Multimedia Audio Collection Deluxe/Multimedia Audio Collection Deluxe.iso/pianist/diction1.txt

Text File | 1993-03-21 | 59KB | 964 lines

@443 oblique motion\Describes the movement of parts or melodies when one
remains on the same note and the other moves in some direction.
@444 octave\The interval of eight steps (e.g. C to C on the white notes of the
piano).
@445 octet\A composition for eight voices or instruments, or simply eight
people.
@446 ode\The setting of a poem entitled 'ode' to music.
@447 ohne (Ger.)\Without.
@448 op\Abbreviation of Latin opus, work. Used as a publishers' catalogue
system to indicate the order in which a composer's works have been
published. The higher the opus number, the later the music was published in a
composer's lifetime.
@449 opera\ A drama in which all or most characters sing and in which music is
an important element. Early composers of opera include Monteverdi and
Purcell. Other composers are Mozart, Beethoven, Rossini, Donizetti, Verdi,
Wagner (who preferred the term music drama), Puccini, and in the 20th
century, Berg and Britten.
@450 opera bouffe (Fr.)\A light, often satirical opera or operetta (e.g. by
Offenbach).
@451 opera buffa (It.)\A comic opera especially in the 18th century (e.g. by
Pergolesi).
@452 opera comique (Fr.)\This term describes comic opera but has two special
meanings: (1) A type of French comic opera with spoken dialogue, lighter
than current serious operas in the 18th century; (2) An opera, comic or
otherwise, with spoken dialogue (e.g. Bizet's Carmen in the l9th century).
@453 opera seria (It.)\Serious opera and opposite of opera buffa. This term is
especially applied to the flourishing 18th century style as used by Rossini.
Characterised by the use of castrato singers, heroic or mythological plots,
Italian libretti and formality in the music and action.
@454 opera-ballet\A stage work giving more or less equal importance to opera
and ballet (e.g. the works of Lully and Rameau in France in the 17th and 18th
centuries).
@455 opera oratorio\A stage work involving elements of both opera and oratorio
(e.g. Stravinsky's Oedipus Rex).
@456 operetta (It., 'little opera')\A term applied in the l9th century to lighter
styles of opera involving dialogue. Composers included Offenbach, Johann
Strauss and Sullivan. This style is sometimes referred to as light opera.
@457 operette (Fr.)\Operetta.
@458 oratorio\A musical composition (originating around 1600) consisting of an
extended setting of a religious or epic text for chorus, soloists and orchestra
for performance in a church or concert hall, although originally oratorios
involved scenery, costumes and action. An example is Handel's Messiah of
1742.
@459 orchestra\A large body of instrumentalists which has developed
historically. The first orchestras were variable, but by the baroque period they
consisted of strings, oboes and bassoons with other solo instruments.
Standardisation took place in the classical period when the orchestra was
divided into four sections: strings, woodwind (two flutes, two oboes, two
bassoons and clarinets), brass (two horns and two trumpets) and percussion
consisting of two kettledrums. The orchestra was greatly expanded in the 19th
century to include the harp and other percussion. Some 20th century
composers began writing for smaller ensembles (perhaps mainly because of
economics).
@460 orchestration\(1) The art of writing for an orchestra, band, etc., involving
great knowledge of tone colours, range of instruments, technical capacities
and combinations of instruments, etc. (2) The scoring of a work, originally
intended for another medium, for an orchestra.
@461 organum\A medieval type of part-writing based on plainsong and
harmonised by either one, two or three parallel parts.
@462 ornaments\Also called graccs or embellishments, these are notes
considered to be an extra embellishment of a melody which are either added
spontaneously by the performer or indicated by the composer on the score by
signs or notation. In the 17th and 18th centuries, omaments were mostly
indicated by signs and they included the trill, mordent, turn, arpeggio and
appoggiatura. Composers wrote out ornaments in full in later periods.
@463 ossia (It.)\Or. Indicates an alternative passage (usually a simpler version) in
a composition.
@464 ostinato (It., 'obstinate')\A persistently repeated musical figure or rhythm. A
basso ostinato or ground bass has this feature in the bass part.
otez (Fr.)\Take off. Otez Ies sourdines, take off the mutes.
@465 ottava (It.)\Octave. Often written 8ve. All'ottava, at the octave and ottava
bassa, an octave lower.
@466 overtone\Any notes of the harmonic series are given this name except for
the first fundamental.
@467 overture\(1) An orchestral piece preceding an opera, oratorio or play; (2)
Since Mendelssohn's Hebrides of 1832, the overture also describes a one
movement orchestral piece composed for the concert hall with a non-musical
subject. This is also called the concert overture; (3) In the 17th and 18th
centuries the French overture (preceding an opera, etc.) was in three
movements, slow-quick-slow, and the Italian overture (a precursor of the
symphony) also in three movements was quick-slow-quick.
@468 p\Abbreviaion for piano (It.), soft. Varying degrees of increasing softness
are abbreviated as pp, ppp, etc.
@469 pantomime\(1) Traditionally a play in mime; (2) Nowadays it is a
Christmas stage entertainment based on a fairy tale or other traditional source
with dialogue, popular songs, costumes and actions (e.g. Snow White).
@470 pantonality\Schonberg preferred this term to atonality (e.g. music not
written in any definite key).
@471 parallel motion\The movement of two or more parts in the same direction
while also keeping the same interval between them.
@472 parody mass (Lat. missa parodia)\A polyphonic mass (e.g. by Palestrina)
flourishing in the 16th century based on existing material of a motet or
chanson. This term has only been used since the 19th century, however.
@473 part\The music of a particular voice or instrument in an ensemble.
@474 parte (It.)\Voice-part.
@475 partials\The tones of the harmonic series, the lowest being thefirst partial
and the others the upper partials or overtones.
@476 partita (It.)\A suite. This term was much used in the 18th century. In the
17th century, however, a partita was a variation.
@477 part-song\Generally a strophic song for several male, female or mixed
voices in which there are many singers to a part, with the top part usually
having the principal part. Composers include Elgar, Parry and Stanford.
@478 part-writing\The composing of polyphonic music and the writing of equally
good melodic parts.
@479 pas (Fr )\Step. A pas d 'action is a ballet scene of dramatic nature and a pas
de deux is a dance for two.
@480 pasodoble (Sp., 'double step') or paso doble\A modern and quick Spanish
dance in 2/4 time.
@481 passacaglia\Originally a slow and stately dance appearing in keyboard
music of the 17th century. Later the passacaglia was a piece with a theme
continually repeated, but not necessarily in the bass, like the chaconne.
@482 passage\A section of a composition, usually with no structural importance.
@483 passing note\A note, which may be accented or unaccented, forming a
discord with the chord with which it is heard, but is melodically placed
between two consonant notes.
@484 passion music\This is the Passion of Christ, as accounted by Matthew,
Mark, Luke and John, set to music and properly performed during Holy
Week.
@485 pasticcio (It., 'pie')\An operatic work with the material drawn from the
works of various composers, especially popular in the 18th century.
@486 pastiche (Fr.)\A piece composed deliberately in the style of another well-
known composer. See also pasticcio above.
@487 pastoral\(I) Alternative name for the madrigal; (2) Any piece representing
country life.
@488 pastorale (It.)\(I) An instrumental movement with long bass notes giving a
drone-like effect in 6/8 or 12/8 time; (2) Obsolete term for a stage
entertainment based on a legendary or rustic subject.
@489 patter song\Popular in opera, this is a comic song in which words, sung as
fast as possible, are often tongue-twisters. Often found in the works of Gilbert
and Sullivan.
@490 pausa (It.)\A rest (not a pause).
@491 pause\A wait of indefinite length on a note or rest.
@492 pavan (Eng.) or pavane (Fr.)\A slow, stately dance usually in duple time
dating from the 16th century. It was normally followed by the quicker galliard
after about 1550, often employing the same theme.
@493 pedal\ The fudamental or lowest note of the harmonic series especially
applied to the playing of brass instruments.
@494 pedal point\A note, usually in the bass, which is held below changing
harmonies above, with which it may be discordant.
@495 pentatonic\ A five note scale, the commonest being without minor seconds
(e.g. CDEGA-C...).
@496 per (It.)\By, through, for (e.g. per archi, for strings).
@497 perdendosi (It., 'losing itself')\Gradually dying away.
@498 perfect cadence\ A cadence with the chord progression consisting of the
dominant (chord V) to the tonic (chord I) which has a 'complete' sound.
@499 perfect intervals\These are the intervals of the octave, fourth and fifth.
@500 perfect pitch\A sense of pitch which enables a person to identify a note
simply by hearing it.
@501 perfect time\In medieval music, this was triple time.
@502 perpetual canon\ Popularly known as a round, this is a never-ending canon
which is also known as an infinite canon.
@503 perpetuum mobile (Lat., 'perpetually in motion')\A fast piece of music in
which a rapid repetitive note-pattern is played throughout.
@504 pesante (It.)\Heavy, ponderous.
@505 petit (Fr.)\Little .
@506 petto (It., 'chest')\In musical contexts used as in voci di petto, chest voice.
@507 phantasie (Ger.)\Fantasy.
@508 phrase\ A group of notes forming a unit of a melody. To phrase a melody is
to observe and mark the divisions of a melody into units or phrases .
@509 phrygian cadence\A cadence which ends on the dominant of the relative
minor.
@510 phrygian mode\The mode which, on the white keys of the piano, is
represented by E to E.
@511 piacere a (It.)\At pleasure (e.g. not at any strict speed).
@512 piacevole (It.)\Pleasantly.
@513 piangendo (It.)\Plaintively.
@514 pianissimo (It.)\Very soft, with abbreviation pp.
@515 piano (It.)\(1) Soft, abbreviation p; (2) Standard abbreviation in French and
English for pianoforte.
@516 pianoforte\(It)soft and loud, abrrev. is piano.
@517 picardy third or tierce de picardie (Fr.)\The surprising sound of a major
third at the end of a piece otherwise in a minor key thus converting the
expected minor chord to a major one. This was a common device up to the
mid-18th century .
@518 pi- (It.)\More. Piu lento, slower.
@519 piuttosto (It.)\Somewhat, rather.
@520 pizz\Abbreviation of pizzicato.
@521 pizzicato (It.)\Indication to pluck notes on a bowed string instrument.
Abbreviation pizz.
@522 plagal cadence\ A closing cadence consisting of a progression of the
subdominant (chord IV) to the tonic (Chord I) sounding like 'Amen'.
@523 plainchant or plainsong (from Lat. cantus planus)\ Medieval church music
usually describing the gregorian chant which still survives today in the Roman
Catholic church. It consists of a single, unaccompanied vocal line in free
rhythm like speech with no regular bar lengths.
@524 pneuma (Gk ., ' breath ' )\A type of florid passage in plainsong sung to a
single vowel.
@525 pochettino, pochetto (It.)\Very slightly, very little. Diminutive of poco.
@526 pochissimo (It. )\Very slightly. Superlative of poco.
@527 poco (It.)\Slightly, little, rather. Poco crescendo, getting slightly louder.
poco a poco, little by little.
@528 poi (It.)\Then. In the phrase scherzo da capo, e poi la coda it means repeat
the scherzo and then go on to the coda.
@529 pointe d'archet (Fr.)\Point of the bow.
@530 pointillism\Term taken from painting (referring to pictures using separate
dots of colour) and applied to the music of some 20th century composers (e.g.
Webern). This described music of a spare and pointed style emplying use of
pizzicato.
@531 polacca (It.)\See polonaise.
@532 polka\A moderately fast dance in 2/4 time for couples, originating in
Bohemia in the 19th century and becoming popular in Europe and the U.S.A.
@533 polo\A Spanish dance in fast, syncopated 3/4 time with song.
@534 polonaise\A stately Polish dance in moderately fast 3/4 time dating from at
least the 16th century. Composers include Bach, but the most famous
examples are the 13 written by Chopin.
@535 polychoral\Term describes the use of several choirs performing both
separately and jointly in a composition.
@536 polymetry or polymetrical\The combining of different metres
simultaneously (e.g. 2/4 against 3/4 or 6/8).
@537 polyphony\A style of music in two or more parts in which (as opposed to
homophony) each part is independent and of equal importance. Therefore,
polyphonic music implies the use of counterpoint, and some of the most
important forms are the motet, canon and fugue. Composers include
Palestrina, Byrd and Bach.
@538 polyrhythm\The systematic use of quite different rhythms sounding
simultaneously. Polyrhythmic devices are especially used in the 20th century.
@539 polytonality\The use of two or more keys performed simultaneously and
employed by Stravinsky, Holst and Milhaud. When only two keys are used,
this is referred to as bitonality.
@540 pomposo (It.)\In a pompous manner.
@541 port a beul (Gael.)\Same as mouth music.
@542 portamento (It.)\Carrying sound. On bowed string instruments or in
singing, the effect is obtained by gliding from one note to another higher or
lower one, without a break in the sound.
@543 position\(1) In string playing, the term indicates where on the fingerboard
the left hand should be in order to play a passage; (2) In trombone playing, the
term indicates how far the slide should be pushed out; (3) In harmony, the
term describes the layout of a chord. Here are the common positions of the
chord with C major as an example, using the notes C E and G. In root
position, the chord of C is played with C (the root of the chord) at the bottom.
Infirst inversion, the chord is played with E at the bottom. In second inversion
the chord is played with G at the bottom. Therefore, the note at the bottom of
the chord determines these positions.
@544 postlude\A final piece of a composition.
@545 pousse (Fr.)\Up bow as opposed to tire, down bow.
@546 pp\Abbreviation for pianissimo, very soft.
@547 precipitato, precipitoso (It.)\Impetuously.
@548 preciso (It.)\Precise.
@549 preclassical\Term describing music before Haydn and Mozart and also
(more vaguely) describing music before Bach.
@550 prelude\ An introductory piece or movement before a fugue, an act of an
opera etc. Chopin and other later composers wrote preludes as short,
independent piano pieces in one movement.
@551 preparation\A harmonic device in which the effect of a discord is softened
by first employing the note which actually causes that chord to be discordant,
in the previous note with which it is consonant.
@552 prepared piano\ A 20th century term, coined by John Cage, describing a
piano which has been prepared by the insertion of objects between the piano
strings for performance (e.g. a piece of cardboard).
@553 pressez (Fr.)\Increase speed.
@554 prestissimo (It.)\Very fast. Superlative of presto.
@555 presto (It.)\Fast. In Mozart's music this means as fast as possible.
@556 prima, primo (It.)\First.
@557 prima donna (It., 'first lady')\A female singer with the most important part
in an opera.
@558 prima volta (It.)\First time.
@559 primo (It.)\First. (1) Upper part of a piano duet, the lower part being termed
sccondo; (2) The first of two or more performers (e.g. violino primo means
first violin). (3) Tempo primo indicates that the original speed is to be
resumed.
@560 primo vomo (It.)\The chief castrato or tenor role, used in the 18th century.
@561 principal\(1) The first player of an orchestral section (e.g. the 'principal
horn'). (2) In opera, the principal is the singer who performs the main parts,
but not the chief ones.
@562 programme music\Music which interprets or describes a story, painting,
poem, landscape or emotional experience. Opposite of absolute music.
@563 progression\The movement from one note or chord to another in music.
@564 progressive tonality\The systematic plan of beginning in one key and
ending in another in a movement.
@565 punta d'arco (It.)\Point of the bow.
@566 quadrille\ A French square dance popular in the 19th century. It was in five
sections alternating between 6/8 and 2/4 time and performed by two or four
couples.
@567 quadruple counterpoint\Counterpoint in which four melodies can exchange
position.
@568 quadruple fugue\A fugue with four different subjects.
@569 quadruple stop\A chord of four notes played on a bowed string instrument.
@570 quadruplet\A group of four notes to be played in the time of 3.
@571 quadruple time\ Same as common time consisting of four quarter notes to
the bar, written 4/4 or C.
@572 quarter note\In 4/4 time, the equivalent of one beat.
@573 quartet\A composition for four performers.
@574 quasi (It.)\As if, almost.
@575 quest opera\ An opera in which the principal character undergoes a test or a
difficult journey, or experiences hardships before reaching his goal (e.g .
Mozart's Magic Flute).
@576 quickstep\A modern ballroom dance with quick steps.
@577 quintet\A composition for five performers.
@578 quintuplet\A group of five notes to be performed in the time of 4.
@579 quintuple time\Time with five beats, usually quarter notes, to the bar (e.g.
5/4 time). Not common before the 20th century.
@580 quodlibet (Lat., 'what you will')\ A piece containing several popular tunes.
The composition may be improvised or notated and was especially practised
by German composers (e.g. Bach) in the 17th and 18th centuries.
@581 r\Abbreviation of(l) Ray in the tonic sol-fa; (2) Respond.
@582 rabbia (It.)\Rage.
@583 raddoppiamento (It.)\Doubling. Usually indicates doubling of the bass at
an octave below.
@584 rall\Abbreviation of rallentando.
@585 rallentando (It.)\Getting slower.
@586 rant\Describes a wide range of 17th century English dances.
@587 rasch (Ger.)\Quick.
@588 ratsche (Ger.)\Rattle.
@589 real answer\A responding musical phrase (e.g. in a fugue) which exactly
reproduces the subject or entry of a theme at the fifth.
@590 realisation\The completion of 17th and 18th century harmony by adding a
keyboard accompaniment indicated by figured bass.
@591 recapitulation\Particularly used in sonata form, this term describes a
section of a composition which repeats or approximates themes originally
presented in a previous section, which have since been developed.
@592 recit\Abbreviation of recitative.
@593 recital\A performance by one or two performers.
@594 recitative\Generally, this is a style of singing used in opera and oratorio for
dialogue and some narrative which is more closely related to dramatic speech
in pitch and rhythm than to song. Two main types exist: (1) recitative
accompagnato or stromentato which is expressive and accompanied by the
orchestra and (2) recitative secco which has only an occasional broken chord
from the harpsichord or 'cellos (sometimes with the bass line reinforced by the
double bass) and this was the accepted style in 18th and l9th century operas.
@595 recueilli (Fr. )\Meditative, collected.
@596 redundant entry\In a fugue, this term describes an extra voice in the initial
entries or exposition.
@597 reel\A fast dance for two or more couples in 2/4 or 4/4 time, found mainly
in Scotland, Ireland, Scandinavia and North America.
@598 refrain\A recurring section of a song (both words and music) at the end of
each stanza.
@599 register\(1) The division of compass of a singer's voice (e.g. chest register
and head register). Also applied to the compass of an instrument (e.g. the
chalumeau register of the clarinet); (2) A set of organ pipes controlled by one
particular stop.
@600 rejouissance (Fr., 'enjoyment')\This title is sometimes found in spirited
movements in suites of the baroque period.
@601 related\Describes the harmonic relationships of keys (e.g. G major is
closely related to D major (its dominant) since there is only the difference of
one sharp. See also relative.
@602 relative\This term refers to each key signature being shared by two keys
(e.g. A minor is the 'relative' minor of C major since they both have no sharps
or flats in the key signature. D major is the relative major of B minor since
both keys have two sharps in the key signature.
@603 repeat\A restatement of a section of a composition usually indicated by
repeat marks which consist of a pair of dots and a double bar. When the
performer reaches these repeat marks, he then plays from the previous pair of
dots, or if there are none, from the beginning.
@604 repetiteur (Fr.)\The coach, usually in an opera house, who teaches singers
their parts. The repetiteur may also give them cues during the performance.
@605 replica (It.)\Repeat.
@606 repetition (Fr.) Rehearsal. Repetition General is the dress rehearsal, often
given before a full, but invited audience, in continental opera houses.
@607 replica (It.)\Repeat.
@608 reprise (Fr.)\(1) Repeat; (2) The recapitulation in sonata form; (3) The
return to the first section after contrasting music in the second section in
binary form.
@609 resolution\In harmony this is the progression from a discord to a concord.
@610 respond, responsory\A plainsong chant sung by a chorus alternating with
solo verse(s).
@611 rest\A silence in a performer's part indicated by symbols corresponding to
certain beats.
@612 retardation\In harmony this is a suspension which resolves upwards not
downwards.
@613 retenu (Fr.)\Held back.
@614 retrograde motion\A theme which is played backwards. This device was
prominent in the Middle Ages in fugues and in 20th century serial music.
Retrograde inversion describes a theme played backwards and upside-down.
@615 rezitativ (Ger.)\Recitative.
@616 rf, rfz\Abbreviations of rinforzando.
@617 rh\Abbreviation for right hand.
@618 rhapsody\A title given by l9th and 20th century composers to describe
works generally in one continuous movement suggestive of neroic, national or
other romantic inspiration.
@619 riddle canon\A canon in which the cornposer leaves the performer to
decide where and at what pitch the following voices make their entries.
@620 rigadoon (Eng.), rigaudon (Fr.)\A lively old French dance in 2/4 or 4/4
time.
@621 rin\Abbreviation of rinforzando.
@622 rinforzando (It.)\Reinforcing. A sudden strong accent on notes or chords.
Similar to sforzando.
@623 ripieno (It.)\In the old concerto grosso, the ripieno indicates the full body
of performers as opposed to the solo group (concertino). Scnza ripieni
indicates that the first desks only of the accompanying orchestra are to play.
@624 risoluto (It.)\In a resolute manner.
@625 risvegliato (It.)\Animated .
@626 rit\Abbreviation of ritardando.
@627 ritardando (It.)\Becoming slower. Abbreviation is rit.
@628 ritenuto (It.)\Held back (tempo). Sometimes used as an equivalent of
ritardando.
@629 ritmo (It.)\Rhythm.
@630 Ritmo di tre battute\The music is to be performed in three bar groupings,
implying that the music is so fast there is only one beat to the bar.
@631 ritornello (It. 'a little return')\Many meanings, but the following are the
most common. (I) In a concerto, it is a passage for the full orchestra without
the soloist; (2) In the 14th century Italian madrigal, the ritornello is the
closing section; (3) In early opera, it was an instrumental piece.
@632 rococo\This term was taken from French culture in the early 18th century,
but musically the title for rococo is the style galant used by composers
throughout Europe until the late 18th century.
@633 roll\A rapid succession of notes on a drum approximating to a continuous
sound.
@634 romance (Eng. and Fr.), romanze (Ger.), romanza (It.)\The term has been
used widely, but it often implies an intimate and Iyrical piece for voice or
instrument.
@635 romanesca\Evident in the mid-16th and early 17th century, this was a
harmonic bass line used for variations.
@636 romantic music\A l9th century style expressed by writers, painters and by
musicians like Chopin, Liszt, Berlioz, Rossini and Paganini. Characteristics
are Iyricism, chromatic harmony, an interest in literature, nationalism,
programme music, miniature or character pieces and generally emotional
aspects governing the traditional, formal musical structures.
@637 rondeau (Fr.)\A type of French medieval song of the 13th to15th centuries
with a choral refrain. This French spelling was used in instrumental works of
the baroque period to describe rondo.
@638 rondo (It.)\Generally, an instrumental composition in which one section
recurs at certain times. By the 18th century, a standard pattern had developed
as A B A C A D A, etc. appearing as the last movement of a sonata or
concerto. The recurring theme A is called the rondo theme and B C D, etc.
represent the contrasting sections known as episodes. However, A can be
varied. The combination of sonata form and rondo resulted in sonata rondo
which was much used by Mozart and Beethoven.
@639 root\The lowest or fundamental note of a chord. In the chord C E G, C is
the root and the chord is said to be in root position. If the notes are arranged E
G C, C is still the root, but the chord would be described as being in first
inversion .
@640 rota (Lat., 'wheel')\Occasionally this term is used for the round (e.g. of
Sumer is Icumen In).
@641 round\A short vocal perpetual canon in which voices enter in turn to sing a
melody at the octave or at the same pitch (e.g. Row, row, row your boat).
@642 rubato (It., 'robbed')\An indication to play notes with a controlled
flexibility of time by getting slightly quicker or slower. Much used in l9th
century music.
@643 rumba\A fast, syncopated and suggestive Afro-Cuban dance in 2/4 time,
divided into eight beats. Became popular in the ballroom and jazz in the
1930s.
@644 saltarello or salterello (It.)\A quick Italian dance in 6/8 time similar to the
tarantella with a characteristic jumping feel to the rhythm. Examples date from
the 14th century.
@645 samba\A quick, highly syncopated Brazilian carnival song danced usually
in 2/4 time in a circle with a standard call and response between lead singer
and chorus. The ballroom version is danced in couples and is more sedate.
@646 sarabande\A slow and stately dance in 3/2 or 3/4 time, usually in binary
form and one of the standard elements of the suite.
@647 sardana (Sp.)\A Catalonian national dance performed to pipes and drums,
often in sections. Similar to the farandole.
@648 satz (Ger.)\A setting. (1) A musical setting; (2) A movement in a
composition; (3) Style (e.g. freier satz, free style; (4) A theme or subject.
@649 scale\A progression of single notes in ascending or descending order. A
scale may be described as major, minor, chromatic, diatonic, pentatonic,
twelve-note or a mode.
@650 scena (It., 'stage' or 'scene')\(1) A scene in an opera consisting of an
extended aria of dramatic nature; (2) A dramatic concert piece for solo voice
with accompaniment.
@651 scherzando (It.)\Playfully, light-hearted.
@652 scherzetto or scherzino (It.)\A short scherzo.
@653 scherzo (It., 'joke')\Generally this is a lively movement, but chiefly
developed by Haydn, Mozart and particularly Beethoven from the symphonic
minuet. Usually it is in 3/4 time in the form A A B A with the B section being
called trio.
@654 schlag (Ger.)\Beat.
@655 schleppen (Ger.)\To drag. Schleppend, dragging.
@656 schluss (Ger.)\End.
@657 schlussel (Ger.)\Clef.
@658 schnell (Ger.)\Fast. Schneller, quicker.
@659 schottische (Ger. plural, 'Scottish')\A popular l9th century ballroom dance
similar to the polka.
@660 schmetternd (Ger., 'blaring' )\An indication to horn players to use a harsh
brassy tone.
@661 schrittmassig or schrittweise (Ger.)\Stepwise, at a walking pace and
equivalent of andante.
@662 schwach (Ger.)\Weak, soft.
@663 schwindend (Ger.)\Dying away, fading.
@664 schwung (Ger.)\Swing. Schwungvol, spirited.
@665 scoop\To slide up to a note in singing instead of hitting it accurately.
@666 score\Notated music of all performers' parts combined in an ordered form
in which each part appears vertically above another. A piano score is one in
which all orchestral or even vocal parts are reduced to a piano part. A
miniaturce or pocket score reproduces all parts and details of the full score
but is of a size more suitable for study.
@667 scorrevole (It.)\Scurrying, rapid.
@668 Scotch snap\A rhythmic figure consisting of a short note on the beat
followed by a longer one held until the next beat. Found in Scottish music but
also in other folk music.
@669 Scriabin,Aleksandr\Russian Composer (1872-1915)
@670 sec (Fr., 'dry')\An indication that a note or chord is to be played sharply.
@671 secco \This word is associated with recitative.
@672 secondary dominant\This describes the dominant of the dominant .
@673 segno (It.)\Sign. Dal segno, from the sign. This means the performer must
repeat the passage from the appropriate sign.
@674 segue (It., 'it follows')\An indication that the performer should go straight
on to the next section without a break.
@675 seguidilla (Sp.)\A quick Spanish dance with singing in 3/4 time often with
castanets and similar to the bolero.
@676 sehr (Ger.)\Very.
@677 semitone\The smallest interval commonly used in European music. On the
piano this is represented by the interval between any note and the next note
which may be higher or lower.
@678 semplice (It.)\Simple, simply.
@679 sempre (It.)\Always. Sempre piu mosso, always getting faster.
@680 senza (It.)\Without.
@681 septet\(1) A group of seven performers which may consist of
instrumentalists or singers; (2) A composition for seven performers which, if
for instrumentalists, will have the character of a sonata in several movements.
@682 septuplet\A group of seven notes to be played in the time of 4 or 6.
@683 sequence\Generally, this is a phrase repeated at a higher or lower interval.
A real sequence is one in which the repeated phrase intervals are unaltered. A
tonal sequcnce is one in which the repeated phrase is modified to prevent a
key change.
@684 serenade\A vague term with two main meanings: (1) A romantic love song,
properly performed in the night air accompanied by mandolin or guitar in
order to woo a girl; (2) Evening entertainment (especially 18th century)
comprising a set of instrumental movements for chamber orchestra or wind
group similar to the divertimento. The German equivalent is nachtmusik.
@685 serial music\Also known as twelve-tone music, twelve-note music and
dodecaphonic music. This is a 20th century concept mostly developed by
Schonberg. A twelve-note theme is fixed upon, with each note being used
once. This is known as the tone row or series. Thereafter it can appear in four
main ways: forwards, backwards (retrograde), upside down (inversion), and
upside down and backwards (retrograde inversion). The series can appear and
begin on any one of the twelve pitches and more than one note of the series
can be used simultaneously to form a chord. Serialism mostly forms the basis
of a work, however, and other composers include Berg and Webern. Serialism
is a feature of expressionism.
@686 sextolet\A group of six notes to be peformed in the time of 4.
@687 sfogato(It., 'evaporated')\Light and airy playing. The term was used by
Chopin.
@688 sforzando, sforzato (It.)\With a forced manner (of a note or chord).
Abbreviation is sf.
@689 shake\Alternative name for trill.
@690 shanty\A sailors' work song with solo verses (often of an extemporised
nature) and chorus matching certain rhythmical movements (e.g. pulling a rope
together).
@691 sharp\A rise in pitch which may be a semitone, or a description of someone
singing or playing sharp unintentionally. A double sharp indicates a rising of
the pitch by two semitones.
@692 sight-reading or sight-singing\The reading or singing of music at sight(e.g.
music which has not been seen before). A traditional element in music
examinations.
@693 signature\See key signature and time signature. A signature tune is played
by a dance band or orchestra as a means of identification of a television or
radio programme, etc.
@694 similar motion\Two melodies moving together in the same direction.
@695 simile (It., 'similar')\Indicates that a phrase, etc. is to be performed in the
same manner as the previous one.
@696 simple time\Time in which each beat is divisible by two (e.g. 2/4, 4/4, 3/4
and in which each beat is a quarter note).
@697 sinfonia\Small orchestras currently perform under this name. Originally the
title described an instrumental piece in the baroque era such as the prelude,
overture to an opera, cantata or suite.
@698 sinfonia concertante (It.)\Haydn and Mozart's preferred title to concerto for
an orchestral work with more than one solo parts.
@699 sinfonie or symphonie (Ger.)\Symphony.
@700 sinfonietta (It.)\A shorter, lighter symphony. Also sometimes used as a
performing name for small orchestras.
@701 singspiel (Ger., 'play with singing')\Generally the singspiel is a comic opera
with spoken dialogue in the local dialect instead of recitative. An example is
Mozart's The Magic Flute (1791). In the early l9th century the style combined
with German romantic opera and later came to be known simply as 'German
musical comedy'.
@702 sinistra (It.)\Left hand.
@703 sitz-probe (Ger.)\An opera term for a 'sitting rehearsal' when all performers
sing through the roles while sitting down, with the accompaniments played by
the orchestra.
@704 six-four chord\The chord containing the sixth and fourth intervals from the
bass note. Also known as the second inversion (e.g. the 6/4 chord G C E is the
second inversion of C E G.
@705 sixteenth note\one fourth of a quarter note.
@706 six-three chord\The chord containing the sixth and third intervals from the
bass note. Same as first inversion of a triad.
@707 slentando (It.)\Becoming slower.
@708 slide\Device on some brass instruments, used principally on the trombone,
for altering the length of the tube, and therefore the notes produced.
@709 slur\A curved line grouping notes together, indicating that they be joined
smoothly in performance (eg. sung in one breath or played with one stroke of
the bow, etc.).
@710 smorzando (It.)\Dying away.
@711 soave (It.)\Sweetly, tenderly.
@712 soft pedal\The left foot pedal on a piano lessening the volume.
@713 sol-fa\An English system of notation and sight reading mainly devised by
J.S. Curwen in the 1840s. The notes of the major scale are named in
ascending order: doh, ray, me, fah, soh, lah, te, doh. Doh is the tonic, or
keynote, but is not at any fixed pitch.
@714 solfeggio (It.), solfege (Fr.)\Ear-training by singing exercises to sol-fa
syllables. More advanced forms are sung to vowels known as vocalizzi (lt.) or
vocalises (Fr.).
@715 solo (It., 'alone')\A piece or passage for one performer. A solo concerto is a
concerto for one main performer with the others merely accompanving.
@716 soltanto (It.)\Solely .
@717 sonata\(1) Before 1750 this described any composition for a solo
instrument or for one or more instruments accompanied by continuo and not
in any strict form; (2) Since 1750 (e.g. the classical period onwards) the
sonata became a three or four movement work for solo instrument or for solo
instrument with piano accompaniment. A similar work for three performers
(often two violins and 'cello) is called a trio sonata. A violin sonata or 'cello
sonata, etc. implies a piano accompaniment. The form of the first movement of
the sonata was a feature and it became known as sonata form.
@718 sonata da camera or chamber sonata\The term was applied to a work (e.g.
by Corelli) from the 17th century, written usually for strings and keyboard
background in several contrasting movements resembling dances from a suite
preceded by a prelude.
@719 sonata da chiesa (It., 'church sonata')\Similar to sonata da camera and in
several movements but of a graver nature avoiding dance movements. Mostly
trio sonatas, Corelli's examples have four contrasting movements, slow-fast-
slow-fast .
@720 sonata form\Also called first movement form and compound binary form.
This structure is most used since 1750 for the first movements and sometimes
slow and final movements of a sonata, quartet, symphony or overture. The
form is divided into three distinct sections (sometimes after a slow
introduction). (1) The exposition presents the first main subject in the home
key, and a contrasting second subject in another key, which is generally the
dominant if in a major key, or relative major if in a minor key. A closing
theme is then heard related to the first subject, and brought to an end with a
codetta. (2) The development consists of material already presented but
expanded and developed upon. (3) The recapitulation presents a varied
repetition of the exposition, now influenced by the development section and
ending in the tonic key. The codetta now develops into a coda.
@721 sonata rondo\A combination of sonata form and rondo form. In a rondo the
five sections are A B A C A. In sonata rondo these become A B A C A B plus
coda in which A becomes the first subject, B becomes the second subject and
C becomes the development section. This form was rnuch used by Beethoven.
@722 sonatina (It.), sonatine (Fr.)\A little sonata. Shorter, lighter and generally
easier to play than a sonata.
@723 song cycle\A set of songs performed in its entirety and set to words by a
single poet. Beethoven wrote the first example in 1816. In the romantic era,
however, Schumann and Schubert used traditional German popular song
combined with more imaginative accompaniment to illuminate and interpret
words in a romantic way. An example is Die Winterreisce ('Winter Journey')
composed in 1828 by Schubert.
@724 song form\A title given to the basic A B A form or ternary form as used in
an instrumental slow movement. However, this is rather vague and is best
avoided since not every song is in this form.
@725 sonore (Fr.), sonoro (It.)\With full tone.
@726 sons bouches (Fr.)\Stopped notes on the horn.
@727 sons etouffes (Fr.)\Damped sound. Mostly found in harp music indicating
that the performer should dampen vibrations immediately after plucking, to
produce a 'dry' sound.
@728 sopra (It., 'above')\Usually found in piano music indicating that one hand
has to pass over the other.
@729 soprano\Highest female voice with range approximately extending from
middle C to two octaves above that. Boy trebles can also achieve this range.
The term is also applied to some instruments (e.g. soprano saxophone).
@730 sordino (It.)\Mute. (1) Of a string or wind instrument, con sordino or con
sordini means with mute(s). Senza sordino or senza sordini means without
mutes; (2) In piano playing scnza sordini indicates that dampers are to be
raised and the performer is to use the sustaining, or right pedal. Alternative
and more common term is ped.
@731 sostenuto (It.)\Sustained, in a smooth manner. The sostenuto pedal on the
piano is the middle pedal, only fitted on more expensive instruments. This
enables the performer to select notes he wishes to be sustained.
@732 sotto voce (It.)\Whispered, barely audible. This term is applicable to both
instrumental and vocal music.
@733 soubrette(Fr., 'cunning')\In opera or operetta, this often describes a soprano
singing the role of a shrewd, rather pert servant girl.
@734 soutenu (Fr.)\Sustained and flowing.
@735 speech-song\See sprechgesang.
@736 spianato (It.)\Smooth.
@737 splccato (It.)\Clearly articulated. This term is used in string playing for a
light, staccato touch created by playing with the middle of the bow and a
loose wrist.
@738 spieltenor (Ger.)\A light tenor voice in opera.
@739 spinto (It.)\Urged on, pushed.
@740 spirito, spiritoso (It.)\Spirit, spirited.
@741 spiritual\A type of rcligious Arnerican Negro folksong with a call and
response pattern.
@742 sprechgesang (Ger. )\Speechsong. Voice delivery midway between song
and speech, used mostly by Schonberg although he preferred the terms
sprechstimme (speaking voice), sprechmelodic (speech melody) or rezitation.
@743 stabreim (Ger.)\Alliteration. This term describes the alliterative verse used
by Wagner in his music dramas.
@744 staccato (It., 'detached')\The note is performed shorter than normal. A dash
beneath or above the note indicates that the note is to be played as short as
possible. A dot means the note is to be short. The superlative is staccatissimo.
@745 staff or stave\The set of five horizontal lines and spaces on which music is
written. Leger lines are used for notes above and below the staff.
@746 stark (Ger.)\Loud, strong.
@747 stentando (It.)\Labouring, holding back on each note.
@748 stile (It.)\Style.
@749 stopping\(I) On stringed instruments, this is the placing of the left hand
fingers on the strings to shorten the vibrating length and to raise the pitch.
The terms double stopping, triple stopping, etc. refer to two or three notes
simultaneously being played this way; (2) In horn playing, this is the insertion
of the hand into the bell of the instrument to alter the pitch and tone quality of
a note.
@750 strascinando (It.)\Dragging.
@751 strathspey\A Scottish dance related to the reel with a slower tempo and
characteristic rhythms with four beats to the bar.
@752 strepitoso (It.)\Noisy.
@753 stretto (It.)\Drawn together, close; (1) Indication to quicken pace. (2) In a
fugue, the term describes the overlapping of the entries when the subject
begins in one voice before the preceding entry has finished.
@754 strich (Ger.)\A bow stroke.
@755 stringendo (It., 'tightening')\A heightening of tension in the music which in
effect means an increase in speed.
@756 string orchestra\Solely a string band as opposed to a wind or brass brand,
normally consisting of first and second violins, violas, 'cellos and double
basses.
@757 string quartet\A string group consisting of two violins, viola and 'cello.
@758 stromentato (It.)\Played by instruments.
@759 strophic\Term describes a song which uses the same music for each verse.
@760 stuck (Ger.)\A composition, piece.
@761 study or etude (Fr.)\Music designed to improve a specific branch of
technique by practice. Chopin and Clementi, however, wrote many of artistic
merit.
@762 sturm und drang (Ger., 'storm and stress')\The powerful romantic
expressiveness sweeping Austrian and German music in the 1760s and 1770s
was so called. Especially evident in Haydn's symphonies of that time.
@763 style galant (Fr.), galanter stil (Ger.)\The musical equivalent of the rococo
style in painting. The term described the homophonic but ornamented French
and Italian music between 1730 and 1770 written by Couperin and D.
Scarlatti. It contrasted with the German contrapuntal style.
@764 sub-dominant\The name for the fourth degree of the scale (e.g. F in the
scale of C major) or the triad built on that degree.
@765 subito (It.)\Suddenly.
@766 subject\A group of notes or a theme forming a basic element or idea in a
composition by repetition and development.
@767 sub-mediant\The sixth degree of the scale (e.g. A in the scale of C major)
or a triad built on that degree.
@768 suite (Fr., 'a following')\Commonly describes an instrumental piece in
several movements consisting of a sequence of dances. In the 17th and 18th
centuries, the suite included the characteristic dance forms allemande,
courante, sarabande and gigue. In the mid-18th century, the binary form
feature of the dances was developed into sonata form. The sonata and also the
symphony then became the chief instrumental forms. In the l9th and 20th
centuries the term describes a lighter work than a sonata. A suite may also
describe a set of movements assembled from a ballet or opera score.
@769 suivez (Fr., 'follow')\(1) Go staight on to the next section or movement
without a break; (2) An indication to an accompanist to follow any changes in
tempo made by the soloist.
@770 sul ponticello (It.)\A bowing indication for string players to play near the
bridge to achieve a brittle tone.
@771 sul tasto (It.)\A bowing indication to string players to play near or above
the fingerboard, producing a 'colourless' tone.
@772 supertonic\The second degree of the scale (e.g. D in the scale of C major)
or the triad built on that degree.
@773 sur la touche (Fr.)\Same as sul tasto.
@774 suspension\A harmonic device in which a note in a chord is kept sounding
while another chord is played to form a discord. This discord is resolved by
the prolonged note usually falling or rising to a note forming part of the new
chord.
@775 sustaining pedal\The right pedal on the piano which raises the felt dampers
allowing the strings to vibrate freely.
@776 symphonia\A Greek word taken into Latin and sometimes used in modern
contexts to describe a work equivalent to a symphony.
@777 symphonic poem\Also known as programme music or tone poem, this is a
mid-19th century term introduced by Liszt to describe an orchestral piece
influenced by a non-musical theme (e.g. Iiterature, art or emotions).
@778 symphony\Generally a four movement, serious and large scale sonata-like
orchestral work involving a first movement, second movement, minuet and trio
and finale. The first movement is often in sonata form, and this structure may
also be evident in the slow movement and finale. This four-movement form
became standard around 1760 with Mozart and Haydn but the number of
movements may vary.
@779 syncopation\Emphasis on the off-beat and a characteristic of jazz styles.
@780 tablature\The notation in diagrams of guitar chords in pop music.
Previously, it represented a method of notation involving symbols denoting
the positions of the performer's fingers (e.g. for the lute.
@781 tacet (Lat ., 'silent ')\An indication that a performer or instrument has no
part in a particular movement or section.
@782 tafelmusik (Ger., 'table music')\Music suitable for social gatherings (e.g. for
performance after or during a dinner).
@783 talcon (Fr.)\The end of the bow (held by the player).
@784 tango\An Argentinian dance in moderately slow time with syncopated
rhythms, appearing in European and American ballrooms around World War
I.
@785 tanto (It.)\So much. Allegro non tanto, not too fast.
@786 tanz (Ger.)\Dance.
@787 tarantella (It.)\A very fast Italian dance with alternating major and minor
key sections in 6/8 time.
@788 tardo (It.)\Slow.
@789 tedesco (It., 'German')\Alla tedesca, in the German fashion, usually
implying music to be played in the style of a German dance.
@790 tema (It.)\Theme.
@791 temperament\The system of tuning intervals in order to fit them for
practicable performance. The piano, organ and other fixed instruments are
tuned to equal temperament which means that each semitone is made an equal
interval so that (e.g. G sharp and A flat are the same).
@792 tempo (It.)\Time, pace.
@793 temps (Fr.)\Beat.
@794 ten.\Abbreviation of (1) tenor and (2) tenuto.
@795 tenendo (It.)\Sustaining.
@796 teneramente (It.)\Tenderly.
@797 tenor\(1) Adult male voice between bass and alto; (2) Part above the bass
in a four part vocal composition in SATB (soprano, alto, tenor, bass); (3) In
sacred polyphonic music before 1450, this was the lowest melodic part upon
which the composition was based; (4) A prefix to an instrument (e.g. tenor
saxophone indicating the size between alto and bass).
@798 tenor clef\The C clef on the fourth line.
@799 tenuto (It.)\A held or sustained note (of a single note or chord) where one
might expect to play staccato. Abbreviation is ten.
@800 ternary form\A composition in three sections in the form A B A with the
first section (A) being repeated (not necessarily exactly). B represents a
different middle section.
@801 tessitura (It., 'texture')\The natural compass of a singer's voice, or simply
the compass of a vocal or instrumental part in a composition.
@802 theme\A melodic group of notes forming the basis or chief idea in a
composition by repetition or development. In musical analysis it is equated
with subject. The term theme and variations describes a long musical
statement which is developed.
@803 thorough bass\Same as continuo.
@804 tie\In musical notation this is a line joining two adjacent notes of the same
pitch together, indicating that the first note only should be played but should
be prolonged until the second note's time value is up.
@805 tierce de picardie or picardie third\This is the surprise sounding of a major
third as the final chord in a piece otherwise in the minor key. Common until
the mid-18th century .
@806 time \This describes the basic rhythmical patterns in music (e.g. 6/8 time or
4/4 time). Also march time, waltz time, etc.
@807 time signature\The sign of figures at the beginning of a composition or
section or movement indicating the number and kind of beats to the bar (e.g.
3/4 indicates 3 beats to the bar, with the number 4 signifying that the basic
beat is a quarter note).
@808 toccata (from Italian toccare, 'to touch')\Generally a solo instrumental piece
involving rapid changes of notes to demonstrate the player's touch. Often the
toccata is followed by a fugue (e.g. Toccata and Fugue in D minor).
@809 ton (Fr.)\In various contexts this term may mean either note, tone or key.
@810 ton (Ger.)\Note or sound (not the interval of a tone, i.e. two semitones).
@811 tonada (Sp.)\Tune, air.
@812 Tonadilla\Spanish stage entertainment involving a few singers.
@813 tonal answer\In a fugue, for example, after the first entry has been stated
there is an answer (or second statement at a different pitch). If this answer is
slightly modified to keep the music within a certain key, then this is a tonal
answer and the fugue a tonal fugue. This is the opposite of real answer.
@814 tonality\Observance of a single key. Atonality, lack of key. Polytonality,
the simultaneous use of several keys.
@815 tone\(1) The interval consisting of two semitones (e.g. C to D); (2) The
quality of sound of an instrument.
@816 Tone-row or twelve-tone\Refers to serial or twelve-note music (eg. music
by Schonberg).
@817 tone cluster\A 20th century concept of playing an adjacent group of notes
on a piano simultaneously by applying the forearm, fist or piece of wood to
the keyboard.
@818 tone-colour, timbre (Fr.), lclangfarbe (Ger.)\This is the characteristic
quality of an instrument's or voice's tone. In basic terms it is the quality which
distinguishes a note performed on one instrument compared with the same
note sounded on an other instrument or sung by a voice The tone colour of an
instrument corresponds with the harmonics of that instrument.
@819 tone poem\Same as symphonic poem.
@820 tone row\An ordered melodic theme in serial or 12-tone music.
@821 tonic\The first degree of the scale or a triad built on that degree.
@822 tosto (It.)\Quick, rapid.
@823 tranquillo (It.)\Calm.
@824 transition\(1) A subordinate passage serving as a link to another more
important one. (2) A sudden change of key not going through the normal
procedures referred to as modulation.
@825 transposition\The writing down or performing of music in a different key
from the original.
@826 Transposing instruments\Instruments that produce different notes than
those written in concert pitch.
@827 traurig (Ger.)\Sad.
@828 treble\(1) Treble clef. G clef on the second line; (2) Prefix to an instrument
of high pitch within a family (e.g. treble recorder).
@829 tre corde (It.)\Indication to pianists that the left (soft) pedal is to be
released.
@830 tremblement (Fr.)\Trill.
@831 tremolando (It., 'trembling')\Employing tremolo.
@832 tremolo (It.)\(I) The rapid reiteration of a single note. (2) The rapid
alteration between two or more notes.
@833 tremulant\Organ device of producing a vibrato effect by alternately
increasing and decreasing the wind pressure.
@834 trepak\A lively Cossack dance in 2/4 time.
@835 triad\A three-note chord (e.g. C E G with E and G being a third and fifth
above the lowest note C).
@836 trill\A musical ornament consisting of rapid alternation starting with the
written note and then the note above. In the 17th and 18th centuries the trill
started with the note above and then the note below. Also known as shake.
@837 trinklied (Ger.)\Drinking song.
@838 trio\(1) A vocal or instrumental piece for three performers (e.g. a piano trio
- piano, violin and 'cello); (2) The middle section of a minuet or scherzo.
Originally this was written in three-part harmony and the title remained.
@839 trio sonata\A composition usually for two violins and a 'cello, with a
keyboard playing the bass line and supporting harmonies. Much favoured in
the late 17th and early 18th centuries.
@840 triple concerto\A concerto for three solo instruments with orchestra.
@841 triple counterpoint\Invertible counterpoint in which three parts can be
interchanged, each making a suitable bass for the other.
@842 triple stop\The playing of three notes simultaneously on a stringed
instrument by the placing of the left hand fingers on the strings and
shortening the vibrating length.
@843 triplet\A group of three notes played in the time of 2.
@844 triple time\Time consisting of three beats to the bar (e.g. 3/4, 3/2, 3/8).
@845 triple tonguing\The rapid articulation of T-K-T on a wind instrument. This
is difficult to do on reed instruments.
@846 tritone\The interval of three tones (e.g. F to B).
@847 tronco (It., 'truncated')\A note broken off abruptly especially in vocal
music.
@848 troppo (It.)\Too much.
@849 tuning\set the temperament of an instrument.
@850 turca, alla (It.)\In the Turkish style.
@851 turn\A musical ornament turning around a note starting with the note bove.
@852 tutte le corde (It.)\Indication to pianist to release the left-hand pedal.
@853 tutti (It.)\ Generally this term means 'all the players' (e.g. in a concerto).
The expression is used when the orchestra is playing without the soloist. In
choral works tutti means chorus as opposed to soloists, or full chorus as
opposed to semi-chorus.
@854 twelve note\See serial music.
@855 twelve tone\American term for serial music
@856 uber (Ger.)\Over, above.
@857 ubung (Ger.)\Exercise.
@858 umkehrung (Ger.)\Inversion, reversal.
@859 umore (It.)\Humour. Con umore, with humour.
@860 una corda (It.)\Indication to pianists to use the left (soft) pedal to reduce
the volume.
@861 unlson\ The sound of two or more voices singing simultaneously at the
same pitch. Unison song, a song for several people all singing the same tune.
@862 unruhig (Ger.)\Restless.
@863 unter (Ger.)\Under, lower.
@864 upbeat\The upward movement of a conductor's hand or baton, especially
indicating the beat before the main accent in a bar of music.
@865 up-bow\A bow stroke on stringed instruments from point to heel. See
bowing and down-bow.
@866 utility music or gebrauchmusik (Ger.)\Hindemith's term for works (mainly
in the 1920s) intended to be closer to the public and directed to a social or
educational purpose, utilising idioms in everyday use. Gebrauchmusik was
represented in many forms, including music written to be played by anyone.
@867 valse (Fr.)\Waltz.
@868 vamp\Generally this means to improvise a song accompaniment.
@869 variation\The modification or development of a theme, passage or figure
with the theme always remaining recognizable.
@870 vc\Abbreviation for cello.
@871 verismo (It.)\Realism. Particularly applied to Italian opera around 1900
with its violent and contemporary leanings.
@872 verschiebung (Ger.)\Indication to pianists to use the soft (left) pedal.
@873 vibrato\A rapid but minute fluctuation in pitch to give an expressive quality
to a note (e.g. by a violinist's oscillations of the left hand). The degree and
style is related to the intensity of feeling in the music.
@874 vide (Fr.)\Empty. Cordc a vide, open string.
@875 vif (Fr.)\Lively.
@876 virtuoso\A performer with brilliant technique and exceptional skill.
@877 vite (Fr.)\Fast.
@878 vivace (It.)\Lively .
@879 vivo (It.)\Lively.
@880 vla\Abbreviation for viola.
@881 vocalise (Fr.)\A wordless composition for performance (e.g. in an opera or
as an exercise for solo voice).
@882 voce (It.)\Voice.
@883 volante (It.)\Fast and light.
@884 volta (It.)\Time. (1) The terms prima volta (first time) and seconda volta
(second time) are used when a section of a composition, or the composition, is
to be repeated with some change in the final bar(s) indicated by these words
and horizontal brackets; (2) A lively dance in 6/8 time popular in the late 16th
and early 17th centuries in which men swing women high in the air.
@885 volti (It.)\Turn over (the page) quickly. Volti subito, turn quickly.
@886 voluntary\(1) Generally a free style keyboard piece; (2) An organ solo
played before and after an Anglican service.
@887 vorschlag (Ger.)\An appoggiatura.
@888 vorspiel (Ger.)\A prelude.
@889 waltz\A slow or fast dance in triple time with the characteristic one beat
and one chord in the bar. The waltz became universally popular in the 19th
century with Viennese composers.
@890 waltzer (Ger.)\Waltz.
@891 whole note\Equivalent of four quarter notes (in 4/4 time, 4 beats).
@892 whole tone\(I) The interval consisting of two semitones (e.g. C to D).
@893 wiegenlied (Ger.)\Cradle song.
@894 wuchtig (Ger.)\Heavy, weighty.
@895 zart (Ger.)\Tender.
@896 Zarthcit (Ger.)\tenderness.
@897 Zartlich (Ger.)\tenderly.
@898 zaruela (Sp.)\Spanish traditional stage entertainment with satirical spoken
dialogue.
@899 zeitmass (Ger.)\Tempo.
@900 ziemlich (Ger.)\Rather.
@901 ziemlich langsam (Ger.)\Rather slow.
@902 zingarese, alla (It.)\In the style of gypsy music.
@903 zoppa(It., 'limp')\Term describes music with a prominent Scotch snap or
syncopation.
@904 zuruckhaltend (Ger.)\Holding back, slowing down.
@905 zwischenspiel (Ger.)\An interlude or episode (e.g. in a fugue or rondo).
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