon one stave.

Canons in Cerpo. A peculiar kind of perpetual fugue. Canorus. (Lat.) See the word Shrill. Cant. The abbreviation of Canto. See that word.

Cantabile. (Ital.) A movement, the style of which is graceful and mellifluous.

Cantab. The abbreviation of Cantabile. See that word.

Cantadours. Strolling singers, who, as early as the ninth century, wandered about Provence, performed on temporary stages in the open air, and derived a subsistence from the gratuitous contributions of their surrounding au-

Cantante. (Ital.) A word sometimes signifying a singer, and sometimes the vocal part of a composition.

Cantata. A vocal composition comprizing recitative and air. The Cantata, which is elegant and impassioned in its style, had for its inventress Barbara Strozzi, a lady of Venice, whose talents and science adorned the seventeenth century. It originally assumed an operatical form, and employed a variety of performers, but was afterwards so curtailed as to be reduced to two or three melodies, inter- spersed with recitatives, and adapted to a single voice. In this style it found its way to Italy, Germany, and England in the latter of which countries it exercised the genius of some of its greatest musicians. The Alexis of Pepusch, and the Cymon and Iphigenia of Dr. Arne, will be admired as long as musical taste exists.

Cantatilla. (Ital.) A short song consisting of an air introduced by a recitative ; a diminutive Cantata. See that

Cantatrice. (Ital.) A female vocalist.

Canticle. The name formerly given to act-tunes, or short musical interludes, the object of which was to diver- sify and relieve the business of the principal piece.

Cantici. (Ital.) The former laude, or sacred strains, of the Catholic church. These adulations of the Virgin, and of the Saints and Martyrs, were first adopted about the twelfth century.

Canticle. The name almost exclusively given to the Song of Solomon, but, in strictness, applicable to any hymn or religious song. The ancient Hebrews poured forth their Canticles to the Living God ; the Greeks addressed theirs to Jove, Neptune, and the inferior deities.

Cantilena. (Ital.) Formerly the diminutive of Canzone, but now the air, or upper part, of any vocal composition.

Cantilena Scotica. (Ital.) A Scotch air, or tune.

Canto. (Ital.) The treble part in a chorus.

Canto Fermo. The ancient and settled chants of Catholic choirs. These seldom ascended higher than the fourth of the key, and, till the introduction of multisonant compositions, were sung in unisons or octaves.

Canto Figurato. When, after the invention of counter- point, harmony hegan to wear an ingenious and ornamented form, and melody was harmonized with skill and effect, that improved state of vocal composition was denominated Canto Figurato, a name by which it is still distinguished among the lovers of old church music.

Canto Plano, or Plain Chant. An expression implying the plain, unadorned style of the ancient chant.

Cantorb. (Ital.) A singer.

Canto Recitativo. (Ital.) A style of vocal composition that mixes air with recitative ; that sings while it speaks, and adorns the parlance of passion with the beauty of

Can ttjs. (Lat.) The Treble : also a kind of speaking air. See Canto Recitativo.

Cantus Ambrosianus. See Ambrosian Chant.

Cantus Gregorianus. See Gregorian Chant.

Cantus Mensurabilis. (Lat.) Any regular melody; any melody that may be so called, in contradistinction to the wild, unmeasured strains, composed before the establishment of the time-table.

Canzone. (Ital.) Originally, the general name of any song or odaic composition ; but which now principally im- ports a vocal piece of a somewhat elaborate construction, and in a plurality of parts.

Canzonet. (Ital.) The diminutive of Canzone. (See that word.) It is long since the term Canzonet was re- ceived in its true sense, especially in England, where it rather has an augmentative than a diminutive sense, and means a vocal composition of some considerable length, and consisting of several parts*

Caoinan. An Irish Requiem. See the word Keeners.

Capella. (Ital.) A Chapel : as Capella Musica, Chapel, or Church Music.

Capiscolus. An old term signifying the Chanter, or Precentor, of a choir, or band; i. e. the superintendent, or leader. See Chanter and Precentor.

Capjstrum. (From the Greek.) An implement used by the ancient trumpeters, to prevent the bursting of their

cheeks, when blowing with the necessary violence. It ex- tended from ear to ear, embraced the face, and was so effec- tual as to be almost universally used ; and so great was the innatile exertion of these performers, that it was dangerous to forego the guard afforded by this fortifier of the cheeks.

Capriccio. (Ital.) A composition, or performance, in which a loose is given to the wildest suggestion of the fancy ; of which a florid dissipation of unconnected ideas forms the characteristic feature.

Capriccioso. In the style of a Capriccio. Wild and fan-

Caprice. An unrestrained effusion of the imagination. See Capriccio.

Carilloneur. (French.) A performer on the Carillons, or chimes. In Flanders, a musical operative of some re-

Carillons. Chimes consisting of small bells, diatoni- cally tuned ; sometimes borne in the hand, sometimes sus- pended in time-pieces, in which, at regularly returning periods, they perform the melody to which they are set.

Carol. A Christmas or Easter Ballad. This species of poetical and musical effusion had its origin in Italy, under the title of Carrola, At first, the character of the Carol was that of excellence ; of beauty of thought and taste in expression ; and it was long before it became degraded by itinerant holiday minstrels. See Carola.

Carola. An Italian word synonimous with ballata in its most dignified sense. See Carol.

Carrilon. An air composed for chimes.

Castagnets. The old orthography of Castanets. See that word.

Castanets. Chestnut shells held in the hands during a dance. This mode of accompanying the motions of " the light fantastic toe," is of Spanish origin. If their rattling" contributes nothing to the melody, it, at least, shares in the merit of preserving the time ; and certainly adds to the hilarity of the general effect.

Catjena di Trilli. (Ital.) A rapid succession of shakes upon close or contiguous intervals.

Catch. A vocal composition for several voices, the parts of which are so contrived as to produce a whimsical play upon the words of one singer, by the expressions of another. To produce this effect, the first singer begins alone, and

when he has reached the end of his part, proceeds to the second, while the next performer takes the first ; after which the third performer takes the first part, the second per- former the second part, and the first performer the third part ; so that no two performers being engaged upon the same words at the same time, an opportunity is afforded for what might be called cross-readings, and the introduction of considerable wit and humour. The Catch, however, with all its pleasantry, is, at present, not much used.

Catch-Clue. A vocal association, the object of whose union is the amusement of singing catches and glees. Catch- Clubs were formerly very numerous, and afforded to all ranks many an hour of innocent mirth and rational

Cathedral. An Episcopal Church furnished with a choir, singers, and an organ. In England, our ancestors, the Anglo-Saxons, quickly established these, and the abbeys organ's solemn tones.

Cathedral-Duty. This expression, musically under- stood, signifies the vocal and instrumental performances included in the service of the choir. For the vocal depart- ment, to a good voice must be added a respectable portion of science ; and for the instrumental, (i. e. the organistic portion,) a profound and extensive acquaintance with the finest church composers, and a thorough understanding of the principles upon which they produced the extraordinary effects inseparable from the just performance of their works.

Cavatina. (Ital.) A short air in which there is no re- turn from a second strain to the first; but which proceeds from the first bar to the last without any retrograde de-

C Cliff. The tenor cliff. Denominated the C Cliff, be- cause, on whatever line it is placed, it gives to the notes on that line the name of C.

C Double Flat. A Flat which de- presses the note C Natural two semitones ; and on the piano-forte, lowers it to B Flat.

Here we have C Flat (B Natural) flattened ; that is, de- pressed half a tone : and since, on the piano-forte, B Flat is the next sound beneath C Flat, B Flat is the key to which, on that instrument, the finger is conducted by C Double Flat.

C Double Sharp. A Sharp which

it to jrf:

D Natural. Ex. %J

Here we have C Sharp sharpened ; that is, raised half a tone : and since, on the piano-forte, D Natural is the next sound above C Sharp, D Natural is the key to which the finger of the pianist is conducted by C Double Sharp.

Cebell. An old air in duple time. Its distinguishing1 characteristic was, that it consisted of quick and sudden alternations of high and low notes, or passages.

Cecilian Society. A society of musical amateurs and professors which has long been established in the City, where, at the hall of a worshipful company, the members meet weekly, for the purpose of performing sacred and secular music, the compositions of Purcell, Handel, Boyce, and other great masters ; in which laudable task they acquit them- selves in a stjde honourable to their science and talents. Cembalo. (Ital.) A harpsichord. See Harpsichord. Cemb. The abbreviation of Cembalo. Cervelat. A wind instrument about five inches in length, but from which very deep sounds may be produced, like the hautboy : it is blown through a reed ; but, in tone, resembles the bassoon. The cervelat was formerly a favo- rite instrument.

before it, will carry the finger of the %J piano-forte player down to B, (for there is no short black key between B and C,) and thus give ocular evidence of the power of the flat on the note C.

Chacone. (French.) An air of Arabian origin. It is founded on a ground bass, and reminds us of the Saraband. Its time is triple ; and the first and third notes of the bar are struck in an emphatic and pointed manner. Its style is easy and graceful, and very well fitted it for an accompani- ment to a slow dance.

Chalmey. See Chalumeau.

Chalumeau. An ancient wind instrument blown through a calamus, or reed, and long since improved into a hautboy. Changes. The variegated passages produced with bells. Chanson. (French.) A song.

Chansonnette. (French.) A little song. The diminu- tive of Chanson. See that word.

Chansons de Geste. (French.) The romances formerly- sung in the different towns by the wandering jongleurs.

Chant. A simple, harmonized melody, to which, in ca- thedral choirs, the psalms of the day are repeated in a style "between singing and speaking.

Chantant. (French.) Instrumental music, when easy, smooth, and graceful, is said to be chantant, i. e., composed in a singing manner.

Chant en Ison. (French.) A style of psalmody confined to the utterance of only two different sounds ; much in use formerly, but at present little practised.

Chanter. One of the appellations given to the superin- tendant or leader of a choir.

Chanterelle. (French.) The name of that string of a violin which is tuned to E on the fourth space of the treble

Chanter res. Provencal singers, or Cantadours. See

Chanteur. (French.) A male vocalist.

Chanteuse. (French.) A female vocalist.

Chantor. Formerly the precentor or director of the choir.

Chantries. Catholic institutions, established and endowed for the purpose of singing the souls of the founders out of purgatory. Under Henry the Eighth, they were sanctioned by parliament ; and under Edward the Sixth, were sup- pressed by parliament.

Chantry Priests. Priests who were selected to vocife- rize in the Chantries.

Chants Royal. French lyrics, the themes of which were princes and other illustrious personages.

Chant sur le Livre. (French.) The composing a part impromptu, upon a given bass, as the notes of a chant, or canto-fermo.

Character. A general appellation referrible AV to any musical sign ; as the Direct - 1

Chariot Air. A certain martial air of the ancient Greeks, remarkable for its inspiring the warriors and animating the horses. See Harmatian Air.

Chasse. (French.) A composition written for the Chase, or in imitation of the music used by huntsmen.

Che. (Ital.) Than : as, Piu che lento, slower than lento.

Chelys. A stringed instrument, so ancient as to have had its invention attributed to Mercury. Its frame consisted of a shell; and the shell of the original specimen has been supposed to have been formed by that deity on the banks of the Nile.

Cherubical Hymn. A hymn called by the primitive Christians Trivagium, because its burden consisted of the words, " Holy, holy, holy, Lord God of Hosts !"

Chest of Viols. The appellation formerly given to a Set of viols, which consisted of two trebles, two tenors, and two basses. The effect of these, in the performance of fan- tasias, or capriccios, is said to have been powerful and

Cheville. (French.) The bridge of a violin, viola, or

Chiesa. (Ital.) A word which, when adjectively used, is equivalent to the epithet ecclesiastical ; as, Chiesa Musicat Ecclesiastical Music.

Chimes. The music produced by the bells of a domestic timepiece, or of a college or other clock.

Chiroplast. A compound implement, invented by the ingenious Mr. Logier, for the guidance of the hands and fingers of young practitioners on the piano-forte. This contrivance consists of two moveable brass frames, each having five vertical apertures or openings, similar to those between the prongs of a table-fork, through which the thumb and fingers are introduced. Each of these openings corresponds with the key to which it is intended to guide the finger it holds ; and the two machines being made to slide along a brass horizontal rod, may, by a screw, be fixed over any part of the key-board. Each finger being thus constantly kept over its own proper key, it not only is impossible that any one should fall erroneously, but a good position of the hand is preserved, and a future ease and steadiness of execution ensured.

Chittara. A cithara. See Guitar.

Chiudendo. (Ital.) Concluding; as, Chiudendo col motivo, Concluding with the subject.

Choir. That inclosed portion of a cathedral appropriated to the performance of divine worship ; also (in Catholic countries) the large hall separated by a grate from the main area of the church, for the use of the nuns.

Choir-Man. A vocal officiate in a choir.

Choir-Organ. That portion of the stops of an organ employed in accompanying solos, and the softer parts of chants. An expression used in opposition to that of Full Organ, which signifies the whole, or greater part, of the powers of the instrument in combination.

Choral. An epithet derived from the substantive chorus, and applied both to multisonant vocal music, and to bands engaged in its performance ; also to full anthems and church services. Choral music, Choral anthem, Choral! service, and Choral band, are current expressions.

Choral Fund. A prudent and provident Society of Chorus Singers, who, besides their own private subscriptions, have an annual concert in aid of their fund, the praiseworthy object of which is, to make some provision for the exigences of sickness and old age.

Chord. As the term chord is but a word expressing har- monica! combination, and such combinations are various, of course, chords are various. Hence there is the Fundamental Chord, the Accidental Chord, the Equivocal Chord, the Tran- sient Chord, and others. See those expressions.

Chord a Vido. An expression formerly applied to a sound produced by the open string of a violin, violoncello, &c. ; i. e., when the string, not pressed on the finger-board, receives no check in its vibration, but is free to tremulate throughout its whole length.

Chords Etouffe's. Chords produced on the harp by the application of the palm of the left hand to the strings, which gently damps the sounds. These chords are always broken, or arpeggioed.

Chorion. (From the Greek.) A hymn sung in celebra- tion of Cybele.

Chorister. The name applied, in common parlance, to any vocal officiate in a choir.

Choro-Favorito. (Ital.) A chorus in which the best voices and instruments are employed, - in which the per- formers are few, but select.

Choro-Recitante. (Ital.) A chorus called the little chorus, because its performers are comparatively few, though of a superior order.

Chorus. (From the Greek.) With the ancient Greeks, a band of singers and dancers, who assisted at their public festivals, and in their dramatic representations. As now

understood, the word Chorus signifies a vocal composition in a plurality of parts, in each of which parts several performers join : *. e., the voices employed in singing each part are tripled, quadrupled, quintupled, &c, &c, according to the strength of the choral band.

Chroma. The original name of the note now denominated

Chromatic. When passages, or movements, are distin- guished by the number of their semitonic intervals, or extraneous and extravagant modulations, they are said to be chromatic. The Greeks used this word to distinguish artifi- cial and refined vocal performance, from the common and vulgar style of singing.

Chronometer. (From the Greek.) A machine for mea- suring time, and the utility of which ought, long since, to have been extended to music. This idea having occurred to the ingenious Maelsel, gave birth to his invention of the Metronome. See Metronome.

Church Duty. Musically and parochially understood, the duty of a Parish organist.

Ciaconne. (Ital.) See Chacone.

C in Alt. The fourth note in alt ; that note, the station of which is on the second ledger line in the treble stave ; thus -

C in Altissimo. The fourth note in Altissimo : that note, the pitch of which is eight degrees higher than C in Alt. Its place, were it properly stationed, would be above the fifth ledger line in the treble stave ; thus -

but to avoid confusing the eye, by carrying it so far above the stave, this, and all the notes in Altissimo, are written an octave lower than they are to be played, and are marked thus -

Cistella. See Dulcimer.

Cistron. See Cistrum.

Cistrum. An ancient Egyptian drum, supposed to have been made of grass.

Cithara. An ancient instrument of the harp species.

Cithara Bijuga. A cithara, or ancient harp, with two

Cithara Hispanica. A Spanish guitar.

Citharistic. An adjective derived from Cithara, and applied to music composed for the harp ; as, Sonata Ciiharis- tica, a Harp Sonata.

Citha rodia. (From the Greek.) The art of singing to the lyre. With the ancients, this art was one of the accom- plishments necessary to a gentleman : not to be master of the citharodia was to be deficient in one of the most esteemed

Citole. The name of an old instrument, consisting of a little box, over the top of which strings were distended.

Cittam. The name formerly given in England to the

Clangor. The sounding tone of the trumpet, when blown with vehemence.

Clangor Tubarum. A military trumpet used by the ancient Romans, a sample of which was dug out of Pompeii about the middle of the last century. It consists of a large tube of bronze, surrounded by seven small pipes of bone, or ivory, inserted in as many of metal, terminating in one point. The pipes are of equal length and diameter, and seem to have been unisons to each other, and octaves to the great tube. A ring at the side, to fasten a chain to, induces the supposition that, on account of its size and weight, the Clangor Tubarum was slung over the shoulder of the per-

Clapper. The moveable piece of metal suspended within a bell, and the percussion of which, against its sides, im- parts to it the vibration which generates the sound.

Clari chord. An old instrument of the keyed kind, and which, on account of its softness of tone, occasioned by the strings being partially enveloped with cloth, was sometimes

Clarinet. A wind instrument, the scale of which, though extensive, is imperfect. Its compass begins at E below the F cliff note, and ascends to E in alt ; but its powers through this scale are so far from equal, that the performer is com- pelled to be select in his keys. The clarinet, like the haut- boy, is blown through a reed ; but the tone is more clear and brilliant, and partakes so much of the sound of a trumpet, as to owe to that circumstance its name of clarinet, which, as the diminutive of clarino, means a little trumpet.

Clarion. An octave trumpet.

Clavecin. (French.) A harpsichord.

Clave Cymbala. (Ital.) See Clavicimbalum.

Claves Signata. (Lat.) By this expression, Guido dis- tinguished the coloured lines by which he expressed the pitch of the notes. These lines were afterwards adopted by others, and continued to be used till cliffs were invented.

Clavicimbalum. (Lat.) The original name of the harp-

Clavicitherium. See Clarichord.

Cliffs. Cliffs, as keys, or characters serving to deter- mine the alphabetical names, and acuteness or gravity, of every note in the staves, to which they are prefixed, are among the most important of all the indicial signs now in use. They are of three sorts - bass, tenor, and treble. The F, or bass cliff, placed on the fourth line ; the C, or tenor cliff, placed on the fourth, or on the third line ; and the G, or treble cliff, placed on the first, or on the second line, comprise all the exposition necessary to the modern musician, and only require to be properly studied, to throw a luminous clearness upon the pages of the most elaborate

Close. A word synonimous with end, or conclusion. The Close is of two kinds, and may be perfect, or imperfect. It is perfect only when its bass consists of the key-note of the

Close Plain Shake. A semitonic shake, unbounded in the rapidity of its alternations ; and which is less energetic, as well as less sweet, than the open shake, and closes without

See Open Shake.

Close Turned Shake. A close shake, which finishes with

C Major. The key, or scale, of C, without either sharps or flats.

C Minor, The key, or scale, of C, with three flats ; - b flat, e flat, and a flat ; except in ascending the scale, when the notes A and B are natural.

C Natural. The note C, neither sharpened nor flattened. See Natural.

C. O. Choir Organ. See that expression.

Coda. (Ital.) An end, a finish, a winding up ; a series of bars neither consisting of any of the past passages, nor of ideas foreign from them ; a sort of peroration that gives a florid and glowing termination to the piece.

Coi. (Ital. Plu.) With the; - a plural preposition: as, Coi Bassi, with the basses ; Coi Violini, with the violins.

Col Arco. (Ital.) With the bow. An expression from which the violinist learns, that, instead of continuing to pinch the strings with his fingers, he is to use his bow.

Colla Punta dell' Arco. (Ital.) With the end, or with a slight touch of, the bow.

College Youths. The appellation long since given to a society formed in London, for the purpose of ringing the church bells on remarkable and joyous occasions. In such high repute were the College Youths held at onetime, that Sir Matthew Hale deemed it no disgrace to be enlisted among them, and to employ his strength and dexterity in contri- buting to cheer the town with merry peals.

Combination. Harmonic union. As the notes of me- lody are in succession, so those of harmony are in combination. See Succession.

Comes. The name formerly applied to those of a band who followed the leader. See Dux.

Come Sopra. (Ital.) An expression denoting that the passage over which it is placed, is to be performed in the same manner as that to which it alludes.

Come Sta. (Ital.) A direction to the performer, not to take any liberties with the passage to which it relates, but to sing or play it exactly as it is written. As it stands.

Comic Songs. Songs of mirth and good humour; in their language, cheerful, without being satirical or sarcas- tic ; and in the style of their melody, free, easy, and popular, without being vulgar.

Commodo. (Ital.) In an easy, unconstrained style.

Common Chord. The third, fifth, and - J/ - a eighth of any note struck simultaneously ; - @

Company of Musicians. This Company, now one of the chartered societies of London, was originally instituted by Charles the First, and afterwards further confirmed by James the First. According to the terms of its incorporation by Charles, it had a Marshal and Wardens, and the Master (styled Master of the King's Music) enjoyed a salary of two hundred a year.

Compass. The compass of any voice or instrument is the range, or register, of the notes it is capable of expressing.

Complement. The complement of any given interval is the portion wanting to fill up that interval. For instance - If an octave be the given interval, and we take the interval of any note and the sixth above it, the further interval of a third is wanting, to make up the complement.

Complesso. (Ital.) An adjective applicable to any chord, or harmony, containing all the notes necessary to its com-

or thus :

Here we have in combination the three notes which consti- tute the chord of C ; and the four notes of which the har- mony of G with a seventh is formed. Componere. (Ital.) To compose.

Composer. He who invents music upon the legitimate principles of science ; who is a practical, and a theoretical author ; who studies harmony and melody as connected with effect in composition, independently of the laws of acoustics or the philosophy of sound.

Composing. Producing new music.

A Composition. Any piece of music scientifically con-

Compositore. (Ital.) A composer. See that word. Composizione. (Ital.) A composition. Composizione da Tavolino. (Ital.) Convivial songs. Composto. (Ital.) Composed.

Compostura. (Ital.) A composition. See Composizione. Compound Common Time. That time, or measure, which consists of six quavers, or six crotchets, in a bar.

Compound Triple Time. That time, or measure, which consists of nine quavers, or nine crotchets, in a bar.

Compressed Harmony. An expression used in opposi- tion to that of Open Harmony ; and implying a combination, the component parts of which lie as near each other as pos- sible : as thus -

Computatrices. (Lat.) The women hired by the an- cients to sing dirges over the dead. They were also called

Con. (Ital.) With; as, Con stromenti, with the instru-

Con Affetto. (Ital.) "With effect.

Con Allegrezza. (Ital.) With liveliness and consider- able rapidity.

Con Anima. (Ital.) With spirit and feeling.

Con Brio. (Ital.) With animation, with vivacity.

Concatenazione Armonica. (Ital.) That evolution of harmony by which, while some of the parts are changed,

Con Celerita. (Ital.) With quickness. Words dictating great velocity in the time.

Concento. (Ital.) The consonance of voices and instru-

Concert. A musical performance in which several per- sons are ens

Concertante. (Ital.) A concerto, the execution of which is not confined to a single performer.

Concertino. (Ital.) The name given to the principal parti in the performance of a concert.

Concerto. (Ital.) A composition with orchestral accom- paniments, having for its object the display of distinguished excellence on the instrument for which it is written.

Concerto Grosso. (Ital.) A full or grand instrumental performance ; or those parts of a concert in which all the powers of the band are united, and by which, of course, the most striking effects are produced.

Concerto Spirituale. (Ital.) A sacred or spiritual con- cert of vocal music: i.e., a concert, the pieces performed in which are religious and miscellaneous.

Concinnous. A term applied to that correct and exact performance of a piece which produces a unity of result, and does justice to the design of the composer.

Concitato. (Ital.) In a disturbed, agitated manner.

Con Commodo. (Ital.) With ease - without constraint.

Concord. An harmonious combination of two or more sounds. Concords are perfect, and imperfect. See Perfect Concord, and Imperfect Concord.

Concordant. Harmonious, consonant.

Con Delicatezza. (Ital.) With softness and delicacy.

Con Disperazione. (Ital.) With desperation : in a tone of violence and hopelessness.

Con Dolce Maniera. (Ital.) An expression from which the performer understands, that the movement to which it is prefixed is to be played in a soft, sweet, and soothing

Don Dolcezza. (Ital.) With softness and delicacy. Con Dolore. (Ital.) With pathos, with mournful ex-

Conducimento. (Ital.) A melody consisting of a regular succession of conjunct degrees.

Conductor. One who arranges and superintends a public or private performance.

Conductus. (Lat.) A species of descant, all that we know of which is, that, instead of working upon some chosen and popular melody, it was entirely original, furnished its own theme, and, unlike other modes of descant, was inde- pendent of every thing but the composer's imagination.

Con Duolo. (Ital.) With a pathetic or mournful ex-

Con Eleganza. (Ital.) With elegance ; i. e.,in a delicate and tasteful manner.

Con Energico. (Ital.) With energy ; i.e., with animated and forceful expression.

Con Entusiasmo. (Ital.) With enthusiasm : in an im- passioned style.

Con Espressione. (Ital.) With expression.

Con Espressione Dolorosa. (Ital.) With a mournful expression ; in a languishing style.

Con Flessibilita. (Ital.) With flexibility, with freedom of voice.

Con Fuoco. (Ital.) With ardour ; with fire.

Con Furia. (Ital.) With rapidity and perturbation.

Con Giustezza dell' Intonazione. (Ital.) With a proper intonation. An expression directing an attention to the tone and expression of the voice.

ConGrazia. (Ital.) With grace and elegance of manner.

Con Impeto. (Ital.) With force. An expression dictating a strong manner of giving the passages.

Con Impeto Doloroso. (Ital.) With pathetic energy.

Con Indifferenza. (Ital.) A dramatic expression, inti- mating that, at the passage over which it appears, the performer is to assume an air of ease and indifference.

Conjunct. That union of two or more tetrachords, or series of four contiguous degrees, by which the highest note of a lower series forms the lowest note of the next succeed- ing series. Tetrachords thus running into each other were, by the Greeks, called conjunct tetrachords, in opposition to cfc'sjunct tetrachords, in which, instead of the extreme note of a lower tetrachord forming the first note of the next tetrachord above, the first note of that next tetrachord was one note higher than the extreme note of the lower tetra-

Con Justo. (Ital.) With chasteness and exactitude. Con Leggerezza. (Ital.) With levity. Con Lentezza. With slowness ; in a slow time. Con Mistero. (Ital.) In a mysterious manner. Con Molto Passione. (Ital.) In a feeling and affecting

Con Morbidezza. (Ital.) With delicacy. Con Moto. (Ital.) With emotion.

Connoisseur. (French.) One who is conversant with the general principles of music.

Con Precisione. (Ital.) With corrctness in time and

Con Rabbia. (Ital.) With rage; with an impetuously angry expression.

Consecutive. An epithet proper to all immediately con- curring chords that consist of similar intervals and denomi- nations. The interval of a fourth, succeeded by another fourth, of a fifth followed by another fifth, or an octave by another octave, constitutes what musicians call consecutive

Consecutive Fifths. The chord of a perfect fifth imme- diately succeeded by a similar chord. Such a succession in harmony is forbidden by an established law in compo-

Consecutive Octaves. The consonance of an octave immediately succeeded by a similar consonance. Such a succession in harmony is illegitimate.

Conservatory. (Ital.) The word by which Italians designate a public music school.

Consonance. The effect produced by two or more simul- taneous and concording sounds. See Perfect Consonance, and Imperfect Consonance.

Con Solennita. (Ital.) With solemnity : in a style par- taking of calmness and religious expression.

Consonant. An epithet applied to concords entirely composed of consonances.

Con Spirito. (Ital.) With animation.

Con Strumenti. (Ital.) With the instruments. This expression signifies that the voice and the band are together: i. e., have the same motivo, or notes.

Con Tenerezza. (Ital.) With softness and feeling.

Continuato. (Ital.) A term which, when it relates to a single sound, signifies that such sound is to be held on, or continued : but when it refers to a passage, or a movement, it apprises the performer that such passage, or movement, is to be given in exact and unvaried time.

Continued Harmony. That harmony which continues

unchanged, though the bass varies. Such continuance is thus indicated :

Here, the lines drawn forward from the thorough-bass figures signify a continuance of the harmony dictated by those figures.

Contra Basso. (Ital.) The lower or graver part of a composition : also the bass instrument called a double bass.

Contralto. (Ital.) The deepest female voice ; a voice the scale or register of which lies between those of the tenor and soprano. See Counter-tenor.

Contrapunto. (Ital.) See Counterpoint.

Contrapuntist. A musician master of the art of com- posing in parts - of setting note against note.

Contrary Motion. A word which, as referring to more motions than one, should be written in the plural. Its sig- nification is - that if, while one part of a composition ascends, another descends, their motions are contrary. Ex.

Here, when the upper part descends, as in the four first quavers of the first bar, the under part ascends ; and when the under part descends, as in the two last quavers of the same bar, the upper part ascends.

Contrast. Contrast in music is analogous to contrast in the other fine arts. The light and shade in painting, the bold and the delicate in sculpture, the magnificent and the simple in architecture, are all included in the musician's idea of contrast ; and the productions of the higher order of composers abound with samples of its powerful effects, as produced by a judicious opposition in the styles of their passages and movements ; in their crescendos and diminu- endos, their pianos and their fortes, their impassioned swells and " dying falls," and those unexpected changes in modu-

lation and manner which take the hearer by surprise and evince the potency of artificially-conducted sounds.

Contre-Basse. (French.) See Contra Basso.

Contre-Danse. (French.) A dance in which the parties engaged stand in two opposite ranks. An appellation long since corrupted by the English into country dance. See that

Contre-Tems. (French.) A breach of the strict time of any piece or movement.

Contrivance. A word that has become technical by being uniformly applied to a judicious disposition of the parts of any elaborate score. Contrivance especially relates to ingenious imitations, in one part of a composition, of the passages in another part ; and of that felicitous working of the subject, particularly in fugues, which impresses it on the ear, and sets it off to the greatest advantage.

Copyist. One whose vocation is that of copying music. The skilful and attentive copyist will make the heads of his notes round and bold, the stems fine, but clear, and the ties strong and striking. If the music to be copied be in a plurality of concording staves, he will be careful to place the notes of one stave directly under or over the correspond- ing notes of the other stave or staves ; and further to guide the eye of the performer, and give precision and certainty to his execution, he will use the blackest ink.

Coranto. (Ital.) See Courant.

Cordatura. (Lat.) The system upon which the strings of any instrument are tuned. The Cordatura of the piano- forte comprizes every note of the diatonic scale, from double double F to F in al- tissimo ; that of the violin consists of four notes, G,

that of the Guitar contains

catgut imported and other instru-

from Naples, to string our violins, harps,

Cornamusa. The Bagpipe. See that word. Corne DE Chasse. (French.) The French Horn.

Cornet. A wind instrument of the hautboy kind, now out of use. It was bass, tenor, or treble, according to the form and dimensions given to it. The Cornet ^ possessed great power of tone, yet was capable of delicacy and

Cornetino. (Ital.) The diminutive of Cornet : also the name of the octave trumpet.

Cornetist. A performer on the cornet.

Corni. (Ital.) Horns. The plural of Corno. See that

Corn ist. A performer on the horn. Corn muse. A Cornish pipe, or horn. Formerly in great

Corno. (Ital.) A French horn.

Coro. (Ital.) See Chorus.

Corodica. (Ital.) A term implying an interval between two or more parts. Used in opposition to Monodica. Ex. See Monodica.

Corpo Sonoro. (Ital.) Any instrument or body, the vibrations of which yield a sound.

Correcting. The term used by music engravers, to ex- press the operation of scraping out the errors of their work.

Coryphaeus. With the Greeks, the conductor of their choirs. His chief occupation was that of beating the time.

Cotillon. An old, lively dance, in the time of six

Cotill. The abbreviation of Cotillon. See that word.

Couched Harp. The name by which, originally, the spinet was designated. See Spinet.

Counterpoint. Point against point ; harmonical com- bination. The term Counterpoint, which owed its origin to the primitive practice of employing points instead of notes, had not, in the earlier state of music, the extensive signifi- cation it now bears. Far from implying that figured style of united parts which renders modern composition so varie- gated, rich, and florid, it limited its meaning to the literal and obvious sense of the two words of which it is compounded,

and only intimated single sounds combined with single sounds, or harmony in its plainest and simplest state.

Counter-Tenor Cliff. The tenor cliff, when placed on the third line, instead of the fourth : in which case, the third line, instead of the fourth, becomes C, and corresponds with that C in the treble cliff which is represented by the first ledger line below. For Example, -

Tenor Cliff. Counter Tenor Cliff. Treble Cliff.

Here are three notes of the same pitch, yet necessarily occu- pying different stations in the stave, because their stations are dictated by different cliffs.

Counter-Tenor Voice. That male voice which ranks in height next above the tenor voice.

Country-Dance. The name of a well-known dance, of French origin ; and also of any tune expressly composed as an accompaniment to it. See Contre Danse.

Cour ant. (French.) A melody in the measure of three crotchets, and comprising two strains. A particularity in the Courant is, that both its strains begin with the latter three quavers of the bar.

Courtaut. (French.) The name of an old wind instru- ment, called a Courtaut, on account of its comparative short- ness with respect to the bassoon, to which it had much re- semblance, both in its form and scale.

Cremona. The name given to any violin which has the credit of being supposed to* have been made at Cremona, in Italy. Such an instrument is called, par excellence, a

Crescendo. (Ital.) A word intimating a gradual in- crease of loudness ; an operation not unknown to the ancient music, as we learn from several authors, especially from

Sign of the Crescendo.

Crescendo-Diminuendo. A gradually-increasing sound, succeeded by as gradual a diminuendo, or decay.

Sign of the Crescendo- Diminuendo.

Crescendo Poco a Poco. (Ital.) To increase the sound little by little.

Cries of London. The Cries of London having always "been associated with musical sounds, constitute an article not altogether unworthy a place in a musical dictionary. Though a complete catalogue of these Cries would occupy more space than we can spare, a partial list, as serving to indicate the nature of the rest, will not be unuseful. Among those set to music, and collected in a work entitled Pammelia, we find, " A Bound, to the cry of New Oysters,'* and another to the melody of " Have you any ivood to cleave ? '* " A play to be acted by the scholars of our town" set in four parts by Orlando Gibbons. " The Milliner's Girls in the New Exchange," harmonized by Morley. " Italian Falling Bands," " French Garters" " Roman Gloves," " Rabatos" (a kind of ing Sticks," " A Market Stone," " Bread and Meat for the poor prisoners," " Rock and Samphire," " A Hassoc for your Pew, or a Pesocke to thrust your feet in" &c. &c. The melodies to some of these were not unpleasing, and some of them were so prettily turned as to greatly gratify the common ear; and if not too long gone by, would furnish quite as eligible themes for modern rondos as many that are daily selected.

Croche. (French.) A quaver. See Quaver.

Croma. (Ital.) A crotchet. See Crotchet..

Crooks. Certain implements consisting of curved tubes, which being temporarily attached to trumpets or horns, enable the performer to tune them to various keys.

Crotalum. (From the Greek.) An ancient instrument. See Cymbalum,

Crotchet. A note or character denoting a sound equal in duration to one-fourth of that signified by a semibreve :

made thus J or thus | . See Semibreve.

Crotchet Rest. A sign of silence, equal in duration to

Crowle. An English wind instrument of former times ; a kind of bass flute, or bassoon.

Crowth. See Cruth.

Crupezia. (Greek.) The name given "by the ancient Greek musicians to the wooden clogs they wore, for the purpose of being more distinctly heard when they beat

Cruth. A Welsh violin, which has six strings, and is played on with a bow. The tone, though not extraordinarily good, is agreeable ; and there are performers in Wales, who produce from it attractive and striking effects.

nist to the short black key next above C natural, gives ocular evidence of its elevating power.

C Sharp Minor. The key, or scale, of C Sharp, with four sharps, - f sharp, c sharp, g sharp, and d sharp; ex- cept in ascending the scale, when the notes A and JB are

Cum Cantu. (Lat.) A phrase of the Catholic church, meaning with song, or with singing ; and applied to the musical celebration of certain festivals.

Cum Discantu. See Cum Cantu.

Cymbal. The ancient Hebrew Drum. An instrument resembling, in shape and material, the modern kettle drum, but of a smaller size.

Cymbal um. See Cymbal.

D. The letter by which is distinguished the second note of the key of C, the natural diatonic major scale ; and the fourth note of the key of A, the natural diatonic minor

Da. (Ital.) For; as musica da chiesa ; music for the

Da Camera. (Ital.) For the chamber.

Da Capella. (Ital.) For the chapel.

Da Capo. (Ital.) An expression intimating that the piece, at the end of which it appears, concludes with the first

D. C. The abbreviation of Da Capo. See that expression.

Dampers. The clothed and moveable parts in a piano- forte, provided for checking the vibration, and preventing a confusion of sounds.

Dance. That carriage or motion of the body, which, being regulated by musical measure, assumes a grace and expression which it partly owes to itself, and partly to the charm of the accompanying melody.

Da;nces. Tunes expressly composed as accompaniments to dancing.

Danceries. (French.) Books of dance tunes. All col- allemandes, and hornpipes, &c. were formerly called Dan-

Dashes. Those vertical strokes which are occasionally placed over the heads of notes, to signify that they are to be played in a short, distinct, and pointed man- Also those oblique lines drawn through the figures in thorough-bass, to raise certain intervals of the harmony half

Da Teatro. (Ital.) For the theatre. An expression ap- plied to music composed in the dramatic style.

presses the note D Natural two semi- ~~m~ vfH

tones ; and, on the piano-forte, lowers

Here we have D Flat flattened, that is, depressed half a tone : and since, on the piano-forte, C Natural is the next sound beneath D Flat, C Natural is the key to which, on that instrument, the finger is carried by D Double

D Double Sharp. A Sharp which raises the note D Natural two semitones ; and, on the piano-forto, lifts it to E Na- tural. Ex. $J Here we have D Sharp raised half a tone : and since, on the piano-forte, E Natural is the next sound above D Sharp, E Natural is the key to which the finger is conducted by D Double Sharp.

Death-Songs. Songs sung by certain Indians at the

funerals of their relatives, and the melodies of which are remarkable for their simplicity and appropriateness.

Decachordon. An instrument of antiquity, furnished with ten strings, and called by the Hebrews Hasur. It re- sembled a harp, was of a triangular figure, and had a sounding-board.

Decani. A term used to distinguish the vocal priests of a cathedral from the lay choristers.

Deceptive Modulation. Any modulation by which the ear is deceived ; that is, led to an unexpected harmony. The most common instance of this process is, when the chord of the dominant with its seventh, instead of passing to the harmony of the tonic, proceeds directly or indirectly to that of the relative minor. Ex.

Decrescendo. (Ital.) To sink or decrease in loudness.

Deep. An epithet applied to low or grave sounds.

Degree. The word Degree, considered academically, implies a titular distinction granted by a University to an eminent professor in any of the learned faculties. Under- stood theoretically, the same word signifies the difference be- tween any two notes in point of situation in the great scale of sounds. When a note is higher or lower than some other by one tone, it is said to be one degree higher or lower than that other.

Del. (Ital.) A preposition signifying By.

Delassement. (French.) A simple, easy, and amusing instrumental exercise.

Delicatamente. (Ital.) Delicately; in a soft and pleas - ing style.

Delicatezza. (Ital.) Tenderness, delicacy.

Delicato. (Ital.) Delicate. See Con delicatezza.

Dell Maestro. (Ital.) A kind of prenomen in general use in Italy ; as dell maestro Meyerbeer, composed by

Delyn. The name given by the Welsh to their harp. Demi-Cadence. An expression used in contradistinction to Full- Cadence. As a full-cadence is always on the key-

note, so a demi-cadence is always on some other than the key-note.

Demi-Ditone. A third, the interval of which consists of three half-tones.

Demi-Mesure. (French.) A minim rest. See Minim

Demi Quart di Soupir. (French.) A demisemiquaver Rest. See Demisemiquaver Rest.

Demisemiquaver. A note, in duration, one half of a Semiquaver, or one thirty-second part of a Semibreve. Made

Demisemiqtt^w.t?. Rp.st. A sig-n of silence equal in du- ration to a Demisemiquaver ; made thus, «j .

Demi-Soupir. (French.) A Quaver Rest. See Quaver

Demi-Tone. Half a tone.

Derivatives. Chords and notes which are not funda- mental - which are themselves derived ; and by which no other chords, or notes, are generated - are, by theorists,

Descant. Composition in parts. Descant may be plain , figurative, or double. Plain Descant is confined to a simple series of concords ; Figurative Descant admits of the admix- ture of discords ; and Double Descant deals in contrivance, and the various evolutions of harmonic composition. De- scant, received verbally, implies melody ; as, to descant, is to vocalize extemporaneously and melodiously, on some given

Descending. Passing from one note to another more

Descent. The act of sinking from one note to another. Dessus. The old name of the treble or upper part of a Vocal composition.

Dextr.3d. (Lat. plu.) With the ancient Romans, those

flutes which were made to be performed on with the right hand. Those which were played with the left hand (for the Roman flutist blew two instruments at the same time) were called Sinistra; and, of course, were perforated in a different manner from the Dextrce. See Sinisirce.

D Flat. The proper fourth of the key of A Flat.

D Flat. The note D depressed half This character, by conducting the finger of the pianist to the short black key im- mediately beneath D, gives ocular demonstration of its depressing power.

D Flat Major. The key, or scale, of D Flat, with five flats ; b flat, e flat,

D Flat Minor. The key, or scale of D Flat, with (vir- f flat, and b double flat ; except in as- cending the scale, when b double flat, and c flat, are each raised half a tone.

Dia. (Greek.) Through, or throughout; as Diapente, through the fifth ; Diapason, through the whole scale.

Diagram. (From the Greek.) This term, in the ancient music, signified what, by the moderns, is called the scale, or gamut. It was a table of the different sounds of the Gre- cian system, which consisted of a bisdiapason, or double octave, and was dignified by the appellation of Sistema-

Diagramma. See Diagram.

Dialogue. A composition in which two or more singers converse together musically ; i. e. assert and reply in suc- cessive passages, the notes of which are accommodated to the sentiments and passions they respectively express.

Diap. The abbreviation of Diapason. See that word.

Diapason. (Greek.) Through all, or, throughout the whole. With the ancients, the Diapason was the octave, because they used the license of taking a part of the great scale for the whole. In an organ, the Diapason stops are so denominated because they run through the whole register of the key-

Diapason Diapente. (From the Greek.) The interval of a twelfth, or eighth and fifth compounded.

Diapason Diatessaron. (From the Greek.) The interval of an eleventh, or an eighth and fourth taken adjunctively.

Diapente. (From the Greek.) The interval of the fifth.

Diapentissare. To descant by fifths.

Diaphonia. (Greek.) The name given to the rules laid down by Guido, for making the organ an aid to vocal melody. The explanation of these rules, however, as furnished by their author, are rather unsatisfactory, and, it must be confessed, far from being qualified to convince their readers of the utility of the illustrated precepts.

Diaphonoi. (Greek.) Discordant sounds. The opposite of Symphonoi. See that word.

Diaphorica. (Greek.) The general name given by the ancients to discordant intervals.

Diatonum Intensum. The appellation applied by Ptolemy to his proportions of the intervals, forming a system which later theorists have approved, but which, ultimately, neither the authority of Dr. Wallis, nor Dr. Smith, was sufficient to

Diazeuxis. (Greek.) A word implying separation, and "which alluded to the interval that formed the division of two disjunct tetrachords.

Di Bravura. (Ital.) In a florid and energetic style.

Dichord. (From the Greek.) The two-stringed lyre in- vented by Mercury.

Diesis. (From the Greek.) The smallest interval in the ancient Greek system ; in modern music, a quarter of a

Di Grado. (Ital.) Said of notes which succeed each other by conjoint degrees. Ex.

These notes, having no intervals between them, according to the diatonical scale in which they are written, proceed Di

Di Grado Ascendente. The progression of regularly ascending notes.

Di Grado Descendente. The progression of regularly descending notes.

Digressione. (Ital.) A word apprizing the performer that the author is about to depart from the subject-matter of his composition.

Dilettante. (Ital.) An enlightened admirer and patron of music.

Diminished. A word particularly applicable to intervals. When these are contracted from their natural extension, according to the key in which they subsist, by their being curtailed at either extremity, they are said to be diminished.

Diminuendo. (Ital.) A gradual softening of the tone, either as produced on one note, or on several notes in suc-

Sign of the Diminuendo.

Diminuendo- Crescendo. (Ital.) A gradual decrease of sound succeeded by as gradual an augmentation.

Sign of the Diminuendo' Crescendo.

Diminution. When, in any part of a fugue, the subject is answered in notes of half the value of those in which it was given out, (minims for semibreves, crotchets for minims, quavers for crotchets, and so forth,) the process is called

Di Molto. (Ital.) Much, or very ; as, affettuoso dimolto, very affecting ; ardito di molto, with much passion.

the fifth line of the treble stave : the

fifth note in alt. Ex. See Alt.

D in Altissimo. (Ital.) The is an octave above D in Alt. See Altissimo.

Direct. A character, the office of which is to carry the

eye more readily from the last note in one stave to the first note of the next and corresponding stave - as thus,

Here the first note on the second stave is indicated by the Direct at the end of the fifth line of the first stave.

Direct Motion. That motion in the parts of a polypho- nic composition which carries them in similar directions. Ex.

Here, when the upper part ascends, as m the three first quavers of the first bar, so does the under part ; and when the under part descends, as at the third and fourth quavers of the same bar, so does the upper jiart, &c. &c.

Director. He who undertakes the mechanical office of attending the rehearsals of a concert, opera, or oratorio.

Direttore della Musica. (Ital.) A director of musical

Dirge. A funereal composition; a requiem. See the latter word.

Disallowance. An illegitimate or unscientific combina- tion of sounds. The violation of any of the rules of compo- sition or harmony.

Discord. A dissonance ; so called in opposition to con- sonance, or concord. Discords, besides differing from con- cords in the nature of their formation and effect, have this distinction : they are not, like concords, independent, but are obliged to be prepared by preceding concords, and resolved into succeeding concords.

Discordant. Dissonant, inharmonious.

Disdiapason. (From the Greek.) That scale of fifteen contiguous degrees which, with the ancients, formed a per- fect system.

Diseurs. (French, plu.) Certain vocal narrators of ro-

mances and metrical histories, who formerly traversed the French metropolis and the provinces.

Disjunct. With the Greeks, those tetrachords were dis- junct, the gravest sound of the upper one of which was one degree higher than the acutest sound of the lower. See

Dissonance. That discordance or disunion of effect resulting from two or more sounds unnaturally, or unscien- tifically combined. See Discord.

Dissonant. An epithet applicable to all inharmonious and forbidden combinations.

Distance. The interval between any two sounds differ- ing in pitch.

Dithyramb ics. (From the Greek.) Songs originally dedicated to the god of wine ; and which afterwards consti- tuted the basis of those dramatic representations which, in process of time, delighted the imagination, and did honour to the taste, of the Athenians.

Ditone. (From the Greek.) The interval of a major third, or two whole tones.

Ditty. A short, vocal deploration. A simple, pathetic tale, told in familiar verse, impressed upon the feelings by appropriate melody.

Diverbia. Musical dialogues, especially those with which. the ancients decorated and enriched their drama.

Divertimento. (Ital.) A composition easy and familiar in its style, and qualified to afford transient amusement.

Divertisements. (French.) The airs with which the dances introduced between the acts of the French operas were formerly accompanied.

Divine Songs. Songs the subjects of which are sacred, and the music serious and solemn.

Division. The space or separation forming any interval of the octave : also a series of notes given to a single syllable in vocal music. A brilliant division, or volata, is one of the most distinguishing features of a bravura.

Divoto. (Ital.) A term implying a pious, devotional style of performance.

D Major. The key, or scale, of D, with two sharps : - F sharp, and c sharp.

except in ascending the scale ; when B is natural, and C is

D Natural. The note D, neither sharpened nor flat- tened. See Natural.

Do. A monosyllable applied by the Italians to the first or lowest sound of the diatonic octave. It was introduced to the exclusion of Guido's syllable ut} which was deemed too hard for musical expression.

Doctor in Music. A musician who has been honoured with the highest distinction that an university can confer on his science and talents. A candidate for this academical honour must produce a vocal composition in eight real parts, to be examined and approved by the Music Professor, at whose recommendation the Vice-Chancellor grants the re- quired degree.

Dodedachordon. (From the Greek.) The twelve modes of Aristoxenus. See Mode.

Doighte'. (French.) Fingered. An epithet applied to piano-forte exercises ; signifying that figures and crosses are placed over the passages, to direct the manner of fin- gering them. Ex.

Dol. (Ital.) The abbreviation of Dolce. See that word, Dolce. (Ital.) Soft, sweet, gentle. Dolce con Gusto. (Ital.) With taste and delicacy. Dolce e Lusingando. (Ital.) In a soft, sweet, insinuat- ing style.

Dolce ma Marcato. (Ital.) Soft and tender, yet marked, or pointed.

Dolce Maniera. (Ital.) A soft, graceful, engaging style of performance.

Dolcemente. (Ital.) Gracefully, softly, charmingly.

Dolcissimo. (Ital.) The superlative of Dolce. Exceed- ingly soft.

Doloroso. (Ital.) Mournful, affecting.

Dominant. The fifth of any key

or Fifth of the Key of C.

Dot. A character which, when placed immediately after a note, makes that note one half longer in time ; but which,,

when stationed over a note, implies that such note is to be played in a strong and striking manner. See the word Point, Dotted Bar. A thick bar, with dots on one or both of its sides ; and the purpose of which is, to imply a repetition of the passage lying between that and some other dotted bar, by which it is followed or preceded. Ex.

Here, the second bar of the music being between dotted bars, it is to be played twice.

Double. In the music of the last age, a double was a variation. In the harpsichord lessons of Paradies, and Scarletti, we never meet with " Variation 1st, Variation 2nd," &c, but continually find Double 1, Double 2, and so

Double A. That A in the Bass which is below G Gamut. Written thus :

Double B. That B in the Bass which 3j is below G Gamut. Written thus :

Double-Bar. Two broad, perpendicular lines, used to divide one strain or movement from another strain or move- ment. When the double-bar has dots on one of its sides, they imply a repetition of the strain that is on that side of the bar ; and dots on both sides signify a repetition of the strain that precedes, and the strain that follows, the bar ; as thus -

The strain preceding the bar to be repeated.

- The strain preceding, and the strain following

Double-Bass. The largest andtleepest of all the stringed instruments. Its compass commences with double-double C, and extends upward indefinitely. The Double-Bass is so called, because all its notes, though written as are those for

the -violoncello, or the bassoon, are played an octave lower. Hence the gravest note, which on paper is double C, is, in

effect, and in fact, double-double C.

Double C. That C in the Bass which is below G Gamut. Written thus :

Double Croche. (French.) A semiquaver. See Semi

Double D. That D in the Bass which

Double-Demi semi quaver. A note the length of which, in time, is one half of the Demisemiquaver. See that word.

The Double- Demisemiquaver is made thus, § or thus, y

Double Demisemiquaver Rest. A character denoting a silence equal in length to the Double-Demisemiquaver.

Made thus -

Double-Dot. A character the power of which, in lenert ening the duration of a note, is one half greater than that of a single dot. Ex.

In the first of these two bars, the crotchet having but one dot, it is only rendered one quaver longer than when without a dot ; and therefore the succeeding quaver was wanting to make up the time of two crotchets in a bar ; but in the second bar, the crotchet being double -dotted, it is rendered one quaver, and the half of one quaver, longer than an undotted crotchet ; therefore only a semiquaver was neces- sary to complete the time of two crotchets in a bar.

Double-Drum. A large drum carried in front of the performer, and beaten at both ends. Its sound, commixed with the tones of military wind instruments, is grand and majestic ; and to orchestral music it imparts a noble fulness, which could not be obtained from any other source.

Double E. That E in the Bass which gjg; is below G Gamut. Written thus :

Double F. That F in the Bass which is below G Gamut. Written thus :

Double-Flageolet. A Flageolet consisting of two tubes, which being blown into through one common mouth-piece, while the holes in one tube are stopt and unstopt by the fingers of the right hand, and those of the other tube by the fingers of the left hand, produces two notes at the same time. Upon the Double- Flageolet, of course, duets may be

presses a note two semitones. Ex. Impt2J2jf

Here the note A Natural is flattened two- j£y

fold ; and, on the piano-forte, will be given by G Natural.

Double-Flute. A Flute so constructed that two notes may be produced from it at the same time, and upon which two parts may be performed at once. See Double- Flageolet.

Double G. That G in the Bass which is below G Gamut. Written thus :

Double Notes. When, on the piano-forte, harp, violin, violoncello, &c, two notes are played together, they are called Double Notes. Ex.

Double-Shake. Two simultaneous shakes on notes that are either sixths or thirds to each other. See the word Shake,

Double -Sharp. A character which raises a note two semitones. Ex. Here the note C Natural is elevated two- fold ; and, on the piano, will be given by

Double-Stem. In piano-forte or harp music, that stem of a note which, in order to sustain its individual length while others are branching from it, is extended both upward and downward : thus - Here, while the quavers g, e, g, suc- cessively follow the striking of the minim c, the latter note is held on to its due length ; so that two parts are moving ; one consisting of a minim (c), and the other of four quavers

Double-Tongueing. That action of the tongue employed by flutists, by which they produce their most striking and best articulated notes.

Dragg. A graceful sweep of descending notes. See

Dramatic. An epithet applicable not only to all music composed for theatrical pieces, but to compositions directed to the excitement of the passions, and the imitation of their

Dramma Burlesca. (Ital.) A comic or humorous drama ;

Drinking-Song. A song the words of which are in praise of wine, and the music calculated to promote mirth and conviviality.

Driving-Notes. Notes produced by syncopation, or the process of cutting from the measures of a bar a part of their proper duration, by prematurely passing from them to other notes. Ex.

Here, a part of the first crotchet, or measure, is cut off and given to the succeeding note, which drives forward in the same manner to the third note, as does the third to the fourth, and so on.

Drone. That great tube of a bagpipe which produces

one deep, unvaried, buzzing tone, as a bass to whatever tunes are played on the other pipes.

Drum. A well-known, martial, pulsatile instrument, sup- posed to have been invented by the Arabians. It has but one rude indurate note ; yet, in combination with other instruments, is bearable ; but, heard alone, it is barbarous, and only fit for the ears of the common soldiery. Of course, we speak of the side, or common drum, not of the noble, deep-toned double- drum, or Grand Casa, the sound of which is so rich and stupendous as to qualify it to add to the dig- nity and majesty of the most sublime compositions.

Drum-Major. The principal drummer.

Drummer. He who beats the drum : formerly called a

D Sharp. The note D raised half a tone. See Sharp. Duettino. (Ital.) A short duet.

Duetto. (Ital.) A composition for two voices, or two instruments. See Duo.

DuiiCiana. (From the Lat.) An organ stop : so called on account of the sweetnOCe of its tone.

Dulcimer. A triangular chest strung with wires, which, in performance, are struck with little metal rods. Also the name of an ancient Hebrew instrument, of the form, tone, and compass of which the moderns are ignorant.

Dulcino. A small bassoon, at one time much used in playing tenor parts to the hautboy.

Dumb-Spinet. An instrument which, like the Clarichord^ is provided internally with pieces of cloth, to damp or deaden the sounds. See Clarichord.

Duo. (Ital.) A composition for two performers.

Durate'. Hard. An epithet proper to false relations, whether in harmony or melody.

Dutch Concert. A concert in which every performer plays his own tune.

Dux. (Lat.) Formerly the Dux was the leading per- former in a fugue. Those who followed him were the Comes. See that word.

E, the letter after which is named the third note of the key of C, the natural major scale ; and the fifth note of the key of A, the natural minor scale. This letter also, in the

Italian language, corresponds with our conjunction and; as, Adagio e dolce, slow and soft.

Ear. With musicians, that auricular sensibility which enables us to distinguish between one sound and another, however near their resemblance in pitch or in tone. The word Ear is, in this case, metaphorically used, and rather means a correct than an acute state of the sense ; rather a property in the mind to judge of and feel sounds, than a mere quickness in perceiving them.

Eccedente. (Ital.) An epithet applied to any distance which exceeds its nominal extent ; as an Extreme Sharp Sixth, which exceeds what is called the Greater Sixth.

tical, because they are for the church. Anthems, services, and chants, are, by consequence, Ecclesiastical.

Ecclesiastical Songs. Certain Songs used by the Anglo- Saxon church ; as the Day-break Song, the Matins Song, the Third-hour Song, the Mid-day Song, the Ninth-hour Song, the Evening Song, and the Midnight Song.

Echeia. Vases used by th« ancients, to increase the effpot of their voices and instruments ; especially at their dramatic representations.

Echo. In a philosophical sense, the natural reflection of any sound produced by a hollow rock or invisible cavity under ground ; but, musically understood, the word Echo means the faint repetition of the notes or passages of one instrument by another, in imitation of the reverberations of nature. This word frequently occurs in the old organ pieces, where the Echo is directed to be performed by the stop called the swell ; and sometimes the word was synoni- mous with piano, and used merely to signify softness and delicacy of performance.

Echometre. (From the Greek.) An instrument for mea- suring the powers of echoes and other sounds.

Editore del Musica. (Ital.) A Musical Editor : a musi- cian who is occupied in copying, correcting, and passing music through the press.

E Double Flat. A flat which de- presses the note E Natural two semitones ; and, on the piano-forte, lowers it to D Natural. Ex. Here we have E Flat flattened ; that is, lowered half a tone : and since, on the piano-forte, D Natural is the next sound

beneath E Flat, D Natural is the key to which the finger of the pianist is led by E Double Flat.

E Double Sharp. A sharp which raises the note E Natural two semitones ; and, on the piano-forte, lifts it to F Sharp. Ex. ^ Here we have E Sharp sharpened ; that is, raised half a tone : and since, on the piano-forte, F Sharp is the next sound above E Sharp, F Sharp is the key to which the finger of the piano-forte performer is carried by E Double Sharp.

Effect. The joint result of composition and perform- ance. Effect being the object to which all the composers genius and the executant's skill should be direted, the judicious exertion of that genius and that skill cannot be too strongly urged. Music, as a power appealing to the heart and mind, looks to simple composition for new and striking ideas, rather than to crowded and elaborate scores for overwhelming volumes of sound ; and to performance, for more of pathos and expression, than of ornament and

flowery flourish.

Effective. When a composition or performance makes a strong or deep impression on rts auuiio^, & & sal-^ to be

E Flat. The note E depressed half a tone. The proper fourth of the key of B Flat. See Flat.

E Flat Major. The key, or scale, of E Flat, with three

E Flat Minor. The key, or scale, of E Flat, with six in ascending the scale ; wThen the notes C and D are natural.

Eighth. An octave. See that word.

E in Alt. (Ital.) That E which is next above F on the fifth line of the treble stave : the sixth note in Alt. Ex. See Alt.

E in Altissimo. (Ital.) The octave above E in Alt. Ex. See Altissimo.

Eisteddvod. (Welsh.) A bardic congress periodically

held at Caerwys in North Wales, for the purpose of choos- ing principal and qualified hards ; and for distributing prizes to the authors of the best poems (in Welsh), and to the superior performers on the delyn, or harp.

Elegantemente. (Ital.) Elegantly : with taste and deli-

Elegiac. A word indicating a plaintive and affecting

Elegy. A vocal composition of a tender and dolorous

Elementary Music Music so familiar in its fabrication as to include only the first and simplest principles of com- position. All the earlier exercises of juvenile practitioners are, or should be, of this kind.

Elements. The ordinary or introductory rules of har- mony and melody.

Eleventh. The interval of an octave and a fourth.

Eline. (Greek.) With the ancient Greeks The Song of the Weavers. See the word Song.

f sharp ; except in ascending the scale ; when the notes C and D are sharp.

E Natural. The note E neither sharpened nor flat- tened. See Natural.

Encore. (French.) An expression that has long been in universal use, both at public and private performances, for demanding the repetition of any favourite song, or piece.

Energia. (Ital.) Energy ; force, vigor, strength of ex-

Energico. (Ital.) Energetic. A term implying that the movement to which it is prefixed, is to be sung, or played, with force and spirit.

Enharmonic. (Greek.) The epithet applied by the an- cients to that scale, or system, the intervals of which formed a mixture of major thirds and quarter- tones. The Enhar- monic formed a refinement on the chromatic system.

En Rondeau. (French.) Resembling a Rondeau.

Entertainment. Formerly, little English operas, given at the theatres, as second pieces.

Entr' Acte. (French.) The music played between the acts of a French play.

Entre-mets. (French.) Movements introduced by the French between the principal portions of their composi- tions, partly for relief, and partly for the purpose of varie-

Entries. The original name of operatical acts, and bur-

Eolian. An epithet derived from Eolia: applied to one of the five principal modes of the Greeks. See Mode.

Epiaula. (Greek.) The Song of the Millers.

Epicedium. (Greek.) A dirge, or funeral ode.

Epigonium. A stringed instrument which derived its name from the Grecian, Epigonius, its inventor. All at present known of the Epigonium is, that it contained forty strings, the tuning of which was regulated by that of the intervals of the Greek system.

Epilenia. (Greek.) The Song of the Grape- Gatherers.

Epinicion. (Greek.) A Song of Triumph.

Epithalamium. (From the Greek.) A nuptial song.

Equisonance. The consonance of the octave, fifteenth,

Equivocal. When the fundamental bass of a chord is not demonstrated by the intervals of which the combi- nation consists, that combination is called an Equivocal

Equivocal Chord. A chord so called, because it was some time before its fundamental sound was determined. The notes of which it is constructed form intervals of a tone and a half, or three semitones : thus - and the question was, whether the lower note of these four, or the major third below that note, was the foundation of the harmony. It has properly been decided in favour of the

Esclamando. (Ital.) Exclaiming. Applicable to those scenes or situations in the Italian opera, in which certain bursts of surprise or passion carry the character beyond self-command.

Esempio. (Ital.) A practical exercise illustrative of a delivered precept. Vide Logier's « System of the Science of Music," and Bochsa's "First Six Weeks " for the Harp.

Esercizi. (Ital.) Exercises for the improvement of vocal or instrumental execution.

E Sharp. The note E raised half a tone. See Sharp. Espressivo. (Ital.) Expressively. See Expression. Estrinienda. (Ital.) A term implying a close, binding way of executing the notes of any passage. Etrurian. See Etruscan.

Etruscan. An epithet deduced from Etruria, the people of which country were remarkably fond of music, and whose style of composition was called the Etruscan style.

Euharmonic. (Greek.) Pleasingly or delightfully con-

Euphony. (From flhe Greek.) Sweetness of sound. Euphonious. Sweet sounding. Euphonical. See Euphonious.

Euthia. With the ancient Greeks a succession of regu-

Euthian. An epithet derived from Euthia. See that

Evirati. Those male vocalists who sing soprano parts in the Italian Opera.

Execute (To.) To perform.

Execution. The act of performing. This is the genuine and legitimate import of the word; but taken in its higher and more particular sense, it means a volatability of voice or finger ; the power of giving with distinctness and facility the most rapid and difficult passages.

Exequle. (From the Lat.) A dirge. See that word.

Exercise. Any composition written for, or employed as, an improving piece for the voice, or the finger.

Expression. In music, not mere production, or utter- ance, but that emphatic delivery, touch, or intonation, by which a passage or movement is impressed upon our

Extempore. Without previous meditation : as, an extem- pore fugue ; a fugue, the production and performance of which are simultaneous.

Extemporize (To.) To perform what the imagination suggests at the moment : to play independently of memory or premeditation.

Extent. A word synonymous with compass, and, of course, applicable to any voice or instrument.

Extraneous. Out of the natural and obvious course of harmony or melody. All chords, and intervals, modula-

tions, evolutions, or sharps and flats, which constitute a vio- lation of the diatonic scale, are said to be Extraneous.

Extravaganza. (Ital.) A wild, incoherent composition * in which everything is admissible that is offensive to good taste, and everything rejected that judgment and a chaste fancy would approve.

Extreme. An epithet applicable to the lowest and high- est sounds of any scale, or system of intervals. It is also used in respect of intervals, when carried to their greatest possible extent, without being brought under a new numeral appellation : as, E with C above it, constitutes a sixth -

E flat extends the former sixth downwards, one half note ; also E flat and C sharp form a sixth -

which E flat and C sharp widen the interval to its greatest possible extent, as a sixth : hence this and similar intervals are called Extreme sharp sixths.

Extremes. Those harmonic parts in a composition which are most distant from each other ; as are the bass and soprano of a chorus.

Extremity. The highest or lowest note of any compass or system of sounds.

F. The fourth note of the natural diatonic scale of C major; and the sixth of the natural diatonic scale of A

Fa. The syllable applied by Guido to the fourth of the major diatonic scale, i. e. the fourth of his Hexachord ; also a monosyllable applied by the Italians to the sixth note of the natural minor scale.

Fa-Burden. The old name of a certain species of coun- terpoint, which had a drone bass.

Fagotto. (Ital.) A bassoon. See Bassoon.

Fag. See Fagotto.

Fa La. A short song having the words Fa La for its burden. During the seventeenth and eighteenth centuries, Fa Las were much sung.

False. An epithet applied to certain chords, the con- stituent intervals of which do not, taken together, amount to the contents, or value, of a perfect chord ; also to imper- fect intonations of the voice, and of any instrument, &c. &c.

False Fifth. An interval, the extent of which is half a tone less than that of a perfect fifth.

Falset. The abbreviation of Falsetto. See that word.

Falsetto. (Ital.) That voice produced by an adult male singer, when he soars above his natural tones. See Voce di

Falso Bordone. See Fa-Burden.

Fancies. The appellation by which former composers designated their lighter compositions.

Fandango. A well-known Spanish dance, the tunes of which are of a lively cast, and not unlike those with which we accompany our hornpipe.

Fantasia. A composition supposed to be the offspring of the moment. Its features are necessarily those of wildness and extravagance, and its inconsistency entitles it to critical

Fantasie Heroique. (French.) A bold, glowing, daunt- less flight of the fancy.

F Double Flat. A Flat which depresses the note F Natural two semitones ; and, on the piano-forte, lowers it to E Flat.

Here we have F Flat (E Natural) flattened; that is, de- pressed half a tone : and since, on the piano-forte, E Flat is the next sound below F Flat, E Flat is the note to which the finger of the pianist is conducted by F Double Flat.

F Double Sharp. A Sharp which raises the note F Natural two semitones ; and, on the piano-forte, elevates it to G Natural.

Here we have F Sharp sharpened ; that is, raised half a tone ; and since, on the piano-forte, G Natural is the next sound above F Sharp, G Natural is the key to which the finger of a performer on that instrument is conducted by F Double Sharp.

Feigned. An epithet by which the adult male voice is distinguished, when forced beyond its natural compass. See

Feroce. (Ital.) In a fierce and hurried manner.

Fescennina. The name of the nuptial songs of the people of the city of Fescennia, in Etruria : lyrics not remarkable for an overstrained delicacy.

Festive Songs. Songs the words and music of which are devoted to, and calculated to inspire, joy and merriment.

FF. The abbreviation of Fortissimo. See that word.

F Flat. The note F depressed half a tone. On the piano-forte, E Natural See Flat.

Fiddle. A stringed instrument, formerly denominated Filhele, from the Latin, Fidicula. See Violin.

Fiddler. A performer on the Fiddle.

Fiddle-stick. See Bow.

Fidicinal (From the Lat.) All instruments of the fid- dle species are Fidicinal.

Fieramente. (Ital.) Bold and ardent.

Fife. A small, shrill-toned, martial instrument, blown at the side, in the manner of a flute.

Fifer. One who performs on the Fife. See that word.

Fifist. A fifer.

Fiffario. (Ital.) A Fife. See Fife.

Fifteenth. A double octave. Also the name of that stop in an organ the notes of which are two octaves higher than those of the diapasons. See Stop.

Fifth. An interval containing a major third and a minor third, or vice versa.

Figured. A free and playful melody, which, of course, does not move note by note with the bass, is called a Figured Melody ; and a bass with arithmetical characters, to desig- nate the superincumbent harmony, is styled a Figured

Figured Bass. A bass with ordinal numbers or figures placed over or under its notes, to signify the harmonies with which they are to be accompanied.

Figured Harmony. This is an Harmony consisting of the occasional introduction of notes which, though given for the purpose of melody, do not form any constituent sound of the harmonic combination. While certain chords are sound- ing in some parts., figurative or flowery passages are moving in other of the parts ; and the chief art in constructing this style of composition is, in so disposing of the figurative notes, that they shall not infract the general harmony.

Filum. (Lat.) Formerly the name of that part of a note now called the stem.

Fin. See Fine.

Final. In the old music, the closing note of a chant. Finale. (Ital.) The concluding scena of an opera.

F in Alt. That F next beneath G in Alt : written thus -

F in Altissimo. The F above F in Alt: written thus -

Fine. (Ital.) The conclusion.

Finger. In music, a word substituted for that of execu- tion. A performer capable of doing justice to rapid or ex- pressive passages, is said to have a good finger.

Finger-board. That part of a stringed instrument on which, in performance, the fingers of the left hand are

Fingered. A term chiefly used in piano-forte and harp exercises, and signifying that numeral characters are placed over the notes, to intimate with what finger each of them is to be struck.

Fingering. The appropriate application of each of the fingers, on whatever instrument we perform. On the cor- rectness of this, the master's present command of hand, and pupil's future ease and rapidity of execution, almost entirely depend. It is for this reason that all compositions designed for piano-forte exercises are, or should he, fingered. See

Finished. A participle applied to practitioners who are supposed to have arrived at the highest degree of excel- lence ; and also to their style of performance ; as when we say, Such a lady's or gentleman's execution is of a finished

Finito. (Ital.) Concluded.

Fin to. (Lat.) A feigned preparation for a postponed

close. That evolution of the voice, or of an instrument, which begets an expectation of the final note, but is suc- ceeded by some other.

Fin Qui. (Ital.) To this place: as, Fagotti Jin qui; the bassoons to be continud to this place, or this bar.

First. Musically speaking, the principal part of any composition ; also applicable to those instruments which take the superior part, either of the score, or of two or more parts written for the same description of instrument ; as* First Violin, First Flute, First Clarionet, &c.

Fistula Dulcjs. (Lat.) A common flute. See Common

Fistula Germanica- (Lat.) The German flute.

Fistula Panis. (Lat.) Pan s pipe, or the Pipe of Pan. A wind instrument, consisting of reeds, each of which pro- duces its own appropriate sound. See Pipes of Pan.

Fistula Pastoricia. (Lat.) The oaten pipe used by the audience at the theatres of the ancient Romans, to express their dislike of the performance.

Fithele. Formerly, the name of the fiddle. See Fiddle.

Flageolet. A small, shrill pipe, the tones of which re- semble the notes of birds.

Flageolet Organ. A small barrel-organ, the tones of which imitate those of a flageolet. See Bird Organ.

Flat. That character by which a note is depressed half

Flaut. The abbreviation of Flauto. Flautino. (Ital.) An octave, or little flute. See Octave

Flauto. (Ital.) A flute.

Flebile. (Ital.) Tenderly, mournfully.

Flessibilita. (Ital.) That free and easy flow, or gliding of the voice, by which it executes, with a degree of facility, the most difficult passages.

Florid Song. Figured Descant. An expression first used in the fifteenth century, in contradistinction to Plain Song, or the simple style of the Old Chant.

Flourish. That gratuitous introduction of supplemen- tary notes with which some performers attempt to improve upon the simplicity and chasteness of what they have to

Flute. A well-known wind instrument, the name of

which is derived from the Latin word Fluta, on account of a certain fish so called, and the form of which it resembles.

Flute-a-Bec. A common flute. See Flute, Common.

Flutk, Common. Formerly the Flute-a-Bec, a name suggested by its likeness, at one of its ends, to the beak of a bird. At this end it is blown, and never at the side, like a German flute.

Fluted. When the upper notes of a soprano voice are of a thin and flute-like tone, they are said to be Fluted.

Flutist He who performs on the flute.

Flute d'Allemand. A German flute. See German

Flute Organ. A little barrel-organ, the compass and tone of the notes of which render it imitative of the German

F Minor. The key, or scale, of F with four flats ; b flat, e flat, a flat, and d flat ; except in ascending the scale, when the notes D and E are natural.

F Natural. The note F, neither sharpened nor flattened.

F. O. Full Organ. See that expression.

Focoso. (Ital.) An expression significative of a bold and spirited style.

Follia. A piece chiefly consisting of variations ; a spe- cies of composition of Spanish origin, and called Follia di

Follia di Spagna. See Follia.

Foramina. (Lat.) The holes in a flute or pipe, by the stopping or opening of which the sounds are governed.

Formulary. In earlier times, the written or printed dis- position of the ecclesiastical tones.

Forte. (Ital.) Loud.

Fortement. (French.) With vigour and force. Fortissimo. (Ital.) With the greatest loudness. Fortiss'. See Fortissimo.

Forzando. (Ital.) With a sustained energy ; with force and continuity of tone. Forzdo See Forzando.

Forzo. With strength and emphasis of expression. Fourteenth. An octave and a seventh. Fourth. An interval comprising two tones and a half.

Frasi. (Ital.) Short passages, or musical sentences.

Freedon. An old word signifying a flourish. See that

French Horn. A well-known wind instrument, called by the French Come de Chasse. The tones of the French Horn are soft, rich, and mellow : its intervals, though in conformity with those of the trumpet, lie chiefly in the tenor portion of the Great Scale, and seem to include all the notes that are proper to its character. The key-note, and its third, fifth, and eighth, to which the lower part of this instrument is limited, forms a most pleasing and generous harmony with the notes next above them ; and notwith- standing the defect of its natural fourth, the general result of its intonations is gratifying and soothing.

Frets. Small lengths of wire on which the fingers press the strings in playing the guitar.

F Sharp. The * * This character, by car-

note F raised half - -Q - jfejf - n- rying the finger of the

*J gives visible evidence of

its elevating power.

F Double-Sharp. - p- F doubly sharpened The note F raised Zj^ZZZ] It is, on the Piano-Forte,

F Sharp Major. The key, or scale, of F Sharp with six sharps ; f sharp, c sharp, g sharp, d sharp, a sharp, and e

F Sharp Minor. The key, or scale, of F sharp with three sharps ; f sharp, c sharp, and g sharp ; except in ascending ; when the notes D and E are sharp.

Fuga Doppia. (Ital.) A fugue with two subjects. See Double Fugue.

Fugata. (Ital) In the fugue style.

Fugue. A multisonous composition, the plan or purpose of which is, to support, through its several parts, the sub-

ject with which it commences, and which is always led off by some one of its parts. It being the office of the other parts to pursue this subject, and the Latin substantive Fuga signifying a flight, such a composition is called a Fugue. See Simple Fugue, Double Fugue, and Counter Fugue.

Fuguist. A fugue composer, or extempore fugue per-

Full. (Ital.) An adjective of general application; as

Full Organ. The Organ v/hen in a state to throw out its unreserved strength ; i. e. when all, or the greater part of its stops are out, and its best powers are heard in com-

Full Turn. That Turn which fol- lows the note upon which it is made, consists of four Appogiatures, and forms an embellished repetition of its principal. Ex.

Fundamental. An epithet applicable to a chord, and to a note ; to a chord when that chord's lowest component part is the note on which the harmony is founded ; to a note, when that note is both the lowest consti- tuent part of a chord, and the note from which the harmony is really and nominally derived ; as thus - Zp This is really and nominally the chord of C ; and the note C is both the lowest constituent part of the chord, and the note on which the harmony is founded; therefore, both the chord and its loudest note are Fundamental.

Fundamental Bass. That bass on which the superin- cumbent harmony is founded ; or of which the superior^arfo of the accompanying chord constitute the third, fifth, and

Fundamental Chord. A chord con- sisting of the third, fifth, and eighth, of the fundamental bass.

Fundamental Bass.

Funztoni. (Ital.) The oratorios and other sacred pieces composed for the Catholic church.

Furibondo. (Ital.) With force and ardour. Furniture. An organ-stop. See Stop. Furioso. (Ital.) With vehemence and agitation.

G, the last of the seven notes of which Music is said to consist, reckoning in an ascending direction from A ; and the fifth note of the natural major scale, C. Gaimbnt. (French.) Cheerful, lively. Galliard. A word used by musicians both substantively and adjectively : when substantively employed, it signifies a gay, vivacious air, suited to a dance ; when adjectively, in- dicates the quality of such an air.

Gambist. He who performs on the Viol da Gamba. Gamut. Guido's table or scale ; denominated his Gamut, because he adopted, as a sign for the note he added to the lowest note of the ancients, the Greek letter, Gamma. The word Gamut has now, however, a more extended meaning, and includes the whole of the modern scale of sounds.

Gauge. An implement used by harp-makers and per- formers, for ascertaining the due thickness of harp-strings, before they apply them to the instrument.

Gavot. A cheerful, animated dance-tune, consisting of two strains, in the measure of two crotchets, and always be- ginning with half a bar.

Gavotta. (Ital.) See Gavot. presses the note G Natural two semi-tones

and, on the piano-forte, lowers it to F - \l

Here we have G Flat flattened ; that is, lowered half a tone : and since, on the piano-forte, F Natural is the next sound beneath G Flat, F Natural is the key to which the finger is conducted by G Double-flat.

G Double- Sharp. A Sharp which raises

the note G Natural two semi-tones ; and, - jf- -j-

Here we have G Sharp sharpened ; that is, raised half a tone ; and, since, on the piano-forte, A Natural is the next

sound above G Sharp, A Natural is the key to which the finger of the pianist is conducted by G Double Sharp.

Genera. A word comprehending the three scales by which the ancient tetrachord was divided. These scales were - the Enharmonic, the Chromatic, and the Diatonic. See those words.

GeNerateur. (French.) The fundamental note of the common chord ; that sound by which the triad is generated.

Generating Sound. It being a property of every sound to give birth to two other sounds (its twelfth and its seventeenth), every sound is, in fact, a, Generating Sound. Thus the note G under the treble cliff will generate D above

See Harmonics. ^

Generator. Of three sounds, consisting of a note, its twelfth, and its seventeenth, the lowest is the Generator, because the other two are but emanations from it. See Harmonics and Generating Sound.

Generatore. (Ital.) The Generating Sound. See Generator. Genus Melodise. (Lat.) The ancient division and sub- division of the tetrachord.

Gestours. (French.) The old comic and itinerant min- strels of France were called Gestours, because they accom- panied their vocal whimsicalities with gesticulations and humorous distortions of the countenance.

Genialia. (Lat.) The instruments used by the ancient Romans at their nuptial celebrations. Genre. (French.) Style or manner. Genus. A certain system upon which the ancient tetra- chord was divided and subdivided. The variety included in this Genus Melodies constituted the Greek Genera. See that

German Flute. A well-known instrument, so called because invented in Germany. It consists of a tube of box or ivory, and, unlike the Common or English Flute, is blown at the side. Its tone, when the instrument is good, and the performer skilful, is mellow and mellifluent, tender, without being dull, and clear without being piercingly acute. In playing this instrument, the fingers are applied to the holes and keys disposed along the sides of the tube. The in- creased number of the latter of these, together with other new advantages, have so greatly improved the powers of the

German Flute, both in volatility arid expression, as to have imparted to it a utility in concert, and charm in solo per- formance, to which, formerly, it could not pretend.

G Flat. The note G depressed half a tone ; as thus -

German Sixth. See Extreme Sharp Sixth. G Gamut. The fifth of the double-bass notes ; that the station of which is on the first line of the bass stave.,

The first note in alt ; written

G in Altissimo. The first note in altis- simo : written thus -

Giocoso. (Ital.) In a gay and joyous style. Giusto. (Ital.) With steadiness and propriety, in time and manner.

Giving Out. That previous performance of a psalm-tune by which the organist apprizes the congregation of the me- lody they are about to sing.-

Glee. A song in three or more parts. Originally, the Glee (the period of the first introduction of which is not known) was a gay, convivial composition, and hence its name ; but though it still retains its appellation, it has, long- since, assumed various characters, and is as often tender as jovial, pathetic as joyous. The opera is not more habitually distinguished into comic and serious, than the Glee into serious and cheerful.

Gliding. That gentle action by which flute performers slide their fingers from the holes of the instrument, in order to lead the ear the more gradually from one sound to

Glorification. Vocal Adoration.

Glottis. (Greek.) The name applied by the ancient flutists to a kind of reed which they held between their lips, and through which they blew when they performed.

G Minor. The key, or scale, of G, with two flats ; b flat and e flat ; except in ascending the scale, when the note E is natural, and the note F is sharp.

G Natural. The note G, neither sharpened nor flattened.

See Natural.

Goat-song. The song sung- at the altar of the god Dio- rrysius, during the sacrifice of the goat.

Gol. One of the funeral lamentations of the Irish.

Gong. A Chinese pulsatile instrument. Its tone is so loud and harsh, as scarcely to claim any other praise than that of being qualified to surprise and startle.

Gorgheggi. (Ital.) Vocal exercises for bringing the voice from the throat.

Grace. This word, used substantively, implies a natural, easy, smooth expression of any melody ; when understood adjectively, conveys the idea of ornamenting with appoggia-

Graces. Whatever ornaments are superadded to any

Graddo. (Ital.) An interval of one degree.

Gradual. A service-book of the Romish church, answer- ing to our psalm-book. A book containing all the vocal part of divine worship.

- Graduate, (in Music). A person who has taken his de- gree of Doctor, or Bachelor.

Gran Cantore. (Ital.) A great or superexcellent singer.

Gran Cassa. (Ital.) The double-drum.

Grand. When compositions, or performances, are noble, full, and imposing, they are said to be Grand.

Grand Square Piano-Forte. An instrument of recent invention ; a great improvement on the common Square Piano-Forte. Its tone is both fuller and richer than that of the latter; the peculiar manner of fixing the strings renders them much less liable to be out of tune, than does the former mode, and the general figure of the exterior is new, and more rounded and elegant than that of the old instruments. See Clementi's " Instrumental Catalogue."

Gran Gusto. (Ital.) In a great style. An expression sometimes applied to the manner of a fine singer, but chiefly to a full, rich, and noble style of composition.

Grave. Slow and solemn.

Gravement. (French.) Gravely, slowly. Grave Religioso. (Ital.) A phrase dictating slowness of performance, and a devotional solemnity of expression.

Gravity. In music, a word used in contradistinction to (mute : depth of sound.

Grazioso. (Ital.) Smoothly, gracefully. Great Cadence. A cadence in which the closing or final - f) e>-

harmony of a movement is pre- .^fe^

ceded by that of the subdomi- The effect of the Great Cadence is solemn and awful ; for which reason it is frequently introduced in sacred music. Great Sixth. A major sixth.

Gr kater Viol. A viol so called in contradistinction to the Viol da Bracia, or lesser viol. See Viol da Gamba.

Gregortan Chant. This Chant of St. Gregory, founded on the harmonical division of the diapason, exceeded, in the number of its notes, those of the Chant of St. Ambrose, to which it added four. But what was the whole number of the notes is not now known. All the information we have is, that in the Ambrosian Chant, the diapente was the highest note, and that the four added by St. Gregory were inter- posed between the four of St. Ambrose. By consequence, the intervals became smaller, and the melody, we may pre- sume, more refined than in the Ambrosian composition.

Great Scale. The whole series of appreciable sounds, from the gravest to the acutest. That scale which, by con- sequence, includes every other, whether that of the double bass, or of the octave flute ; that of the deepest bass voice, or of the highest soprano.

Ground. A composition, the bass of which consists of a few bars unremittingly repeated. The word is also used adjectively; as when we apply it to the bass itself of such a composition, by calling it a ground bass.

Ground-Bass. That bass, the unremitting and unaltered repetition of which forms the whole foundation of any move- ment, or passage.

Group. The knot or assemblage of notes formed by the fraction of a single long note, for the purpose of melodial

Gruppo. (Ital.) Formerly, a trill, or shake. G Sharp. The note G, raised half a tone. See Sharp,

Guaracha. A Spanish dance.

G Sharp Minor. The key, or scale, of G Sharp, with five sharps ; except in ascending the scale, when the note E is sharpened, and the note F sharp, re-sharpened.

G, the Treble Cliff Note. That note, the station of which is on the same line as is the Treble-Cliff. E;

Guida Musica. (Ital.) A Musical Guide ; a book of musical instructions.

Guide. The leading note of a fugue. See Dux.

Guidonian-Hand. Guido's figure of a left hand bearing the names of the intervals of his three hexachords.

Guitar. A well-known instrument of Spanish invention, originally called a Guitarra. No instrument, to this day, is a greater favourite, or more generally practised, in Spain.

Gusto. (Ital.) Taste. See that word.

Gustovo. (Ital.) Tastefully, elegantly.

Guttural. An adjective applied to tones that come from the throat. Singing in the throat, is to sing with a Guttural tone.

Gwyneddigion. (Welsh.) The name of a Society insti- tuted in London about half a century ago, for the purpose of patronizing the bards of Wales; and at the meetings of which, the voices of the members, accompanied by the eu- phonious tones of the harp, produce a gratifying effect.

Hallelujah. An expression used by the ancient Hebrew priests, in calling upon the people to join their voices in lauding the Creator. From the Jews it descended to the Christians, who regularly sung it on Easter-day and the day of Pentecost. The whole assembly assisted in its vociferation ; and, according to St. Jerome, the roofs of the churches shook with the reverberated peals. In after- times, this devotional exclamation grew into general and constant use ; and, at length, became a favourite theme with ecclesiastical composers, who have made it the basis of some of their sublimest choral productions.

Hand-Director. See Chiroplast, and Logerian System.

Harmatian Air. (From the Greek.) A certain spirited and animated air, said to have been composed by Olympus. It was used in battle ; and because the rapidity of its style

imitated the motion of a chariot wheel, it was also called the Chariot Air. See Chariot Air.

Harmonia Philosophica. (Lat.) The philosophical consideration of intervals and their proportions, as measured and demonstrated by the monochord. See that word.

Harmonic. The epithet given to the accessary sounds generated by the primary sounds of any sonorous body.

Harmonic Evolution. That motion, or change, in har- mony, by which its impression is relieved and enforced: the manner of a modulation, rather than the modulation itself; and which may be poor and ineffective, even when the mo- dulation is correct and scientific : and vice versa.

Harmonic Hand. The musical diagram of Guido. See Guidonian Hand.

Harmonic Modulation. Mo- tions of harmonic combinations : as from the harmony of C to

Harmonics. The harmony produced by every musical sound in combination with its natural resonances ; i. e. its twelfth and seventeenth. It was upon this beautiful prin- ciple that the French speculatist, Rameau, founded his system of harmony and melody, and built his whole theory of concords, discords, and modulation. See Generating Sounds.

Harmonics, on the Harp. The harmonic sounds of the harp constitute one of its most beautiful and striking ef- fects. These sounds are produced with the right hand, by gently pressing the string exactly in the middle with the first joint of the first finger, in a bent position, while the thumb gives the note. See Bochsa's works on Harp Per-

Harmonious. Agreeable, consonant ; the reverse of

Harmonist. One who is master of the laws of harmony, the bearings and dependencies of its several parts, and of the principles of its transitions.

Harmonized. When between an air and its bass ad- ditional parts are interposed, in order to produce a fulness; and solidity of effect, that air is said to be Harmonized.

Harmonizer. A musician who interposes harmonical parts between a treble and bass, thereby rendering full and rich what before was scanty and meagre. He also is a

Harmonizer who adds a bass to a melody, or forms a score of any kind.

Harmonometre. A monochord furnished with moveable bridges, by which it is rendered capable of being divided at pleasure.

Harmony. The concordance of any plurality of sounds. Simply considered, Harmony comes under this definition: but when viewed as it regards composition, it takes a higher stand, includes a union of parts not only consonant in respect of each other, but which are scientific, if not melodious, in their intervals, and which, in their evolutions and progress, observe the rules of preparation, resolution, and all the various laws of modulation. That the difficulty of producing Harmony, in this extended sense of the word, has been much augmented by the refined compositions of modern genius, is certain ; but modern industry, by its grammars and learned treatises, has thrown much novel light on the subject, and cannot but encourage every true

Harp. A well-known stringed instrument, the corda- tura of which consists of semitonic intervals, and whose scale includes the general compass. Though the Harp (a favourite instrument of the ancients, both Jews and Pa- gans) was cultivated in Ireland and Wales before it was known in England, (see Welsh Harp) its introduction here was early. What might be its state when first used in this country, it is now impossible to say; but modern inge- nuity has brought it to such high perfection, as to have rendered it a most elegant and attractive instrument. Its greatest improvement was that by which its pedals ob- tained a two-fold action : for though, in the single-action Harp, the pedals like those of the double-action harp, are but seven in number, yet, by giving the performer the means of raising the open notes two semitones, they afford him new powers, and add to the variety, as well as the ex- tent, of the effect.

The natural key or scale of the double-action harp being that of C flat, when it is to be accompanied by any instru- ment, the C flat of that instrument must be the standard note by which the harp is tuned.

The process will commence with giving the proper pitch to the string corresponding with the C on the third space in the treble-cliff stave. This effected, the C immediately

beneath it will be tuned an octave lower. The note, G, will then be tuned a fifth higher than the lower C: after which, the three notes, C, G, C, being struck together, will demon- strate whether they are, or are not, in perfect concordance.

This process of tuning by fifths being continued till the three notes, E, B, E, are arrived at, as shown in the follow- ing example, and consequently, the ten strings from the lower C to E on the fourth space all tuned, the remaining strings above that E, and beneath that C, will be tuned in octaves. Ex.

The natural key or scale of the single-action harp is E flat ; and the process of tuning it will be as follows : - Ex.

The remaining notes, as in tuning the double-action harp, will be tuned in octaves.

For the very useful invention of harp-pedals, the musi- cal world is indebted to the ingenious M. Simon of Brus- sels, who first introduced them, between sixty and seventy years ago ; and thereby improved the instrument in more respects than one ; since, from the consequent reduction of the number of strings, its vibrations became more free and sonorous. - In its present state of perfection, how different an instrument is the Harp from that rude frame with seven strii gs which Orpheus struck with his ivory plectrum !

Harpist. One who performs on the harp. The pro- fession of a Harpist is one of the oldest in Europe ; and has not been longer exercised any where than in this country, Ireland, and Wales. The execution displayed by the pre- sent superior performers on this instrument is highly etfec-

tive ; and if, in former days, the Harpist could inflame the hearts of heroes, and urge the coldest to battle, now he can awaken the softer passions, and excite the admiration of the tasteful. -

Harper. A harpist. See that word.

Harp-Lute. A stringed instrument of recent invention.- In shape, it equally resembles the harp and the guitar ; has frets, like the latter; possesses twelve strings ; \ields an agreeable though not powerful tone, and is of a portable size.

Harpsichord. An instrument of the harp species, fur- nished with keys, which, like those of the organ and piano- forte, enable the performer to strike many notes simultane- ously, and consequently to play in chords ; from which ad- vantage it is supposed to have originally derived its English name. Till the invention of the Piano- Forte, the Harpsi- chord (an improvement upon the Clarichord, or Spinet) was universally practised, and deemed not less indispensable to the orchestra, than to the chamber. In Italy, this instru- ment has the name of Clave Cymbala, and in France, is called a Clavecin. The earliest mention of the harpsichord is in 1536. The instrument was then of two kinds ; single and double. The single harpsichord had two unisons, and was, in effect, the double spinet, or virginal ; and the double harpsichord had two unisons and an octave ; to which, about the year 1770, the ingenious mechanician, Merlin, added a third unison.

Hautboy. A wind instrument blown at one end, through a moveable reed. Its compass commences at the lowest C in the treble, and, by good performers, may be extended to D or E in alt. It is a peculiarity of the Hautboy, that its scale contains every semitonic interval except one ; that it has not the sharp of its lowest sound.

Hautboyist. One who plays on the Hautboy.

Hkad - of a Note - The round part from which the tail, or stem, proceeds ; - of a Violin - the part in which the pins or pegs are screwed ; of aDrum - the part beaten by the drummer.

Helicon. An ancient instrument, the use of which was to measure and regulate the consonances. By whom the Helicon was invented has never been ascertained, though some writers attribute its formation to Ptolemy. Since his time, it has, however, been greatly improved, partly by Zarlino, partly by Salinas, and partly by other ingenious

Hemidiapente* (From the Greek.) An imperfect fifth. See False Fifth.

Hemiditone. (Greek.) In the ancient music, a term significative of an interval that is less than that of a major third, yet not so small as that of one whole tone. There- fore in this compound expression, the two syllables, Hemi> do not, as generally, imply half, but simply diminution.

Hemiope. (Greek.) A musical tube with three holes r an ancient Fistula, or Flute.

Hemitone. (From the Greek.) An interval less than a whole tone, but not so small as a semitone.

Heptachord. (From the Greek.) An interval of seven degrees : also a lyre with seven chords or strings. See

Herauts. One of the names formerly given by the French to those of their minstrels, the strength and clear- ness of whose voices qualified them for the office of public

Hexachord. (From the Greek.) In the ancient music, an interval of a sixth : Hexachord was also the name of a lyre of six strings.

Hibernian Melodies. The ancient and genuine melo- dies of Ireland ; t. e. the sweet, wild airs of the old masters

Hidden. A term in harmony, implying a passage in which two consecutive fifths (forbidden in composition) may be imagined, though, in appearance, they are avoided.

High. Acute, sharp, elevated. An epithet applicable to any note, the station of which is towards the top of the scale of the voice or instrument by which it is sounded, A voice is also said to be high, when its upper notes exceed in acuteness those of the generality of Voices of the same

Hilarodi. (Greek plu.) Those itinerant, musical poets,, who contented themselves with chanting about the country, trifling, humorous strains. They were richly dressed, their vociferations were accompanied by instruments ; and by degrees, they obtained a degree of consideration that raised them to the tragic stage, where their performances were favourably received. See Magodi.

Hilarodia. (Greek.) Short lyric poems, sung in the highways by the Hilarodi.

Histrio. An actor or stage vocalist of ancient times.

Hocket. Formerly, a rest placed after a note, in order to shorten its duration, r\

Hold. That short, curved line drawn over a point, and the use of which is, to signify a pause on the note or notes, to which it refers.

Holding-Note. A note in one part of a composi- tion, which is prolonged or held on, while the notes of another part are changing, or moving.

Homologous. (From the Greek.) Those parts in the several tetrachords of the ancients which corresponded with, each other, were said to be Homologous.

Homophonoi. (From the Greek.) Unisons.

Homophony. (From the Greek.) A unison of sound. A term used in contradistinction to the word Antipkony. See Antiphony.

Horizontal Grand Piano-Forte. An instrument form- ing a noble improvement of its prototype, the Square Piano- Forte. Its great superiority to the latter is derived from two principal causes ; its possessing three sets of strings instead of only two, and having so much larger a body, or case. Hence its stronger and more brilliant vibration; while the higher finishing in its mechanism produces a kinder and a more elegant touch, and more free and obedient action of its pedals.

Horn. A well-known wind-instrument, chiefly used by huntsmen, to animate the hounds and give spirit to the chase. This is the old, common Hunting Horn ; which has been so far exceeded, in every respect, by the French Horn9 as, for a considerable time, to have been little in use.

Horn-Pipe. The name of an old wind-instrument ; also of any air with which a certain dance is accompanied ; a dance of English origin, the measure of which is that of nine crotchets in a bar, and which likewise is known by the ap- pellation of Hornpipe.

Humorous Songs. Songs descriptive of, or allusive to, curious persons or circumstances, and the melodies of which, are of the lightest and most familiar character.

Hunting Music. See Alia Caccia.

Hunting Song. A short lyric poem in praise of hunting, and the melody of which should partake of the spirit of the

without quickening the

chase. With the decline of the amusement of hunting, that of the huntsman's strain seems to have kept pace. Modern Hunting Songs are few; and even in those few, we miss the manly simplicity, and glowing exultation which gave life and energy to the vociferations of our sporting forefathers.

Hurdy-Gurdy. An instrument, the tones of which are produced by the friction of a wheel with which it is furnished, and the strings, which are so disposed as to be vibrated by the wheel's revolution. The latter being put in motion by one hand, the tones are modulated by the action of the iinerers of the other hand on the keys, their pressure upon which brings the strings successively in contact with the wheel's surface.

Hydraulica. An aquatic organ of ancient invention, but of the particulars of which little more is now known, than that it was actuated by water, and that its numerous pipes were capable of producing an ample variety of har- mony. Were not the reality of a musical instrument vocalized by the influx of water, verified by so many, and such respectable, concurring accounts, we might reasonably doubt the fact : but Athenaeus speaks of it as the invention of Ctecibius ; and Plutarch, in his life of Phocion, directly alludes to it; while Claudian extols the power of its innu-

Hymee. (Greek.) Song of the Millers. A song of the ancient Greeks, so called, because chiefly sung by millers and their men.

Hymentea. An epithalamium, or nuptial song, called by the Greeks Hymencea, because it had relation to Hymen and his rites.

Hymn. Originally, a song in honour of the heathen deities ; but which, having descended with other forms of lyric composition, to times of Christianity, has, long since, been received into the church ; and, with various sects, forms at this day a part of divine worship. St. Hilary has the credit of having set St. Ambrose and Prudentius the example of writing and composing Hymns, and the latter is allowed to have introduced them into the breviary ; whence, with very little variation in their style, they have passed into almost every religious meeting and conventicle in

Hymn of Battle. A choral prayer preferred by the

ancient armies, for victory over the enemies with whom they were about to be engaged.

Hymn Tune. A short, simple, solemn species of melody, adapted to the pious purpose of praising, or imprecating the Creator.

Hvpate. The lowest tetrachord, or series of four sounds ; and the gravest sound of each of the two lowest tetrachords was by the Greeks called the Hypate or Prin-

Hypate Diatonus. (Greek.) The name given by the Greeks to the third sound of their first tetrachord.

Hypate-Hypaton. (Greek.) The appellation by which the gravest sound of the lowest tetrachord was distin- guished by the ancients, as being that which they con- sidered the Principal of the principles.

Hypate-Meson. That sound which constituted the highest of the first tetrachord, and the lowest of the second

Hypatoides. (Greek.) That general name under which the Greeks ranked their deep, or grave sounds.

Hyper. (Greek.) Above, or higher ; as, Hyper- Lydian, above the Lydian ; Hyper- Phrygian, above the Phrygian.

Hyper -JEoli an. (Greek.) The epithet by which the Greeks distinguished that of their modes which was a fourth higher than the Molian.

HyperboluEan. (Greek.) The Greeks applied this epithet to their fifth tetrachord, because that tetrachord was the highest, or supreme.

Hyper-Diazeuxis. (Greek.) When two tetrachords were divided from each other by the interval of an octave, that disjunction was denominated an Hyper-Diazeuxis.

Hyper-Dorian. The Hyper- Dorian, or Mixolydian mode, was a fourth higher than the Dorian. See Mixolydian.

Hyperiastjan. (Greek ) The Hyperiastian, or Hyper- Ionian mode, was a fourth above the Ionian.

Hyperlydian. (Greek.) That mode of the Greeks which was a fourth higher than the Lydian.

Hyper-Mixo-Lydian. See Hyperphrygian.

Hyperphrygian. (Greek.) The Hyperphrygian, or Hy- per-Mixo-Lydian mode was an octave above the Dorian.

Hypo. (Greek.) Below, or lower ; as Hypo- Phrygian, lower than the Phrygian ; Hypo-JEolian, lower than the

Hypo-^Solian. That mode which was a fourth lower than the Molian.

Hypocritic. (Greek.) The epithet applied by the Greeks to the generality of their vocal performances, be* cause they were accompanied with much of that gesticula- tion which is below criticism.

Hypo-Diazeuxis. (Greek.) The interval of a fifth when found between two tetrachords.

Hypo-Dorian. The Hypo-Dorian mode was the gravest of the modes, and a fourth below the Dorian mode.

Hypo-Iastian. (Greek.) See Hypo-Ionian.

Hypo-Ionian. (Greek.) That of the Greek modes which was a fourth below the Ionian.

Hypo-Lydian. (Greek.) The name of a Greek mode which was a fourth below the Lydian.

Hypo-Mixo-Lydian. (Greek.) The plagal mode of the Mixo-Lydian ; added by Guido to the ancient modes.

Hypo-Phrygian. (Greek.) The Hypo-Phrygian mode was a fourth lower than that of the Phrygian.

Hypo-Proslambanomenos. (Greek.) The appellation given to the sound added by Guido to the scale of the Greeks. It was one tone lower than their Proslambano- menos, or lowest. The sign by which the monk of Arezzo distinguished this additional sound, was the Gamma; and hence, to this day, it is called G Gamut. See Gamut.

Hyporchemes. (From the Greek.) A military or tri- umphant song, sung by the ancient Greeks on joyful, or solemn occasions. The singer was accompanied by flutes and lyres, and the concording motions of the dancers heightened the effect of the festive ceremony.

Hypo-Synaphe. (Greek.) When between two tetra- chords an interval existed which was equal to, and occupied by a third tetrachord, the Greeks called the disjunction a Hypo-Synaphe.

Iambics. Iambics, musically speaking, were (with the ancients) of two kinds, the one consisting of verses, the recitation of which was accompanied with instruments ; and the other of strophes, which were sung without any accom- paniment whatever.

Il Canto. (Ital.) Singing.

Il Colorito. (Ital.) In dramatic singing, the adapta-

tion of the style, manner, and intonation, to the character

Il Passo Tempo. (Ital.) A Pastime ; a little piece, or collection of little pieces, intended for the diversion of the

Il Ponticello. (Ital.) That part of a man's voice where the natural tones come in contact with the feigned ; where, passing, as we may say, over a Ponticello, or little bridge, the voice is carried from the compass of nature, to the falsetti, or constrained notes of art.

Il Sdrucciolare. (Ital ) An expression which, in piano-forte music, implies a sliding of the finger along the

Il Volteggiare. (Ital.) An expression applied by modern professors to the crossing of the hand in piano-forte

Imitando la Voce. An expression found in the accom- paniments to vocal music ; and directing an imitation of the tone and taste of the singer accompanied.

Imitation. In harmonic composition, a designed resem- blance in some pari, or parts, to certain passages in some other part, or parts, in the same piece.

Imitative. A term properly applied to music in all the higher provinces of its operation. When copying the lan- guage of the passions, and certain of the sounds and move- ments of nature, it is Imitative, and capable of exciting in the bosom corresponding emotions. The melting song of the nightingale, the astounding roar of thunder, the tender tale of love, and the boisterous ebullitions of rage, are equally within the sphere of its expression ; and when em- ployed in such expression, music is Imitative, and strongly distinguished from that which is purely scientific; and, however elaborate and ingenious, says nothing to the heart, awakens none of its finer or nobler feelings.

Immediate Cadence. A Cadence at which we arrive im- mediately from the harmony of the dominant.

Ex. Immediate Cadence.

Imperfect. Those chords which are not complete, and those intervals which do not include all the degrees im- plied by their appellations, are said to be Imperfect. For

Here, to complete the chord, E on the first line is wanting-.

Here the chord does not contain all the intervals proper to a perfect fifth : i. e. it is Imperfect. Imperfect Concord. The chord of the third and sixth.' Imperfect Consonance. That consonance the interval or intervals of which may be either major or minor.

Imperfect Measure. With the old masters, Imperfect Measure was that which consisted of only two in a bar: also called Binary Measure.

Imperfect Period. A period which fails to satisfy the ear ; which leaves it in expectation of the final close.

Impresario. (Ital.) The manager or conductor of an opera or concert.

Impromptu. A term implying a short extemporaneous performance. See Extempore.

Improvvisare. (Ital.) To sing extempore ; to pour forth verse and melody without premeditation. See Improv-

Improvvisatori. (Ital ) Certain musical poets whose profession is to recite and sing extempore, - a description of poet-musicians for which Italy has long been remarkable.

In Alt. (Ital.) An expression applied to the seven notes which lie between F on the fifth line in the treble- clitF, and G in Altissimo. As thus -

In Altissimo. (Ital.) All notes above F in Alt, are said to' be In Altissimo.

In Altiss. The abbreviation of In Altissimo. See that

Incidental. Any vocal composition, the subject of which is connected with the drama in which it is introduced, is, as it regards that drama, Incidental. Thus - the song of Ariel in the Tempest, and the Witches' chorus in Macbeth, are Incidental to those plays.

Inconsonance. Discordance.

In Disparte. (Ital.) A scenic expression in the recita- tive of the Italian Opera, directing a certain passage to be addressed aside to some character not directly engaged in the dialogue.

Infinite. An adjective applied to perpetual fugues, or compositions which return into themselves, as in an Infinite

Inflatile. The epithet by which wind-instruments are distinguished from instruments which are stringed, or

Inflection. That varied modulation by which the voice adapts itself to the subject, or theme, on which it is en-

In Fugue. A movement is said to be In Fugue, when it consists of a given subject, the support of which forms its principal feature.

Inganno. (Ital.) Deception. A word applied to that preparation for a cadence which is not succeeded by one, as expected, but is followed by a pause.

Iniziato. (Ital.) Initiated, informed ; beyond the state of a tyro, or beginner.

Innocente. (Ital.) A movement to which the word Innocente is prefixed, is intended to be performed in a style free from all flourish, art, and affectation.

In Organo. (Ital.) An expression in the old music, applied to compositions in more than two parts.

In Palco. (Ital.) A musical performance on a stage is said to be In Palco. Formerly, this expression was much more in use than at present ; especially when sacred musi- cal dramas were performed at church, on a stage, and con- stituted a part of the service.

Instrumental Anthem. An Anthem composed with in- strumental accompaniments, and which cannot be properly performed without their embellishment and support.

Instrumental Music. Music composed for instruments.

Instrumental Performer. One who performs on a musical instrument.

Intavolare. (Ital.) To commit musical notes to paper, or to a tablet ; to form a tablature of music.

Intavolatura. A musical tablature. See Intavolare.

Interlude. Something played or sung between the acts of a drama. Interludes formerly consisted of short, but regular, musical representations; and were introduced between the divisions of a play, as ballets now are between the acts of Italian operas.

Intermezzi. (Ital.) Detached dances or interludes, with which the Italians relieve their operatic dramas.

Intermezzo. (Ital.) A little opera, or musical drama, not forming the principal piece performed, but only an interposed relief.

Interrupted. When passages that would naturally lead to a close, are prevented from so doing, by that posi- tion of the bass which avoids the falling, or rising, from the fifth to the key note, the expected course of the closing harmony is said to be Interrupted.

Interval. The division between any two sounds which differ in their pitch ; i. e. in their acuteness or gravity. This interval, of course, will be less or greater, as their difference in pitch is less or greater, and will be marked or designated, according to the proportion it bears to some entire or aggregate interval. This entire Interval (in mo- dern music) is that of a whole tone ; and the lesser inter- vals are but parts of a whole tone ; as the semitone, or half-tone ; and the diesis, or quarter tone.

Intonate. To give to the tones of the voice, or of an instrument, that richness of sound, and fulness and pro- priety of expression, which, occasionally relieved by delicacy and pathos, produces that just and impressive effect which constitutes the principal beauty in performance.

Intonation. The giving to the voice that fulness and variety of tone most favourable to impassioned and affect-