A LIVRE OUVERT, (F.) at sight; literally, at the opening of the book.

LLIEVO, (I.) a pupil.

AL, ALL', ALLA, ALLO, (I.) to the, or in the style of.

AL FINE E POI CODA, at the close of the piece perform the Coda.

ALLA BREVE, (I.) this term is used to indicate a quick species of commor time, formerly used in church music.

CACCIA, in the hunting style.

CAPELLA, (I.) in the sacred or church style.
MADRE, (I.) songs and hymns to the Virgin.
MARCIA,

MILITAIRE, (I.) in the military or march style.

MODERNA, (I.) in the present or modern taste.
POLACCA, (1.) in the style of Polish dance-music.
ROVERSCIO, (I.) in contrary or reverse movement.
RUSSE, (I.) resembling Russian music.

SICILIANA, (I.) in the manner of Sicilian dance-music.
SCOZZESE, (I.) in the Scottish style.

STRETTA, (1.) increasing the time; accelerating the de-
gree of movement.

TEDESCA, (I. in the German style.

TURCA, (I.) in the Turkish style.

VENEZIANA, (I.) in the style of Veneuan music.

ZOPPA, in a constrained and limping style.

ALL'ANTICA, (I.) in the ancient style.

ESPAGNUOLA, in the Spanish style.

INGLESE, in the English style.

ITALIANA, in the Italian style.

IMPROVISO, (I.) suddenly.

IMPROVISTA, (I.) without previous study; unpremeditatedly.

OTTAVA, (I.) in the octave. This expression frequently occurs in scores, for the purpose of indicating that one part must play in the octave above or below another.

UNISONO, (I.) in unison; or occasionally in octaves. ALLEGRAMENTE, (I.) with quickness.

ALLEGRETTO, (1.) somewhat cheerful but not so quick as Al legre,

ALLEGRETTO SCHERZANDO, (I.) moderately playful and vivaciou.3.

ALLEGREZZA, (I.) joy'; as, con allegrezza, joyfully, animatedly. ALLEGRISSIMO, (I.) extremely quick and lively.

ALLEGRO, (I.) quick, lively. A term implying a rapid and vivacious movement, but which is frequently modified by

the addition of other words; as,

.AGITATO, quick, with anxiety and agitation.

ASSAI, very quick.

COMODO, with a convenient degree of quickness.

CON BRIO, quick, with brilliancy.

CON FUOCO, quick, with fire.

CON MOTO, quick, with more than the usual degree

of movement.

CON SPIRITO, quick, with spirit.

DI BRAVURA, quick, dashing and brilliant.

FURIOSO, quick, with fury.

MA GRAZIOSO, quick, but gracefully.

MA NON TROPPO,

MA NON PRESTO,

quick, but not to excess.

DI MOLTO, exceedingly quick.

MOLTO, or DI MOLTO, extremely quick.

VELOCE, quick to absolute rapidity.

VIVACE, with vivacity.

VIVO, with great life and energy

ALLEMANDE, (F.) a slow dance in common time of four crotchets

in each measure.

ALLEGRI DI BRAVURA, brilliant and effective compositions. ALLELUJAH, an ascription of praise.

ALLENTANDO, decreasing the time.

ALLONGER, (F.) to develop; to lengthen. This term some time occurs in violin music; as allongez l'archet, give development to the bow; lengthen the strokes of the bow.

ALMA REDEMPTORIS, (L.) a hymn to the Virgin.

AL LOCO, (I.) terms which refer us to some previous place in the piece.

AI. RIGORE DI TEMPO, (I.) in strict time.

AL ROVERSCIO, (I.) by reverse or contrary motion.

AL SEGNO,

signifies that the performa course

AL SEG. (abb.) or

to a similar character in the course of

th: movement, and play from that place to the word fine, or th Mb. A over a double bar.

ALMAIN, an air in common time.

ALT, a term applied to those notes which lie between F on the fifth line in the treble stave, and G on the fourth ledger line abɔvo. ALT-GEIGE,

(G.) the tenor violin.

ALT-SCHLUSSEL,

ZEICHEN,

(G.) the C clef on the third line.

ALTA, (I.) higher; for example, ottava alta means that we are to play an octave higher than the notes are written.

ALTERATIO, (L.) a term formerly applied to the doubling the value of a note.

(4) augmented, with respect to intervals.

ALTERATO, (1.)
ALTERÉ, (F.)

ALTERNAMENTE, each part to be performed alternately.
ALTITONANS, (L.) high sounding.

ALTERNATIVEMENTO, to sing the parts of two songs alter

nately.

ALTERNATIVO, (I.) alternating; proceeding alternately from one movement to another.

ALTISSIMO, (I.) extremely high as to pitch.

ALTISTA, (I.)

ALTITE, (F)

one who has an alto or counter-tenor voice.

ALTO, (I.) in vocal music, indicates the counter-tenor, or highest male voice. It also indicates the part for the tenor in instrumental music.

CLEF, the C clef on the third line of the stave.

CONCERTANTE, the tenor of the little chorus which con tinues throughout the piece.

PRIMO, the highest alto.

RIPIENO, the tenor of the great cnorus which is perform ød at some particular place in a composition.

ALZAMENTO DI MANO, (I.) the elevation of the hand in beating time. AMABILE,

}(1.)

AMABILITA, con, (I.) amiably.

AMAREZZA, con, (I.) with bitterness and affliction.

AMATEUR, (F.) a non-professional lover of music.

AMBITUS, a word once used to signify the distance between the highest and lowest notes.

AMBO, or AMBON, the desk at which the canons were sung in the early ages.

AMBROSIAN CHANT, the chant introduced by St. Ambrose inte the church at Milan, in the fourth century.

AMBUBAJE. This, among the ancient Greeks, was the name of a society of strolling flute-players.

AME, (F.) the sound-post of a violin, tenor, &c.

A MEZZA VOCE, (I.) in a subdued tone.

recitative.

ARIA, a melody of moderate tone; also, a style partly

AMEN, from the Hebrew, signifying so be it, truly, or verily.
A MOLL, (G.) the key of A minor.

A MORISCO, in the style of the Moorish or Morris dance.
AMOREVOLMENTE, (I.) with extreme affection.

AMOROSAMENTE, (I.) in a tender and affectionate manner.
AMORE, con,
(I.) adverbs, signifying a soft, gentle, and tender
AMOREVOLE, S style of performance.

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

AMPHIBRACH, a musical foot, accented thus: ~~~

AMPHIMACER, a musical foot, accented thus: —~—

ANACAMPTIC, from the Greek; the name to sounds produced by reflection, as in echoes.

ANACAMPTOS, used by the Greeks to denote a course of retro grade or reflected notes.

ANANES, a word applied by the ancient Greek church to the's modes or tones.

ANALYSE, (F.) an analysis.

ANA CREONTIC, in the drinking or Bacchanalian style.
ANAPEST, a musical foot, accented thus,

ANAPHORA. This term formerly signified the immediate repeth

tion of a passage.

ANCORA, (I.) once more; repeat again.

ANCHE, (F.) the reed or mouthpiece of the clarinet, oboe, or of the various organ pipes which form the reed stops.

ANCILLIA, sacred shields, on which the ancient Greeks beat the time of their music.

ANCIA, (I.) the reed of the oboe, bassoon, &c.

ANDAMENTO, (I.) an accessory idea which the composer introduces in a fugue to relieve the subject and its answers, and to produce variety.

ANDANTE, (I.) a slow and distinct movement.

style.

AFFETTUOSO, slow, and with much pathos.
CANTABILE, slow, and in a singing style.
CON MOTO, slow, and with emotion.
GRAZIOSO, slow, and gracefully.

MAESTOSO, slow, and with majesty.

NON TROPPO, slow, but not in excess.

PASTORALE, slow, but in a simple and pastoral

ANDANTINO, (I.) a little slower than andante.

ANEANES, Grecian modes and tones.

ANFANSGRÜNDE, (G.) the elements or principles.

ANFANGS RITORNELL, (G.) an introductory symphony to an air &c.

ANGLAISE, (F.) a tune adapted for a country dance, in the English style.

ANGOSCIAMENTO, con, (I.) with anxiety, apprehensively. ANHALTENDE CADENZ, (G.) a pedal note or organ point. ANHANG, (G.) an adjunctive member to a musical sentence; sort of coda.

ANIMA, con,

ANIMATO,

ANIMOSO,

(I.) with animation; in a spirited manner.

ANIMA DI MUSICA, animated music; to perform with fal power and feeling.

ANLAGE (G.) the plan or outline of a composition.

ANLEITUNG, (G.) an introduction. This term often occurs in the titles to German publications.