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ionar

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Majufiule, .in thorough balles, marks the Alto (;'1' Counter Tenor, A Battuta. See BA ,"rUTA.

A Bme placito, at pleafure.

ACCEN T, a certain modulation, or warbling of the founds, to exprefs the palliolls, either naturally by the voice, or artifie iall y by i nfhumesrts .

ACUTO, or ACUTE; a voice or Sound is fo called when high or {brill.

ADAGIO, or by way of abreviation ADAG 0, or An 0; by which is fignified the Ilowef] movement in mufic, efpecially if tne word be repeated twice, as .J1dtlgio ..1dagia.

A D Libitum, if you pleafe.

A DUE, or 001, A TRE, ,. Q_UAR- 1'0, & c. lignifies, for two, for three, or {our, &c. parts. See OnLIGA'ro.

AFFE 'I~ oro, or CON AFFE1"fO, or

AFF ET'I' UOSO, fignifies that the muiic 111Ufi be.p,c:fonncd in a very moving, tender or ! aficcbng manner, and therefore not too I faa, but rather flow.

A LAM IRE:, the name of one of the notes in the modern (calc.

ALL A B R J~: V r, the name of a mOVClncnt, whole bars conlii] of two fcmi .. breves, or four minims, c!it.

AI'[J E(i R 0, is ufed to lignify that t!lC IBIllie ought to be performed in a brisk, lIVely, ~;ay and pleafant manner, yet without hurry and precipitation, and quicker th~t! any except Prt'H(~.

I he ufual fix rl i 1~i nctions fuccccd each other in the lollowi ng order, Adao)o, Grave, Larg(., V iVLLCC, AJic~ro and I)i·-cfio.

LL _ III • ., •

•

It is to ·be obferved, the movements of the fame name as Adagio or Al1errro, are fwifter in triple than in common ti~e ; the triple -} is Adagio, Allegro, or Vivace; the triples -~, ~, i-, 1f are commonly Allegro,

If Allegro be preceded by' Piu, it addS to the ftreQgth of it's fignificati011, requiring the rnufic to be performed briskerand gayer than Allegro alone intimated,

A.LLEGR 0 Allegro, lignify much .the {arne as Piu Allegro.

ALLEGRO ma non prijio, brisk and:

Jively, but not too haftily.

ALLEGRETTO, a diminutive of Allegro, which therefore means pretty quick, but not fo quick as .A1legro.

ALLEI\lIAND, a fort of grave and Iolcrnn mufic, whole meafure is full and.

•

movIng. .

A L l'A A IN, a fort of air that moves

• e

111 COJlllTIOIl rime.

ALMANDA, a certain air or tune where the rncafurc is in common time and. InOVCf11cnt flow.

A I,,' I', is a term applied to the h igllt notes in the {eale.

A L r r 1~ l~ r~' A 'r I V E 1\11 ]~: N '1', is to·

play or iin~ two airs hy turns, one &!ftc.::r

...._

another, Icvcral '] 'imcs over.

A I.,' I' O, or AL 'r n s, the upper or. counter tenor, and is common! y met Y'it14 in rnufic of Ieveral parts.

Ar.'ro f/icj/rl .. a finaIJ tenor or Viol. AL'.'O !/ic/;'J/(j, a til1illJ tenor Violin. Al-4'rO (;0 1I(t! rta 11/1.' , the tenor of the lit ...

tlc chorus, or the tenor that lings or plays t h rouuhout,

Go

g 2 AL'J'fD,

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~ '. ',' '<A~TO~ RipianD, the tenor .o( the great

, chorus;. or' the tenor that fmgs or plays 110.W and then in fome particular Places, .ALTRO, . .is an Italian Adjective, fig.nifying other, as una altera volta play it ouer again; ill altro modo-- in another manner.

ANDANTE, this Word has refpeCl: -ehiefly to the thorough bars, ana lignifies, that in playing the time rnuf] be kept very juli and exact, and each Note made very equal and diitinc] the one from the other. , Sometimes you will find the word Largo join'd with it, as Andante LrnJo, or Largo Andante, which is as much as to fay, that though the mulic mufl he performed flow, yet the time muf] be obierved very exactly, the found of each note made very diflincl, · .and feparated one from another.

ANIMA, or ANIMATO, is with life and fpirit, and is of much the fame fignification as the word Vivace, which is a degree of movement between Largo and

Allegro.

f ANTHEM, a church fOflg, perform-

ed ill cathedral and other fervice, by the choriflers, divided for that purpofe into two chorufles, who fing alternately ..

APOT'OME, ,is the remaining: part of an entire tone, after a greater femt-tone has been taken from it.

APOG IA 'I·URA, is when in any part of a long there are two notes that are

fome diflance from one another, as a third or fifth, and in playing fuch pal1age the mufician puts in fillali intermediate notes, afccnding or dcfoending, which are not reckon'd in the Time,

A l~CHIL Ul~O, an Arch-Lute, or ve long and large Lute, diHering but Jitt e from the 'Thcorbo Lute, and is ufed by the Italians for pJayin~ a thorough bafs.

A RCO, a bow, or riddle-flick, ARIl\, an air, fong or tunc.

A RI E T 'I' A, .is a litt1e or fhort air, {o~g or tunc.

Al{IOSE, or ARIOSO, lignifies the rnovemcnt or rime of a COl~10n air, tc)ng or tune,

A Rl) EGG 10. Sec the word fIAR-

'Jllli JO.

f

•

A

ARSIS and .Y'hl/is, .are Greel Term ufed in compofition, as when a .point, i inverted or turne~, "tis faid to ~ove pc Atjin and rhejin, i, t. when a point rife in one part and falls in another, whenc is produced an agreeable variety; thol

(properly (peaking, 'tis. alfo the rife ani fan of the hand .in beating the time.

ASS AI, this Word is alway'l join« with forne other word, to leflen or weake the ftrength or lignification of the Word~ it is joined with. For Example, when il is joined with either of there words Adao-ioj Grave or Largo, which do aU three de ..

note a flow movement, it lignifies that the mufic mufr not be perforrn'd fo flow as each of thofe words would require if alone: But if it be joined with either of the following words, Vivace, Allegro or Prcfto, which do all three denote a quick movement, then it lignifies that the rnufic muft Jl0t be perform'd quite fo brisk or; quick, as each of thefe words if alone doe.!

..

requIre.

B

Signifies Bars Of Ballo.

, B C, denote Baffo ContilluOQ

BALLETTO, is what we caU a Balet, a fort of dance, the air whcreo begins with a quaver, the hand rifing: it has two Hrains of four 'or eight bars each, ' and is beat in two or four tilncs

quick.

BAN D 0 R A, a kind of ancient

muficaI inflrumenr with firings rcfcmbling a Lute.

BAR, a firoke drawn perpendicularly

acrofs the lines of a piece of ITIuJic, inclu .. ding between each two a certain (]utlnlity or meafure of time, which is various as

the time of the rnufic is either triple or

common.

13 ASS, that part of a concert which is

rnofl heard, which confifls of the graveH and dccpcil founds, and which is pb)'t'd on the largef] pipes or firings of a com" mon inilrumcnt as of an Urgan, Lu~c, or on il1{lrutllCn~S larger than oi·dil1a~)' for that purpofc, as Bais V iols, Bal1ooJls.

Ilafs-hautboys, &c.

IlASSO,

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':8 ... B f BAS·SO, .is the bafs in eneral; tho' erimes in pieces of JDU ic for feveral ices, the 'tinging bafs is more particuy fo called.

BASSO f/iolino, is the bars for the Bafs

iolin.

BASSO riola,. a Bafs Viol.

BASSO Continuo, is the thorough bars, Gr continual bafs, and is commonly difnnguilhed from the other bailes by figures overthe notes; which figures are proper only for the Organ, · Harpfichord, Spinet, and Theorbo Lute.

N. B. A Thorough Bafs is not always

figured.

BASSO Cancerta12ie, the bafs of the lit-

de chorus, or the bars that plays throughout the whole piece.

BASSO Recitante, the fame as Baflo Concertan te,

BASSO Ripieno, is the bars of the grand chorus, or the bafs that plays now and then in fome particular places.

BASSETTO, is a bafs Viol, or bafs Violin of the fmallelt fize, and is fa called to diilinzuifh them from thofe

._

bafs Viols or Violins of a larger fize.

BAS'T ARDO lllola. See VIOLA. BASSOON, a rnufical inftrument of

the wind kind, ferving as a bafs in concerts of wind mufic, as of Flutes, Hautboys, &c. To make it portable it is divided into two parts. Its diameter at bottom was formerly nine inches, at prerent 'tis four at moll, and it's holes arc

I fio~ped with keys, f;f c. like large Flutes.

It fervcs as Bafs to the Hautboy.

BA S S rio/in, a rnufical inflrument of the fame form with the Violin, except that 'tis much larger. 'Tis llruck like tI,lat with a bow, has four firings and eIght flops, divided into half notes or fClllitones. 'The found it yiclus is much

mere grave, fwcct and agreeable than that of the Violin and of much better

fl~ ,

e eel in a concert.

. B A 11 T UTA, the motion of beatI!lg with the hand or foot, in direCting the

tune,

,l'hc Italians ufe the .phrafc, .A Temp« GIt!/~o, after a recitative, to {hew that the ~l\:,llurc is to be beat true and jufl, which

...

during that-recitative was eonducted' irre- '.

gularly, to favour [orne aCliop, .or to exprefs fome paffion, & c •

BEN E P lac-ito, if you pIe afe , or if you will.

BELL HARP, a mufical inftrument of the firing kind, thus called either becaufe fhaped like a Bell, or by reafon the common players thereon fwing it about as a Bellon it's biafs, it being hung on a

firing and refled againfl them for that

purpofe, · ·

BMI is the third note in the modera fcale of mufic,

BOMBARDO, is an inflrument of mufic, much the (arne as our Baffoon or

Bafs to a Hautboy. ·

BO UREE, is the name of a Frenc" dance, or the tune or air belonging thereto.

B REV E is a note, formed lik~ a (quare, without a' tail, and equi valent to two Sernibreves or four Minims.

BRILLIANTE, is to play in a brisk, lively manner.

c

+

..

C Denotes the highefl part in thorough

bafs.

CADENCE, in the modern mufic, nlay be defined a certain conclufion of a fong, or of the parts thereof, in many places of a piece, which divide it, as it were, into 10 many numbers or periods, 'The Cadence is when the parts fall or, terminate OJ1 a chord or note, the ear feeming naturallyto expect it; and is much the fame in a fong as a period that clofes the fenfe in a paragraph of a dilcourfe,

CAMERA, a Chamber, 'This word is often ufed in 1l1ufic books, to diflinguifh fitch rnufic as is dcfigncd for Chambers or pri vate con forts, [rom fuch as is dcfigned for Chapels or grc~tt Contorts : 'Thus Sonata da Cfl1l1Cra, is Chamber Sonatas; and Sonata da Chidt' is Church or Chapel Sonatas.

CANON, a Ihort compofition of two or more parts, in which one leads and the other follows.

C,A N TAn I J I If:, is to play in a -kind

-of fingiJ1g or chanting manner.

CANT·ATA

.,

• J

•

II

...

;

,

..

, e A r{11' A T At, a Tong or ·tGfDpofitioh;

Wr~x~n" witli ,rt:titatiVe!;, little airs ~lnd different mo_tions, ahd m'e~rly"~m~ed ,for a 1i~]e tVbice, wim a. thorongh ,hhfs, tho'

Iometimes for two violins and ~ inlltJl¥J.'ents. ' When :the words or fubjeCls are intended for the church ·it :is cnlled Giintkirl 'ittQra2i ~o Jpi,·itIJi?li ; but 'When on tove, rCll#ttJta tJI1l01'rije, &c.

'C1\ NT 0, ,a [ring, or tht;! itrc'ble part ih(!!!eor·; ffttlS,

CAN TO Concertante, is the treble .of the tifrl~cbt>ttls, or the part that Jiags through .. out.

· C~NT'O Rlpiono, i~ the tre:ble ot the

gta~d Chorus, or tth:at which onl ':lings now and then in forne particular p aces.

, CANTORE,'a ,finger, 'Or fongfier:

one 'that u'n· s.

CANZ NE, in gen~ral, ftgnines a

tong, wherein fome little fuges are -introduced; but it is fornetimes uied for a fort

..

&{ Italian poem ufirally 'pretty long, to

which mufic may_ be .compofed in the fiile of a Cantata. If the word Canzone be added to a piece of infirumental mufic, it lignifies much the fame as Sonata; to a

·pi~t~ ot vocal much the fame as 'Cantata.

If placed in any part of a fonata figni"fics much the fame as AlIegro, and only denotes that the part to which it 'is prefixed is to play in a brisk and lively manner.

CANZONE1-'-Y A, a little fhort fong. '[he Canzanctta Nl1apolitol1t have

'two firains, each whereof is fung twice over, as the Vaudevilles of the French. The' Canzonctta' Sicili.me are a fpecics of

· · I r..' it. 1] ~ 6 ( ..

J Igg, t ie meat u re IS II uai y ~~r 'or .S-' orne-

times both are Rondcaus, alld begin with 'the firil flrain to end.

CAl) P EIJLA fignifics a church or '~hapt.!l, but more properly the mufic he!lol1ging thereunto, or the chief mailer thereof: 'Thus lV/adlto (Ii G'apt'l/a, is rna':lier of the chapel mufic, 'I 'ho' fometirncs

by MtlejirlJ di G'fapel/fl, is to be underilood on1 y a mufic maflcr , but then it means

'one of the firll rank. -'t'

'CAl'O, is to t:LY head or chief, as CaptJ di Irfirmnent), the rnafler 'Ol· head of !the intlrLlJnc'n'ts, being the perfon whole care is to in!ll'uct and dircc] thore that

pt~rmrthe i~Jbmta4 'Part of 4l cbn~

CA~RICIQ meaasCapriee, thetcri is 'applred to ileI\tlm pieces, wherein tl compofer gives a loofe to- his fancy, ar

l1at being >cd#fih~ either to panrcu): meafures or keys, runs divifions accordin to his mind, witho~t any premeditation.

C,A'TTIVO, bad, ttnnt.

CHAC~~NE, OrCH!ACONDf, akin af dance in the 'air of a Saraband, derive, Ii om (the Moors.

C H A.·N T, is ufed for vocal mufic iJ churches. In ecclefiaflical hiftory we nnl mention 'made of many ~iz!1ds df Chant, OJ fong, the firfl: is the .dllJhrojial1 Chanl! which was eftabl!iThe~ bySr, A1nwofi, bi~ fhop of Mill/II, and was difiinguiihed fronl the Raman in being Ilronger and higher.

Ttbe 'next is the Gregorian Cho11!, in. troduced by pope Gregory the great. Ths is what above is called the Roman Chant, and is itHl retained in churches under the name of Plain 'Song. I

GHIi\. V E, ,is a 'Cliff or Clelf, a ter or character in mufic,

'OHIAVE Ma¢ro, fignifies the funda menta] 'k~y or 'note of a fong.

CHIESA, a church orchape1. This 'word is ufed in "the title page of ferne mU4 ftc books, to diflinzuifh the rnufic dcfign'd for .churches from that defign'd 'tor chambers or -private concerts. 'rhus Sonat«, Mt¢L"he, or COJ1certi, &c. da ("bicjo, is

Sonatas, Mufic, or Concertos, &c, for a Church or Chapel : And Sonata, lllujicbt, or Concerti da Oamera .is Sonatas, lVluflc, or Concertos for a chamber or private concert,

C I-I 0 R D'S, or CO'R-DS, arc ltrings or lines, by whole vibrations the {cJ1t~lti~)Jl of found is excited ; and by whole divI0(J,IIS the Icveral degrees of a tu nc arc dctcnnlll (,r.

C'I-IO R O, C~I OE l,T n, or ell 0 R nx IS when all the fevcral parts of a piece of mufic perform together, which is collI"

rnonly at the conclufion.

C If'R o M A '1~ rc in the ancient' niu-

~ . I

'fie, the fccond of the (;'tnt1"tl Of klll(~,

into which the coutonant intervals \\'t:fC .firbdivided into their concinnous partSi T'hc other kinds arc the lJ'lIbarJlJoni{ ~111(

tthe Diatani».

CIACONA,

_. - - . . .

•

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;

..

~39 ·

c

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..

· e'l A CON A, a ChacOQ1l1 or tune com~ eel to'a gr0Wld batS.' See CHACONE.

s CIFFRA, a cypher , thus the Italians e 'the figures which they ufe over the & notes in thorough bafles, to mark the rds which are to be made as accomments to thofe on the lines.

LARIN 0, a Trumpet, A do; CiaI;, for two trumpets.

~CLA VE CimbalQ, a Harpfichord.

CLARICHORD, or MANICHORD, · rnufical infhument in the form of a

t

inet,

CLARION, a kind of Trumpet, hofe tube is narrower, and its tone ri11erthan that of the common Trumpet. CLEFF, CLIFF or KEY, a mark fet the beginning of the Jines of a fong, hieh fuews the tone, or key, in which piece is to begin; or, it is a letter arked on any line, which explains, and

· 'es name to all the ref],

COME [opra, as above; or the part ve over again: Which words are ufcd hen any foregoing part is to be repeated ..

COMMA, is one of the leafi inters of mufic that' the ear is fenfible of. he Comma is about the tenth part of a net

COMPOSITION, is the 'art of pofing mufical founds into airs, fongs, if either in one or more parts, to be 1Ul0' by a voice, or played on initrurncnts,

CON is zn ltalian word lignifying 'tuith, is joined often with other words, as CON AjJ;,tto. Sec AFFET'TO.

CON Bizarrla, with changes, capriciuO)" fometiJ11eS fall, at others flow, ng, foft, c:i'c.

CON Dolce maniera; in a foft and fwcct umer,

~ON Diligtnza, with care, diligclltly.

CON Di'erctiol1t with J. udunicnt 01'

. Ji' ~

Clellan.

.C?N i finza f/io/illi, with and without lohns. This phrafe is ufed when there {orne parts of a piece to be fung with,

fOJnc without Violins.

~ON i /cl'J'Za firomenti, with and witht mfirUlncnts.

CClN furia, in a very quick and firol1g ner •

•

CON O¥rf)Qn~t1} with care, to play a

piece 'of mufic juft, and e~aaly as 'tiS marked, without adding or diminifhing.

C ONCER TO, or CONCERT, po. pularly a confort, a number or company of muficians, p1aying or finging the f~me piece of mufic or fong at the fame tune.

The word Concert may· be applied where the mufic is only melody j that is, the performers all in unifon; but it is. more properly as well as more ufualIy underflood of harmony, or where the mufic

confifts of divers parts, as treble, tenor and bafs, & c.

CONCER TANTE, are thofe parts of a piece of mufic which play throughout the whole, to difiinguilh them from thofe which play only in (orne parts.

CONCER"'rO Groffo, is the great or grand chorus of the concert, OJ thole places of the concerto, or concert, where all the feveral parts perform or play together.

CONCORD, is the relation of two founds that are al w~ys agreeable to the ear; whether applied in fucceffion or

confonance, J '

CONSON ANCE, all agreeable intervals in mufic are fo called. '

CC)NTINU 0, lignifies the thorough Rafs, as BaJIo continuo is the continual or thorourrh Bafs, which is Iornctimes markcd in Ioinufic books by the letters B C. which fcc.

CON'TINU A TO, it'; to continue or hold on a found or note in an equal Ilrcngth or rnanncr , or to continue a movement in an equal degree of time alJ the wav ..

C()·NTRAI)·UNTO, or COUN-

'J'ERPOIN'I', thus called, bccaufe origina1ly the notes were only points placed (HH: a~."ain{t or over another.

...1

In general, every harmonious con1po-

fition of Jnany p;trts, is called Counterpoint. But one, two or 1110rc diflercnt parts cornpofcd upon a given lilhjeCt, ta-

ken frorn the church mulic, is particuhlrlr called, in lttllian, Soge/to di contrapuutt, When the 1"'CllOI·, or any upper part, is

given for a fubjcCl, 'tis called S~$r.tto

jOj)r",

.....
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/op,a, and the bafs or · lower parts made

to it, are called Contrapunti infra or Sotta iJ flgetto. The fubjeCt: is ordinarily in the Bafs, and each note contains a bar of

· common duple time,' or half a meafure common of four times; and the compofition made to this fubjeCl: is termed Con-

trapunto flpra i I flget/b. .

CORNET, a Horn, a muficaI in-Itrument' ufed by the ancients in their

\ wars. ·

. CORNETTINO, is a fmalI Cornet, and is nearly the fame with our Hautboy, though not blown with a reed, but in the manner ofa Trumpet.

· COUNTER Tenor; is one of the mean or middle parts, fo called as if it were oppofite to the tenor j by the French called the Haut Contre •.

COURANT, is ufed to exprefs the air or tune .... and the dance to it.

· CROTCHET, one of the notes or €haraEters of time.

D

In thorough bafles, marks what the , Italians call Defcanta, and intimates that the treble ought to play alone, as T does the tenor and B the bafs.

D A an Italian propofition, ftgnifying . fomctimes h)" as Da Capella. See CA-

PHLl~A; fometimes for, as Sonata da Camera, See CAMERA; fometimes from, as Da COeD, from the beginning. See D C. or CAPO. Sometimes to, as Da Suo nar, to found or play; and likewi.fc witb, as .. Stromenti da AffO, inftruments to be played with a bow.

DAL', the fame as Do.

]) C, an abbriviation of Do Capo, i. c. at the head or beginning; thefe words or letters are commonly met with at the end of rondeaus, or fuch airs or tunes as end with the firll Ilrain, and intimate that the lbng is to be begun again, and ended with the lirfl: part.

DEC I M A, is one 01' the intervals in . mufic, by us called a tenth ; 'tis com pofed of an oCtave and tiercc major or minor, Contrapunto ala DECI1VIA, is one of the · fi.,ecic9 of' double countcrpolnt j wherein

•

. ,

the principal counterpoint may rife a ten

above, or fa1~:~as much, below the fubjec ( by the Italians' called Sogetto) whil greatly 'Varies the harmony.

DECIMA Terza is the double fixth thirteenth.

DECIMA fftgarta, is the double fevent DECIMA ~uinttl, is the double oCla1 or fifteenth.

DECIMA Sexta, is the fecond tripled I

ninth doubled. '

DECIMA Senima, is the third triple or tenth doubled.

DECIMA Ollavo, is the fourth triplel DECIMA Nona, is the fifth tripled.

· DEMI, the fame as ferni, half.

DEMI-DITONE, the fame wil tierce minor.

DEMI Q_lTA VER, is a note inrm fie, two of which are equal to a ~averl D,I A L O:G 0., a dialogue, a piece ~ mufic for two or more voices or infirt merits, which anfwer one another; j

D I A PAS 0 N, a mufical interval, ' which rnofl authors who have wrote the theory of mufic, ufe to exprefs octave of the Greeks; as they ufe Diapt te; Diatd/aron and Hexacbord, to expr fifth, . fourth and Iixth,

D I A TON I C, an epithet given mufic, as it proceeds by tones and fc tones, both afccnding and d.cfcending.

DIE SIS, is a divifion of a tone I than a fernitonc ; or an interval co lifting of a lcfs or imperfect Ierni-ton i, e. the placing ferni-tones where the ought to be tones, or tones where the

au ht to be only (emi-tones. " ,

IMINU~l'\IO, fignifics dUJ11mftJt

as a diminifhed or rather divided caden interval, counterpoint, & c. aI~ int~rv wanting a Iemi-tone minor of ,their fI quantity, arc called diminifhcd l,ntcn'2 as alto ;/npcr[ccl. When a fl1arp, IS plac in a lower part, or a Bat in a lll~h~r~ t interval from that may be called ti111l111ijl

l)ISCORD the relation of t

founds, which ~re always and of ,the felves difagrceabIe, whether apphcd

fucccffion or confonance, DISSONANCE, or IJ19CORD,

..

•

F This letter is often ufed as an abbrevi .. • ation of the word Forte.

F AGOTTINO, a fingle Curtail, a mufical inflrument, fomewhat like unto

a [mall Baffoon. '

F AGOTTO, is a double or large bats Curtail, or Bafloon,

F ANT ASIA, is a kind of air, wherein the compofer is not tied up to fuch ftriB: rules as in moll other airs, but has all the liberty allowed him for his fancy or invention that can reafonably be deiir'd,

N. B. Some Sonatas are fo called. FIF E, a fort of "rind rnuiic, being a {mall pipe.

I; 1FT H, one of the harmonica! intervals or concords. The Fifth is the fecond in the order of the concords; the ratios of the chords that afford it, arc as

3 : 2.

FtIFF ARO, is a fife, or (mall pipe,

flute or flageolet, made ufe of by the. Ge,.mans; ill their armies, to play with a drum.

F I L U M, is by the Italians called Virgula, and by us the tail of a not:, as a minim is a femibrcve with a tail to It.

eRO, or ECHUS, is an echo, which FIN, Frxr s, or FINALE, is the end

in mufic is the repetition of forne part or laf] note of a piece of muiic,

of a fong or tune in a very low and foft }:tIN 11'0, a canon or fugue is (lid manner, in imitation of a real or natural to be Finito, when it is not perpetual j echo; the fame is fignificd by the words hut when at fornc certain place all the Doux or Piano. parts join or unite, after having followed

ECCHOMETR~:, a kind of '(calc one another for fome time.

Or rule with fcveral 1 incs thereon, ferv ing It lOR TT T 0 is it Ipccies of dirninuto lllcafurc the duration and length of tion, which is commonly made at the

founds, and to find their intervals and ending of" a cadence. .

ratios. Oanta F lOR 1 'J'TO, is a fi)ng full of dl-

.~NHARMONICAL, of, or per- minutions, graces, paf1~lgcs, ts«: and is

taUlln to hannony. indeed a ligllratc counterpoint.

J.E, 'I'REE, or ENTRE, is a particu- FISTUI.lA, an inilrurncnt of the

,ar ~lIld of air fo called, wind kind, rcfcIllbling our flute or flageolet •

. ~-1P.I S Y NAP H E, lays Baccbius fc- I; I.J A _U T O, is ;t fJ utc ; to he under ..

bJor, 15 when three tetrachords or fourths {tood chiefly of the C01l1JllOn fort.

· I-I J1 1~'JJ A U TO

D

: DITONE~ or OITONUM, an interf .tomprehending two tones.

r DIVI'SI, divided. Thus Diviji in iIIl porte, is divided into two parts.

, D1 V 0 TO, lignifies a gra ve, ferious manner or way of playing or finging, proto infpire devotion.

DOl, two. A dai canti- • for two

"

,Olces,

D, LA, SOL R E, is the fifth note of the feptentaries or combination in the gaut,; only re is wanting in the upperft, and·la in the lowerrnoi],

DOMINANT of a mode, that found hich makes a perfect fifth to the final, in authentic modes; and a third to the final, or fixth to the lowell: chord of a p]agal mode.

DOLCE, fignifies lift, fioeat, and a.greeable; 'as con dolce maniera- • after a {weet .and agreeable manner.

'DOUX, foft and fweet, much the (arne in mufic as Piano.

DU E, DU1, or Duo, the fame as DoL

DUETTI, or DUETTO, are little fongs or airs in two parts.

DULCINO, a little or {mall Balfoon. DULCIMER, a common mufical infirument, of a triangular form.

DtJODECIMA, is the twelfth, or Efth doubled.

E

•

E

..

are rung one afrer another, without any disjunction, as when we proceed from the Hypaton tetracbord to Mcfon, and thence to Synemmencn, between which there is no Diezeutic tone.

F

..

,

..

•

•

•

2,'

•

•

•

•

, f~A U,TO Traver/a, a German Flute.

FLAUTINO, or FLAGEOLHT, alittie. or fmall flute, of the common fort; like what we call a fixth I flute, or an iJctave flute.

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FL UTE a Bee, is a common £lute,

FLUTE d'Allemanda, is a german flute • ~ FORLAN A, a flow kind of jigg. See SALTARELLA.

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FOR'fE, or FORTEMENT, is to

play 01· fing loud and Ilrong , and Forte Forte, or F F, is very loud.

Piu FOR TE, or P F, is a degree louder than Forte only.

}~OR TISSIMO, is extreme loud.

F U G U E, is when the different parts of a mufical cornpofition follow each other, each repeating what the firft had performed.

FURIA, or Con FURIA, is with fury and violence , and this is to be underftood , not fo much with refpeB: to the loudnefs of the found, as to the quicknefs of the

•

erne or movement.

...

G

Is ufed to fignif, one of the .clefls.

GALLIAR A, the name of an ancient dance or tune belonging thereunto, commonly in triple time, of a brisk, lively humour, fomewhat like a jigg.

GAMA, or GAMMA, is what we call the Gamut, or Gam-ut; by which is meant the firft note in the {calc of mufic , alfo the {calc itfclf.

GAM 13 A, Leg, as Viola di G01l1ba· • a le~ Viol.

GA VOTT A, a Gavot, an air of a brisk, lively nature, always in C001JnOn time, each part to be play'd twice over; the firft part is COnl1110nly in four or eight

bars, and the fecond part in four, eight, twelve, ftxtcen bars or more,

GAY, or GAY 1\1 EN or, is gay, brifk, Dr live ly.

c; I~ NUS, by the ancients called Ge11l1S lI1t}/odite, is a certain 1l1atlner of dividing and Iiibdividing the principles of 111CJody; i, e. the conlonant and diflonant intervals into their concinnous parts.

OlGA, GIC~UE, or (}IGUE, a Jigg,

•

...

G

a dance or air very well known; {orne c which are to be play'd now, others hrilk.

G RAN D E; is great or grand, and i ufed to diflinguifh the great or grand cho rus from the reft of the mufic,

G RA TI 0 S 0, is a graceful an agreeable manner of playing.

GRATIETUSEMENT, thefam as Gratiofo.

G RA V E, fignifies a very grave ani flow movement, fomewhat fafter thilJ Adagio and flower than Largo.

GRA VEMENT, is the fame a Grave.

G RA VITY, an affection of found, whereby it becomes denominated deep Ol low.

GR AVI'fY ftands in oppofition to ac cutenefs, which is that effeClion of (oun~ whereby it is denominated acute or Ihrill.

G UIT ARE, a Guittar, a rnufca inftrument, now out of ufe with US~

H

ARDIMENT, much the fame a Vivace.

HARMONIA, Harmony, thereful or agreement of two or more diffcrCll notes or' founds, joined together in accord

HARMON rex, a term gircll b the ancients to that part of mufic whie confiders the difference and proportion 0 founds, with relpcct to acute and grave.

HARF', a mufical inlh'ument of th firing kind, being of a triangular f1gurc and placed an end between the legs to b pla cd on,

ARIJEGG 10, or I-IARPEGGIAT

is to caufe the fevcral notes or (ounds (J an accord to be heard, not together, ~Il OJ1C after another, beginning always WIU the lowell.

HARPSICI-IORD or I-IARPSJCAI.

a mufical inflrumcnt of the firing kind, pIa cd on after the manner of the ()rgan.

:fAU 'I', high or Ihrill,

I-I A U 1'" I~O 1 S, a Hoboy Of ILlllt

hoy, an i nllruI11cnt of mulic very (Dill mon, and therefore well known.

IIA U 'I~ COlltrc, Counter 'I 'cnor-

HAU'I~DESSUS, fira 'I'rrhk.

HEll '1' A ell QHD

..

H

~. ..

~

· HEPTACHORD, is a word comounded of' the Greek, intimating (even

· gs. ,

In this fenfe it was applied to the lyre, when it had but feven firings, and is geerally faid of any inftrument that hath ut that number; one of the intervals is (0 called Heptachord, as containing ch number of degrees between its exes.

HE'XACHORD, in the ancient ufic, a concord which the moderns call mmonlya fixth.

HOM 0 P H 0 N 0 U S, is faid of two or more chords, firings, or voices, that are of the fame pitch of tune, and llO'nifies properly no more than that they

~ .

are in unifon,

H 0 R N, a fort of mufical inftrument of the wind kind, · chiefly ufed in hunting, to animate the hunters and the dogs, and to call the latter together.

H Y M N, a fang or ode in honour of God.

I

I G G, a fort of brisk and lively air; alfo an airy kind of dance to a fprightIy meafure,

I MIT A T ION E, or I MIT A Z Z lONE, imitation; by which is meant a particular way of compofition, wherein each part is made to imitate the other.

1M PER F E T T 0, ilnperflll, is ~aid of cadences, confonanccs, modes, umes, or intervals.

INC 0 N SON A N C Y, a clifagrccablencfs in found, a difcordancc,

I N D E X, is a little mark at the end f each line in mufic, ilicwing what . otc the next line hcgi ns wi th; th is beIng a Latin word, is called by the Ita/illS Mofira, and by the }'rt'1Zcb Guidon.

INN 0, a hymn or fpiritual long.

I N rr R A D A, entry) much the fame as Prelude or Overture.

t ~N rr E R V ALL 0, Interval, is the Iftcrencc between two founds in rcli)cct of flCutc and ~rave: Or that imaginary pace terminating by two founds dj fiering

al:utencfs and gravity.

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I

... ...

..

E Y a certain fundamental note or

tone, to which the whole piece" be .. ' it Concerto, Sonata, Cantata, &c. is ac-

commodated, and with which it ufually begins, but always ends.

KEY S, alfo fignify thofe little pieces in the fore part of an Organ, Spinnet or Harpfichord, by means whereof the jacks play, fo as to Itrike the ftrings of the inftrument ..

L

A C HRI MO SO, or LAGRIMOSO,

ncr.

LAM E N TAT ION E, [ignifies to play or fing in a lamenting, mournful manner, and therefore pretty flow.

LAN G U E N T E, languijhing and

loft·

LAN G U I D 0, the fame as Lan-

guente.

L A R G E, the greateft meafure of mufical quantity; one Large contains two longs, one long two breves, and one breve two femi-breves; and fo on in duple proportion.

LA R GET TO, fignifies a movement fomething flow, yet quicker than Largo.

L A R G 0, a flow movement, i. e, one degree quicker than Grave, and two than Adagio.

J..I r: D G E R J_J I N E, is that which, when the afccnd ing and dcfcending notes run very high or vcry low, is added to the 11aff of five lines; there arc fornetimes many of there Jines both above and helow the llaH~ to the number of four or five.

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LA R GEM E Nl~, is to play light •

ly, gently, and with cafe. .

I, EN'}', I.JE N '1"0, or I,E N ~r' EM F.N ", do all denote a flow 1l10VClTICnt, and figni .. fy 11111Ch the fame as Largo, Trcs Lente .. 1111'111 is very flow, and nlay flgnify a 1110VCrncnt between Largo and Grave, the fame as when the word Largo is repeated th us, Largo Largo.

J...I J~ U 1"' 0, or 1-11 E U '1"0, a T lute, an inflrumcut of mufic,

1..1 I B I 'r U M"

: LIBITUM,. or-.,od ·LIBITUM·, is as much as to fay, yoll may if you pleafe, or if ou wiI1 ..

,....1 B R 0, a Book. This word is often

met with in the title page of mufic books, in the following manner:

· LIBRO Prima, firfl: book.

LIBRA Secondo, fecond book,

· L.IRA, LYRA" or LYRE, a Viol fo called from the way of tuning.

LONGA, or LONG, a charaCter of rnufic, containing four femi-breves in common time, and confequently eight minims, unlefs tied to a breve.

M

ADRIG AL, a particular kind of vocal mufic, formerly very much in efteem, fome for two, three, four, five, fix, feven, and eight voices; and was [0 called from the kind of poetry with which it was compofed,

MAESTOSO, or MAESTUOSO, is to play with rnajefly, pomp and grandeur, and confequently flow; neverthelefs with firene:th and firmnefs of hand.

MAESTRO, is rnafler. Thus Ma!IIro de Capella is mailer of the chapel mufic, or mafter of mufic only, meaning thereby one of the lirft rank.

GAGG lORE, Major, greater, as a third major means a greater or fharp third.

MAJOR and Min()r, are Ipoken of imperfect concords, which differ from each other by a fcmi-tonc minor, MANIeI-lORD, a mufical inllru .. mcnt in the form of a Ipinnet,

MAN N E R, a particular way of finging or playing; which is often cxprefled by fc~ying he has a good or pretty manncr.

MASCI.JRADA, a Mafqucrade ; this word is applied alfo to mufic cornpofcd for the gcfi:urcs of pantomimes, buffoons, mimics, and fuch grotcfquc characters,

.. M ASSIM A, is a J10tc or ch aracter made in a long fquare, _hh a tail to it ; it contains eight Iemi- breves in common

•

tunc,

MEDIANTE, the mcdiant of a . mode, is that chord which is a third high ..

M

er than the final, or that divides the fil of every authenti~ .m~de into two. thirds

MEL 0 D Y, IS the agreeable efFeCl different founds ranged and difpofed in fu ceffion; fo that melody is the effect: or of a fingle voice or inftrument, by whi it is difiingui£hed from harmony, tho' common fpeech thefe two are frequent confounded.

, . MELOPOEIA, is the ranging ~ difpofing founds fo as that their fucce1lio makes melody: This is fometimes calle by the name of modulation.

MEN, lefs, or not fo much. Tla Men Allegro is a movement not fa gay an brifk; as the word Allegro alone doe figniry and' require,

MEN Forte, not too loud, or Iefs IOllo MEN Prefio, not too quick, or let quick.

M E S S A, are particular pieces of di vine mufic, frequently made ufe of in thl Roman church. .

l

ME ZZ'O, fignifies balf, and' is ofte~

found in compofition with forne OdIC word.

MINIM, is a note equal to two crot chets, or half a [emi-breve.

l\1INOR is applied to certain con cords or intervals, which yet differ fro others of the fame denomination by ha a tone, and fignifies that the arc impc feat Thus we fay a third inor, 111CJJ1 ing a lefs third; a fixth Major and Mine

Concords that admit of major and mi nor, that is, greater or Iefs, arc calle im perfeCt.

MINUE T, or MENUET, a kind 0 dance, the Ilcps whereof arc cxtreaml quick and Ihort , it confifis of a eMf} a high Ilcp and a ballancc , it begins \vi~ a beat, and its motion is triple. "['is (al

to have been invented at Poltou.

MOD }:, is defined by faille autho the particular manner of conllituting [11 octave, as it confilis of fevcn cllcntiaJ an natural founds, bcfidc the key, or {unda mental,

M 0 n ERA T 0, is with Jnodcr:ltion

MOJ)UI..JA TION, the art of keep jng or changin ., the mode or key, MONOCI- ORDO orMoNCIIOR

, .00

I

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If

:1'0, Is. a very long ini1:rument with only one firjng, made ufe of to find out the fIUe. and exaCt: difi:ance of. each note and h~f note, the one from the other •

. ' M 0 S T R-Al, is a' little mark or cha-

raCier in mufic. See IN DEX.

· MOTRTTO, or MOTETTI, are what we call Motetes; they are a kind of church mufic, made ufe of among the R,mons, and compofed with much art and ingenuity, fome for one, two, three four or more voices, and very often with -feveraIinfiruments. They are of much the fame kind or nature in divine rnufic as Cantatas are in common mufic,

MUSICA, Mufic, by which word is to be underftood fometimes the art or fcience of mufic, fometimes the books- or infiruments of mufic ; fometimes the melody Dr harmony of mufic; fometimes the company of muficians that do, or that are to perform the mufic; befides feveral 0- dler fignifications, too many to be here

inferted.

MUSICO, is a mufician, or mufic mafrer,. or one who either compofes, performs, or teacheth mufic.

MUT A TION, in the ancient mufie, lignifies the changes or alterations that happen in the order of the founds which .compofe a.fong,

•

ECESSARIO, neceJfary, or tbat l1Jt!ft be (lone, or tobicb cannot be Plif/td over; this word is prefixed to the parts Ullnufic, as ti doi f/iolini Nec!//ilri(), -tbat

J~,tjI he played by two Violins; Canto 11CCI:/l(I" ho., it here .lignifies much the fil111C as (,'011_ (tl-tfJnte.

I NON, is an Italian negative, which JS often abreviatcd No; 'tis often jo incd

and diminilhcs the ignification of the Word,. as NOll troppo p1~fi}ol qUifi''J but not too qUII.:I:, & (.

N () N A, the ninth ; one of the diffilnant intervals in 111Ufic, and is properly the fccond doubled,

I NON U P L A is a quick time, pccu ..

IJar to jig~s.. '

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NOT A, a 1\1 ote, or charac9:er··in .... P1u-fie, of which there are upwards or··· fifty - different forts.

NUMERO, number.·

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, BLIGATO, lignifies fir,. on pur-: ohligoto,. ··bn purpoft for two rio/ins;. and fo 'of other things, as C01!fogOttO obligato, that mufi: be play'd with a Bailoon, &c. t

OBOE, or OBOY, is a Hautboy, or Hoboy.

OCT AVA, or OTT.AVA, an oCtave; a term in rnufic, otherwifc called an eighth or an interval of eigh~ founds.

o M N E S, all; of much the fame ufe and lignification in mufic as the word. Tutti.

OCT A VIN A, a kind of (mall fpinnet.

OPE R A, a dramatic compofition fet to mulic and (ung 011 a fl:age, accorupanied with muiical inflruments, and enriched with magnificent dreffings, machines, and, other decorations.'

OPERA, properly fignifies a work, and is thus ufed, Opera prilJla,- , -jirft 'York, Opera 'ecunda, .. · · fecolld Work,. &e.,

o _ A 1~ 0 RIO, - is a fort of fpiritual opera, full of dialogues, recitatives., duettoo, trios, ritornellos, chorufles, &t.

Ol~CHf":S1'RA, is a part of the theatre between the fccncs and. the audi ... encc, wherein the rnuficians arc dilpofed to play the overture, & c. of a play, be it tragedy or comedy, of the opera, orato-

J io, Icrcnata, c.:ft.

o R G AN, the largefl and moll: harrnonious wind inflrumcnt. ·

Ol{GANO, lignifies the thorough hafs . It is ufuall y 'cored wi th figures over the notes for the Harplichord, Hats- Viol and Lute,

ORGANO Picciolo; a Irnall or chamber Oro-an is fl.) called.

OVER'l~UI(I~, or OUVIHll'UH.E; opening or prcluding , a term uled fOJ- ' the Iolcmnitics at the beginning of an act . or cere rnony, as of an opera, tragedy, I comedy, COUCClot of mufic, ~ .. "

I>· is

I

Is often ufed -as an- abbreviation of the word Piano, and P P, .as an ahbreviarion of the words Piu Piano, and P P P, for the word Pianiffimo, which fee.

P ANDORON, a mufical infrrument of the ftringed kind, ufed among the ancients, relembling a Lute.

P AR TE, is part; thus,

PAR T £ prima, is the firfl part.

PAR TE [econda, the fecond part, &e. PAS SA CAG LI 0, or P ASSACAILLE,

or P ASSAGlLI4IO, is a kind of air fomewhat like a Chacoone, but of a more flow or graver movement.

P,ASTORALE, is an air compofed after a very fweet, eafy, gentle manner, .in imitation of thofe airs which fhepherds .are fuppofed to play.

PASSEPIED, is an air very much like a minuet in all refpeCts, only to be pIa 'd more brifk and lively.

A USE, a character of filence and .repofe, called by fome mute figure, be-

caufe it 1hews that fome of the parts are .to be filent, while the others continue the long, either for the fake of fome fugue or imitation, to give a 'breathing time, or to give room for another voice, & c. to an .. fwer what this part rung, as in dialogues,

.echos, ·&c.

PENT ACHORD. an ancient muficaI inflrument with fiv~ firings.

PEN1'ATONON, in the ancient .mufic, is a concord called by us the re.duzldn1Jt fixth.

PER ARSIN I)ER THE·SIN, -ternlS in mufic, per is a Latin prepofition, lignifying by, during; /lIftS and Thefts are G1·t!t~' words, the firf] whereof fignifies elevatiou, the Jail, poft/ion.

1) ER 'l~I·JESIN then, fignifics in beating .or during the fall of the hand for the firlt part of the bar; and Per /l1ftn, <luring the rile of the hand, or the lafr part of the bar; which in COJll1110n time is equal, and

in triple unequal.

. A long, counterpoint, or fugue, &c. are :fiutl to be Per 7"1)tjil1, whca.the notes de .. Icend from acute to grave; and on the contrary, that they arc Per .J1,jill, when rhe notes ri (c or afccnd from gra ve to acute.

I) E l{~' E '1" T 0, perfet]:.

PIAN·O, or 'the :Ietter P, ftgni {oft "or low.

PIt! · PIANO, or P P, is very: or low.

PIANISSIMO, or PPP. is extre foft or Jow. See the word ECHO.

PIE N 0, :lignifies fuB; and is oR ufed inftead of the words Tutti, Granl or GroBe. Thus,

PlENO Cboro; full chorus, &c.

PI F FAR 0, is an inflrument {om what like a hautboy.

PIFFERO, is a fmall flute or fl geolet.

PIQ_UE, is to Ieparate and divide tl notes one from .another, in a plain ar diftinCl: manner; this is otherwife expreJTc by the words Staccato and Spiccato, whic

fee.

P I 1.T, figni:fies .a little more, and en creafeth the ftrength of the fignificatiol of the word it is joined with. Thus,

PIU Alleg"ro is to play a little rnon gay or brisk than the word Allegro on], does require, and Piu Preflo is to pJa} fomewhat quicker than the word Prefto only does require.

PlV A, a hautboy or cornet. ,POCO, a little lefs, and is jufi th :contrary to the word Piu, and therefor leffens the ftrength of the fignificarion 0 the words joined with it Thus, Poco .If/tegro, is to play not quite fi bri1k as the word Allegro if alone woul requirc ; and Poco Largo is not quite fa now a:, th

word Larzo alone does require, .

Poco Piu .Allegro, is a little Inor~ hfl.lk; but Poco mene Al1cgro is a little lets hnfk.

P 0 IN'r E, the fame as Stacca tv 0

Spiccato, which fcc.

P()N1'}:CEJJLA, a final) bridge:

I) 0 R T de voi .. y, a French term, \\'llle

lignifies the faculty and habitu(!c ~)f '!lak in(y Ihakes, pafiagcs and dlJnlll~ltlons,

wherein the beauty of a i()ng or ,plt'ce 0 mulic greatly con fill:s , and which !h,

ltalians comprehend under the terms tnlb,

gio pi and Jlrllflini. lOSAUNE, TUBA DUCTIIII.S, hy

us called a Sackbut, "Tis a fr)J't of 1argl:

, I'rnmpct, fit onl y to play the ba{~ or tl'lJ~

•

· ~47 ·

p

a trUmpet; it mull be lengthned and artned according as the founds are reired to be either grave or acute. PRELUDIO, a Prelude; the firfl: or beginning of a Piece of mufic is fo called; and- is much the fame as rture.

PRESA, is a character in mufic calla repeat.

PRESTO, faft or quick.

PRESTO Pr¢o, or Pill, Prtjlo very faft r quick.

Men PRESTO, not too quick; or not uite fa quick.

Non troppo PRESTO, not too quick. poco PREST 0, not very quick.

PRESTISSIMO, is cxtream faft quick.

PRIMA, or PRIMO, or po. or 10. e fidt, or number one. This word is mmonly ufed on the top of each page the firfi: Treble, in the following

anner.

Jlioli110 PRIMO, firfl Violin.

Canto PRIMO, firfl: Voice.

PROMPTEMENT, the fame as, PRONTO, quick or nimbly, without lofing time.

PUNTO, a point, or dot, a cha ... raCier in mufic very well known,

UAR TF AGOTT A, a [mall Bafroan.

QU AR T A, the fourth of one of the concords or harmonious intervals.

QUAR'"I'A, or Q!.rAR1"O, four, or ~c fourth in number. 'Thus,

0pt'ra Q_u AR'r A, the fourth opera. Fie/ino Q_u AR 1" A the fourth Vio]in~

. (LV A 1~ U 0 R, mufic for four voices IS (0 called.

t. QV.I N Q l1 E, is mulic compofed for nvc VOJCCS.

i ~~J I~T A, or Q!JIN'rO, is five, or

~c 11Ith In nurn bcr, ' I'h us,

O~t.'r(/ Q..!JIN'fA, is the fifth opera. Ltbro QylN'ro, the fifth book. Q.UA~rl{ICI{(JMA, is what we

taJ) a clcnli-lcJni-~uaycr, thirty-two

Whcrc(>f make a bar 111 COlllJllOJ1 time.

+

Q_U A VER, a meafure of time equal to half the crotchet, or an eighth of the femi-breve,

R

ECIT ATIVO, often abridged RE-

CITO, RECTo, or R 0, a kind of finging that "differs but little from the ordinary pronunciation; fuch as that. wherein the feveral parts of the liturgy are rehearfed in churches or cathedrals ..

•

,or that wherein the actors commonly

deliver themfel yes on the theatre at the opera; tho' the former is rather a chant.

RECHEA T, a leflon which the huntfrnan winds on the horn, when the hounds h ave loft their ganle, to call them back from purfuing a counter Icent.

RED I 'TTA, the fame as Replica, to repeat.

REGOLA, or REGULA, a Rule or Canon.

REHEA RSAL, an aflay or experiment of forne compofition made in private previous to the reprefentation or performancc in public, to habituate the actors or performers, and make them ready 0\" perfec] in their parts.

RJ~PEA 1"', a character {hewing that what was laf] p]ay'd or fung mull be repeated over again.

R EIJERCU SSION, a frequent Rcpetition of the Iame founds.

REI) t~ l~A l' U R, lignifies, let it be:

repeated; or it Inuit be repeated, or that part of a rong, fyn1phony, f3"c. be play \J or tung over aaain,

R JtjJ I J~ N o, or REPI A N()~ lignifies full . and is tiled to difiinITuifh thole \' io ..

, Q

Iins in Concertos, which onl y play now

~11111 then to fiB up, from thole which play til rour hour the whole Concerto .

... __

...

I{ ]~: 1) IJ I C A, the {~lI11C as !{cpctalll r ..

.. \'£' RJ£PI.ICA fi' jJia{(, to repeat if Y(Il! plcatc.

]{ J!: I) 1 J I C 1\ rr 0, to repeat or play

,.

over ;lga In.

J{ .!4:]J l{ ]~ S A, to repeat, or a I{cprat ;

a Charat~ler ulcd in rnulic, to {hew where the l-tcpc:lt begins.

J{ j~ , r 0 l~ N ELL O. i\ Ritorntl.

r 'I'hot~

•

..

.. •

•

r

.Il

. ·'fhofe '{hort 'Symphonies for Violins,

Flutes, or other Inflrurnents, are fo caned, which either begin a few bars before a fong, and fometimes .play a few bars here .and there in the rnidft-of a fang, and which

alfo very often playa few.bars .after the fong is ended.

RESPONS·A Y Song, in the church S Is ufed 'as 'an 'abbreviation of the\\r( rnufic, .is an anthem of 'any kind, in Solo, and is met with in pieces which -the chorifters and the people fiug mufic of feveral parts, to fignify that

" by turns. fuch places the voice or infirument p(

. RE S T, a paufe or interval 'of time, forms alone.

(luring which there is an intermiffion of '.,. SAL M 0" PSALM, a part of the ( the voice or found. . _. vine office, compafed originally in Hcbn

R.JBA TT·UT A, a repeating or by the prophet David, and fung by t: founding again the fame note: This is Hebrews accor-ding to their manner, \\,i more than fhaking upon it, or making the accompaniments ofinflruments.

many inflections of. the voice ,upon any SAL MOD I A, is the art, knot

particular Sound. ledge .or practice .of finging pfalrns, hyrn

RICERCA TE, is a kind of extem- and Ipiritual fongs.

porary prelude or overture, the [arne as SAL 'T ARE L L A, a fort of mot

we call a Voluntary. on, thatfeems to go in a Ieapingjumpit

RIDITT A. See the words REDIT- manner; the air whereof is generally i

TA, REPLI.CA, & c. triple time, and the firft note of each b~

RIG A LIN E:; this ·is the name pointed.

the Italians give thofe horizontal lines, SAM B U C U S, an ancient rnufic whereon, and between which, the notes inHrument of the wind kind, refemblin and characters of mufic are difpofed. a fort of flute; probably thus called be

RIG AD 0 0 N, a kind of dance, caufe made of elder, which the latins cal borrowed ol":igiaally from Provence, per- Sambucus.

formed in figure by a mall and woman, it SAM PO G N A. See ZAMPOGNA

is gay, plealant, (je. S A R A BAN D E, a Saraband, ~

RIG 0 L S, a kind of rnufical infhu- kind of air, always in triple time, anJ rnenr, confifting of feveral flicks bound commonly play'd very grave and ferious

together, only Ieparated by beads. It SeA L E, a feries of founds, rifil~g 0

makes a tolerable harmony, being well falling towards acutcnefs or gravity, fro

Hruck wi th a ball at the end of a flick. an given pitch of tunc, to the grcatc

RIP RES A. Sec REPRESA. dif ance that is practicable, th.ro' fl!C

R ITO It N ELL O. Sec the word intermediate degrees as make the fuccdho

RE'~ORN ELLO. moil: agreeable and perfect, and in whic

RON 1) E AU, all fangs or tunes we have all the harmonical intervals me which end with the firlt part or ftrain, are comrnodioufly divided.

called by thic; naJ11C, let them be Minuets, S C I.-J ISM A, is half a comma, there

Saraband», C; avots, Jiggs, or any other fore cinhteen of them arc rcqui red. to In;~k kind of air, and therefore they commonly a co;plcat tone, i. e. rcckorllllg lllll have the words Da Capo, or the letters C0J11111aS to a tone; but if ten,. t~\':r.lt D C at the end of them, to lignify that llt'hifiJl(IS arc required, and a Dlf1d'ijlll the firfl: part mul] be b~lln again; and being a double comma if th~ t<.>IlC hI commonly at the end of the Iaid firlt part nine C0I11111:lS, four and a haU, I. I. :11,1 ehere is this word Fin, Fine, or Finis, to two fcmi-toncs are wanted to C()I~lpJtat J .fignif that it muf] be concluded thcre : but if ten commas, five ])ifJj;·hijlllflJ a

Or i one of thefe words arc not there, equal thereto,

there commonly is, or 'oug~t to be a c tain character or mark ..... "' over the note of the faid firfi part, which has fame -£gnification as the word Fin Finis.

s

SCIOL1~

-_ seIOL TO, free, at Jiherty, Contra- a fmaII Shawm, to fufiain a- chorus of lunto Stiolto; is a counterpoint that is not fingers in a large veflel,

full of tied 'or fyncoped notes, or that is S E S Q.. U I D ITO N E, a concord renot conftrained by general rules, and that fulting from the found of two firings,. ,is not obliged to move in a particular whofe vibrations in equal times are to

manner. each other, as 5 : 6.

Notes are raid to be Sciolti, when they SEVENTH, a mufical interval, cal ..

ftand by. themfelves, i. c. not tied to one led by the Greeks Heptachordon.

another, which is called Legato. SEST A, fix, or fixth in number; thus

r SCORE, portition, or the original Opera SESTA, the fixth opera, &c.

draught of all mufical compofitions , SE TTIMA, {even, or the feventh ;

whereon the feveral parts, as treble, the fame as Septima: Thus,

tenor, counter tenor, and bafs, are diftinGt.. Opera SETTIMl\ or SEPTIMA, the-

Iy {cored and marked. feventh opera.

SECOND, one of the mufical in- SEXT A, fix: The fame as SESTA.

tervals, being only the difference between S I is an Italian prepofition, if joined

any found and the next nearcft found, with rep/ita, it intimates that you repeat

whether above or below it. Iorne part of the fang, ji replica, ji piace,

· SECONDA, or SECONDO, the fe- repeat it if you plea]«. Si Volti, turn

cond, or number two. Thus. ()ver, &c.

l'io/ino SECONDO, the fecond Violin. SICILIANE, a kind of Jigg, but a

, Opera SECONDA, the fecond Opera. flower movement.

Parte SECONDA, the fecond part. SIGNES, or SIGNO, a fign or mark,

Libra SECONDO, the fecond book. All notes, marks and characters in mufic

SE G U E, it follows, or comes after; are called fo, of which there are upwards this word is often ufed before Aria, Alle- of fifty different forts.

,Juja, Amen, &c. to {hew that thofe por- SIMPHONIA. See SVMPHONIA.

'lions or parts are to be fung immediately SISTR UM, CISTRUM or CITRON',

after the lafl note of that part, over a kind of ancient mufical inftrument ufed

'which 'tis writ. by the prieits of /jis and Ojiris.

, SEMI, half. Thus, SIXTH, one of the fimple or original

SEMI-BR'EVE, half a Breve, one of concords of harrnonical intervals.

thcnotes or characters in mulie fo called. SIXTE, fix. SeeSEs·rA.

SENZA, without. 'This word is ufcd SOA V]£, fwcct or agreeable.

in the following mariner : SO A V E MEN 1-<1 E, Iwcctly or a-

SENZA l' Aria, without the air. grecably.

SENZA Rit 0 rnello, without the Syrn- SOL, one of the notes in the galnut is

phony. .fo called,

SRNZA f/iolillo, without the Violins. SOI.lLI£CI1"'O, fignifics grief or

S1!NZA Stromenti, without the inllru- Iorrow.

nlCl1ts. S O L O, Ji1/g~y or alonc ; or by way of

SEP1~IM A, or SEPTIEIV1E. Sec the abbreviation the letter S. ']'his word or

word SE·I''J'iMA. Jetter is often 1l1Ct with in pieces of rnulic

S]~I{E]3ANDA. Sec SARABANDA. of Ievcral parts, when one part is to per·,

· S ERE N A 1"' A, Serenade; a concert .forrn alonc : Thus,

of nlufic is {o called when pcrformcel in //iolino SOL 0 is the V iolin alone.

!hc 111idft of the night, or morning early, Fiauto SOI.O, the flute alone,

In the open nir or Ilrecr, (),:p:tJJ1(J SOLO, the orgau alone.

, S~~ 1) LACE, if you plcafc : The fame '1 'his word is alto uled to din inguifh

QS J1d Libitum, thofc Sonatas for onc V io] in and a llats,

~ SEI~P.r:NT, a mufical wind inllru- or one Flute a~\(1 a Hats, from thole with

nlCnt {crving as .a bats to the Cornet, or two Violins and a 13aL!;. ' 1 'hus the fifth

~ · · · · Ii' Opera

- . ~ ..

..

• I

,1.49 I

..

S'

•

s

Opera or- Cortlli's Sonatas, which are cornpofed for one Violin and a Bafs, are commonly called Solos, to diftinguilh them from the firft, fecond, third and fourth Operas, 'which are cornpofed for

two Violins and a Bats.

SON A, SUONA, or SUONO, found or founds, which is the chief or proper ob-

jeCt of mufic, and which if performed in an agreeable manner, one after another, is then called Melody; hut if one with another in an agreeable manner is called Harmony.

SON AT A. See SUONATA. SONNET, a kind of compofition contained in fourteen vcrfes, oiz, two franzas or meafures of four each, and two of three each; the eight firft verfes being all in three rhymes.

SOPRA, above or upper, as nelle parte

di fipra,-- -in the higher or upper part; di fipra -aboue , cont14apunto jopra if jogetto, I. .ceuntcrpoin: above the It/bJeB.

SOPRANO, is a name by which the Italians exprefs our canto, haut dejfo.s, or , lirft treble; a doi Sop rani , a Ire Sopranl- ·

for noo or three trebles II •

S 0 S PI R 0, a little character in mufic called a Reft.

SOSTENUTO, is to hold out the found of a note firmly, in an equal and fleady manner.

SOl'TO, below, inferior. SPAGNUOLA, a Guittar.

SPA TIUM, Space, is applied to the void found between the lines whereon a piece of mulic is pricked or noted; thete at firfl: were not tired, but there was a line for every found: But when thofc were reduced to four, and then railed to five, as at prcfcnt, the fpaccs were reckoned, and the lowell was called the firft, and 10 on to the fourth.

SI)ICCA rro, is to fcparatc or di-

vide each note one from another, in a very plain and difiinCl: manner,

S I) IN E '1'1' 0, a Spinner, an infhu-

rncnt well known. .4f.

SIJIRI'I'lO, or SPIRI'fOSO, with

Ipirir and life.

S'I"'ACCA TO, or S'l"OC;CA'fO. Sec SJ'JC(;ATO.

1,jO

s

I

STENTOROPHONIC TU~

..

a fpeakin Trumpet.

STR · MENTO, plural Strom. inflruments, certain machines, contri and difpofed by art in fuch a manner to be of ufe in imitating the found 0 human voice; the rnufic played or f formed by thefe, is commonly cal organical or inflrumental,

SUB ITO, quick or nimbly. Th

Yolli SUBITO is to turn over quick without lofs of time. T'hefe words : met with at the bottom of a leaf on I right hand fide, when the Leaf turns m in the middle of a part or fi:rain, to figJ fyas above, that in turning over the It you mull be very quick, that little or, time may be Joil: thereby.

BUFFOLO, a bird pipe or Rae:eol( SU ON A, SUONO, or SUONAR See SONA.

SUONATA, or SONATA, is tl name of certain pieces of infhumcnt mufic, which being very common, ar well known, needs no particular D( fcription. Of thefe there are two {ort~ one intended for churches or chapels, an therefore called Sonata di Cbieja, or ChUfC Sonatas; the others intended for cham bers or private concerts, and therefor,

caIJed Sonata da Camera, or chamber So natas,

N. B. Of Corelli's mufic, the firfi anI third Operas are church Sonatas, and th~ fccond · and fourth Operas arc chambc Sonatas; though the C01TIIJ10n diHinctiot a"!ong us is made by calliJ~g'l his firH an~ third operas b the name of Sonatas: ~~Il~

the fccond an fourth hy the name of au:sl SUO N A TIN A, ,a little, Ihorr, plalJ

or cafy Sonata.

SUONO, Sec SONO.

S U 11 PO SI '1' ION, is the llfing tw

I

fucceflive notes of equal value as to. tunc

one of which being a difcord fuppolcs th

other a concord.

SYMI1HONIA, or SIMPUONIA,

Symphony; by which is to be llJ1dt:.rn~o Airs in two three or {our parts, inr 111

" · If

llrunlcnts of an y kind ; or the 111 nl111CIl

tal parts of SOJlgS, Motctcs, Operas, 0

C oncertoe arc tg called,

SYNCOr.E

s

SYNCOPE, in mufic, is the driving

of it note, as when an odd Crotchet comes before two or three Minims, or an odd Qyaver between two three or .rnore Crot-

chets.

SYSIG lA, is a Greek term, that

fignifies the combining many founds together; which when Ilruck at the fame time, though different in the degree of tune, are fo proportioned among one another, as that their confonance, i. e. joint founding, affects the ear with pleafure,

T

Is often ufed as an abbreviation of the word Tutti; which fee.

TABULA TURA, orrrABLATURE is the old way of writing mufic with letters infiead of notes.

TABOR, TABOURt or TABORIN, a fmall kind of drum.

T ACE, or T ACET, to hold frill, or keep filence.

T ARDO, flow, much the· fame as Largo, which fee.

T'AST A TURA, the keys of Organs and Harpfichords,

T A S TO, is to touch, which fignifies that the notes muff: not be held out their ful1length; but only jufi: touch'd. This has refpeCt: chiefly to the Organ or Harpfichord in playing a thorough Bafs.

TATTOO, i. e. Tapta, a beat of Drunl at night, to advcrtife .the Ioldiers to retreat or repair to their quarters in a garrifon, or to their tents in a camp.

TEMPO, time, Thus,

'fEMPO di Gauotta, is Gavot time, or the time or lnOVCJTIcnt obfcrved in playin(T

(' b

a ravot,

'rEM PO di Mi"uettlJ, is Minuet time, '1'£ M PO di Saralmnda, Saraband time, 1'ENDI~EMEN'1', is tenderly or gently; that is, to play or ling; after a {weet, gentle, or affecting manner,

l~EN 0 R, the firfi: mean or middle part; or that which is the ordinary pitch of a voice, when neither raifcd to a treble, or lowered to a bafs,

'"1' ]~N 0 R E f/jo/in(J, a tenor Violin, 'l'llNORE .rio/a, a tenor V iol,

T~NORE Concertant», the. Tenor play .. ing throughout.

TENORE Ripieno, the Tenor which plays in forne parts only= TENORISTA, one that fings or plays a Tenor.

T E R Z A, a third, alfo the number

three, or the third ; thus,

Opera TER Z A, is the third Opera. Fioiina TERZA, third Violin.

In TERZO, or Un T.ERZA, are fangs or tunes in three parts, the (arne as Trio.

TEI~ZETTO .. little Airs in three

..

parts. ·

T EST 0, the text or words of a fong. TETRACHORD, 'Tetrachord, a concord or interval of three tones. 'rETI~ADIAPASON, i. e. fourfold Diapafon, a rnufical chord, otherwife called a quadruple eighth, or a nine and twentieth.

THEORBA, or THIORBA, a large Lute, made ufe of by the Italians for playing a thorough Bars, much the fame as ..I1rchiluto, or Arch-Lute.

THE SIS, a Greek term, fignifying the fall of the hand in beating the meafure, See ARSIS.

THIRD, an imperfect concord, refulting from a mixture of two founds, containing two degrees or intervals, and three terms or founds.

l"I-II~ENO,DIA, a mournful fune ... ral f()n~.

l"'IF~R CE. See THIRD~

TIME, is an attection of found, whereby we denominate it long or Ihort, with regard to its continuity in the fame degree of tunc.

rJ"1 Tv1 E and Tunc arc the l!rcatcfl: properties of found, on whole differences or proportions mulic depends.

'r 1 M () R 0 S o, is to play with fear or great care and caution.

'f'OCCA'I'A, or 'Toc c x r o, is of much the filJ11C fignification as the word Rccircata, which icc.

'"rIM]> ANO. See TYMPANO.

1" 0 C C A 'I~ I N A, a finall rcfcarch,

when \A'C have not time to perform it ill .111 its parts.

'I' ON, 'r'ONO, TONUS, a tone orfound. 1"'0 ND o,

.rf

c , TONDO, or RITONDO, round, '

TONE, a property of found, whereby if comes under relation of grave and acute, or the degrees of elevation any found has from the degree of fwifmefs of the vibrations of the parts of fonorous bodies.

'I' 0 U elf, is {aid of an Organ, which they fay has a good touch, when the keys elofe and lie down well, being neither too '{fiff or too Ioofe.

'. TRANSITION is, when a greater note is broken into lefs, to make fmooth the roughnefs of a leap, by a gradual paf{age to the note next foIJowing; whence 'tis commonly called the breaking of a note, being fometimes very nece1Tary in mufical com pofitions,

'rRANSPOSITIO, Tran fp ofiti on , in rnufic is the writing a fong or tune in any key or cleW diiferent from the key or c:leff it was firfi compafed in; and this is often done for the greater conveniencyof the voice, or fome particular inftrument, as the flute, which cannot reach fo low as the violin and other inflruments. For particular explicarion fee pages 7, 42.

TRE. See TERZA.

T REM 0 L A, to tremble ; a particular ,grace in mufic,

'rRIA, or TRIO, rnufic in three parts is fo called, either for voices or in-

· ftruments, or both together.

7" RILL 0, a trill or {hake, a C0J11- man grace in mufic,

7' }{I I~ L}~ ~T' 'r 0, a {hart or little trill. T RI 1) 0 I.., A, triple, is one of the forts of time or movement made ufc of in mufic, and of which there are Ievcral forts.

'J'R 0 M I3 A, a trumpet, Tl~OMBE'r'I'A, a fi11a11 or little trumpet.

1" }{ 0 M BON F:, a vcry large or ha['l trumpet, though more properly a flick but. 1" 1~ ITO N J~, an interval confifiing of three tones, or a greater third and a tone major, which tone is divided into two

· ferni .. tones, the one major the other minOI-.

, It's ratio or proportion in numbers, is

as 4S : 32 i · In dividing the oCtave, we

T

find on one fide the falfe fifth, and on other the tritone,

T ~ U M PET, a mufical inllrurm the loudefl of all portable ones of the w kind; ufed chiefly in war among the v alry, to direct them in the fervice,

TRUMPET MARINE, a rnufical ina ment, confifting of three tables, wh form its triangular body. It has a v long neck, with one fingle firing VI thick, mounted on a bridge which is fi on one fide and tremulous on the oth It is firuck by a bow with one hand, a with the other the firing is flopped or prl fed on the neck, with the thumb.

TUNEA is that property of (OUll( whereby they come under the relations acute and grave to one another.

TUTTI, or 'rUTTO, or by way abbreviation the letter T only. Tl word or letter lignifies all, or all togcthe and is often met with in mufic of fever parts, efpecially after the word Solo I Trio; thereby fignifying that in iire places all the feveral parts are to perfon together.

TYMP AND, or TYMPANUM, drum in general, but ill mufic it has rc fj)ect more particularly to a pair of ketd drums, which are often ufcd in concert ~ bafs to a Trumpet, I

V Is often ufcd as an abbreviation of [h word Violino, T'hus,

V. IJRJMo, fiands for //jolillo j)riJll!J,

firft Violin. AnJ,

V. SECONDO, for l/io/ill() Sttont/IJ,

fecond Violin.

V. S. at the bottom of a leaf arc one

ufccl as an abbreviation of the words J'c; Subito ; for which Ice thole words.

V ARIA'I'lO VARIA'J'O, VARIJ'

, t I

TION, or V AItl A ~ONA, is a \'anatJOl

variety or changing. ,

Vl~IJOCE, or VRtocEMENTr., IS

quick J}loVCITICnt, and is of nuu b th fame fignificatioll as the word Pr('/lo, V E 1" 0 CIS S I M o, 0 r V E I. () l' J 5S

M'A MEN T l~, is cxtrC.1111 quick, JllllCh ih

fame as the word l'rcfliffinlo. 1

V EN rI' ~ Sl~

v

VENTESIMO, the fame as Vi .. IJimo, twenty.

VERTE, or VERTE SUBITO, See OLTI SUBITO.

UGUALE, or UGUALEMENTE, ualor equally.

VIBRA 1~ION, a regular reciprocal otion of a body; for infiance of a chord, hich being fufpended at freedom, vites nrH this, and then that way.

VIGESSIMO, the number twenty, r twentieth. Thus,

Opera V IGESSIMO, the twentieth opera. VIGOROSO, or V IGOROSAMENTE sto pJay or fing with ftrength or vigor. VILLANELLA, rujiic, pcafantike, a fort of dance, or rather air, to hich country people or peatants dance. VIOLA, a Viol, an infirument of ufic well known, the neck of which is divided into half notes by fevcn fi·cts fixed ereon, and which is commonly firung

with fix firings, though fomctimes with {even. Of this iniirumcnt there are feveral forts and fizes, as

VIOLA TENORA, a tenor Viol. VIOLA BASSO, a bats Viol.

VIOLA BAST ARDO, a ballard Viol , which is a bats Violin, ftrung and fretted like a bafs Viol.

VIOLA n' AMOUR, or Love 1/;01, is a kind of triple Viol or Violin, having fix hrafs or fieel firings, like thole of the Harpfichord, ordinarily played with a bow.

It yields a kind of fil vcr found, and has fOlncthiI1O" in it very aarecablc and

o b

(uft, whence it's name,

VIOLA n r \ (YAMBA, is the fame as

Fiola Raffo, or bars V iol, and is (0 called by the ltnlians from the word GtllllVfl, which lignifies Leg 01· Legs, bccautc the cOJl1nlOl1 way of playing upon that inliruJtH:nt is to hold it with or between the legs.

V I() LE T T A, a frnall or treble Viol. VIO 1., IN I S l' A, is a Violinill, or one that plays 011 the Viol or V ioJi n.

I VIOLINl), a Violin or Fiddle, an tnlhuJllcnt of mufic too well known to necl~ ~ny dcicription. '} 'his word is often lignified by the letter V, which Icc.

VIOLINO Prima, is the tir!l Violin, or JbPPcr V iolin,

V IOLINO 8ttDndo, fecond Violin. V IOLINO Terzo, third Violin.

V IOLINO .!<._,uarta, fourth Violin. V rOLINO TENORA, tenor Violin.

V IOLINO Cancertante, or CONCEItTINJ, or V IOLINO di Concerto, are the Violil1S, either firfi or fecond, which play throughout, to di:ll:inguifh them from thofe called Ripiena, which play only here and there, and in the full parts or

chorus. '

V IOLINO Ripicn(), Violins of the full parts.

V IOLINO BAsso, a Bafs Violin. VIOLINCELLO of the Italians, is properly what we call the Bafs Violin with four firings, fometimes even five or fix ; but thofe are not common, the firfl: being rnofl ufed alnong us.

V I 0 LON 0, a large Bafs Violin or double bars, every way 3.S big again as the common one; and the firings, which are four, bigger and longer in proportion, COllfcquently it's found rnuit be an octave deeper than that of the Violincello, or bars Violin; it has a noble effect in great concerts.

VIRG ULA, a Latin term, for -vhich the Italians l~ly Perge/ta or f/erghetta, both which fignify, that line drawn from the head of a note either upwards or down .. wards, which we commonly call the tail

thereof. '

V 11-' E, quick or lively, much the fame as Prcflo.

VI S 'l"AfvlE NTE, or VISTO, much the f~lnlc as Prcfio.

V I V ACE, is as much as to ~ly with life and lj..,irit. By this word is ('01111110nly underilood a degree of 1l10VCJ11cnt l?ctween IJa r o'o and Allczro, hut more 111-

t._l b

cl in iller to the I att cr than the former.

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V I V ACj~ MEN T'E, or V IVAMEN ..

')" I~, the Iarnc as Vivace ..

VIV ACISSIM(), is a degree or two quicker than V ivacc, and hlay be look'd upon to fignify it movement ncar as quick as A11egro.

UN 1) J~ elM A, is the number eleven. UNJ)UIJA1"()I{Y, is applied to a

motion in the air, whereby if!' parts arc agitated, after like manner ,l~ W.\VCs in !he

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the rea:;' as-Is fuppofed to .be the 'cafe of the ·firing of a mufical inftrument when

· . :ftruck. ·

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VOL UNT AR Y, that which a mu-

, Iician plays extempore according .to 'his fancy, before he begins to fet himfelf to play any particular piece, to try the inftrument, and to lead him into the piece fo to be played.

UN,ISSONO, .a Unifon, by which

. -in mufic is to be, underflood when two or moreflrings of an inftrumcnt .or inflruments, or any other founds are fo well in tune one with .another, that in founding

·them together, they appear but one firing ()r found. This word.is alfo ufed when .in fymphoriies of fongs two Violins both .play the fame thing, or -the Violin and long, or the bafs and fong, (5 c.

,U N Poco. See Poco.

· VOCALE, Vocal, mufic for voices

.is fa called. ·

V 0 C E, in 'general, -is a noire or ·found, but more particularly in muiic it Jignifies a human voice. Thus,

VOCE Solo, is for a lingle voice. VOLTI, VOLTA, or VOLTARE, is .to turn, or turn over. This word is often

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met with' at the bottom of the 'leaf on ~ right hand; fide in mufic books, when t Sonata-or piece of mufic is not ended lignify that there fHlI remains mor; ~ the other fide the leaf, and therefore mufl be turned over. When it happei that the leaf mull turn over in the midd of a {train, there is the word Subit«; ~ the letter S joined with it; for which ~ the word Subito.

VOLTI Prefio, .. is the [arne as flo:

S'uhito.

V OLTI fe piace, turn over if you pleafl

z

, AM'POGN A, fometimes v/ritte tufa, is in Ihort any.inflrumenr that found like a Flute, and particularJy a Bag-pip being an a1femblage of divers pipes ( different Iizes. 'Tis alfo .taken for a com mon Flute, or Flut» a bee.

ZUFFO L.O, a little Flute or Flagco let, that has a very {brill found like th~ whiftling of fmallBirds , and it's chi~ ufe is to play to them, in order to tcacl them a tune; ~tis .in Latin · called Sibilw,

Some of· .tbe mofl common W 0 R DS, w11ich relate to "the fevcral Degrees '.time, or Movement in Mtlfic, colledcd in their proper Gradetion.

W0RDS wiJil"b relate to the (ervcral Degrees of' LOlld,Jt[s ill i11ujic, fe t/o';.c}}J t» fbi/it lJropcr Gradatioll.

or Ii' If F', extream I) I A NO, or l~, foft. I)IANO IJIANO, or })JU PIANO, 0

IJ I), very foft . .l>IAN ISSIMO, or IlP 1), cxtrcani (of!

DAGIO ADAGIO, extrearn Grave .or flow.

ADAGIO, very Grave.

GRA VE, Grave or gravely.

G R A V E ASSAI, not too Grave. LARGO, flow or gently. LARGO ASSAI, or Poco LARGO,

. not too flow.

V.I V ACE, with fome life or Ipirit .

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FOR TISSIMO, loud.

Ii'()]~ TE FOR'rR, olarli' F, very loud. 11' 0 It 'r 1£, or It'. laud.

PIU VIVACE, lively.

ALL E G R 0 ASSAI, not too briik. ALLEG RO, bri1k or brifkly. PIU ALLEGR.O, very brifk, or 1110

brilkly.

PRESTO, quick.

PRESTO IlRESTO, or PlU PRESTO ver quick .

JRESTISSIMO, extrcam quick.