LIVRESBrossard, Sébastien de
cr alhg. \prejlotxalleg. adagio, prcflo, piano, &c. adagios or adapted to the seventh added by guido aretine, added to the name of adding to sefqui, the ordinal ad-dltonum fupra. adds he, add to thefe, that placing the a demi pa use, as thcfrench a diatonic a different a diviflon of a tone a divine fong or adjective ad libitum, admits not of ado, lente cr a dot soprani , a tre so- a double a double crofs, raifes a double diefis adrigal, a due, a ad\ unto or grave adverb fignifying aeqijivagans. see syncope. afafhionable afc. afcelepiades, cedrenus, afcenaing. afcending afcendircg, afcribed afcribed to sir a fecond. a fecond either a fecond major, becaufe a- femi-breve. a femi-breve with a tail a femi-di- a femi-tone lower than natural a feventh. a fextuple ratio of affecting fugue, affection of found, affections affeding ftrains affeeting affetto. affettuoso. affet u oso. affirms the fame of afford us pleafure a fharp. a filence during the a fimple a fine a fixth. a flourifh or an ir- a flow a flow movement, t. a flute. a fmall bridge. a fmall buffet, a fmall change a fmall cornet, and afmall viol. a fonata for the church. a fong a fong. a fong agreeable. a fong, air or a fong compofed to verfes. a fong, wherein, a fonnet or catch. a forefall, thus a fort a fort of a fort of dance in great a found a found acute. a found or tone a found produced in the a fourth a fourth, a fourth as a fourth higher, a fqual, efpecially a fquare being divided into a frequent repetition of after after a recita-* after the after the feventb, but de- after they have held afterwards a ftringed in^ aftronomy of the satellites, 8vo. 2 s ^aft us, menfura a fugue, a full concert. a fyftem a fyftem.. a fyllable ufed again are various, again called syntcnum. again divided again, fee trite, syis again, fuppofing a general filence, ad libitum. a general pause, a greater a greater note a greater or fharp third. a greater third a greater third ; and fo on. agreeably agreed upon. see a greek term a greek term, a greek term. agreement of agreement of founds, agree to what they fo fixed. a, harmony, the a (harp, or the a hautboy, or hoboy. see a higher, the interval aibinus, p. 275. aies'sa, aifo aik* ailegr air, air. air inclofcd in airs airs. a, is the twelfth, or the aitigned to flats aiypius,. ajfo a kincj a kind a kind of a kind of dance, borrowed a kind of dance, the fteps a kind of mufic, a kind of triangular lyre, in- a kind of triple a kyrie well compo/ed, &c+ alamire. alamire.. *a-lami-rein alt a latin prepofition, alcuin, p. ii. a leflbn a^legato, a leiter alfo alfo, alfo acoujlics. alfo a falfe syjigia, alfo a particular alfo applied to a found, alfo called phantafia. alfo carefully alfo faid of a alfo fay c fimple alfo fay, the bafs alfo fignifies alfo fubdivided alfo the alfo the firft alfo their refpeetive alfo ufed for the a^lii reatum. alio alio fuper-par- alio the firft a little a little lefs allabreve, all anthems, fays all authors agree that allegretto, a diminutive of allegro , allegro, allegro. allegro, adagio, allegro, with *allemand, allemand? all forts all from fuch another mark. all gifts, all inter- all others , allow the all roverscio, all thefe all the other founds of the piece. all this all this, all we know of the almoft all grown perfons can almoft im- almoft the fame alone alone requires. along with a lower -part, alphabet for notes. already, by j. f. lampe, 5 s. already ftated alt. altera dupla. altera ^/f/. seesesojji. see alterai, altera maggiore perfetta. altera minore im- alteration, alteration. alterazione diminifhes the alternativemento, denotes alters their alto alto. altro, always and of themfelves difagreeable, always concord. always have the ambi- always taken always the always ufed alypius a mafquerade ; this word is applied a mafter of amajufculem amalarius fortunalus, ambitus. ambrosian ament. amentum. a metrica, is the harmonious amicus. a mi la on the other hand, a mix'd mode. a mixture of ftrong amoeriitas. a moment among among harmonious among many among them, among us among which four are tones a motion a mouth piece, neck and tail. amphitrite* ample, amufement at a vaand what your a mufical a mufical infiniment a mufical inftrument a mufical inftrument, a mufical inftrument of the a mufical interval called by the greeks a mufical term ufed in a mufician, whether he be ()amvt, an abbreviation an accord agreeable to the anajlatlus, p. 22. an another muft never come an appellation given by an arithmetical divifion, an author in the laft age anc* anciently in great repute, and anciently thefe ancient mufic, ancients ancients, ancients. ancients called ancients, fays vojftus, ancients had ancients had their ancients in their wars. ancients likewife gave the ancients, the final whereof ancient symphony, anconfined, the ? and * and and, and! and/, and. and 15 and 32, and 4|, fays bontempi, and 9 and accepted and acuteness. and afcend, and a femi- and a fourth and a greater femi-tone and anfwers to the andante, and an ut and are what in and arriving and as fuch and at prefent, make and authentic. and bacchius, fen. of which feven greek and bass, and bass. and basso. and bassoon. and beat and belongs to the treble and below, though not marked. and bisdiapafon. and by and by the italians pettia and c and cativo. and caufe the found, by mean$ and ccnfifh of three parts ; and ccntrarily by and characters, and chri- and chromatically of twelve [femi- tones, and cleff. and composition. and compound. and concert of and concinnous intervals, and condusee and confequently and confequently 'tis and confequerrtly gave a and confidering and contains the meafure of and continual proofs thereof, and corona. and counter tenor. and covered with parchment, and curious and cythara. and dancing. and defending. and defines a mode to and diapafon. and diapafon or octave. and diezeutic. and difference of a fourth and difjbnanze ben and diminimes the and discord. and disjoint ; and double. and drum. and eighths. and eighth, which are fo and eight of three. and englijh languages. and ethough ana- and euclid^ thac and explain'd thus^j and f, and fafter by and favourable approbation, that and fecond, and femi-breve and feventh, an imperfect harmony and -ff, ff the femi-tones and fhake thus marked and fharp. and fharps, and fi- and fixths. and flacken them. and follow, are and followed by a third. and fome and fome had none ; and fomething like a jig. see jig. and fometimes a and fometimes a third and fometimes thus and fourth mediately and and from and fub- and fubfttc, d, e, f, g, and gamut. and give it a diflinct and gives name to and gracefully, giving and grave. and gravity, and grayity. and g, which and (hakes. and {harps in mufic. see and hautboy. and he adds, and here and hymns and if and if again and if the dominant be and incapable of and indeed i thought and influences the whole and interval. and in the and invariable and invented by guido to exprefs and in which along with and i* sef and is nearly and its and its being next to unifon. ,and its double. and j&?, becaufe the and j^ta^vffaivov , the and key. andl and laftly, as c is the and laftly, then are and lively manner. and loweft note in and lychanoides. and lychanos mefon. and lyre. and makes and make the and make the harmony the fuller. and make them ready or and many others and martianus, capella fays the and may be refolved into the and mcirica. and melody. and metron. and might well employ and minims and minor. and mixed triples. and moving. and music. and musi ci and natural conclurions. and natural hiftory, or philo- and note. and of 19 and of courfe each timepf and offenfive. " which and of melopceia. and of muflcal notes t and oftener and often with choro, and one lefs. and one meafure, and only and only write what and on tali/mam. and on the and %op and oratorio. and other and others mediate, and our and our 9 for and overture. and parabolic vault will and patriarchs. and pause. and penetra- and per arfin, during and perplexed than and piano* and played moderately and point. and practical parti and principal key, and and prolation, fee each in and proportio fub tripla thus, i and proportion. and quaver, and rabanus to a phial. and recourfes of the chords, and repofe, called by and salto. and saturn and scale. and se- and semi -tone. and semi-tone. andsesqjji. and sign. and sixth. and solomon made two hundred and song. and sound. and spon- and string. and suono. and sy- and symphony. and system. and tcne. a ndte, formed like a'fquare, without % and tenor. and tetrachord. and ^th and %th and that and that it ferves and that of and that of the femi-ditone, is 5:6. and that to bring and that which and the and the agnus, and the breve chromatic. and the dominant and the eighth^ and the evova, or ending. and the expreflion and the fame affecls and the fame time and the fecond moveable and the fourth from mefe and the greek yeftormcetf* and their difference and their places a- and the lefe fixth. and the more, and the mufic, and then and thence and the other and the other as being and the other fix, which and the people and the reafon he gives and thereby add and therefore and therefore pretty flow. see and the rims of and the semi-tone 15 and the third and the treble and the trite synemmenon of and third and this and thofe on the and three and three for and three greater and %th tones. and thus and time. and to do and tone and trip l e. and triple. and triple; fee alfo bischrom a. and tune are the andtuono. and twentieth. and two ferni-tones; chromatically of and two greater femi- tones. and two greater femi-tones. and two tones and upon and usus. and vibration. and vice verfa and viol. and ^vvi^zvov, the and was partly and wc triple and we a (hake, and whatever and when and when thefe notes and which and which frequently uniting, make a and which is our b flat. and which not and who lived and with and with a very large and with exatnefs. and with more eafe. and with regard and with the and with the other and yet 'tis the only rule and yet without an englijb one, an entry, an equal number of pins, about anfwering the feveral numbers of the anfwers to bfa hmijd, in our anglo-saxon. an hundred times, &c. an hydraulic one in an iambus and pyrrhichius, an iambus and trochaeus, animans. animate the animating ftrains. animating movements. an ima to, an imperfect mode, an inch farther than an inch from an inch from the firft ; a nineteenth, &rc. an infiniment entirely an inftrument proper an inftrument which for an interval that *an interval tripled a ninth part. an italian adverb, which means an kalian adverb, wnich annexing a point ano- an o&ave an oclave. an octave an octave, that a notable difference between a note a note equal to a note in mufic another another. another found is faid another ftill another thing obfervable in anphlmacer, anthem be of the anthem of any kind, anthems, de antiphonarum ordine. antient fcale or diagramma, antient rhythmopoeia antients, antients.. antients, fays antifoni, antipajlusy ant que mufic. see music. an upper octave to any concord for example a any counterpoint, a canto fermo. any cypher in the thorough any except any given any great offence any movement whatever. any of the four any other any other note, any particular note, any part of a fong any part that any thing. aon, dlatessap.on, a, or agogi. seeusus. a particular a particular piece a particular regard in a part of each a paufe of a peice,of a perfect a perfon a perfon that plays, or apertures, a piece of melody, a point by a pointed a point placed uiween two femi-breves apotome. apparent. appears, appears in this appears, that nature, appellation applicable to applicable to unifons in the applied. applied to applied to a applied to inftruments that add applied to mufic, applied to the applies himfelf to the applies the apply ed, adjufted, applying apply themfelves thereto. appropriating the a profefibr of mufic. a progreftion which apycnos, a pyrrhichius and spondasus, a pyrrhichius and trochaeus, a quatro a quick time, peculiar to jiggs. arbeau tboinot, arcd arc inftruments played arco, are, are. are' are*, are abfolutely for- are alfo are called are called embroideries* are called fils are called genera spijfa are called imperfect. are called irregular are called the pipe and tabou r. are confonance. are diftant are diftinguifhed are diftinguifhed, are divers beats of a redundant second^ are effential princi- are employed the beft are equal are faid to are, fays are, fays arijlldes, are femi-tones a refervoir, are fet along with the 6. arefeveral kind of mafles, are fo are fomewhat are found in the are found to* are fubfervient to them, to are fuppofed to play. are greater and two lefs. are indif- are informed by are introduced occasionally are inva- are marked. are nothing but are ordinarily adagio. a repeating or a repeat which are performed in equal times. are played twice over, the are produced are required are terms are, the are the refis are the'trillo are thofe are three figned cleffs, c, are three kinds of fugues, aretine about the are to be confidered. are to be fuch as above-mentioned.' are trebles, a retrograde imitation, are ufed. are ufed to exprefs are various are very are yet not fo arfis and arfm &f tbefm, arietta, arife arife feveral arifing therefrom. ariflides, arifloxenus ariftid. ariftides. ariftoile, p. 28, 60, 194. ariftoxenus ariftoxenus^ ar'iftoxenus, 28, 58, 59, 60, ariftoxenus fays, that arijioxenus, arijliaes, p. 57, 60, 64, arijlides, arijloxenus arijloxenus, ariftotle\ follower, arijloxenus fays there are arithmetica arithmetical arithmetical, becaufe arithmetical third minor. armed with -- arm-viol, army arsis and per. article article. articles articles. a rule, a rule or a rule or canon, whereby fomething a rule, that a sackbut. as a diminifhed as a fit degree, as alfo imperfeft. as allegro as allegro. as a mark of triple time ; as a quatro tempi. as are afcribcd as are not difficultly perceiv'd, as bajfo doppio, as big again as the as bomimbus. as canto revoltato as chiudendo col ritornello, as containing as diftonant, a semiquaver, as every as femi-breve. as fhall conflitute as flat or (harp. as flutes, as for as for example, as for placing the frets on as frequent as frequent- as having too great a as he pretends, the key as in the as in the other as is ftill practiced. as is the gloria in excel/is. as,jfcr pifiejfo--- do as largo. as many of as mufico prattico, as muftca signai oria. as nonupla y fejlupla, as paffing notes, ferving a speaking a spinet. as plain- as poflible, as poilible. a spondaeus and pyrrhichius, as prelude, as proportione as repeat, as ricercata,or phantafta, ass a i, assaying, as senz^a ftromenti, as tenor as that their fucceffion as the as the contrary is as thefe as the greateft as the kyrie, as the laft to the as the lefier as there as the third as they arrive as thofe as tnird, fourth, as to fay, in conjoint degrees. as to rife eight or nine as to the as to the intervals between as to the rhyth- as tripsin di a style a style proper for love, as violadi bar dont. as well ancie nt as mode rn as well ancient as modern. as well as a flat one. as well fay* that as well to a syjiem a tempo giufto, a tenor viol9 a term a term applied by the italians a term given by the ancients to a term or character ufed in a term purely lathi, ufed very often a term purely latin a term that has a term, which martianus capella athemus, a thing which we a third a third; a third. a. third a third branch, a third minor, a third of a time. a third part of a lone a third. this -atid at jarge; that at lead introduce at leaft are heard a tone a tone, a tone. at paris y at pompcfa in the dutchy of at prefent practifed at prefent, ^uinta. a treble in a concert. a triangular figure, a trilling or quavering. atro a trochaeus and iambus, a truce, or the like. at the beginning, at the beginning. at the ear grating at the end at the end fs at the fame time. at the flrik- at [their at the laft note. at the points c, a tube from a twelfth a twelfth; the third 1 : 4, a atypius ftands auft defer'ere, &c. augmentation, aulus geltius fays autbentica, autentico. authentic authentic, authentic. authentica authentic modes. authentic o, authors authors add two others, auttif all or altogether* a various, a venetian. avering. avium voces imitarier ore* a voice avoidably avoid both thefe a voluntary. awaken or a war-like kind of mufic away one away two of a whole one. a wind a word a wounded fnake, axid bac- bacchhis fenior, bacchim, bacchius fenior bacchius fenior, baccilii, p. back backfall, thus back from purfuing a counter bad feven founds, meptaionon ; for ar* bafe bafe. baffo rivoltato bafies, baflbon, which plays the bafs bafles and lengths are as 3 b, a fourth bafs bafs, bafs. bafs, thus bafs viol, baftcon, haut -boy, baftoon, bag- pipe, bag-pipe. bajfo, a bafs viol bajfus, bajlard, balfamon baljouskt, p. {ballot or reei, {ballot, to balls at the end bandora, banomenos, octave, fourth, fifth, banomenos of the bar, bar. bar be pointed. bardone, barel bar el, bar in bar inftead of fitxeen, in bar inftead of four. baripicni andmisopjlcni. baripicni, as baripicni, thofe baritono. baritonq, barmimical canon, or the barnes, bar of duple time. bars, viz. bar without a point bar without a point, bass and basse tto, bassoon, bassoon. basso ripieno, ba/tes, ba ttutaj and me a svre, bat when be accompanied by the fecond or be accompanied with the be a counter- be added, that be added, that a firing will be added, that this pro-< beads. it be a femi-breve, but the ufual be a kind of monochord. be alfo called harmony. see be an octave to a, that is be apprehended ; but when bears bears in the beaten in double time. be a third beat in beating of time. be call'd the be called be called a became denomi- becaufe depending wholly becaufe made to found becaufe often they becaufe the tranfient dif- becaufe they are becaufe they play contrary to beccare l* beccare or natural. become a become your be compofed of three tones, be conare not de- be conceived be continued in the fame de- be difcord, and the be disjoined, which be done three ways. been taken from bees or drones. befide's befides that, befides they had befide the key, or fundamental. be filent, be followed by a be followed by another breve, be fome caufe to the contrary) before, as before that note. before tranfpofition^ beft be fuperhuous or diminiflied than beginning at beginning on the fourth beginning, ut qua ant beginning with begins \n begun there* be had to cover bigger. be hence determined into be, if the beiide which be imperfect be infinite, the/ being being a being a difcord fup- being allowed being almoft the fame with being applied thereto, being moft ufed a- being reflected by the being thofe chiefly being thus divided, was properly what being thus irregular being understood, to {hew bell harp, bellows. bell, that belong belonging to it, belong to this ubjec~t. below below, below. below, inferior below it, called diezengand system. be modern be moft properly faid be molt, proper. beneath. be obferved, be obferved, that beobferved* that beo-in be only different appellations be originally derived from the be pajfed over be placed be played be played. be played on. be prepared in ber 9 be repeated,or it rauft ber of the berrardl, angela ber to a bet, be tailed, be taken from the be the time of a quaver be thus be thus denominated. be tons with eafe be {truck, the two halves of this better, becaufe they better to diftinguiih be turned between a mode and a key, between a mode and a key, confifts between grave and largo. between melody and harmony; betwixt the extreams of betwixt two* be two, the piece be ufed, though be various bfa bmi, or bfc. b fe b-mi in alt bia-be-mi biancha. see note andminim. bigger and binary b, in the moft fimple manner, b, into as b, into two birds to give bischroma bition of being, bitudo,fays he, bizarria, fignifies with changes bizarro, bizzarria. black notes black or obfcure, as f_ j bled, tripled, or quadrupled. blefs blefted, ble, teftor and oafs, &t. blind blium. blow a horn, blow fome- b mol bmol, bmollare b mol, or flat. see flat, b moly b natural b natural, by reafon it's found bnperfettay thus, bo chart, bodies bodies, body. boe'tius, bo'etius, p. 60, 85, 123, 124, bona, cardinal, p. 88. bone bononcini, of "john bononcini, p. 302, bontcmpi, p. 220, 260, 270, bontempi, bontempi's hijloria book de poemaium caniu book, entitled, vojjius book of architefture* bore borrowed from the italians, b, or the french both both cafes both elements. both of them are of equallength. both of which are thick, both which are atpre- both which are much now in ufe. both with refpect to inftruments, bound together fideways bound together, only feparated by boute bove-mentioned, bow, bow. bow with one boy. boyle, p. 150, 151. boy s) b qjjadro, b quadro b quadro. bquadro. bracio brafs bridge bridge, bridge of a bridges at each extream thereof. brillante, brisk brisk. brisk, airy, gay and lively. brisk, lighter, gayer, and more fprightly. briskly briskly. broffard> broffard fays, broffard taxes it broj/ard, brojfard, brojfard) brojfard, accidental there- brojfard, in regard brojfard, that brojjard, brojjard fays broken inby a gra-r brortaxd, worthy imi- brought buc- buccina of the ancients, or modern bufinefs of time. burden burden of it. burlefque. opera, burre, bouree, but. but*- but a femi^tone between them. but afterwards makes a but a little ufe and a but anthony kercher feems to but are but are generally reduced butas but as infeparable compa- but as to their ufe but becaufe but becaufe it but becaufe, to make this matter but being but care but care muft but concord but cuftom has extended the but euclid reckons but even inanimate bodies. but even in chamber mufic. but every but, fays but fince ftraight horns are but fo as that every note be but having a good effect as by but here but his diffidence but i but if but if by either but if it be marked downward, but if the but in but in a concert of feveral but in cafes where but indeed, much but in the but in this feme but it is now but many there are on but merely about but nearly equal, fo as but notwithftanding but of late years but on but one but one of the high but one, two or more but only joining thefe but others but perrault but rather fee p y knos. but that fuppofition is but that infiniment is but the double die/is is but thefe are not but the following ones cannot, but the halianl but the minim, but the moderns, but the pipes that are but there but the thorough bafs but they began out of envy but they frequently but they were of brafs, but this is fomewhat inconceivable ; but this is to apply the but this regards only common but thofe are not but 'tis very often but to be but two, c. but two times but under but what perplexes but whe- but when but with refpecl: to its place in but with regard to but yet toi/?. bv. or rather make by additional by another by a paufe by arifiotie 'ap^uadds the occafion of by a st andrew^ crofs, or saltier. by bacchius the by beating them by beating with by beccare or by characters refembling that above by conjoint degrees by difcords we mean by dotted by fome, by giving means by grave and acute founds by guido aretine, to by instruments. by joining by making by means by means hereof by means of by means of & by means of fharps. by menage from the chiamata by notes of by one le maire, called^. see note. by polymnejles. by reafon by the by the antients, are almoft by the aomans crepitaxulum. by the bellows, by the figures by the french by the general by the imagination. by the introducing by the moderns it is called a fourth. by the parts of by the whole chord. by the words by thofe by turns. by us the redundant fix th. by way of an eccho. by which a found by which, as by which guida denominated the laft by which means the whole is tuned. c3dgr&3dlefs cadence, cadence. cadence, and properly tremk'enent. cadence, bu ono, long a. cadence is faid to be in cadence is made cadence ordinarily cadences are cadenza, cafe, cafes contrary to experience; cafe, the difference cafe the tones are cajjtodorus, p. cal compofitions call a fharp and flat key. call di falto, call ditono called accidental called a diefis or called a difcord called a diminijked called a fifth. called a good tone. called a iefler called a ledger lin,e. called alfo gataphonics, called alia breve. called arithmetical. called artificial. called a semi-tone^ not called, becaufe called by called contrapunto fimplice called contrapunto fotto called diminiihed intervals, called diminijhed. called double called ecchos. called fa y called flats and fharps. called fnoni called folfaing. called harmonical called hilarodia. called inconcinnous. called iuppofition, called jlrophe, the fecond called mobiles or -called mores. called petteia y called pipes of mutation* confifl, called prolati&n. called sefqui altera called sefqui terza r called se/luplo, or rneafure called stromenti da fiato. called syjiema called the called the bariphni, called the column of b molle. called the found-board, called the mafs. called the plagal modes. called tricordos. called trillt, tremolli^ called tripla maggiore \ called twelve femi-tones in the called tymbals or kettle drums, called virtuofi. called ya/ call femi-tone. call figurative counterpoint. call fuppo/ition, call intenfio call it fantafia, call it fimply calls diatonico molle, or by &, calls intervallum. incampofitum call the call the tail thereof. came came to be can. cancherizante, &c. and c and &c. and whole pfalms are often thus cange-, can go farther than can have of two founds, cannot fix c a non, ca non*. canon or fugue, to can proceed from cant canticum. cantilena canto can to. canto, canto. canto fermo, and chant. cantore. seechantor. canto the cantrapunio obligator cantum canzone, in general canzonet ta. canzonetta, caof harmony, capable of capable of.) capable of adorning the compofition. cape lia, martianus, p. 4, $6, capella, to fignify what is capo, capricettoisa capricio means caprice, capricioso, cap. xxv. carefully abftracted care muft be taken carious. carried to another, carries the voice cartes, cartes des, castanet catacousticks, cathedral. cation alfo before cation of the cato. cattiva and accent. caufe caufe fuch caufe originally the notes caux salmon cavalquet cave bodies, see drum. cavity was fattened a handle, c)bek. &c. below cbfervable, that (c)bfervable, that thofe authors (c)bferve the following scale. cbro?na, &cce!uon or confonance.. (c)clave. cclavesy efpecially the voice. c cleffs c, denote baflb continuo, c ditonum, ceed each other, and ceftary in mufical compofitions. cel (either in the cending as century, or guidons time, to cern certa certain certain bars certain concords certain in- certain modulation, or warbling of the certain perpen- certain pieces, certain things than certing parts certo di &c. every one of which cf equal value as to time. cfiave. &c. fignifles c fil cfilatei cf inftrurnents. see ps a h m c^fm, is our stmt- quaver. see semi- c fol c fol fa c fol ut c fol ut, (c)four's. cfpecially in (c)ftave. cf the middle cha- ch a cone. cha cone. chacone, chacones, chamade, chamade, &c. change changed --changed, changed quickly after it. changed to changed, which changes, fays euclid, are changing, chant, chant. chantor, chantors, chants are, char charaaer of the character character, character. character being a character of a large characters characters, characters. characters of the characters of the figned characters peculiar to characters ufed in mufic. charafter chiave chi ave chi ave. chi a ve and system. chiefa, chiefly ufed in chi e sa, chimerical. chitaris. chittarra chittarrone. chius, chiuso. chofen or approved: choir, choir. choir of choraico, a style that chord chor d. chord, chord. chord and fourth. chord and lyre. chorde cbromatice chord in their diagram or chord, monochord chord or firing. chords chords, chords. chords follow the fame laws chor iambus chorifters choro primo, -- chorus chorus, chorus. chorus exactly, and by chorus, or choro recitante. chorus which choui. chqrd v string, harpsichord, chriftian chroma chroma, chroma. chromatic chromatic. chromatic and enharmonic. chromatic, and enharmonic. chromatic or double diefis, denoted by chromatic, the chromatic thus by black ones church, are church bells chu rches, church in the strand. church modes church or chamber mufic. cieftined for this inftrument. cient diagramma, cient mufic, cient pfaltery. cients semi-diaperite, cif fiftula, fign. figned figned for the violin fignifies double, fignifies, efpecially in fignifies elevation, fignifies fingly fignifies for, fignifies fully fignifies half, fignifies let it fignifies the fignifies thofe parts fignifies to play fignifies two. fignifkd by fignifles fignifles, fignify- fignify equal fignifying by, during fignifying colour or fignifys the divifion fignify the fignrfies figns figns, figns contain figns for triple fign thus figura, figuratb figurate figurate counterpoint. figurative counterpoint. figure figure, figured bafs for the bafs violin. figure, note figure preferved in the vatican, figures figures of confonances. figures thusj fiiarps, fi libeat,fomtm. fimple fimple, and fimple and compound, and that two ways. fimple and compound, regards fimple concord fimple or original concord fimple sound then, fimply brachia, fin, final final, final. final a fourth a- final, and afcend but five or fix a- final divides it's finals fince fince he counts find find, find a character find differ in tune. finding the diagramma or find no- find that fined fined to be fine kyrie> fin, finale, or fing finger finger at the fame diflance finger clofeto the fingers. fingers in a large veftel. finging, finging pfalrns, 'finging the fame fong, air fingle fingle or fimple fingle otave fingle part, fingle voice, fing or play with fings fings or plays throughout the piece. fining with ten finons aquivagans. fint affumendi, finto, fionally flayed fione del genere fuper parx'tente, fion he fior fioritay sfuggita, a" inganno, &c. fioritto, fir/?, fir cue, fire. fires firfl riote firft 1. thus, the ninth (which firft) a firft article firft article, firft articles, firft five lines firft ftrain to end. firft half of the bar, firft is firft is, firft it firft letters firft then, if they be firft then, intervals firft the quantity, firft tone firft trumpet ; tromba feconda, \la. firhple firing arife firing, fays he, firing flopped in the firings, firings and the jacks, firings are ftretehed. firings or guts, and-ftruck firji id the firji then, firjl, firjl rank. firjl, the fifth tone in firm nefs. firnpie letter fir/}, the fifth tone in fis. fist u la. fistula, fit. fition to double fits fit to move pity or companion. fituated fituated nearer the fituation fituations five five, five. five differences five ferve for five intervals, five intervals. five lines five tetrachords. five to fix feet. fix- fix, fix; fix are afcribed to guia]o, fix authentic, fix centuries. fixed fixed, fixed. fixed re- fixes, flat fix greater fix notes, fix parts, fix plagal. fixtb, fixth fixth, fixth. fixth part thereof, fixth, third or octave. fixth, this fixth, which fize fize, fize. fizes flageolet, flageolet. flageolet, 'th f. lampe. flands for the flanza or copulet. flat flat, flat. flat after flat, dies is and flate of the ancient sy/fom, flat fe. flat in flat or fharp, fe or flat, or one fharp flats flats, flats; fo flat, sharp, flat, sharp, l5c. flats, or flatue, flautino, f l auto, flave of five flcwding flected, 'f|l -he fquare one flies tfer flnd flng flood the fame, flop flop, flops, a play *flops in flop the reader. florid florida, diminuto, flow, flow. flow nor quick flow, or more foft. flow then quick, c?y. flrft is flrike, flruck, flruck the other will flt$> flute flute, flute. flute, -both fmall extent fmall flageiet. fmgie and double; fmooth, rough, and uneven founds. fnay fo call'd focal led. focritualh foc which are thus marked foftened by the third, fo generally ufed for fogetto, fogetto\ a counterpoint fohn fo in mufic, foire ut, or treble fol- fol, fol- a foldered that part cal- fold reflexions of the folemn movements. fol fa ut fol, la, fol la fi, the firft fol la, which guido ufed. following following lines following occafion following table. follows, or comes after; this fol re ut cleff thus folter. fol ut, folves fome fome- fome action, fome add t and |-, fome among them fome are fome arithmetical. fome authors fpeak about fome authors the fome defects ; fome derive fome fay that it fome graces fome, had not fome influence, fome knowledge fome meafures. simple fome more, fome mute figure, becaufe fome obfervations hereon. fome of them an hundred fome of the up- fome of which are played fome of which the moderns fome other v/ord fome particular fome point confuting of fomeproper tunen fomething that fometimes fometimes among fometimes before fometimes called fometimes in the lower. fometimes thus fometimes ufed fometimes very di- fometimes written sampogna, fome who fome will fo much, as concords. fonances, fondamental, fong, fong at the fame time. fong or harmony require. fong to be fung thus, fo of others. fo of the others. fo of the reft. fo on, in the fame foot diameter, foot, in directing the time. fopra, - for for 2, for 8, for a. for a fleelyard, for as for as many mathematicians. for as of relations fome for ballads for by this the voice forced forces forcibly, forcing the organs ; for diatonic, for diflincyion's fake. fore called fharp. fore found foregoing part ; for either for every for example, for femi-tones, for fern i tones. for fextuple for fince they for flat, for fome time. for gay, for guido's improvement with for high ones. [see plate annexed.) for imperfecl time, fee for i muft ingenu- for inftance, for inftead for inftruments for inftruments. for in inftrumental for judging of the' preference forlana, form forma for many reafons diminifhed, formed by the organs of the formed of formed of the greek n%<&- 9 found, and formed of the greek r{\^a,four times, and^c/vi formed on inftruments. former opinion. form of this tube form or origin form put fa been for mufic, befides that form under form under the form with for nonupla ai crowe, seftupla di for one, for performing the parts. for pfalms for pieces for ponder-are for raifing the voice, for reducing the for repetatur, for sounds for syflema fort fort, fort, and it's octave forte fort e, forte, forte. forte, or f. f. forth. for that would for the for the bafs. for the barel, for the better explanation for the breve in the for the diatonic does for the diftinc~tion. for the eafe for the execution of revolts, &c. for the fpecies of for the harmonical for their refpeelive figures. for the italian for the names of for the placing of thefe for the pronounciation for there for there are for thereby that genus is difolved, for the reft. for time, fortissimo, fortment, for tranfpofition for triple ^ for triple time, fee for trite * forts for tuna tus, for what has been faid of for which fee tetrachord. fo that ac fo that among fo that a syftem fo that between mefe fo that in the end, fo that thereby fo the firft fo {truck. fotto, fropi fought. fought; that found found- found, found. found, and found, as found-beard found before aria, found depends. founded. founded thro* a reed. found in founding again the found in the found is excited ; and found it yields is much more found, l found marked with a fingle t. or found or ncife, but in muilc found reprefented on founds founds, founds. founds by an in- founds, were founds, with refpect to acute and grave. found together. found to the difdiapafon, i. found, which divided four four, four crotchets, four femi-tones, fourfold diapafon, a four for four founds as four kinds of four notes, four octaves four of which are major and four or five below fourtby fourth fourth, fourth. fourth* fourth, 4th fourth and fourth and a fourth and sixth. fourth chorus, four, the breve fourth, fifth, octave, fourth fpecies fourth lower than the doric. fourthly, fourthly. fourthly\ fourthly, in the mehpoeiay * fourth or fifth, as 9 fourth^ punto fourths fourths, fourths between fourths had fourth to feventh is 32 fourth to the third, four times quick. four tones. fpaces fpaces, fpaces. fpaces between them, fpace terminating * fpeakrf fpecies. fpecies, e. g. that fpecies of fpecies of keys, fpecies of lyre ; fpect to the fpeculative and practical. fprightly fquare, frame- france* franfiently pafs without fre * fre- frefiijfimo. frefpe&ed only the long, french french. french author french author, french bquarre from french call french call follies d' efpagne ; french fay, fi and ut, or our french, haut-bois, frequently a frequently confounded. frequently take in frequently ufed in fret, frets, friend/hip, fro- from from. from an obfervation of from concord from each from end to end. from euclid. from euclid's from ex- from fomething foreign from g from hence from higheft to ldweft from hypate hypaton, from hyperbolacn. see from it from it's from our from synem?nenon, from tacere. from that mav be from that of the from the from the bottom, from the fecond; b fa from the french from the grand chorus, (from the greek from the greek from the greeks, who were from the laft or higher! found from the latin deduftio, is the from the lower from the lyra y from the mani- from thence to rife to from the other kinds from the verb andare, from what they flood in from whence frtfiijjlmo. f+sound,, ftaff of five lines ; ftand in the following order, ftands as a flat. ftands for five ftands in the place of re. ftands oppofed to largo. ftead, ftem. ftep or fteps fteps, fterm, ts which we have *ft has four or eight bars ftick. ftile ftill to produce melody. f to b jufta ftoped at b. ftories in ftraight, ftrain are to be repeated. ftrains ftrains, ftrains of four ftrange that the moderns ftrictnefs, ftrike the firings ftringed ftringed inftruments ftringed inftruments. ftrings, ftrings are ufually fingle, ftrings with an unifon 5 ft ronger ftronger, that ftrongly, that ftrophe of a hymn of st ftruck ftruck. ftruck by a ftruclure does not appear. ftrument mentioned by dante. ftruments without finging. fttjf--ak fttuation of the three ftudenfs being ftudies or teaches, .ftus, *ft-'utq ftyle. fubaltern fubjecls, fubftantial parts of fubftantives, fubftituting fubito fubjecl: fubjecl:, fubject thereof fub-o<9tave, fubordinate founds are fuc- fucceffive notes fuccefiion fuch fuch a fuch a one. fuch a-part of a chord fuch as are either dou- fuch as ditonus, fuch as {hall be octave, fuch divifion. fuch point fuch thing as fueh are fufeciently fufficiently proved by experiment. fuga fug a fuga, and fuga pathetica, fuge fug h a, fugha, fugues are introduced, but fugues or canons, ful attention. full length, fummed up fum of any two other concords. fundam. fundam.^ fundamental fundamental, fundamental. fundamental key or note fund a ment o, fung fung. fung a- fung by a bafs voice or inftrument fung high, and part low, and fung in the rojnan funt funt plurcs. fup- fuper fuperfluous third, fuperior excellence, fupernumerary, added. fupplement thereto fuppofing fuppofition, that, fuppofmg mi fure fure is beat flow. fur i a, furncient to fusa, f-utlt_-_ fweet, and agreeable ; as con fweetly or agreeably. fweet manner. fwer fwerable to the hole fxt. fyftem of concords^ \sf fyftems thus by fylhibl'js, fy liable fyllables angela fyllables repre- .fymphony fymphony, or that which fy ncopation, in fyncoped difcord fyncoped fourth fyncoped note fyttables are, gadoons, chacones, &c. galileo, p. 311. gallant, galliard. galltard, gamba, a leg viol. gamma-ut, gammut. see gamut "gamut gamut, gamut. gamut in the gamut, scale, g, and turned to gans ftand g. a point added to a femi- g/<& aretine,p. 82, 91, 105, garmna was placed at the gature for gaudentius gaudentius, gay, gay ?nd lively air is to follow. gay than allegro. gee song melody and m-usxc general, general a character, general are high founds, but general divifionof inftruments, general, every part that generalis gener a lis generalis. generality fardinav s ground. generally generally appropriated generally by generally in generally tuned by the ear, general notion of gent. gently blow. genus genus, genus, **- genus. genus, scale, and genw, antiquijjimum. see diatonic. germa german german flute german flute, german word which gether, but diftinclly one after the gether confufed getto, sopra andsotto. getto variato, variable subjeeb. g foire -gfol-fa gfol-fa-ut d-la-ftl-re g fol fa ut- ~y^~ -fa g fol re gfolre-iit-- -1l g fol reut gfol re ut ghiintam, &c. ghimta, gia, gig a, a mufical gigantum, gimento. gins at gio. girls, given given by given by fome to a piece of given him, or to per- given one note given to given to this given to this infiniment becaufe give orders to his gives gives us this rule give the give the tone. give us examples in actual gla maeflrt glarean, p gnuo goes very high gone over again. see good ear. good harmony. go out whol- gory the great, gra, graceful graces in fuch a graciant', and grado gr ado grado. grado defcendente, gradual, gradual. grams, exprefs grand grand chorus, be added. grande grandee, grandee, or grand, p. grass 1ne au, grates with grave grave, grave. grave*, grave abfoiutely fo grave and majeftie- spanijh grave cymbalum. grave found to graveft gravement, grave ox flow. grave parts in graver muft be eight feet. gravity gravit y, gravity, gravity. gravity abfolutely gravity and gravity and acutenefs. gr a vit y ftands great great, great 2d. gr. 3d. great as tothe refonance. great beauties, and therefore great britain great difference in the greateft. greateft ufe greater, greater. greater and lefter femitone. greater, as greater, called pentatonon. greater femi-tones greater femi-tones, greater feventh. greater part define greater perfection, than greater sixth greater third fa fol la greater tones, a greater tones, one great fervice. great id. greatly ufed at great perfection ; greeable to the ear. greek and greek authors cxpreffty greek provinces, greeks y projlambanomenos^ greek terms ufed in composition; greek words, the gree of ftrength gree of tune. grees, but by refolution grefs of concords gregation. gregory's gregory the greuly from each other. -grfbl-re-tit groppi, circcli mezzi? ground group, grow too acute g r s s e quart pofaune. grt. gruck with gtb, g'tcque, or gigue, a jig, g. the fifth being 2 g. the founds of guida, guide guido, guido'?, ; guido aretine guidons time. guido's guido's fcale guifh, by reckoning as guifhed from a courant, which ends guint guitarra, guittar. gular leaps, gumma, below g ure. habitude : for in two one had a regular re^ had eafed themfelves had no accent. had thefe proportions following haftily. hajlily, half, half a tone higher, there- half notes, half of two/ half treble h a minim hand hand. hand, and with the handfome walking, in dancing, in hand of the hang down from the happier fhould i har- hard. hard, harjh, harm. harmo- harmon harmonic harmonic. harmonic a harmonica, harmonica!, harmonica! compo*, harmonica h harmonica! intervals, harmonical h a rmon ical harmonical. harmonical die/is, harmonic al division. harmonical intervals therein. harmonical or harmonical proportion, harmonical with regard harmonica regula, harmonica, the harmonical harmonich^ harmonicks, harmonicks. harmonious. harmony harmony, harmony. harmony and melody, harmony, being harmony, being well ftruck with harmony, melody. harmony mufl be harmony of concords, harmony of concords and harmony, tone, harmowhich become harp harp- harp, harp. harpeggio, harpfichord -makers, &c. (which is the harpfichords, harpggiato,or (harp or major thus harpsichord. harpsicobrd, ha rpsicord. harpsicord. has a different has alfo four has another fignification, has been has but a fmall degree of concord. has feventy-eight has fomething harfh, which has long been has only- has reducitur vox, has the fame figni- has the twentieth for has this has this mark, has ufually four or has units {hat haut ha u t bot.' hautboy hautboy, hautboy. hautboys and trumpets, hautboys, &c. haut contre haut des s us, haut-dessus. have have already obferved, were have an agreeable have att have been the firfl: have been very often fct have cleared themfelves of have compofed fongs in parts, have examples have examples of this have invented them have made excellent comportions. have not near the have the femi-tones have their sound- boards from have the letters have time to eafe and have writ having but feven in having taken away 7 from head head- heads heal, in allufion to his heard hearers. hea ring. he arithmetically di- hear no fuch thing as a found hear of the tympanum, he came to reckon eight, he changed ^he fhepherds and country people. he found both the hefychius, p. 147. held to -- helow the hem1tuono, he marked hemi, hemi* hem io li a. hemiolia. hence it is, that in hence mr hence 'tis alfo called the hence, when mufic in parts hencq -he proceeds, heptachord. here only add a here only give examples of here with fo (hew {hew (hew a {hew that the hex a- hexachord hexachord, hexachord in his gamut. see gamut. hexachordon, see sixth and hexacord. hfw> hicks, dr, hierommus magius, p. 10. hiflorical, hiftoricat, hiftories hiftory thereof, highefi of higheft of the higher;, higher in higher is higher, or a fourth higher parts, becaufe the higher than another, higher than gamut of the higher trite hyperboloeon. high or low, as we pleafe high rank or birth: but in high, to avoid ledger lines high wood; and hijtorica, hilarodi, him fucceeded chiron hints hi partiente duodecimo , his advice^ his book de po'ematum cantu. his country his fcale his glorious his syftem inftead his syjfem, his tenth hittfapri d t! ^ikh- hojls, holder, dr, p. 37, 42, 311. hold the fame in flat and (harp keys. holes of each holy, holy. homer, pindar, horace, virgil, &c. homer\ who had a very ftrong voice. honour of prefixing honour of the moderns. hook may be on hope hopping counter-points^ becaufe, as horfe-tail. hori- horizontal horn. horn, a (hort any hour how far mr how many hranches of literature : $h toj human hundred years huntfman winds on hup ate hvpaton me/071 sunem hymn hymn, hymn. hymn, from hymn of victory and triumph, laft. hymn paan hymns hymns above hypate hypate hvpaton - hypate hypaton. hypate-hypaton, hypate mefcm, hypate mefin. hyp ate meson. hypatoides, hypaton hypaton, hypaton, a greek term, which fignifies h y pe&ley dio- la/iio-dorio, hyperbolaon^ hyperbolaon, hyperbolaos, hyperbolieon. hyperboloeon. hyperbol^on, hypereolic, hyper, fupra, hyperlydio hypo, hypo. hypodorian. hypo doric hypoeolic, hypofydian, h ypomixol ydian, hypoprofldmbanomenes,. or hypoproslambanomenos, hyporchematico i3 trite diezeugmenon. i6j,iji, 194,201, i6 ; j., which puts the greater femi-tone 44 next iaft iambus , i and iature. i bar "ibe $tb, ibme ibmewhat extraordinary, ibycus. icait, were not his. i can't iccond, third and fifth i cut off. ideas of thefe diffe- idge and mag as. ids which iecond syjiem, iefs ieidom ufed. ienfible i. e. of natural, iernark maggiore, iet. ( i. e. the fifth below,) is i. e. thirteen founds and ieventh for if a feries of founds if a fmall c, 'tis the ut ifce ifcltclp cl/o?v -^o> iffhm the ifidore derives 'ifiiore, p. if inftead ifl, if lefs, ifng. if not, if not the only practice if the if thefe if the fong runs high. if the mark if the natural if then thefe if then we would go beyond a if there be a flat fe, if they be applied in fucceiiion. if this alteration is if this fubjecl: does not if while a c if you. if you pleafe. si volti, i/gavoita, 'ignatius, p. 5. i have i have judg'd ihing that ihriller iifted, fays iimple, afterwards iindulatory, iion, action, iiong and ode. ijiodore derives it ijpaces, il capella, that i/lejdfuono, ill difpofed between illegitimate, illorum finguli. ilqe ilrains. ilring kind. i mean imitate the found imitating pythagoras and plato. imita zzione, immoveable immutatque, impeditus. imperfeaf. imperfect, imperfect. imperfect; a perfect ca~ imperfect concords, imperfeek in modes, imperfeft and imperfetto, implies, implies, the implying flow* impreffion impulfes impulfes on the fonorous body imputation. in a concert, and for inade in the inadvertently, and without in after times, in a leaping in a long fquare in ancient mufic, in another in another re, in a particular in arifloxenus's works. in a varied in beating in being fimple or in both in but b flat. in church hiftory, incipiendum, including the in combination with concords. in common time, which in comportions inconcerto. in confequenza, in conferies in conjoint degrees, in contradiction in corpo. increafe the fenfe of in dancing;. index index, index. in diefes indifferent in different fenies, in diftinclion to in disjoint, in double or in duple, that in each, in each of the genera, in in each tetrachord. in each time in effet, in englijh we may fay sefqui in falling. infiniment of infiniment, which infirumentalis, that inflected. inflections inflexions of the voice or found in foci, infomuch in four, infra, inftance, inftance, let i, 2, inftance, whereas naturally inftead inftead of inftead of a inftrument inftrument. inftrumental, inftrument, confuting inftrument like the inftrument of the barbarians. inftrument of the wind kind, inftrument, otherwife called inftrument ranked inftr u ments. inftruments, inftruments. inftruments are of inftruments of fixed founds, inftruments that can accompany inftrumentwhen ftruck. in fucceffion, in fuch infuperable difficulties ing andtri llo. in general in general, in general called pfalmody. in general fignifies ing four femi-breves, in ing in thofe ing more or ing order, grave, ing or playing in concert. in grand chorus, to ingredients with an octave more. in greek ing to fmg. in hafte. inharmonical in harmony two ottaves mould in his orchefographia. in his phyfico-theology, in ihort, the art of making melody. in italian, simplice, initial is & paufa genera in it^ place. in it's proper place. inj. injfostd of eight 3 in jike manner, as 3 fe, or in latin tonus, in/lead of in learn- in learning, in letters of the alpha- in like manner in melody, in minuets, borees courants, in mufic. in mufic for the note or inn o, a hymn or fpiritual fong. in numbers. in one dull line. in operas, ora- in oppofition in order to in order to found them. in order to this, in order to which, inpartito. see canone. in parts, in perfection in pieces of old mufic, in plain fong 'tis the fecond in playing, the firings are flruck in practice, at leaft in practice by in profe in propriety in propriety the in quality of a inspezzato instrumental parts. instruments instruments, intensio, inter- intermixed with chorufes. interrupted. interspersed with intervai interval interval, interval. interval) interval* interval below.; interval in mufic. intervalle intervallis disjunla\ intervallo, interval, octave,- interval of interval of a diapafon, that interval of every fourth. interval of tune, intervals, intervals. intervals are fpacious, intervals are meafured, intervals c intervals, fays interval to a fimple one, in that place in that proportion. in that therein in the in the air in the ancient mufic in the ancient mufic, in the ancient muftc in the antient mufic, in the art he profeffes. in the bodies of in the compafs of in the compafs of an in the diatonic in the enharmonic the in the fcale. in thefe in the fecond, or in the five in the fixed feries in the flrft in the follow- in the following in the following example. in the for- in the former. in the fucceffion in the genus or kind intervals in their in their explications in their language. in the italian in the leaft altered, fuch in the middle, in the middle of the in the moft obvious manner, in the order of the in the order of the mufic in the organs of the in the place of the bafs, or in the ratio of in the ratio of 27 in the table above obferve, in the time in the ufe cf this jyliable in the unaccented parts in the velocity of the courfes in the vibrations, in the year in this cafe in this fenfe in this the long reft in threefold, plain, figurative, intimate, intimates that the mufic in time of lent intirely difufed in the intirely left in the dark. intire new method, by into int.o into a more eafy and obvious method, into as into a tranfpofed one, into eighteen equal parts or into ftringed inftru- into genera into greater into the into the divine good pleasure. into them, but into the muficians province. into three parts int rad a, intricate tranfpofi- in triple or in triple time, in triple time. intro. introduit. harmonica. in tufcany in ufe invented invented a third syjlem invented notes of invented the modern invention of the pentachord inventor. in which in which are in white, and ion. ion.- ionic mode. iotis chordis. iound in the other two. ioxenus. ipaces, ipecific gravity. iq called, they are i^qig^pm-- i reduce the given ratios irevi, a fhort mafs. iron bar, and irrational irregular, or not according is alfo a tempo buono, the is a name given by is applied to one fundamental) is called by the name oftave. is called the ?nodem syjiem. is either is fharp, when compared with is flat. is, from the head. is ftridly fpeaking is gay, is no found but is not is -placed is properly indeed a chapel. is that called by is that of the is the is ufed is ufed to fignify is v therefore i t 1 and dacapella. ita* italian, italian regolare., italians italians, italians call italians call defcanto^ italians called sutmata italians called syjlema reformata, italians call recitativb. italians faid to be italians often put the italians to italians' to italians to the italians ufe italians ufe the phrafe it anfwers to die it appears, it began with re, a, it begins d, la, fol, re. it being eafy to fay it confifls it conflfts of two parts: the item, anfwering to the it falfe. it fall. it, fo was the diagramma ; by fuch it frill it had it had the it has a it has fix holes, it has its it has its origin from the it has only it has only eight holes. i, they called i, thus itimbal, a mufical it is alfo it is alfo fignified thus it is beat it is diftinguifl^jd froa*. all it is feldom ufed except in the it is ufually made of brafs, often it miift be obferved, that in it muft be obferved he wever, it not being fixed to itpiaifivmi and'p^ctw, cord oxfiring* it rifes. it's character it's chords were thefe* it's diftincl: it's dominant is ami it's elafticity, it's fifth its figure it's final it's final, it's firft it's firings, it' s flats its foftnefs. it's frets it's greateft ornament; it's nrft its pitch is taken art it's place. it's proper article. it's ribs, its rifes it's upper part. it was in the year ^ix?\jiro?nenti^ inftruments, certain iy liable, izcmijb church, j4izi=d=j8 j 5. nete diezeugmenon* jacks, jaculorum. jaft j ames james graffineau. j character of a (harp note. j$d dltonum infra. j dtapajon, jecl: ject 10. jective, ject of fight, jed perpetual fugues. jefuits jefuits, the jemi-crom, jepetition to jer. bojjjus has an expreu jerom, jer. p. 227. jet. or vivau\ allegro or ado, j^fow in learning jfucceffion or .jgiufjp by wrote, with the notes names, jharp, j:iay play eafily. jimma, in the ratio of 243 254. jimpu) jits jjlluii" j longeft jlrike r jlrong, to exprefs fonte pafjion, &c. jofepbus, lie, 8. jofephus, p. 124, 306. john the baptiji, joined jone~^~" jong jont. jon the part jpfe, to place a /jrgo or adagio jriftidesy jri/ioxenus. jtb. judg- juft juftnefs. juft quantity, juji fourth* jumping manner ; the air hereof is jxt~v^ jyhen the notes jyncopes, jyncopes. jyncopes* kercber^ kercher, p. 11, 39, *47> i 5 i i kercher particularly affirms, kercher tells us of a large kerch & how- key. keys keys the harmony key, with the khad khythmica and metrica. k hythmopoeia, kind kind, kind. kind, in the kind of kind of ancient kind of paffion kind, or recitative way. kinds kinds, kinds, conjoint kinds of kind, ufed principally ki regard to know know, know how knowing the time of the knowing what they knowledge of mufic, knowledge of the known, being know what krge krousta, ktyjh kus. kxuperans. see hyperboljeon, kyrie, la'chrimoso, lad notes of the entries la fejta, lafi: laflly, when lafl, pofition. la fol re, laft laft age, called fi ; by means whereof, laft epode. laft fpecies is laft ftrain. laft in laft is laft is, lagrimoso, laic laid laid to la, it's final lajlly, if the accidental pfalm or lambert, p. i01 e lament atione, lamenting lamenting mournful manner, lampadis, p. 50, lampe, lance and coupee* lancelot lancelot, p. 31. {landing upright in the barel {lands thus. lang.u ente, languijhing and languishing la re, and its final la re ; it's dominant la re, it's final g re fol, la re of the third la re, or f utfa; la re the la re, 'tis here that fome inftru- large large, large beam of wood. large deep cymbal. largetto, largo largo, largo. largo and allegro, largo, grave, and adagio. largo or adag. largo or ado. largo tr adagio larly fo called, becaufe lar syjiems belonging to lath latin latin by meibomius. latin called sam* latins /]latins, latins, latin terms which lation latum. l a u d a syon salvatorem. laudo deum l a vis and claves. laws laxis , laxis, lays lccfolfa^-- lead leader afcend. lead one into the piece before us. leafl interval leaft leaft, leaft intervals leaft in the leaft the higheft part leaps: salti regular e led as being denoted led by no ledger lines. ledger. some led the tube, leffer intervals. leffer third leflbns for lefs lefs, lefs. lefs ductile. lefs fenfibly lefs intervals. lefs open. left left, lefter fixth. lefter tone, left the leg, lega- legaeili. seenota. lega t 'legato. leg ato legato, legato. legato and syncope. legato, or syncopate le gat ur a. legatura, legatura. leggiardamente, leggiardo, legs to lence to me, length, length, as length a very learned lengths lengths. lengths for lente cr lento lento, lerza* let alone at pleafure. lets lets the letters inftead leuto, levare antiphonam, lexicon, &c. liam for playing thorough lians. lias liauidas lib. lib. 1. cap, 16. of his albore liberty i library at library building. lichanos, lidian. seelvdian. lid,lefs. life life, lift of authentic modes, ligatura, lightly, gently, lignifies jloiv, lignifies the like like large flutes. like mufical inftruments like that put into the like the ancient grecians, ufe like the feventh tone, becaufe like thofe of mofes, likewife likewife accounted five, in each likewife in this fenfe, likewife often imitated him. limited fenfe, limitted for ufe line line, line. line, counting upwards. line from the top. line of line or fpace, to line or fpace to another lines lines, lines: lines. lines a lines are lines, at lines thereon, line thus lips. lira. see lyre. lis. litary little air 'or little finger little ftick, little intervals, little lefs, little pieces lobineau, p. il. locrense, locrico, lodies, lody. lofs loft loft. loft in air. lometimes lone long long, long before guide's time. longer long four, and fo of the long ftop, the long or tune. long, twifled and poiifhed lonicus minory loofens them at pleafure.% lopoe'tuy lord lore, lorenza penna loud. louder than that of loulie, le sieur, p. 272. low. low, and the motion flow. lowed loweft loweft, loweft, are as follow loweft chord loweft chord of this loweft of that above lower lower. lower, diatejjaron a fourth, &c. lowered a femi-tone minor, and lowered by lower part, or a lower than the fourth. low, fublime, &c. lowing forms, lowing note ltbero, l.) that ltzon y luchanos hvpaton lully's opera of lurhanos m.efon pa/livpatc mcfon _ lute lute, lute. lutes, l>ut for part of a bar. lvre, ly appear. ly as poflible lychanoides, lychanos lychanos hypaton, lychanos hypaton -^enharmoniosn lyc h a nos meson. lychanos meson lychanos meson, lydian lydian the lyf. ly irregular means ly" neceffary. ly our trumpet. lyra lyra, lyre, lyre. lyre and lyre, and fay that lyre, chord, lyve mabilon, made made amends made among them made below made by made of made of box, made of goat's horns. made only made on purpofe made on the air by made with madrigalefco, madrigalesco maejlro, maestoso, maestro. maestro di capella, a mag- mag, maggiore maggiore, mag?:ificate9 ci?v. magnitude, in main which of the two maire le, maiter's majeftic, natural, foft, majler of mufic. major major, major. major and minor. major, as 9 majore, the majority and minority major or major or minor. major or minor, whe- major or redundant. majoty make * make make a proper make a third among themfelves. make it make it's fecond femi-tone make new make of make one make only makes makes a ftirill makes melody makes mention of many makes one of the kinds of makes, on the makes the hrcve makes the moft makes what makes what the make the cadence, flops a make up making fevml malcohn fay s malcolm, malcolm obferves, that malcolm propofes the word malcolm terms malcolm thinks, mall not here man- man, man; man. man ce. mand, jig g, minuet, manichord, maniera. maniera difiendente, manner, are likewile manner however, manner, i. e. fo that manner of manner of beginning or manner of playing or manner of tuning the manner of writing manner wherein manner wherein the many many, many notes ; many others, for which fee nota. many points march, double march j fecond, the margery, being a sequel marine, tho' mark mark- mark &, called a flat. thus d fe, marked marked accordingly, marked and explained marked b, marked (%) being only proper marked by a fmgle crofs, raifes marked c*f marked cf, marked (c)or|> marked, f marked, for which fee triple. marked ~gf*p. marked the marked thus marked tympano 9 which (hew marked with a marking his mark is mark of common time marks, and cnara&ers marks what the marks which mark "v and mark where .all the parts martianus capella, p. 4, 56, mathematically confidered, mathevj paris, p. 10. matter of mufic. maybe may be may be called tenors or baffes, may be compofed may be conjectured from the may be made up of may feena may fometimes may here (may it pleafe your royal highnefsj may make may not may, though compofed m.cfon - _ - me2 z a paufa, or mea- mea* meafiire meafttring the meafure. meafure, and in triple time meafure then of meafure was to be triple. mean mean* mean by mean cleffs, meaning a lefs third ; a fixth means means it came from 4 meant by mean the grand chorus. a dot mean, wherever the new cleff is measure, measure. measure, battut a measure, time, and triple. med ante, med arum media. mediant, mediante. mediarum mediate fucceffion, and mediately. meerly what meer terms of meeting of two founds, meet with mefcolamento and ufa* mefe was a mefon mefon, mefon, near the middle ones, mefon to trite diezeugmenon, meibomius, p. 258, 260. me, in the very dawn of youth , to ap- mekpceia, melifmeitica, or melin de st cellas melismatico melodica, melodious constitution of melody me lody. melody, melody. melody) melody of melody or harmony melody or harmony* see composition. melody, treble, melody well compofed. melopoeia me lopoe ia. melopoeia, melopoeia. melopoeja/, melopoetica me los, men. men allegro, a movement men) and naged, name name. name." name by which name from name from an egyptian word, name given name given by name given by the name hypaton to. the name of name of modulation. name of ne of name of the natural names names from the names of names. see lyre and genus. nante, clrconcurrente, nar- narrow a compafs as nary nated nated from that fimple concord. nate people. nations ordinarily natural, natural,) natural. natural) natural, and natural compofition, naturali, "naturalise. seesuono. naturally have naturally infinite natural mode. natural one. natural places, viz. b, natural quantity. natural third minor, nature. nature, reafon, effects, natutal, navies are hereunto juhjcribed^ do nay, fome even call neapolitan e. neapolitane have near near 12 englijh near five octaves, and this nearly nearly our third tone. nearly the nearly the fame with fugue. neceffity necefiary, neceflarily produces a neceflary in neceflary to neceflity. neceitary to necejfario, necejfary, or that necessario, neeffary to introduce neither too nelle parte di soito, nemmenon, and genus. neral and theoretical. neral lignification neral rule. ner be 'divided into that of neta diezeugmenon. _ .n'ete nete hyperbolaon, nete hyperbolezon, which nete hyperboljeom -nete hyperhlccon net fo loud. netoides. seeusus. never lower, for that never ufed, but four femi-quaver never ufed, but the quaver newentiet dr, new kind next next to thelaft. nexus, nexus. nexus autem nfe of muficai notes niaggtore, nicephorus, nices. nichomacus, p. 58, nico-chromatico, nicod nicod, nicomachus, nics nimbly, nims nims 6. ninth century, nit- n o, a trumpet, a dot no character of no common chord, no diezeuiic nofe, no fuch thing as a leaft noifes of animals, whittling of birds; no mention of nominatedfrom^*/ no more than no more than a no more than a fofig or no more than decima or no more than fongs no more than fongs, and nomos. see mode. none al sojpiro, non, lychanos hypaton, nonprejie, brisk and nonupla, nonupla di crome, nonupla di femi brevi, or fefqui nor, noria volti fi piace, north carolina not, nota not carried too high or funk: notches thefe bridges have not doubled, compounded, or note (note. note- note, note. note added thereto. note, bar, and note be fometimes required, note, character, note, gamut, note in the note legato. note may be taken note of an anthem. note of a piece note of a piece of mufic. note of a tone ot mode, by which note of the next has> note of the piece. note or found notes notes, notes,' notes. notes and figures. notes and gamut. notes are notes are not fyncoped, notes are placed' the notes' are the diatonic, notes either take the notes fharp and notes in fuc- notes in proportion. notes of notes of a notes of one, two, notes rife notes whereof notes without flats or {harps. note to the choir, note which divides note which ought to refolve it. note, which was before john de note will be not fo brisk and lively ai not fo neceffary, not fo properly an not frequent in the nother, b. nothing are you more illuftrious nothing but con- nothing but concords are admitted. not in the fimple differences not in utmoft notion of the key, we muft not neceftary to put a nottebianche notte obf not the foun- not to be fuppofed not too quick notwithftand- now, now. now alypius gives now and then in particular -places. now entirely laid now from the now thefe differences nqa-ke die/is a quarter nrft num- number number, number, and alypius particularly number, e, g. 2 number encreafed number of number of thofe numbers numbers. numbers, 16, 9, 8, that nume- numero, nus. ny endings (except oaave or diapafon to o&ave. o&ave j where o&ave of the modern obferve, obferved as obferved by $caligery obferved, that obferves, obferve, that obferving their object:, objects, obligata. obligato, obligato. obligator obligato. seeobligato. obliged obliged to oblique. obliquo. obliquo% occafion occafion, occafioned thereby. occafions. occafion to improve his occurs equal to oclave. oclave compofed* oclaves- or oct. octave octave, octave,, octave,. octave. octave, 8ve octave arithmeti- octave, as octave harmonically, was octave of our octave or fifth gradually. octave or twelfth, octavina, octrave or fourth', ode. odes of the of 2,3, or 4 chorufes. of a bar. ofa breve, of a concert, or -- ofafemibrevt of a fohg, of a fong. of a fong above or below of a ftave, of a greek adjective mefos) --ofalong, of a minim, of a mufi- of an older date of a note of a note, as a minim of a note, ufed when of another, that of any of any art, of any art or fcience, which of any inftrument. of a piece of -- of a quaver, -of artificial notes, of a time of a tone of a tone. but of behaviour, joined with fo of belk of bells. of both in of changes and variations. of changes on bells, viz, of changing; their of combining; the founds of compofwg harmo- of concords: of conftituting the octave of continuance, being of dance to a fprightly meafure. of diapafin ofdifcords. of different metals of of difpofing muficfel of diminutions, graces, of divifion, of each. of each fourth of either of of equality, are the double and ofervanza, imth care, e*afi!j9 of every of every degree or interval. of every tone of fc iences of 170 1, offence. of feveral off-hand, off-hand, and confequently requires a off-hand to a of figures rriade of filence of filver, fometimes of of fimple harmonies. of fingtng or playing with of fix times of fmall or minute of fmall spinnet, that may of fome kind or other, of fome other. of founds. of found whereby of frequent of fuch as admit of of fuch canons or fugues of gravity and acutenefs. of great compafs. of great fervice, and has of harmonica i and mufical. of harmonicks, fays mr of harmony of harmony, harmonical intervals, of inflruments of percuffion. of instruments. of intervals, of intervals. ofiris on fome medals of italian original. of longer dura- of majefty; very grave, and of making of man. of many parts, is called counterpoint. of mea- of meafuring the of melody of mufic of mufic, of mufic. of mufical chords. of mufical founds, produces melody ; of mufick, ufually called foft of mufic, the reafon why thus called of nie iour ayjisms a of notes ; of notes, be of one long, two fhort, of one of the of organ -builders, of others. of others. see of paris, having writ of prolation in of rams horns r of recit. of ripojla, reditta, of solfaing. of st dun/ian, oftave oftave, oft creep often *often often, often abridged reeito, rec\ or often an entire one, often called mojira. often confound the two. often, continues ofteneft often err. often found in compofi-* often join- often prefix'd often the cafe in often ufe often ufed often ufed for piano. often ufed for the often with other words, as of the of the ancient fyftem. of the ancient lyre; of the ancients, of the ancients. of the band or foot s of the body where of the chords added. of the diatonic genus, from it's of the fcale. of thefe of the fecond of thefe i take as of thefe notes, of the feveral notes, of the firft are marked of the fix of the fong. of the founds of two of the french fcale in si. of the ftringed of the fugue. of the fyllables invented by guide of the genera of the grecian fcale. of the greek of the hand, of the hand. of the hand for the of the hand in beating time, of the head of a breve of the inftrument of their of their cleffs. of their intervals of their modes, as of the italians, of the length of time of them, of them. of the matter or abfolute weights. of them different. see key. of the meafure. of the meafure, difcords of the middle part marked of the mode of the modern of the modes there are of the mufical of the octave. of the organ of the other. of the parts of the phrygian , and of the table of the thing. of the throat, of the trumpet, which of the violin of the word, of thirds and of this fcale of this trumpet of this work. of three of three : of three long, of tounds of triple> of triple, of triple of four times of tune, oftwofhort fyllables, of two fhort, one long, of two iambufes, of two long, of two pyrrhics, of two spondseufes, of two trochseufes, of ufus, called by the greeks ploki of unifons. of viola prima, feconda, of violins, csv. of what has been of what has been faid thereon, of which of which are flow and ferious. of which arijlides of which four of wind olb. quoq-, old, o lydio, omnes, o mutis on and between the on any fubjeet to mufic. on any inffruments. on any note whatfoever, once commands the refpeet, and ondeggiar5 ondeggiare, ondeggiare. one? one. on each on each of one another, have one another, that one, but not the fame one day to fee one end within a one femi-tone one femi-tone major and one fhort betw. two long one fhort, two long, one from another, be one fundamental ; the feries becomes 30 one inch one jhort fy liable one long betw. two fhort, one may one may in ftric~tnefs fay, one of the one of the ancient one of the ancient greek one of the mean or mid- one of the notes one of the words ufed one or more octaves, ones ones, one that one that approaches you. one third one third of one third of the bar, and one time, and only one, which on fome inftrument. on inftruments. only only, only. only as only be pronounced with more eafe, but only during the chorus. only live parts, or only melody, that only the ob- only, tho* placed on medals, with the on mufic within on or to which fome air or on the on the barrel. on the concalled a con-^ on the contrary, on the contrary defcending, 'lis* on the contrary, the on the fame on the fame note or on the fecond on the fecond? on the founding on the left fide. on the line on the right, the italians ufed on the sijirum% on the table on the unaccented on through the on to greater degrees 6# on two ftaves, o n unijfoni on which account open open, opera opera, operas, opera terza, oppofed to imperfect. oppofite or afcend from grave to acute. or a fyncoped diffonance, or allegro. or allforts of gifts. or alone, or altogether. or ariofe y in the or art of ranging or as the or a third eccho, oratorios, ferenatas, or a, with the third or bafs upon occafion. or beginnings or braced or bum. or b, we mean the founds repre- or by adding or caufe of found. or cbancherizato, or cfolut, orchestra, or chords, or clef, or conducimento circon~ or contra hto, means the or crotchet order of the things of or di concertino, thofe or difcord, ordinal number of the lefs term. ordinarily ordinarily a foot long ordinarily beat ordinarily called a sacbut. ordinarily noted in ordinario, ordinary character of ordinary compafs of the voice. or downwards or duple time. or duro, or e, are termed in or ed, fignifies and, o r e di mufica, or eft mi, clear or eight bars each, and or eighteen, contained or equally. or even crouded with minute or extent of each interval. ^or falling or farther, but never or fcale or fefqui altera dupla % or fefqui ottava, or fefqui terz.a dupla, and our 12 for or femicircle or femitones. or feven or fharp, in diftinuon to & or fharps or fhorter time or fiddle-ft ick or fiddle stick. strcmenti a" arco or fifteenth. or fing in or firji treble or five degrees below it's or fixed founds, euclid or fixth major or minor or fmall iron or found a or founds joined together in ac- or fourths or four times in the bar or fpace. or from fa or fub or fubjecl: that is to be fung or played. or fung over again. 'org organ organ, organ. org an and trombone. organ, harpsichord organic a, organicai. organical. organical, or infrrumental or g ano picciolo, organs organ. see organs of organ. the or graved or guido'i scale or (harp at the be- orharpsical, orhigheft part. or higheft treble, and fecond orig originally originnllv or imitation, or inconcinnous intervals or inftrument or inftrument. or inftrumental. or inftruments, or inftrument that or intervals, or intervals. or in the or in the courfe or in the ratio of or in three parts, or iron, or irrational. or key, a or lefter fecond. or l'is t sso, the fame or loweft of their or lowered to a or lower parts. or lower than ut or low treble or maeftuofo, intimates to play with or makes or making, or or menfura. or middle or mifurata, or minors, or mnflca or molle, or more fimple concords. ornament, ornament. or never ufed. or note which or odes of the ancients, generally or of thefe figures, i% 2% 3% or of the laft or opportunity of learning, in or order, from the or other hard wood, or otherwife, to or over another. or peafants dance ; or pendente, the contrary. or perp etui. or pertaining or piece of melody. .or pjaclice or playing, as maniera svegliata. or plays now ^and or plays only or plays the or prattka modernay or rather bifdiapafon, a compound or rather minuet. or rather the or rather thus or reply, or rhythm. or ricercata. or roundley, or se/qui quarta dupla is marked or sesqjji and sub. or solmizare, orstoccato, fignifies or tempering, in mufic, the ac- or tenarcleff, ktjrt th(r) or tertia or the or, the or the sonnet is naught. or thiorba, a mufical inftrument or third or tibia, or tone, as or tones. or tones of a voice or found. or tone, viplin, csv. or to proceed contrarily. or (trained. or trigonon, a mufical or triple of 6 for or triple of 6 for 2, and or turned or with a feather, o-spat^fa, osservanza, ostinato otacoustics, otavina. o that the dia- other other, other. other accompliihment of education, other agreeably. other apparent. other as other effe&s, which other fort other instruments. other minor ; this is our b flat. other nations other nations. other notes is expreffed. other of thofe modes. other parts conclude other pontifical inftruments. others others, others. others, and ftill be bitter. others are taken off others diatoni. others feem only others from pan, to others major, as diatef- others mentioned others not. others, the octave beine the other the ftring other two. otherwifc otherwife otherwife called duclus revertens, otherwife called mutation. other wife called the otherwife called the otherwife term concords. sec other wife would ottave rifing by ottupla, ottupla. ouave comprehends the oufly ought. ouillia, our a, if in our canto, haut our ears our fixth tone our fonata. our quaver. ours. our third octave. out. out ceailng to be authentic. over over tne note overture, overture. owing owing to guido aretint, a own. own accord. own alphabet, a, b., owns ox hyper- oxipicni are p. 88 lines paffions, acting in the foul .pafiing pa fiions, expreffions, &c. paflages, paflions. paflion, to relate pafon pafs pafs thro'. pafted, to pais pancirolus feems of this opinion pancirolus, p. 201. pan do ron, papias, p. 99, 187. 'parafoni - paramefe paramefe. paramese, parancte diezevqmnnon paranete paranete, paranete and paranete diezeug- paranete diezeugmenon. paranete hvperholoson paranete hyperbolaon. parations, and muft parhypate parhypate hypaton, parhypatoides parhypatoides, paribus, the part part, part; part. part, as alfo the feventh part defcend the parte part fyncope parti participation. participato. particle sefqui, they particu- particular particular, efpecially particular fweetnefs mixed with gravity. particularly particularly. particularly a particularly admiration, grief, particularly a fmall particularly fo called. particularly given to the particular order of degrees particular places, as particular thing, follow particular vibrations, different partiente partiente terza. part in a concert, called! part in the part, isf, generally partition, partition. par tito. part of a part of a fong, part of an part of a tone, part of a tune part of his albori mujicali. part of the part of the bar part of the fyncope, part of the fyncope ; 2dly 9 part or inftant of the part, or vice verfa. parts parts-. parts, parts; parts. parts as parts, as parts, as tenor or parts at parts, called parts, flrophe, antijlrophe y parts of a piece to be parts of fonorous bodies. parts of the parts of the meafure, parts, or for parts, the rules parts, to intimate, part with> and part without violins, &c. passa g 10, passage. passep ie passion a to, pastoral, pathetic pathetica, pathupatc hvpaton paton, q. d. pau/a nia s, p. 49. paufa di femi-croma. paufa di majfima, paufa di minima, paufe, paufe of a large-, paufe of a minim, paufes*- paufe the fame, paulus diaconus, p. cr. pause pa use. pause. pause and rest. vvi, payions or affilions. pcfe the tritone chromatically, pcllux\ jules, p. 44. peculiar to the innej pedals, pekin, caft in the pels, or great concerts. penitential pfalms penna, lorenza, p. 30 1, 3024 pentachord, pentachord. pentachordo, pentaton, pente and dlateesaron. per. per' per and fug a. per arsin, per thesin, per arsis. per article, perception that perfect, perfect. 3^, that perfect cadence. perfect fourth has a very perfect, in their parts perfection of harmonies depend perfection of the perfection, that it perfectly to be learned, perfect or perfect syft&ms, perfetta perfetta, perfettafr^. perfetta. see ses qjj i perfetto in italian) denotes perfon and excellent perfon indeed un- performance of performance was, in any performed. performed by the performed, fo performed in equal times; performed with the voice. performer as performs perfumption, that as we periecl:, permanentum, perpetui perpetui, perpiex'd. perplexities. perrault, p. 25, 236. per thesin per the s in. pert in a cc pes, laws. see mo do andtuono. pet. pets. petteia. petteia, according to this author* pfallendo pfalm. pfalmi, are evening fongs. see pfalms of ---pfalrns fir the vefpers. pfalter to pfaltery, pfaltery and pf ftringed niufical instruments, pf longer duration pfohmy ^pfqai oflave ratio of 9 phantastic phenomena phenomena of tune deduced. "phonics phonies played before the voices begin ; phrafe phrafe, phrygian. phrygian mode, phyfrcal, physic a mufica. piace. piace, rrr repeat piagdle, piamento, according to zarlin, pianiffimo, or rather a piano piano. piano piano, piay'd picciola picciola, picciola. pieafure, piece of melody of that fpecies. piece of mufic for, piece of poetry, pieces of piece to be play'd afterwards. see piene, the heads pieno choro, pieri, temperas, piknos, pins, pins or fcrews pio. pipe, like pipes are pipes are of pewter, pirjl, pit* pitch pitch. pitch fuch as pitch of tune, pity, p i u, a little more, piu allegro. piu piano, pjean, pkafe the ritornel, or the chorus, &c. pknth pl a and triple. place place, place. place.) place and figure in as placea spetri. placed placed before placed before the great placed between them, placed in placed over. placed the letter place* or places places of the place to place. (placing mi in "plagal. plagale, plagal modes. plagal of the doric plain plain. plaincw. s r chant. plain defiant. c plain, that play, play a dif- play'd or fung muft be repeated or played. played and ftoped by the played by the violin alone. played by two ranges of continued keys ; played on played plain and played quick, player playing play or fing after the plays or fings the bafs ple. pleafed. pleafure fought derives. pleno ple or original concords ples, plexity, almoft improbable. plica to, plies. pll h^ which plutarch, ply myfelf to that ftudy. pneumaticos. seestromento. poco piu allegro, pocritical, poem poetica, poetry. pofe pofed in fuch a manner pofer. pofes a concord following pofes the other a concord. pofition pofition, diverfified pofition whereof, pofitive poflibly point point, point. point and corona. pointed but point only points defcribed under the above points of divifion, points wherein a diagonal point to compleat the meafure. pojitions. poluti pomum jdami,'the ponticella, pope gre- porphyrius, p. 148, 202. porro a quonam portable portable ones of the portion, portion. portion of 12 portlon. portvent, which posaune, posa une, tromor positio, position. posit ion and st yle. position, free positive, pot ens. potentia. potenza, potenze, powers p. parran, p p, fignifies piu. piano, praclice, practical, practical muficians practice practice, practice. practice* practice, but as they are often practice of mufic practice only, becaufe there practice, or the ancient practice; the practice will find practitioner praeticioner . praftical pra&ifed prani, prated prattica, prattico, prattico. prcflambanomenos pre- precarious precautions, prefacet prefed, laboured. this word prefent, the preffc). prefi'iffmo. prefio, i. e. prefixed prefixed to preflo preflo oxflrettol prefs the oelave prefted by preft'ffimo if the prefuppofing, that prehdio, pre/io. prejiijfim-), prejiijjimo. prejlo itfelf requires ; prejlo, lefs quick. ' see prelude, prelude* prelude, overture, premiditation preparation. prepared by prestissimo, presto, presto. presto, largo, adagio, pretent. pretty quick, pretty quick, but not pri. pricious prieft, priefts priety, primarius. seeprotos. primary and mutual relations, primary relations primitive sound. primo primo, primo, -- princess principal affection of principalis, principalis. principalium & principalium, principally principally neceflfary principalmrn. principle principle. principles printed by c. printed for j., la, prln- pro- proceed contrary proceed in proceeding by tones and femitones. proceed in the like proceed to modulate for 4, 5, 6, produce barfhnefs. produced produce the defired produce very different effects. producing a fweet found. proerefsion. profe proficient in proflambanomenos* progreffion progreffion of progreffion of the pr ogres su s celer. prohibito, forbidden, projlambanomenos^ projla?nbanomenos. prola- prolation prolatione maggiore perfetta, thus prolazione prolong it's time by one half, e. prominences or bridges, prop0rtion proper article, proper article. proper article, fee alfo proper.; difference proper for dancing, and properly properly, properly a canon or fugue. properly, according to zarlin, properly a grand free harmonious properly an interval, properly as properly called the properly mufic tranfpofed, as properly the properly the chair oxgan. proper place, proper place. properties of found, prop media. proportion'. proportional to the proportion of 10 proportion of 24 proportion of the proprieta. seenote and virgcjla. pros la m- pros lamb anomenos, prosl amb anomenos and system. prove that their meafure prsfa, p*rthesin. psalm psalm. psalmody. ptclemy argues, pteat on both fides. pther parts, pthongos, ptolemy, p. 18, 28, 113,133, publick manner, publifh pulfatile pulfatile kind. pulfatue inftruments, pulsatile, punctum, point, ee punctus, punfo di taaj punto punto, punto. punui convenentioe punuo d' accrejjimento, or put a found or note, which put along the put fhould be filent. put to fignify, ^p which pyknus. !* pyrrhichius, formed pythagoras, pythagoricum, which perhaps qcjupie, or q is the feventh, qjj aver. qnote, qrado quadri, quadri partiente ost quadriplicate, quadro, quadro or natural thus |jl quadro,ox qua- quadrupla, and fo quadruple quadrupled. qualities, which appear in too quality of the found quan- quantity in quartarius. quart-fagotto. qu atricroma, quatuor. quaver qu aver, qu aver. qua ver- quaver, quaver. quavers, quavers and queant queant iaxis queft -quelbjj: quently quently. qui alterai, but fee proportion. quick quick , quick, quick. quicker. quicker than largo. quicks nearly the quick, that we judge one qui e t o, maniera >uieta. qui nee aeumine, qu inta. quint a, dia- qu intuple qui per tranfdentia inter- quired in quite lifted -quitta, quoque pifcibus, r1ditta. seereplica. r1ple, racter among the others. racter of the air. raculous raddopiato, & radoppiamento, rae. rahanus, raife raifed raifed, or raifed three diefes. raife the rant. rate or disjoined chords rather a chant. see rather lyc h a nos, which fee. rather than rather thefe rathtr phrygio. ratio ratio 3 ratio expreited rational, ratio of ratio of 2 ratio of their ratio quadriparziente quinlo, as 9:5. ratios conftituting ratios of 27 : 20. ratios or vibrations. rauje of jemifpect to rbythmus rbythmus three ways, reaches the octave. reach of experiment. readily , reafonable. reafon and experience. reafon that in practice reafon to complain. reality reality 'tis the fame really flrong and fonorous, re a tone rec1tativos receive the mixture with pleafure. re) cenfetur reci- recitante. recitare. re citati- recitative recitativo, recitativo. recitativos. reckons the red, inftead of four in reditta. see fuga and replica. redoubling,, as reduce a redundant redundant fourth. refearch refembling a lute. refer'd invariably to referred to the scythians-, refinous refis or paufes of reflection, reflrifigente. reflus, refohed. refohed by refol re fol re fol, re fol. re fol flat like re fol of refoluie, refolution of difcords. re fol ut, or g, refolved refolved by a fixth, refolved into, are refolving refolving them is explained. r e,fonare re for their refound refpecfc refpecl: to the fhrill refpect to refpect to a flngle voice, reft reft, reft. reft during the chorus. reft in reft is reftrain refts refts, refts are refts are four, refts of different refult refults regard to regard to the regard to the fecond, regina, a kind of anthem. see tuono. register, reg ol a regula, regular air, which a mufician plays regular cadences, and fuch like. regular, in regularly be doubled as the fifth. regular motion. rehearsal, reiec^ing the arijloxenian reign of toulo\ each of "rejl, crotchet reft, &c. relating thereto. relation relation, relation. relation of relation of a difcord relation of every fimple relation of gravity, remaining in guido's fcale. remarks on remember 1240 remembered, that the remijfio rent rent parts of the piece repeat, a character, {hewing repeating certain repeat, replica, repetat u r, repetition, repetition. replica, replicata. re plica to, replicato. replies, reprefented by as repressa, required to requires nine requires that requiring the research, research, volun- resolution, resonance, responsay retained retreat, reverfe thus rhytbmus of mufic rhythmice, rhythxmopoeia, riable in the fcale,. ri ation. ribatiute di gola y sec. ricerc at a. ricercata, rich, florid style, capable ric, ltydian, and phrygian ; riditta, riefts, numbers cap. x. rients having chords or firings, rife rife ; rife and but one in a fall rifes in rifing alternately rigadoon, riga line, rine. ri piano ripicnos^ one rip ie no. ripie'no, ripieno, riple riposta riposta. risol (jto canone. ri s_vigli ato, this word ritornante rivogliomento rivogliomento, rivoglzomento. rivol- rivolta re. rivoltare, rivoltata rneafure rnents fet to unifon. rnodes of the rnuit robertfop, 2 s 6 d. rod, as rofe, romanifque lyra, plaudet rome roots, viz. rostrum, rote. rot os, d enter rough and roujfeau, p. 18. roulade, roulade. round round, rower, and royal highnefs cannot, royal highness r. preceeding. p. 75 1. rriufic. rtfg rtn<> rule rule, rules rules with refpecl: rule, to running a divifion with the voice. rytbmica, becaufe it rythmica rythmica. s& 9 which sac- sac but. sacbut, sacbut. sacbut, but more proper- sacbut, trombone, sackbut. sagetio, sal- salmi salmi, salmodia, salmon, 32, 218. saltar el la. salto. s alto;) and salve sambucus, sambucus. sampogna. seezampogna. samuel moreland, santa. see responsary andla- sanue johannes, sarazensy as well as the sat ion. sau- sauveur, p. 33, 93, 94, 265, saviour is lifted up, whence the name. saw/. scale sca le scale, scale. scale and octaves scale by gnido scale of semi- tones, scaliger, 2g, 122. scanello, sccharmonical. scenic a, mufica. scenica, the scheme annex'd. schisma, sciolto; sciolto,-/w score, score, by j. f. lampe, 6 s. sec. sec interval and third. sec music fed second second, second. secondarius. secondary relations. second containing four secondly, secondly, arithmetically, secondly, if secondly. if secondly, that it is secondly, to keep secondly, when added secondly y if they have tails se con do and second, tiraia defefiiva, secorgan. see accent, buono and cattivo. see acuteness and gravity. seeadagio, presto, see alfa see alfo see alfo bar, measure, and point. see alfo flat and sharp, and see alfo fourth, &c, see alfo interval. see alfo motion. seealfoo. see alio sound. see all eg ro. see arsis an4 see bas- see bass and burden. see bass and viol. see bassoon. see bassviolin; see binary. see bizzario. see buono see bv ccinje and see ca no ne in partito. see canto see caof mufic. see capeila. see ch a cone. see chord, see chord. seechord. see chord and concord. see chorus. see chromatic. see chromatic and diatonic. see composition see 'co m posit ion. see composition. see composition, melody see concert. see concord, see concord. see con cord and harmony.. see concord and unison. seecounterpoint see counterpoint. see counterpoint and sogetto. see descant. see diagram. see dia pente and seediapente andfifth. see diat8sar0ne see diatonic. see diesis and enharmonic. see discord. see dissolutio and pro- see ditone and vibration. see dodecupla. see dori c. see ductus. seedulcino. see each confidered under see each in it's proper place. see each under it's see each under it's pro- see enharmonic and genus. see en harto the see favori to. see fifth. see figurathe time see fistula and seeflstula. see flute and see forte and fortissimo. see fourt h. see fourth. see genus and t-etracord. seegounterpoint. see gravity and acute n ess. see gravity,' &c. see guitt arr. see hand. (see harmonical division.) see harpsichord. see hyp a ton and system. see hypo. see hypodoric. see interval. see interval and con cord. see interval and concord. see interval and tone. see lute and harpsichord. see lychanos hypaton, see lydian. see lyra, see measure and time. see melody.. see metrica and rythmica. see mode andtuono. see modo. seemodo, tempo, and prola- see music. seemusica. see music and seemusic andpart, seemusic and symphony. see music, octave, and tone. see note and see not e and staff. see note, crotchet, and quaver see octave and diapa- see organ. seeparamese andsystem. seeparhypate me- see part. see part it ion. see part, music, tre 3b le, &c. see pausa andrest. see perfidia. seephanta- see proport ion. see proportion. seeprotos. see psalm. see recitat ivo. see rit orne llo. (see rondeau.) seerotundo. seesalto see salto, see salto. see scale and see sesqui, epitrito, and see seventh, major and minor. see singing. see sixth. see sixth and hexachord. see solo. see sonata, see song. see song andtune. see sound, see sound. see sound and octave. see spiadds, see spinet and cl a richord, see spiritoso, see st ring. > see stromento. see st y le. see sub, super and proportion. seesuoni. seesuono. see supposition, see supposition. seesynaphe, tetrachord, seesynaulia. see syncope. see syncope and see system and see system and hy perboljeon. see tab our and drum. see tetrachord and system. seet.heorbo. see third. seethird, fifth, &c. see thorough see time and triple. see time, tiple and common. seetime, triple, and minim. see tone and see tone and semi-tone. see tone and tiro no. see tone and tuonq see trias harmoni-ca. seetrias harmonica. seetrillo. see trio. see triple and time. seetripola or triple. see trom bone, see trumpet, seetugno. see tu n e and con cord. see tu ne and sound. see tuono, see tuono. see unison. see unison and chord. see vibration. see violin. seevirgula see vocal. see voie e and part. sefqui sefqui quarta 9 sefqui terza. sefqui third, segno. sejlupla di fe mi-brevi, semi- semi, semibreve, minim, &c. semi -ditono se m i-fofpiro, semi-quaver, semi-tone- semi-tone. semitone. semi-tone. tone major. se m i-tripola, semk seml-diapente, a senz.a violiniy septima, septimus sequently have the fame names. se/qui se/qui alterai, se/qui se/qui altera maggiore servius, p. 15 sesqjji oclave, is ses qjlt sesqjltialteral, ses qu i sestupla. settima. settim an a, seventh, seventh. seventh lefs seventhly, seventhly y seventh, punto several in the s ext a. sexta, sextuple sextuple. sextuple of a femi-breve, called sextuplple. sf* the plate annexed. sfuggito, sfv. shake, which sharp, sharp. shiarta, sia and prelude. si, and the sic. sicond siculus, p. sidered, that sieges, battles, victories, sieges, medals, &c, 1 8 s. sieur loulie si for sign. signa sign a, signifies bafs or baflb. signifies properly signs, fuch as the notes, sillaba, sim",' simon, f. p. 10. simphonia, simple simple, simple. simple concords. simple counter-point simple counterpoint, or the simple fugue ox fimple sincopation. singing, singing; singing. sion. sistema. sixth sixth, sixth. sixthly, sixths in reality being skilled in mufic smithfield. smorzato soave, orsoavement, sofpiro, soft sogetto. sogetto, as well sogetto, laftly, \ sol. so let any number of solfaing. solfeggiare, soli, soli. sollecito, sol, re, sol, ut. some " some some add some make some organ ifts add sometimes sometimes a play of sometimes the sometimes the treble v. g. sometimes to, as son. son a, son and system. sonata then song son g song, song. sono, &c. soon and sophy. soprano, sospiro, sost enuto, so ten dull words so that a well so that the fame so that the fong sou n sound sou nd. sound, sound. sound and phonics. sound board. soundboard, sound from adjacent bodies, sound, interval, system, genus, sound. the qualities sound whereby it becomes fitted space, spain, spanijh follies^ spartans banifhed speaking speculativa, or theorica, that speculativa, the spiccato, spihette. spinet spinet. spinets, spinets and organs. spinets, harpfichords, &c. spinette, spirit o. spondeasmus, spuggit a.. srgtts/a, stabiles stabili, staccato staccato, staff of eight st ambrofe. stands for solo% and stands for tutti, stb: stem, stem. stem, fourth, &c. stentorophonic tube, st gregory st hilary, bifliop of puttiers, st ignatius stinction. st jcro?n obferves, among the number, st john the bapti/i'shymn. string string. string and chord. string ftretched by a weight 1. ^string orchord. st ro ment o. st rom en to. strom en to. stromento, strophe, sty: style style, style. stylo stylo. stylo eccleftajlico stylo recitative, or styz,$ sub, subdupla, subdupla fub subito, subprlncipalis succejficn there such such a dignity suetonius, dion, strabo, suffolo. sugni. suhjeft, sump suonantina, a suoncf* suoni su oni suoni, suoni. suoni and suoni, are founds diftant suonl suonl seesuono. sup- super superior e, supernumerary, suppofe, suppofing supposition, supra. sure. svegliato, syftem syftrum and syjigia, syjlem. sylburgius, p. 49. symphoniale, symphony, symphony. symphony andsynaulia. synaphe, synaulia, syncopation syncopation, syncopation andsyn-, syncopato syncope, syncope. syncope.,, syncope confonans de synem* synemme- synkopto. syntono, syringa, syst em. system according system, proslambano- systrum. t0ndo, tablature, tablature of the lute table table, table like thofe table of compound triples, table of fimple triples. table of firr faftened table of intervals, fimple table of natural finals, tabor, tagliato tail tail, tain tain a full fenfe, tain but tained tain proportion tajlaturo) take take any take breath, as to taken. taken, or takeri takes takes off only one of take upon taking tal, talk tando or recitare. tapto, a beat tar do. taries, tarings* tary, prelude, and overture. tatione per syjlema. tation, fugue, tatives, play the ritornellos, tativo and sost enuto. tave and interval. tave, or the ratio of tbefe figures , in %>t by two voices. teach a compofer in tedious ted parts teen founds in the octave, tem. tempar ament. tempera- temperament, temperament. temperament o, temperato. tempi tempi, tempi. tempo tempo. tempo, pro- tempo, prolatione, are tempo regiato ten. ten, as tender and tenderly, gently tener found p rot us, tenfion, tenfion had weakened. tenfions, tenor tenor, tenor. tenor, and bafs violin* tenor and bass. tenor, &c. 'tenor e tenor e, tenore primo, tenor is ta, tenor violin ter- ter, ter. term term, term. term, as 4 term do contain the lefs but twice as 4: 2, 6 term improperly terms terms. terms and characters, terms in mufic terms which term was antiently term with regard to duo's, a ternario tempo, ternary measure. terpoint, terpoint. ters t e r t a conjunclarum. j t e r t a excellentium. 3 ter tenor, ^tertia. terval. tervals tervals. ter val. simple, tervals, the firff terz.a, terza, terza 9 terza, iilz. terz^a, the triples terzo, tessaron. testudo, tetarios, tetrachord tetrachord. tetra chordon tetrachords tetrachords. tetracordon, tetradiapason, tfanjpofed. tffv. is tfis thai than than a balloon. than a femi-tone j than an oetave, or 1 2, /. -e. than forte. than in the following table. than it's natural tone than major. than that of the than the fifth by a than the middle one. than the ordinary ones. than the practice than they would be without fuch than three founds, as third * than with the chord that according to that a femi-breve pointed is one that, affection that among that any note which that are that a syflem is compofed of two that author, that becaufe this letter that befides the harmonical that bird that by placing the that cafe, that cannot be divided that concord* that cornets that fhould that fix that flruck with the whole number, that frequent repeti- that fundamental. that habitude of that has five firings or chords. that have difpleafing effects. that have their founds that if a fong being that if this be that in fetting mufic to that introduced their ufe that is, with any great pleafu re. that muft be played by that muft not be that now that of a crane's that of a guittar, that of a quaver that of difcords. that of flutes melancholly a: that of magnitude, that of the other. that one of the parts that only the three that parhypate that part of a that part of a concert that part per- that play that played that play the tune. that proceeding that the diapafon that the found that the key that the meafure that the preceding ftrain that the seventh that time ufe j that touches that which a mufician plays ex- that which anfwers thcfe -the 'the the- the. the* the 2d is refolved by the the 2d is refolved byunifon, the 3 the third, &c. the 4th by the 3d, the 9th' by the 8th, the accounts the actual production of the acuteft. the afcending the air the ancient the ancient authors the the ancient greek mufic, the ancient hebrews, the ancients the ancients, the ancients. the ancients, and at prefent. the ancients called the ancients confuted of a the ancients however, the ancients indeed ufed the ancients, odes fignified the ancient syjlem above explained. the antient mufic, the antient mufical the antient muficians, the antients. the antients could the aperture. the articles of the art, knowledge or practice of the art of fhaking or theat , &c. the bafs the bafs. the bafs firings are the bafs goes the bafs inftead the baiibon. the baptijl, ut the bar inftead of the bars lye the beating oy the beft. the beginning of the beginning. see dc. or capo. the bellows the bellows, that one the b mi or (harp the breve and femi- the breve pointed the breve then contains the c the cadence with a reft, the cafe in the the can- the can-* the character | is ufed, the charge the chofen the choir. * the chord the chords the chords of the chorus. the chromatic diefis exceeds the circles, and without being the circumftances of the place the cleff the cleff of the the commcn chords are the compafs thereof, the compafs thereof, whether in the con- the confidering or examining the conftitution the conjecture, the contrary, the contrary. the contrary, a the contrary feldom is met with the counterpoint the curious the degrees of gravity the deity of medicine. the denomination of trumpet the diameter yi y the diapafon the diapafon confift in the diapente the diatonic the diatonic, the diatonick ; which fee. the difcord. the difference, of the different the diftance of a third. the diftindtion apparent. the dimenfions the ditones, tritones, the divifion the dlefis chro?natica. the dominant. the dominants the dots the double the double oclave was the double octave the dtfdiapafon is an octave the dumb fhews of panto- the effect of the effect, of the eight tones or the end, the end. the end of the proceeding the end or the enghjh quaver the englijh the enharmonic, the extremity of the f the fame the fame account the fame as the fame as da. the fame as femi, half. the fame as largo. the fame as our triple quaver. the fame as rotondo, which fee. the fame burden. the fame difference to two, as the fame found the fame found. the famefound, the fame ftory. the fame kind. the fame leaf, fo as the fame letter. the fame principle arife the fame thing the fame thing, the fame way, as the fame with the fame "with the fame with cytbara, the fame with diatontci. the fame with index. the fame with moftra^ or index. the fame with point of the fame with rotundo. the fame with taclus. see the fame with the hyperlydian the fame with the mo- the fame with untfon\ the fame with valore. thefc, the fcale, the fcale of mufic, the fccond,) the feventh the fcience. the fcience of found the fcventh thefe according to thefe alkjuot parts thefe are often ufed thefe are placed, thefe bars the fecond the fecond, the fecond. the fecond and fourth. the fecondary relations the fecond beft the fecond from parhypate the fecond fuc-oclave, the fecond is the redundant the fecond may the fecond oclave of the the fecond part thereof, thefe difcords, thefe diviflons, the fee >ndj was thefe marks & the femitone the femi-tone the fenfible intervals of thefe notes are help'd thefe of confequence thefe oratorios are the feparate thefe portions are thefe six by mr leadbetter. thefe tails thefe terms, thefe that are the feven mufical notes , the feventh, the feventh chord of the lyij, the feventh, the chamade ; the feveral parts. the fhape of this the fhorteft *?, the fhort key the fifth the fifth was a the figns that the figure the fimple the fimple 3 the fimple, double, and the fimple intervals, the the fimple of two the final of the final or laft note the finger that the firfb the firf!: conflits without found, as the firft the firft bafs. the firft chorus, &jv. the firft is called major triple^ the firft tenor. the firft treble. the firft was, that the firings without the the firjl bajfoon. the fitted for dancing. the fix the fixed fcale of inftruments. see the fixth reverfed thefixth tripled. the flrft confonance the flructure of harps. the flute, only thefmalleft of the following the following attempt the following feries. the fong defcend four the fong runs high. the fong, to purfue the fore finger the foregoing example of the fouls of the the found. the found it yeilds is very the founds the founds fo given. the founds which compofe the found that refolves the found, the middle the fourth the fourth 1 the fourth doubled. the fourth from the fourth indeed, which ia the fourth part of a the fourth was the french the french. the french call, the french mujicians will the french the the ftaff of five lines, the ftreets they thefts are the ftyie of cha- the fubjecl: the fubjecr and counterpoint the fubject, the fubjedt the fundamental the fuperfluous the fuperfluous fifth the fyftem. the fyllables. the. g the gamut, (the genitive cafe the gods, chiefly the grand chorus the greateft the greateft part of the greater feventh. the greater sixth the greater tone the greater tone, the greater tone 8 the grecians. the grecians agoge, by the the grecians gave to a fpecies the grecians ufed) the grecian syjlem, did not the greek j^(c)-,*/j7, the greeks, see io m the greek vc\i 'the grotalum the ground the guide the guide or leading the hand the hand in a flow the hand or foot the hands or fticks, as the har- the harmonica the harmony. the harmony mr malcolm the harmony, the counterpoint the haut the hautboy. the hebrews made the higher founds, the horn, the horn, as the houfe the hounds have loft the hymns the iimple the interval the interval be- the interval of the interval of a tone be- the intervals of mufic. the intervals of this fcale, the invention the inventors of mufic the ionic their their. their affjlance. their city becaufe of their compafs or extent their conflruclion their definitions their difference, their differences. their figures their figures. their founds are in their full quantity, their, fyveetnefs their game, to call them their happy rhythmus. their mufic, their mufical their natures, properties, their office their other rigid their particular their parts the irrational, are fuch their ratios their ufe their vibrations, their viola the/is, are the ita- the italian the italian. the italians the italians, the italians call the italians exprefc the italians give thofe the italians have the italians, nonupla di crome, the italians place the the italians put di grado, they the italian word fora guittarr. the jews the jlrain, the joints. the jule of ceres, the key. the keys the keys of the kinds the laft, the latin the latin cadencia the latins the latins term the latter ac- the lcaft the leaft acute the leaft diaflem, the lefs from the lefs imperfect the lefs sixth the lefs tone, that of 10 the legature of the leiier terms or the lenor the letters which tope greqorymade the library of the the like kind, viz. that 'the line the line the linea the lines. the long the long, the long breve the long is ufually equal the long reft the loudeft of all the loweft. the loweft, c the loweft chord a the lower the lyre, the lyre. them them, them. the main, them, and them any interval, e. g. a fourth. the marino buccina given by the marking them a tune them by the meafure of four times; the mean the mean. the medium, and the organ. the method this the metrical themfelves about fuch tranfpofition. them h equal the middle interval the middle notes that the middle of every three the mind. the minor the minor modes the mmochord the mode. the mode or key. the modern the modern cymbal the modern organ the moderns fince glarean call the modes of tha the moft fimple the moft remark- the monochord the moors, and the motion the mouth them precifely them the the mufic the mufical infiniment makers, the mufical notes, ut, the mufic ought to them unifons them ; whence are them wind, then then? then* the name the name of the names, the names of the natural advantages of the natural note next below, then becaufe thence to the the neceilary variety the neck, then if the fong then in fome-particular places. the ninth; then not of miific ? the note the note called the note over the notes thenotes. the notes according to the notes are black, as the notes, are fix'd the notes of the notes of. the notes only the notes thereof be the note the the nth by the ioth, thentic and plagal, had /, then we appiy the objects of the oclave the octave the octave, the octaves above the office of the old the only ratios the open firing theorbo, theorbo. the ordinary pitch theoretical, the organ the organ. the organ, bag-pipe, &c. the organ play'd. theo rico, the original the original concords. the origin and theory theory, theory of any art theory of whifpering places. the oth by the 10th, the other the other. the other lines, and fpaces the other raife the others the p the pafjages the part change the parts the parts. the pavan was the people ling in chorus the perfon the performers all in tmifon the p fa the piece has fo the piece is in the fame key. the pins which the places the places of the pins the placing a the plagal of the the plagal of the folic the plagal of the ionic the plagal of the lydian the plagal of the phrygian the plain chant of the church. the plain fong, fuch, the poean the poflible the points the prefent fcale for inftru- the prefent fyftem or fcale the priefts the principal the profiam* the progreflion of his founds, the proportion of the proportion of 16 the proportion whereof "the puifatih kindk called the pulfatile inftruments, the pure the pythagorean the. pythagoreans^ the quantity the quantity of thefe, the quantity which the quicknefs of the time and ther the raoft eloquent pen. the ratio the ratios of numbers. ther, called the reader will the reader will judge of the reafon whereof, is to play there are but there becomes common time. there be dots there can be but there can be no other. the recheat, the redundant the redundant or the reflexions therefore called therefore in therefore very eafy to fing. the reft the reft, the reft. the relation of the relations the relations of founds, there may have efcaped fome thereof. thereof; but in mufic the thereof, to give the thereof without there remains the retreat. thereupon fixed them on an equality. the r. italian, p. 24 1. ther natural or accidental, the rneafure the rneafure of fix times. the rnoft porous ther one the ro?niji) ther two, the rules the rules. the rules are as follows. the sacbut the sacbut. the scale the semi- tone the semi -tone is the shake, the siyk the sound-board the speaking "trumpet. the syjiema imtnutabile con- the table the table after fuch divifion, the table, and the found^board the tenor of the the tenor of the firjl and the term the tetrachord the text or fubjeft the theory of mufic, ufe t(c) ex~ the third the third, fixtb, &c. the third minor the thirds and fixths the third very quick, fignified by the third voice the thorough bafs. the three relations the time the time, for which fee the time of a minim, &c. the time or the tintinabulum, *. the tone, the tone. the tone of a the tongue, the tampion, the treble changed the treble of the grand chorus, the treble or the trembling of the bridge the triple ? the triple t the trite synemmenon the trumpet marine the tuba stentorophonica, the tube. the tune the tune, and vice ver the turn, the twenty-eighth for the two firft black ones enharmonic, the two foot rule, ring the two numbers, and make 4 the ufing the ufual intervals in mulic the unaccented part the under one of each clafs. the unifon firing then the upper the upper line the upper one of which ftaves con- the upper or coun- the upper, which the value the value of a note, and the varieties the variety that the vibrations of the violin, the violin. the violin alone. the violin, except that the voice the voice. the voice flow, the voice, fo that the voice goes diatonically the voice has been finging. the voice or found being here as the voices were not at the whole the whole chord vibrates once. the whole compafs, as femi-diepente. the whole courfe the whole, viz. the wind the wind inftruments the wooden the wood, which the word the word comes from the word hands oppofed to grave. the word is the word unison. they they. they always remain. they anfwer they are they, are they are called, they are for they are imperfect. they are to ac- they are ufed. they be retri .ved, they call they communicate in the fcale, they con- they defcend. they differ they differ only in thicknefs, they divide as they do not af- the year they fometimes they had they had eighteen figns. they have a they muft be they often write they proceed otherwife, that they were at before. they were to be fung, which they were to be made thicks thin thing: thing. thing abfolute, every found having thing, but thing different, of which thing elfe, thing of thinks thinners thiorba. third third, third. third., third, a third and fourth otlave. third, and tone. third, fifth, octave or third found third, fourt h, third-, fourth, fifth, &c< third fpecies of triple time, third inconvenience, third is abfolutely forbidden. third kind of ufus by the grecians third, la third, lafl, third lefter, third line. thirdly^ thirdly-, thirdly, thirdly, (fays thirdly, in thirdly, that thirdly, that the black thirdly the characters, third major third of third or fixth. third, or the number three # third, or where the third part third part of the bar third rule above thirds thirds are thirds as they pieafe thirds, fifths, thirds inverted thirty fecond part of a femi-breve. this (this this, this; this 2, or this this art, this book must not this character, this character, %> called this confideration this continuity this fcale is this fenfe thisfhews this fign this fourth fyftem is called this fpecies this fpecies of legature, this frequently happens this fubjecl:. this fucceffion this has this head, this, ia this ( i ff"\s generally placed this inftrument this inftru merit is this intelligible, obferve, this is commonly played very quick. this is greater or this is the ufual this is ufually this is ufually played prejlffimo. this is very proper this is what this its this kind. this laft this line. this may this may alfo be called dia~ this mode this muft this muft be this muftcal fubjecl:, as this name this name is given to this negleet this new confideraticn of this often happens this one rule may this only regards the vocal parts, this order or this point this point ftill inone and a quaver. this prepofition this principle defines this table are difpofed this tetrachord this the french this therefore this therefore muft be inequality. this was the rife of this we may reafonably cotlecl this word this zarlin th jrd. tho- tho' tho* tho' even now thofe thofe again thofe bells thofe by tranfpofition. thofe fince guido, thofe fince guido, learned mufic thofe founds which the thofe ftrokes thofe of lead thofe of the latter b. thofe of the third clafs 5, 6. thofe of the wind kind. thofe others thofe perpendicular lines, thofe places thofe that play tho' fomewhat improperly, a cadence, tho* found tho' gaudentius feemsto thoie tho' never where the tho' of the thorough thorough bafs, as bajfo con* thorough bafs by the figure 6. and thorough bafs with thors fuppofition tho' the former tho' the progreffion be melodious, tho' there are tho* this is though wherein three and four parts, three at three ftanzas or copulets three in eadj time, three kinds, the three long % three or three or four. three parts: three parts of three parts only. three quarters of three quavers. three ratios three terms, three times or a three times, or a whole bar. three tones, threnodia, * thrice and the chord thro* throat and moiitji of* thro* the fpaces throughout. throughout the thumb thus thus, thus an thus a voice thus called. thus diftinguifhed ^. thus diftinguifhed i ; which thus do all the original thus explained. thus fhall we fee thus from 7% thus i, thus i_j the thus in the thus ==j thus j. thus marked, thus marked, jfe*. thus much thus performed. thus the hundred pfalm tune thus the proportion of 5 thus, ut, re, mi, fa. thus we thus we have a tic. tically juft ticle, ticular ratio tied by a. femi-circle* thus '"""v, -or \^y7 tierce. see third. ties; if they 'tie taken for a found, tifual tijftmo. time time, time. time according to its meafure, time an affe&ion of found, time, and time, and confequently eight time, and thus time, and triple, time, befide which there is bl~ time, common time does not only time, fix time is then ftri&ly to be (c)bferved. time of boetius, time of half a time of riling time, or ninth of a bar. times times. times, and beat times, and with, a times kf the times of the meafure. times, or one whole bar, time, thus fignified after time, unpointed, only two thirds, &c. time, which timotheus of milefus, ad- timpano. seetvmpanum. tims we tine tinguifhed tin perfectly flraight, tinued succejjion tion .tion: tion. tional to the fpecific gravities. tion and triple. tion, diminution, &c. tioned. tions tions, tions. tions of the oclave, as tions or paillons tion with tiorba, tio. see us us. tirat a, ; 'tis 'tis 'tis alfo called natural 'tis alfo taken 'tis alfo the rife 'tis a rule in compofition, that the 'tis certain that 'tis chiefly tis evident 'tis faid 'tis ftruck like tis nearly our 8th 'tis the petteia, 'tis this, 'tis thus 'tis to guida 'tis ufually called the firft note 'tis ufually covered with leather, 'tis ufually done tiutijlrcphe, tive tive, tive counterpoint. tive harmony of it's faculties tjje office tj often tjpla. di femi br. tlie tlieorbo tnc y contain but two times, tne^e arc tne word tn thorough to acutenefs, to a diflance. to another to an otlave if to approit to -arjftoocenus to artificial, or that per- to a treble, to be adapted. to be added to, to be always full to be beat extrearnly quick. to be beat flow, to be beat true and jufl$ to be broken to be compofed. to be difrinchy heard. to be diminifhed, to be found to be found, to be fyncopated ; and are to begin or open the to begin part to begin to fing or play- to be had to to be in the bar, to be made. contra punto fopra il to be minor, and if placed to be obferved, to be obferved, that to be performed by to be played to be played by the to be played in a to be played on. to be pugal or imperfeft. to be the to be ufed in war. to be white, to cadmus agencr's fon. toccatina, to change, to come. to conceive the ufe of to contain betwixt to convey to determine. to diffinguifh to diftinguifh, to diftinguifh one to diftinguifh thole parts to divide to divide the fifth, la to divide the intervals of to each to each other. to eighteen. to eight they to end. to end, finifh, or conclude to equal to explain it, they toexprefs to exprefs to exprefs the different to exprefs the paffions to exprefs the parlions. to fay, before the to fay true, this expreffion to femi-tone. to ferve by to fignify that the to fignify the fame thing. to find the to fing, or play to fix crotchets, to follow the dux or guide, to fompj to found to found by the fingers, to ftand in to ftudy arts and together, together. together agreeably, and together, and confequently together as one fong, together in a fugue, together in fuch a together, which make but to give a to give every note to give the to half a to have been to he held out to her to him without exception. to his judgment to hypate to infinity. to infpire devotion. to infpire the to infpirj divotion. to inftruments to introduce to judge what trouble this gave. to know what they mean. tolerable tom* to make to mefon, to mend to military t o, mixed, toms, to mufic, as it proceeds tone ton e tone ; tone, tone. tone* tone, and called die tone and sound. tone; as by the chord tone defired. tone major tone major and minor. tone major, the tetrachord was tone major, whofe proportion tone minor tone minor. tone, note, tone or fecond major tone or third minor. tones, tones. tones, a femi-tone tones and a femi-tone. tones and two lefs. tone, semitone, -tones nearly equal. tones, or tones or founds. tones or modes, tone takes the tone to be tone, tone, tone, tone. tongue. tonic. tonically, toni co. tonic proceeds tonic to be the true to notes con- & tonp to obferve the fame with toocc/iiclti too great, too labours, to one of the too quick* to other caufes to our hands, too ,,x ioxf-=-g=-,ad to paramefe, (boetius de to perfect the to perform only certain notes, &c. top, fhaped like a heart. to play to play or to play or fing in a brisk to play paiiionateiy, to proclaim the jubilee. to raife to raife or to reprefent, tories is neceftary in the to rife but a femi-tone, to run to run a divifion or to take away the flat. to that end, to that fort of mufic. to the choir. to the chromatic genus to the defective third, to the ear to the ear, be they vocal or inftru- to the fame notes, to the famous to the fecond to the fecond, to the fecond. to the feverai modes. to the fixth greater, is 27 to the following table, to the fourth, to the fourth. to the given note. to the hautboy. to the invention to the lad of thofe breves, to the learned in phyfic to the lines to them. to them wh to the next, as expreffing the to the other found to the parts to the theory to the third, a tone to the ufe of thirds to the various fpecies of to things to this purpsfe the to thofe to thofe different to thofe fundamental notes. to tranfpofe to a to twice the touch, touched and prefted touches. to ufe dif- tour royal highnefs's towards the end, to which country to words, toxenian fyftems. to young tprefer* d tragedies and concerts. {trained {trained almoft to traite de la viol, p. 76. tranflatidn, tranfpofecj tranfpofed tranfpofed. tranfpofed a tone higher, tranfpofed note, tranfpofition, tranfpofition. tranfuerfoy transfered transition transitu s transponendo#a terza, transposition, transposition. trapunti. trary of trcmba tre, treated as a diftonance. treatife treatife of eclipfes for 3 treatifes, treat of the treats only of the founds, treble cliff; treble firing, except treble firing, has ufually treble of the treble or treble, tenor treble, tenor, treble, tenor, andbasst treble to the treble violin tremente, 'tis not often tremes equidiftant from either. tremolo, tremolo. trernolante or tri, tria, triad-, trias trias harmonic a. tribracbys, trical triemituono, trigon, trigon, sambucus, trihemituono* tri hi, gioppi and strajcini. trilling trilloes. trillos, trio trio. trioy tripla- tripla, tripla fefqui tripla maggiore triple trip le. triple */, triple, triple; triple. triple and triple and proportion. triple, &c. tripled, 5v. tripled, as triple of triple otfave, triple ratio, triples triples are divifible into triples, as triples f, triples j triple this tripletime triple time, triple time. triple times. triple viol. triplicate, triplicate, &c. see fugue. triplicate; the triplicato, tripola or tr iple. tripola. see trisagion trisagium, trite diezeugmenon. trite diezeugmenon, the trite hyperbolaon. - trite jdiezeugmenon trite, paranete, trite synemmenon, trite synemmenon. tromba trombone trombone, trombone. trombone orsackbut. trop trouble as poflible true true, true and juft time. true knowledge of truly, truly fo. trum- trumpet, trumpet. trumpet. and trumpet kind; trumpet marine, trumpets trumpet, which is trumpet, whofe tube try if his 't-'s plain, t^trachorp, system, tuba tuba, tuba. tuba?, cornua, and littui which fee. tune tune, tune. tuneable founds through the tune compofed tune, concord, tune, either tune in three parts. tune the harpfichord, tune, thus tuoni ecclesiastici, tura. tural fcale, put a tural one. ture of ture, office, ture, the turn turn, becaufe turned. turned thus turned to the turniover, this imperative turn over the leaf., turn over the leaf quickly. turn over the leaf quickly. see turn quoties tutti or da cappella^ which tvhen the lafs or lower part 'twas about tween each found tween the two being a tween two founds. twelve femi-quavers in twelve intervals. twelve or more. twenty-firft twice over, as the vaudevilles of twifted in the form of a snail's. two, two breves, as, two chords, two, communicates with both two crotchet two equal two extreams mark two femi two femi- breves, two femi- tones two femi-tones, two forts, perfect and two founds two founds, two founds are two founds which two general two haut two kinds of two kinds of paufes two kinds of tenor two long, one two minims, two minor. two near two notes which imme- two of them two of which two or more founds be compared two, or more times two, or one meafu re two parts, for the two quarter tones. two quaver refis j two quicker than two, three, four or two times two times. two times, or a two unequal two ways txtup.i't femi br t^x^wallis, tyed tyed themfelves to tying tymbals tymbals, &c. or with a tympano, tympanum tympanum, tympanum. tzvo or three trebles* ually | or "* uesqjji quarta ufage, cujlom, habitude, or ufcd ufe, ufe. ufe+ ufe a point ufed ufed alfo for a driving note, ufed among the horfe. ufed as the other ufed at fea. ufed at large ufed by ufed by the italians in their ufed by the moderns. ufed for ufed in ufed in modern mufic ; a ufed in mufic. ufed in no other feafon. ufed in the ufed in war, ufed, the movement is ufed, three femi- breves, ufed to exprefs the air or tune, ufed to fignify that ufed to fignify that fuch a ufeful to the fight. ufe it with regard to the ufe of a dot or-apoint ufe of by ufe of horns, form'd ufe of the ufe of the fcale ufe of the fix ufe of this iranfpofaicn ufe of, to exprefs ufe the word ufmg ufs, not fo uftrument, u_ftt, celebro, i celebrate. ufual fo to ufually accompanied ufually beat largo or adagio. ufually begins, but always ufually cal- ufually contains three ufually diftinguifh ufually divided into ufually placed behind or ufually played lento or ufually pretty long, to ufually taken ufually taken that the ufually takes ufually wrft over the fign. ufual time ugale, ugale, orugalment, uh-f unlefs. ujiugro, iignify uk:d as the ult, ultima ultima, ultima conjunfiarum. ultra vires opus ! umally gay una altera volta unaccented, unacquainted una quartay &c. uncommon under underftcod of har; underftood underftood alfo of their octaves. underftood the under the under the article under the influence of the under the relations under three heads unequal to thefe. unifono, unifon, octave, or the like, unifons are in the unifons, oclaves, and fifths. unifon with the union or agreement of two unisonus, units in each univerfally, univerfal syjiem university of unlefs unpoco allegro, unregt oed. un ter%o a unto the fyftem of mufic. up-fide-down, a-crofs, cj)v. upon upon iuventing the notes, upon pre fling one {top. upon the upon the syncope more upon the uppermoft range upon three up or compleat upper or upper part fyncopes, and by upright, urnment, found on medals us fomething us to enter the ut, and it's ut a tone lower, ut cleff utfa 9 ut in alt fol ut natural. ut queant utrachords, utrum ab v1gessimo, vace, and denotes a v ag ante vagantes, and in their fyftem val. valli vietati. valo val! of notes. see valore, vals value value, value, before falling value, content ; as values of paufes variamento, variation, variation. variations, variazione. varieties variety variety. variety of thefe, as in a fons;. variety of ways, varioufly difpfed. varioufly ufed, various, various founds, various keys, to which the diffe- various parlions vear velo- r.s to be very grave and folemn. vsee modo. wailing plaintive manner. w and falling wanting to wants wants a point of ward of wards the was a fourth, and from *was allowed was anciently certain marks or was being obliged was bigger was called a perfect was confined to was conjoint was conjoint, was danced was divided into three was from mefe was known or practifed among was not was often very was particularly ufed among the poets, was & point was pope leo was required was taught them by was the was their extent was the propereft judge, was two lines acrofs three was ufed both was very was with the was wliat we watch ; the waves in way. way, and way of way of writing way, the compound will be wcr$ we alfo find .we come to the we conclude we muft we don't follow we fay mediately, we fcarce know we fhall fpeak more at large. we find we fpeak here as weft we (hall we (hall, we (hall fay more. we (hall here endeavour to we have a new weigh. w. eight of the well defined the fu well plagal as authentic. we mall add we may we may make we may move upwards we mould have no were anciently were contained were crown'd with gold were fung were incomedy. were laid afide. were required in the bar. were to be fung, we would wfteufs to wha1 what what are whatever whatever produced by an inftrument. whatfoever order. what fome what founds thofe what fpecies what fyftem, what has been what has been fa-id thus what has given what i fhould in vain attempt to what manners what properly belongs to arithmetic what the what the greeks what the itali- what ufe what we call what we czwjlurring. whcfe whcn when when' when a fong proceeds in when a note when another when an upper when any when any one whence its whence pliny takes occafion to whence the name jubilee. whence the whole when compared when compared with when fo learned when fome when fome dis- when governed by when it muft be obferved, what is when me makes when one when only when only one when taken when the when the chord was when the fixth is when the voice moves when they happen when they run many when two when two concords when we, when we fay in general, when we found when we would when zephyrs where 17 whereas, whereby each whereby four founds whereby we denominate where from the wherein each part wherein the third from wherein the word holy wherein they where it where nine crotchets are whereof four make a femibreve. whereof the con- whereon are placed whereon we learn where the fame chord where the mufic where they have been cut whether above or below it. whether applied in whether vocal or inftrumental. whicfc contained a whole which a femi-tone is the which all the reft are which alone comes under the which anfwers which are which are but which are difagreeable to the which are fuppofed to refemble which are naturally but femi-tones which are the which belong which by which by fome french muficians which by mere which cannot which changed the order of which compofe which confidered which contain which contains which corrupt and change the which derive which difference can only be which divided which divided it's octave which examines which, fays which fee. which feven minims which fhapes which fhews when which fome compofition which fome counterpoint which foon threw the which forbid that two which fyncopates never afcend which genus alone which genus appears which goes quite which he makes jubal the firft inventor. which he took which he took from the which imitates, which in which is quite which is to be played open, which laft fenfe of the word key (viz., which lengthens which made a which makes which makes great which may which may be which- may be added the following which method which might give rife to which modulation from one key to which moil which move whichmr5r^riadds two others, five which mu- which opinion which point from which put together, make a which r. 'which redound greatly which regu- which the greater terms which the latins which the new which there arc which the value which they called which 'tis, compared. which twelve notes are requitime. which we call bars, which we commonly which weighs which were the which, without which words are which yet while the other only holds who agree, who called who equally whofe whofe candor and whofe extreams are whofe fecondary relation is ten. whofe inward opening whofe lengths, &c. are whofe magnitudes vary (whofe name, fays bontempiy whofe octave begun at whofe parts are well concerted. whofe terms are as 10 4, or 5 2. who have wrote on whole whole. whole bar, and whole company, whole company are to join the whole found whole meafure, but who only who was fo well verfed in who wrote wilcox. will at the will be admitted* will be eafy to find will found will have this practice will, his fcale will offer will, the pfalrns wind wind go wind inftruments, wind kind, wind kind, be- wind kind, ufed among the wind kind ; ufed chiefly in war among wire, with -- with' with- with. with a with a balloon, &c. with a bow. with, and fome with and without with any with a perpendicular with bajfo with care and with care diligently. with concord. see with equlfetum or with firings refembling a lute. with fome marks to mew when with fuch art, that the me- with fury or with him in the within the compafs of the with it, and generally before a without any without any offence to the without ariving without delay, without found, or without parts or without violins. with perfidiato. with pleafure, with pleafure; with re- with refpecl: to acute and grave with regard to with' regard to chrildren, with regard to the rules with the with' the firings are with the fore finger, with the italian with them, with the mark # called with the paufes each with the third finger with the thorough with the whole chord, with the whole, mall with trumpets. with violins or inftruments ; with wire firings wmcri the fecond part, that women wood, which word word balet word concord word from a to t3 word from the greek, a/](c)"* fomething that word has a word is applied by the word is joined to word key word key, word molle intimates) than word only words words are well adapted words more flow. words of a fong, words tajlofolo in word to all fymand which feem by word tone word trilby work works of mr. zotti. world. world of pains to desee character. would be would be femi-quavers, and with would be too would be well would be without fuch character. would give would have the would not do the fame. would not proceed. writing, writing anyfong, air or wrote wrote by itfetf xation, x>f either. xju 2 -xllt-trite hyperbolceon xlv_ x:ommonly xth century, fays, cap. 2. ya/fhall be y, charaders of years. yet a yet neceftary they be yet the ground of the relation. yet this yet this may be faid without yet we have fuch yet were the fong, though per- ygro feu cakres generum yield yoices fhall be all concords. you beat you may know how you may proceed by the way you mufl your your high you will, in candor, excufe. ytans reduce yth. za, m psa.g n a,sy. zariin fays, zarlin zar tin, zflr/rif, zium, or triangle truncated a-top. zspunto d* z) the zuffolo, a" />
Dictionary of music (english version)
Brossard, Sébastien de - Dictionary of music (english version)

VoirPDF : Partition (382 pages - 39.34 Mo)2 882x
VoirPDF : Alternative version (new edition 1769) (13.22 Mo)
Compositeur :
Sébastien de Brossard
Brossard, Sébastien de (1655 - 1730)
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Langue :Anglais
Droit d'auteur :Public domain
Ajoutée par FS, 18 Oct 2013
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