Andante, with perfect distinctness, and moderately slow.
andantino, not quite so slow as andante. Allegretto, or poco allegro, or vivace, in rather a free manner, but not quick. Allegro, moderately quick.
Presto, quick.
Prestissimo, very quick, in a hurried manner; in fact, as quick as you can fol low the notes.
Conumodo, according to your nwn con venience.
Spiritose, or con spirit°, in a spirited manner.
Con vin, with vivacity.
Brillante, in a gay, rich, ornamented, and brilliant stile of execution.
Agitato, in an agitated broken manner. Sicilian, a peculiar pathetic manner of performing six-eighth time.
Pastorale, in a pastoral ballad stile. Timoroso, in a fearful or timid manner. in a plaintive affecting man ner.
Amami°, in an amorous or tender stile.
Animate, bold and dashing.
Cantibile, in a singing manner, bpi not faster than andante, or an andantino.
olfacetoso, or pompom, in a, majestic or pompous manner.
Grazioso, gracefully, this term is very often misspelt, whereby it produces a • very different effect, being then Gratioso, which signifies a harsh rough manner, and is peculiarly applicable to those scenes of acute distress, devasta tion, and phrenzy, which are occasionally represented on the stage.
Larmayante, or doloroso, in a weeping sorrowful manner.
Piano, or p, or pin piano, or pp, these indicate a low soft manner; the word pin inclining to the extreme, in contradistinc tion to Poco, which means only a little, or rather as poco allegro, rather allegro. Forte signifies strong and firm. Fortissimo, or forte forte, or ff, in the strongest manner.
Mezzo, signifies middling, as mezzo so prano, a middle soprano ; or mf, mezzo forte, middling strong.
Dolce, soft and pleasing, as dolce ex pressivo, to be expressed in a touching soft manner.
Jfa, but.
Non, not.
Tropp°, too much.
Men, less, as menforte, less strong.
Quasi, rather, or like; " andante, quasi allegretto ; ma non troppo." " Andante, inclining to allegretto ; but not quite so fast" (as allegretto.) Con, with, as con giusto, with taste. Seuza, without, as seuza sordini, with out sordini (or mutes.) Crescendo, increasing in force. Diminuendo, decreasing in force. Accelerando, quickening in time, but gradually.
Rellenkaido, or rieardando, becoming slower, but gradually.
Rinforsa, or rf, or rinf, to reinforce that particular note.
And, enough, as allegro assai, rather more than less than allegro.
Staccato, means to sound each note dis tinctly.
Loco, we sometimes see music marked to be played an octave higher or lower than octave minim ; with a waved line over the passage to be thus raised or de pressed, when the word loco, or a loco, directs the music to be played at that ex act pitch wherein it is written.
Arpeggiais a mode of playing the notes i of a chord succession, so as to imitate the sounds of a harp ; of this a specimen is given in Example 33, where the chord of C natural is arpeggioed in various ways.
Syncopation is a peculiar manner of div. ing (as it is termed) one note into an other ; thus, at Example 34, a bar appears to be made of one quaver, three crotch ets, and one quaver ; if these be all play ed as they are written, at the same time giving the whole a kind of half-slur, the syncopeted effect will be produced.
Appoggiatura is the introduction of a grace, not included in the amount of the measure in • bar; but which is to be de ducted from the note to which it is con nected by a little curved line, as seen at Example 3.5; the performance of which is explained at 36. In this example it much resembles a brief syncopation; the appoggiaturas, and indeed all graces, are usually in very small notes.
Tempo, or teemmpp piano, after acceleran do, or re u, or rellentando, this di rects the music to be resumed in its ori ginal time.
Pause, or point d'orgue, marked by a semicircle, see Example 25 (above or be low a note), with ? dot in its centre, im plies a rest of all the parts, or a cadence. • Thai means that the whole band should join ; as in the reinforcing parts of con certos, &c. Tutta fotm means " with all your force." Fin, or fine, chews where the piece, or that division of it, ends.
.Da cape, or 1) C, means that you should begin again at the head of the piece, and proceed until you come to fine. This is one of the signs of a repeat, and is usual ly accompanied by a figure resembling an S, with a stroke through it perpendi cularly, and with two large dots on each side, see 31; so often as you see this mark, it refers you to the beginning, or subject, or to such part as has a similar figure prefixed, and terminates either with fine, or with a point d'orgue, which in such case is a final.
There are various kinds of repeats, as follow : the single preceding repeat, see 28, is known by a strong double bar, crossing the stave, in the same manner as those single bars which divide the mea sure into equal portions, and dotted with two or more large dots to the left. The single succeeding repeat is known by two or more dots to the right of the dou ble bar, see 29. The double repeat is dotted on both sides of the double bar, see 30, and directs, that both the preced ing and the following parts should be repeated. Whereas, where the bars are dotted only to the left, only the preced ing part is to be repeated ; and vice versa.
.MOttra, or direct, is placed in a half bar ending a line, to shew what is the first note in the next line, see 32.
Bravura means a highly worked com position, in which the vocal performer is expected to execute difficult passages with great skill and propriety of expres sion.