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obbligato (It., 'obligatory'
An obbligato part is one which has an important and unusual special role and
cannot be dispensed with, as opposed to an optional part. However, in some l9th
century music, the term obbligato was applied to an additional optional part.
oblique motionDescribes the movement of parts or melodies when
one remains on the same note and the other moves in some direction.
octave
The interval of eight steps (e.g. C to C on the white notes of the
piano).
octet
A composition for eight voices or instruments, or simply eight
people.
ode
The setting of a poem entitled 'ode' to music.
ohne (Ger.)
Without.
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.
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.
opera bouffe (Fr.)
A light, often satirical opera or operetta (e.g. by Offenbach).
opera buffa (It.)
A comic opera especially in the 18th century (e.g. by Pergolesi).
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).
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.
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).
opera oratorio
A stage work involving elements of both opera and oratorio
(e.g. Stravinsky's Oedipus Rex).
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.
operette (Fr.)
Operetta.
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.
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).
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.
organum
A medieval type of part-writing based on plainsong and
harmonised by either one, two or three parallel parts.
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.
ossia (It.)
Or. Indicates an alternative passage (usually a simpler version) in
a composition.
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.
ottava (It.)
Octave. Often written 8ve. All'ottava, at the octave and ottava bassa,
an octave lower.
overtone
Any notes of the harmonic series are given this name except for the first
fundamental.
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.
p\Abbreviaion for piano (It.)
soft. Varying degrees of increasing softness
are abbreviated as pp, ppp, etc.
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).
pantonality
Schonberg preferred this term to atonality (e.g. music not written in any
definite key).
parallel motion
The movement of two or more parts in the same direction while also keeping the
same interval between them.
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.
part
The music of a particular voice or instrument in an ensemble.
parte (It.)
Voice-part.
partials
The tones of the harmonic series, the lowest being thefirst partial
and the others the upper partials or overtones.
partita (It.)
A suite. This term was much used in the 18th century. In the
17th century, however, a partita was a variation.
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.
part-writing
The composing of polyphonic music and the writing of equally good melodic
parts.
pas (Fr )
Step. A pas d 'action is a ballet scene of dramatic nature and a pas
de deux is a dance for two.
pasodoble (Sp., 'double step') or paso doble
A modern and quick Spanish dance in 2/4 time.
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.
passage
A section of a composition, usually with no structural importance.
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.
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.
pasticcio (It., 'pie')
An operatic work with the material drawn from the works of various composers,
especially popular in the 18th century.
pastiche (Fr.)
A piece composed deliberately in the style of another well-known composer.
See also pasticcio above.
pastoral
(I) Alternative name for the madrigal;
(2) Any piece representing country life.
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.
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.
pausa (It.)A rest (not a pause).
pauseA wait of indefinite length on a note or rest.
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.
pedal
The fudamental or lowest note of the harmonic series especially applied to the
playing of brass instruments.
pedal point
A note, usually in the bass, which is held below changing
harmonies above, with which it may be discordant.
pentatonic
A five note scale, the commonest being without minor seconds
(e.g. CDEGA-C...).
per (It.)
By, through, for (e.g. per archi, for strings).
perdendosi (It., 'losing itself')
Gradually dying away.
perfect cadence
A cadence with the chord progression consisting of the
dominant (chord V) to the tonic (chord I) which has a 'complete' sound.
perfect intervals
These are the intervals of the octave, fourth and fifth.
perfect pitch
A sense of pitch which enables a person to identify a note simply by
hearing it.
perfect timeIn medieval music, this was triple time.
perpetual canon
Popularly known as a round, this is a never-ending canon which is also
known as an infinite canon.
perpetuum mobile (Lat., 'perpetually in motion')
A fast piece of music in which a rapid repetitive note-pattern is
played throughout.
pesante (It.)
Heavy, ponderous.
petit (Fr.)
Little .
petto (It., 'chest')
In musical contexts used as in voci di petto, chest voice.
phantasie (Ger.)
Fantasy.
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 .
phrygian cadence
A cadence which ends on the dominant of the relative minor.
phrygian mode
The mode which, on the white keys of the piano, is represented by E to E.
piacere a (It.)
At pleasure (e.g. not at any strict speed).
piacevole (It.)Pleasantly.
piangendo (It.)Plaintively.
pianissimo (It.)Very soft, with abbreviation pp.
piano (It.)
(1) Soft, abbreviation p;
(2) Standard abbreviation in French and English for pianoforte.
pianoforte
(It)soft and loud, abrrev. is piano.
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 .
pi- (It.)
More. Piu lento, slower.
piuttosto (It.)
Somewhat, rather.
pizz
Abbreviation of pizzicato.
pizzicato (It.)
Indication to pluck notes on a bowed string instrument.
Abbreviation pizz.
plagal cadence
A closing cadence consisting of a progression of the subdominant (chord IV)
to the tonic (Chord I) sounding like 'Amen'.
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.
pneuma (Gk ., ' breath ' )
A type of florid passage in plainsong sung to a single vowel.
pochettino, pochetto (It.)
Very slightly, very little. Diminutive of poco.
pochissimo (It. )
Very slightly. Superlative of poco.
poco (It.)
Slightly, little, rather. Poco crescendo, getting slightly louder.
poco a poco, little by little.
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.
pointe d'archet (Fr.)
Point of the bow.
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.
polacca (It.)See polonaise.
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.
polo
A Spanish dance in fast, syncopated 3/4 time with song.
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.
polychoral
Term describes the use of several choirs performing both separately and
jointly in a composition.
polymetry or polymetrical
The combining of different metres simultaneously
(e.g. 2/4 against 3/4 or 6/8).
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.
polyrhythm
The systematic use of quite different rhythms sounding
simultaneously. Polyrhythmic devices are especially used in the 20th century.
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.
pomposo (It.)
In a pompous manner.
port a beul (Gael.)
Same as mouth music.
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.
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.
postlude
A final piece of a composition.
pousse (Fr.)
Up bow as opposed to tire, down bow.
ppAbbreviation for pianissimo, very soft.
precipitato, precipitoso (It.)
Impetuously.
preciso (It.)Precise.
preclassical
Term describing music before Haydn and Mozart and also
(more vaguely) describing music before Bach.
prelude An introductory piece or movement before a fugue, an
act of anopera etc. Chopin and other later composers wrote preludes as short,
independent piano pieces in one movement.
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.
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).
pressez (Fr.)
Increase speed.
prestissimo (It.)
Very fast. Superlative of presto.
presto (It.)
Fast. In Mozart's music this means as fast as possible.
prima, primo (It.)
First.
prima donna (It., 'first lady')
A female singer with the most important part in an opera.
prima volta (It.)
First time.
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.
primo vomo (It.)
The chief castrato or tenor role, used in the 18th century.
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.
programme music
Music which interprets or describes a story, painting, poem, landscape or
emotional experience. Opposite of absolute music.
progression
The movement from one note or chord to another in music.
progressive tonality
The systematic plan of beginning in one key and ending in another
in a movement.
punta d'arco (It.)
Point of the bow.
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.
quadruple counterpoint
Counterpoint in which four melodies can exchange position.
quadruple fugue
A fugue with four different subjects.
quadruple stop
A chord of four notes played on a bowed string instrument.
quadruplet
A group of four notes to be played in the time of 3.
quadruple time
Same as common time consisting of four quarter notes to the bar,
written 4/4 or C.
quarter note
In 4/4 time, the equivalent of one beat.
quartet
A composition for four performers.
quasi (It.)
As if, almost.
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).
quickstep
A modern ballroom dance with quick steps.
quintet
A composition for five performers.
quintuplet
A group of five notes to be performed in the time of 4.
quintuple time
Time with five beats, usually quarter notes, to the bar (e.g.
5/4 time). Not common before the 20th century.
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.
r
Abbreviation of
(l) Ray in the tonic sol-fa;
(2) Respond.
rabbia (It.)
Rage.
raddoppiamento (It.)\Doubling. Usually indicates doubling of the bass at
an octave below.
rall
Abbreviation of rallentando.
rallentando (It.)
Getting slower.
rant
Describes a wide range of 17th century English dances.
rasch (Ger.)\Quick.
ratsche (Ger.)
Rattle.
real answer
A responding musical phrase (e.g. in a fugue) which exactly
reproduces the subject or entry of a theme at the fifth.
realisation
The completion of 17th and 18th century harmony by adding a
keyboard accompaniment indicated by figured bass.
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.
recit
Abbreviation of recitative.
recital
A performance by one or two performers.
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
(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.
recueilli (Fr. )
Meditative, collected.
redundant entry
In a fugue, this term describes an extra voice in the initial
entries or exposition.
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.
refrain
A recurring section of a song (both words and music) at the end of
each stanza.
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.
rejouissance (Fr., 'enjoyment')
This title is sometimes found in spirited movements in suites of
the baroque period.
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.
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.
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.
repetiteur (Fr.)
The coach, usually in an opera house, who teaches singers their parts.
The repetiteur may also give them cues during the performance.
replica (It.)
Repeat.
repetition (Fr.)
Rehearsal. Repetition General is the dress rehearsal, often
given before a full, but invited audience, in continental opera houses.
replica (It.)
Repeat.
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.
resolution
In harmony this is the progression from a discord to a concord.
respond, responsory
A plainsong chant sung by a chorus alternating with solo verse(s).
rest
A silence in a performer's part indicated by symbols corresponding to
certain beats.
retardation
In harmony this is a suspension which resolves upwards not downwards.
retenu (Fr.)
Held back.
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.
rezitativ (Ger.)
Recitative.
rf, rfz
Abbreviations of rinforzando.
rh
Abbreviation for right hand.
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.
riddle canon
A canon in which the cornposer leaves the performer to
decide where and at what pitch the following voices make their entries.
rigadoon (Eng.), rigaudon (Fr.)
A lively old French dance in 2/4 or 4/4 time.
rin
Abbreviation of rinforzando.
rinforzando (It.)
Reinforcing. A sudden strong accent on notes or chords. Similar to sforzando.
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.
risoluto (It.)
In a resolute manner.
risvegliato (It.)
Animated .
rit
Abbreviation of ritardando.
ritardando (It.)
Becoming slower. Abbreviation is rit.
ritenuto (It.)Held back (tempo). Sometimes used as an
equivalent of ritardando.
ritmo (It.)
Rhythm.
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.
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.
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.
roll
A rapid succession of notes on a drum approximating to a continuous sound.
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.
romanesca
Evident in the mid-16th and early 17th century, this was a harmonic bass
line used for variations.
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.
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.
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.
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 .
rota (Lat., 'wheel')
Occasionally this term is used for the round (e.g. of Sumer is Icumen In).
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).
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.
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.
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.
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.
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.
sardana (Sp.)
A Catalonian national dance performed to pipes and drums, often in sections.
Similar to the farandole.
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.
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.
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.
scherzando (It.)
Playfully, light-hearted.
scherzetto or scherzino (It.)
A short scherzo.
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.
schlag (Ger.)
Beat.
schleppen (Ger.)
To drag. Schleppend, dragging.
schluss (Ger.)
End.
schlussel (Ger.)
Clef.
schnell (Ger.)
Fast. Schneller, quicker.
schottische (Ger. plural, 'Scottish')
A popular l9th century ballroom dance similar to the polka.
schmetternd (Ger., 'blaring' )
An indication to horn players to use a harsh brassy tone.
schrittmassig or schrittweise (Ger.)
Stepwise, at a walking pace and equivalent of andante.
schwach (Ger.)
Weak, soft.
schwindend (Ger.)
Dying away, fading.
schwung (Ger.)
Swing. Schwungvol, spirited.
scoop
To slide up to a note in singing instead of hitting it accurately.
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.
scorrevole (It.)
Scurrying, rapid.
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.
sec (Fr., 'dry')
An indication that a note or chord is to be played sharply.
secco
This word is associated with recitative.
secondary dominant
This describes the dominant of the dominant .
segno (It.)
Sign. Dal segno, from the sign. This means the performer must repeat the
passage from the appropriate sign.
segue (It., 'it follows')\An indication that the performer
should go straight on to the next section without a break.
seguidilla (Sp.)
A quick Spanish dance with singing in 3/4 time often with
castanets and similar to the bolero.
sehr (Ger.)
Very.
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.
semplice (It.)
Simple, simply.
sempre (It.)
Always. Sempre piu mosso, always getting faster.
senza (It.)
Without.
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.
septuplet
A group of seven notes to be played in the time of 4 or 6.
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.
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.
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.
sextolet
A group of six notes to be peformed in the time of 4.
sfogato(It., 'evaporated')
Light and airy playing. The term was used by Chopin.
sforzando, sforzato (It.)
With a forced manner (of a note or chord). Abbreviation is sf.
shake
Alternative name for trill.
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).
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.
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.
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.
similar motion
Two melodies moving together in the same direction.
simile (It., 'similar')
Indicates that a phrase, etc. is to be performed in the same manner as the
previous one.
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).
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.
sinfonia concertante (It.)
Haydn and Mozart's preferred title to concerto for an orchestral work with
more than one solo parts.
sinfonie or symphonie (Ger.)
Symphony.
sinfonietta (It.)
A shorter, lighter symphony. Also sometimes used as a performing name for
small orchestras.
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'.
sinistra (It.)
Left hand.
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.
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 thesecond
inversion of C E G.
sixteenth note
one fourth of a quarter note.
six-three chord
The chord containing the sixth and third intervals from the bass note.
Same as first inversion of a triad.
slentando (It.)
Becoming slower.
slide
Device on some brass instruments, used principally on the trombone,
for altering the length of the tube, and therefore the notes produced.
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.).
smorzando (It.)
Dying away.
soave (It.)
Sweetly, tenderly.
soft pedal
The left foot pedal on a piano lessening the volume.
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.
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.).
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.
soltanto (It.)
Solely .
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.
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.
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 .
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.
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.
sonatina (It.), sonatine (Fr.)
A little sonata. Shorter, lighter and generally easier to play than a sonata.
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.
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.
sonore (Fr.), sonoro (It.)
With full tone.
sons bouches (Fr.)
Stopped notes on the horn.
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.
sopra (It., 'above')
Usually found in piano music indicating that one hand has to pass over the other.
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).
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.
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.
sotto voce (It.)
Whispered, barely audible. This term is applicable to both instrumental and
vocal music.
soubrette(Fr., 'cunning')
In opera or operetta, this often describes a soprano singing the role of a
shrewd, rather pert servant girl.
soutenu (Fr.)
Sustained and flowing.
speech-song
See sprechgesang.
spianato (It.)
Smooth.
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.
spieltenor (Ger.)
A light tenor voice in opera.
spinto (It.)
Urged on, pushed.
spirito, spiritoso (It.)
Spirit, spirited.
spiritual
A type of rcligious Arnerican Negro folksong with a call and
response pattern.
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.
stabreim (Ger.)
Alliteration. This term describes the alliterative verse used
by Wagner in his music dramas.
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.
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.
stark (Ger.)
Loud, strong.
stentando (It.)
Labouring, holding back on each note.
stile (It.)
Style.
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.
strascinando (It.)
Dragging.
strathspey
A Scottish dance related to the reel with a slower tempo and
characteristic rhythms with four beats to the bar.
strepitoso (It.)
Noisy.
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.
strich (Ger.)
A bow stroke.
stringendo (It., 'tightening')
A heightening of tension in the music which in effect means an increase
in speed.
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.
string quartet
A string group consisting of two violins, viola and 'cello.
stromentato (It.)
Played by instruments.
strophic
Term describes a song which uses the same music for each verse.
stuck (Ger.)
A composition, piece.
study or etude (Fr.)
Music designed to improve a specific branch of technique by practice.
Chopin and Clementi, however, wrote many of artistic merit.
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.
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.
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.
subito (It.)
Suddenly.
subject
A group of notes or a theme forming a basic element or idea in a
composition by repetition and development.
sub-mediant
The sixth degree of the scale (e.g. A in the scale of C major)
or a triad built on that degree.
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.
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.
sul ponticello (It.)\A bowing indication for string players to play near
the bridge to achieve a brittle tone.
sul tasto (It.)
A bowing indication to string players to play near or above the fingerboard,
producing a 'colourless' tone.
supertonic
The second degree of the scale (e.g. D in the scale of C major)
or the triad built on that degree.
sur la touche (Fr.)
Same as sul tasto.
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.
sustaining pedal
The right pedal on the piano which raises the felt dampers
allowing the strings to vibrate freely.
symphonia
A Greek word taken into Latin and sometimes used in modern
contexts to describe a work equivalent to a symphony.
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).
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.
syncopation
Emphasis on the off-beat and a characteristic of jazz styles.
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.
tacet (Lat ., 'silent ')
An indication that a performer or instrument has no part in a particular
movement or section.
tafelmusik (Ger., 'table music')
Music suitable for social gatherings (e.g. for performance after
or during a dinner).
talcon (Fr.)
The end of the bow (held by the player).
tango
An Argentinian dance in moderately slow time with syncopated
rhythms, appearing in European and American ballrooms around World War
I.
tanto (It.)
So much. Allegro non tanto, not too fast.
tanz (Ger.)
Dance.
tarantella (It.)
A very fast Italian dance with alternating major and minor
key sections in 6/8 time.
tardo (It.)Slow.
tedesco (It., 'German')Alla tedesca, in the German fashion,
usually implying music to be played in the style of a German dance.
tema (It.)Theme.
temperamentThe system of tuning intervals in order to fit
them forpracticable 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).
tempo (It.)Time, pace.
temps (Fr.)Beat.
ten.Abbreviation of
(1) tenor
(2) tenuto
tenendo (It.)
Sustaining.
teneramente (It.)
Tenderly.
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).
tenor clef
The C clef on the fourth line.
tenuto (It.)
A held or sustained note (of a single note or chord) where one
might expect to play staccato. Abbreviation is ten.
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.
tessitura (It., 'texture')
The natural compass of a singer's voice, or simply
the compass of a vocal or instrumental part in a composition.
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.
thorough bass
Same as continuo.
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.
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.
time
This describes the basic rhythmical patterns in music (e.g. 6/8 time or
4/4 time). Also march time, waltz time, etc.
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).
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).
ton (Fr.)
In various contexts this term may mean either note, tone or key.
ton (Ger.)
Note or sound (not the interval of a tone, i.e. two semitones).
tonada (Sp.)
Tune, air.
Tonadilla
Spanish stage entertainment involving a few singers.
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.
tonality
Observance of a single key. Atonality, lack of key. Polytonality,
the simultaneous use of several keys.
tone
(1) The interval consisting of two semitones (e.g. C to D);
(2) The quality of sound of an instrument.
Tone-row or twelve-tone
Refers to serial or twelve-note music (eg. music by Schonberg).
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.
tone-colour, timbre (Fr.), lclangfarbe (Ger.)
This is the characteristicquality 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.
tone poem
Same as symphonic poem.
tone row
An ordered melodic theme in serial or 12-tone music.
tonic
The first degree of the scale or a triad built on that degree.
tosto (It.)
Quick, rapid.
tranquillo (It.)
Calm.
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.
transposition
The writing down or performing of music in a different key
from the original.
Transposing instruments
Instruments that produce different notes than those written in concert
pitch.
traurig (Ger.)
Sad.
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).
tre corde (It.)
Indication to pianists that the left (soft) pedal is to be
released.
tremblement (Fr.)
Trill.
tremolando (It., 'trembling')
Employing tremolo.
tremolo (It.)
(I) The rapid reiteration of a single note.
(2) The rapid alteration between two or more notes.
tremulant
Organ device of producing a vibrato effect by alternately
increasing and decreasing the wind pressure.
trepak
A lively Cossack dance in 2/4 time.
triad
A three-note chord (e.g. C E G with E and G being a third and fifth
above the lowest note C).
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.
trinklied (Ger.)
Drinking song.
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.
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.
triple concerto
A concerto for three solo instruments with orchestra.
triple counterpoint
Invertible counterpoint in which three parts can be
interchanged, each making a suitable bass for the other.
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.
triplet
A group of three notes played in the time of 2.
triple time
Time consisting of three beats to the bar (e.g. 3/4, 3/2, 3/8).
triple tonguing
The rapid articulation of T-K-T on a wind instrument. This
is difficult to do on reed instruments.
tritone
The interval of three tones (e.g. F to B).
tronco (It., 'truncated')
A note broken off abruptly especially in vocal
music.
troppo (It.)
Too much.
tuning
set the temperament of an instrument.
turca, alla (It.)
In the Turkish style.
turn
A musical ornament turning around a note starting with the note bove.
tutte le corde (It.)
Indication to pianist to release the left-hand pedal.
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.
twelve note
See serial music.
twelve tone
American term for serial music
uber (Ger.)
Over, above.
ubung (Ger.)
Exercise.
umkehrung (Ger.)
Inversion, reversal.
umore (It.)
Humour. Con umore, with humour.
una corda (It.)
Indication to pianists to use the left (soft) pedal to reduce
the volume.
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.
unruhig (Ger.)
Restless.
unter (Ger.)
Under, lower.
upbeat
The upward movement of a conductor's hand or baton, especially
indicating the beat before the main accent in a bar of music.
up-bow
A bow stroke on stringed instruments from point to heel. See
bowing and down-bow.
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.
valse (Fr.)
Waltz.
vamp
Generally this means to improvise a song accompaniment.
variation
The modification or development of a theme, passage or figure
with the theme always remaining recognizable.
vc
Abbreviation for cello.
verismo (It.)
Realism. Particularly applied to Italian opera around 1900
with its violent and contemporary leanings.
verschiebung (Ger.)
Indication to pianists to use the soft (left) pedal.
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.
vide (Fr.)
Empty. Cordc a vide, open string.
vif (Fr.)
Lively.
virtuoso
A performer with brilliant technique and exceptional skill.
vite (Fr.)
Fast.
vivace (It.)
Lively .
vivo (It.)
Lively.
vla
Abbreviation for viola.
vocalise (Fr.)
A wordless composition for performance (e.g. in an opera or
as an exercise for solo voice).
voce (It.)
Voice.
volante (It.)
Fast and light.
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.
volti (It.)
Turn over (the page) quickly. Volti subito, turn quickly.
voluntary
(1) Generally a free style keyboard piece;
(2) An organ solo played before and after an Anglican service.
vorschlag (Ger.)
An appoggiatura.
vorspiel (Ger.)
A prelude.
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.
waltzer (Ger.)
Waltz.
whole note
Equivalent of four quarter notes (in 4/4 time, 4 beats).
whole tone
(I) The interval consisting of two semitones (e.g. C to D).
wiegenlied (Ger.)
Cradle song.
wuchtig (Ger.)
Heavy, weighty.
zart (Ger.)
Tender.
Zarthcit (Ger.)
tenderness.
Zartlich (Ger.)
tenderly.
zaruela (Sp.)
Spanish traditional stage entertainment with satirical spoken
dialogue.
zeitmass (Ger.)
Tempo.
ziemlich (Ger.)
Rather.
ziemlich langsam (Ger.)
Rather slow.
zingarese, alla (It.)
In the style of gypsy music.
zoppa(It., 'limp')
Term describes music with a prominent Scotch snap or
syncopation.
zuruckhaltend (Ger.)
Holding back, slowing down.
zwischenspiel (Ger.)
An interlude or episode (e.g. in a fugue or rondo).
