| FP | referring to the catalogue prepared by Carl B. Schmidt of music by Francis Poulenc (1899-1963) |
| fp., fpp. | fortepiano, 'loud, then immediately soft' |
| fpf. | abbreviation for forte-piano-forte, where the sound starts loudly before softening and then finally growing back to its original strength |
| Fr | after E. W. Frisch, the cataloguer of music by Frédéric François Chopin (1810-1849) |
| Fr. | abbreviation of 'French' |
| Fraasi | (Finnish) (musical) phrase |
| Fracas | (French) disturbance, uproar, a noisy quarrel |
| Fracción | (Spanish f.) fraction, fragment, faction (political, etc.) |
| fraccionamiento | (Spanish) division, splitting up, breaking up |
| fraccionario (m.), fraccionario (f.) | (Spanish) fractional |
| Fracción de compás | (Spanish f.) a meter (time signature) set out with one figure above another (for example, 3/4, 2/2, 6/8, etc.) |
| Frachtbrief | (German m.) advice note |
| Fractal | generally "a rough or fragmented geometric shape that can be subdivided into parts, each of which is (at least approximately) a reduced-size copy of the whole," a property called self-similarity. The term was coined by Benoît Mandelbrot in 1975 and was derived from the Latin fractus meaning "broken" or "fractured |
- Fractal from which this extract has been taken
|
| Fractio modi (s.), Fracta modi (pl.) | (Latin, literally 'the breaking of the mode') ornamental notes that break into the steady pattern of rhythmic modes |
| Fractional time signature | a meter (time signature) in which the top number includes or is a fraction |
| Fractura | (Spanish f.) fracture |
| frag(s). | abbreviation of 'fragment(s)' |
| Frage (s.), Fragen (pl.) | (German f.) issue, question |
| Fragestellung | (German f.) issue |
| Fragezeichen | (German n.) ?, mark of interrogation, question mark, also known as an interrogation point, question point, query or eroteme |
| frágil | (Spanish) fragile, breakable, frail, weak |
| Fragilidad | (Spanish f.) fragility, breakability, frailty, weakness |
| Fragment | (English, German n., French m.) a small part, particularly a part broken off |
| Fragmentación | (Spanish f.) fragmentation |
| fragmentar | (Spanish) to fragment, to divide up |
| fragmentario (m.), fragmentaria (f.) | (Spanish) fragmentary |
| fragmentarse | (Spanish) to break up |
| Fragmentation | breaking up a subject into small segments, any one of which may form the basis for further development |
| Fragmento | (Spanish m.) fragment, piece (of an object), passage (from a book) |
| Fraîcheur | (French f.) freshness |
| frailesco (m.), frailesca (f.) | (Spanish) monkish, like a monk |
| Frailing | see 'clawhammer' |
| frailuno (m.), frailuna (f.) | (Spanish) monkish, like a monk |
| frais (m.), fraîche (f.) | (French) fresh |
| frais et dispos | (French) fresh and alert |
| Fraktal | (German n.) fractal |
| fraktal | (German) fractal |
| Fraktur | (German) a Blackletter script used to write the German language from the beginning of the sixteenth century until 1945 |
| in the United States, Fraktur is used to describe highly artistic and elaborate eighteenth- and nineteenth-centuries illuminated folk art drawings created by the Pennsylvania Dutch (perhaps more strictly Pennsylvania Deitsch or Pennsylvanian German). Most Fraktur were created between 1740 and 1860 |
|
| FRAM | abbreviation of 'Fellow of the Royal Academy of Music, London' |
| Frambuesa | (Spanish f.) raspberry (botanical) |
| Frame | the structural members in the interior of a keyboard instrument (under the soundboard) which strengthen the case |
| of a piano, the skeleton of case iron on which the strings are stretched |
| in dance, 'frame' is the position maintained by dancers during partner dancing. Maintenance of the frame provides connection |
- Frame an extract of which provides the second entry
|
| Frame of reference | set of standards or principles governing behaviour, thought, belief, etc. |
| Frammento | (Italian m.) fragment |
| franc (m.), franche (f.) | (French) frank, open-hearted, bluff |
| Francachella | (Spanish f.) feast (familar) |
| français (m.), française (f.) | (French) French |
| Française | (French f.) a round dance in triple or compound duple time, whose full name is contredanse Française |
| francamente | (Italian) boldly, ingenuously |
| (Italian) performed in a free style |
| Francarabe | (French) a term coined by Elie "Lili" Boniche (1922-2008), for his own unique oeuvre, combining the North African style with French chanson, Latin American and other influences and singing in a mixture of French and Arabic |
| Francés (m.), Francésa (f.) | (Spanish) Frenchman, Frenchwoman |
| francés (m.), francésa (f.) | (Spanish) French |
Franceschi, Francesco
(d. c.1599) | a printer in the Italian Renaissance. His roots were in Siena, though the bulk of his work was done in Venice. Franceschi was also known for printing music. He printed the works of Gioseffo Zarlino and several volumes of writing on music. Two probable relatives, Giovanni Antonio de' Franceschi (who worked in both Palermo and Venice) and Giacomo Franceschi of Venice, printed music as well |
|
| Francesilla | (Spanish f.) buttercup (botanical) |
| Francfort | (Spanish) Frankfurt (German city) |
| Franchezza | (Italian f.) freedom of spirit, boldness, frankness, confidence |
| franchir le cap de | (French) go beyond, go beyond the point of |
| Franchise | (French) freedom of spirit, boldness, frankness, candour |
| Franco-Belgian bowing | the most flexible and "springy" bowing technique which is really the Italian bowing that Viotti brought out of Italy. This is the bow hold which Paganini made his own. The fingers gently curve over the stick, and the bow contacts the first joints of the fingers. For the Italian bow hold the bow hair is made very taught
[taken from Violinist.com] |
| Franco-country | a musical style originating from French Canada. It is characterised mainly by the rhythms and styles of American country music but with the twangy Québécois Jouale accent. Sometimes the songs are sung in French, but not always |
|
| franco-flamenco | (Spanish) Franco-Flemish |
| Franco-Flemish school | the school of Josquin Desprez (c.1440-1521), the third of the three 'Netherlands Schools' |
| regional designation given to composers from the present-day countries of France, Belgium, Luxembourg, and the Netherlands |
|
| françoise | (French) French, in the French style |
| Franconian motet | a motet based on the mensural notation championed by Franco of Cologne (fl. c.1250-1280), where there is a movement away from rhythmic modes, the voices are generally rhythmically stratified, with each voice having a faster line than the voice below |
| Franconian notation | the mensural notation system championed by Franco of Cologne (fl. c.1250-1280) |
| Franglais | French heavily interlarded with English words and expressions |
| Frankfurt Group | the four British composers Norman Houstoun O'Neill (1875-1934), Henry Balfour Gardiner (1877-1950), Cyril Meir Scott (1879-1970) and Roger Quilter (1877-1953) together with the Australian pianist/composer Percy Aldridge Grainger (1882-1961) all of whom were at the same time students at the Hoch Conservatory in Frankfurt, Germany |
| frankoflämische Schule | (German f.) Franco-Flemish school |
| franz. | abbreviation of französisch (German: French, francais (French)) |
| franzese | (Italian) French, in the French style |
| französisch (m.), französische (f.), französisches (n.) | (German) French, in the French style |
| französische Balken | (German m.) French beaming |
| französische Ouvertüre | (German f.) French overture |
| französischer Violinschlüssel | (German m.) French violin clef |
| Französische Suiten | (German f.) J. S. Bach's French Suites BWV 812-817 |
|
| französisches Horn | (German n.) or Horn (German n.), French horn |
| Franzton | (German, archaic) a pitch below standard concert pitch |
| fra poco | (Italian) shortly |
| frappant | (French) striking, struck |
| frappé | (French) struck, stamping, striking |
| (French) iced, chilled, thick, viscous |
| the term may also signifies the accented part of a bar - its opposite is levé |
| a particular manner of beating time, or of striking notes |
| frapper | (French) to strike, to hit, to beat the time |
| frapper dans les mains | (French) to clap one's hands |
| Fras | (Swedish) (musical) phrase |
| Frase | (Danish, Dutch, Italian f., Spanish f., Portuguese) (musical) phrase |
| Frase large | (Italian f.) a broad (musical) phrase, largamente |
| Frase musical (s.), Frases musicales (pl.) | (Spanish f.) musical phrase |
| fra sè | (Italian) to himself |
| fraseeraus | (Finnish) phrasing |
| Fraseggiare | (Italian) to phrase |
| fraseggio | (Italian) phrasing |
| fraseo | (Spanish) phrasing, phrased, phrasé (French) |
| Frase van 12 maten | (Dutch) twelve bar phrase |
| frasering | (Dutch, Danish, Swedish) phrasing |
| Fraseringsboog | (Dutch) slur |
| Fraseringsbue | (Danish) slur |
| Frasi | (Italian f. pl.) phrases, short musical sentences |
| Fratellastro | (Italian m.) stepbrother |
| Frau | (German) a (German) housewife |
| fraude pleuse | (French) a pious deceit, a dishonest deed performed in the interests of religion or morality |
| Frauenchor | (German m.) women's choir |
| Frauendienst | (German, literally 'service of the lady') the medieval code of courtly love, according to which the lover is a vassel of his lady |
| Ulrich von Lichtenstein (c.1200/10-c.1275), a Middle High German Minnesänger, collected some 60 songs, under his own title Frauendienst (Vrouwen dîenest), and connected them with an autobiographical narrative written in rhyming couplets |
| Frauenstimme | (German f.) female voice |
| Fräulein | (German f.) a young unmarried (German) woman |
| (in English) a German governess in an English household |
| FRCM | abbreviation of 'Fellow of the Royal College of Music, London' |
| FRCO | abbreviation of 'Fellow of the Royal College of Organists, London' |
| Frecuencia | (Spanish f.) frequency |
| Frecuencia de muestreo | (Spanish f.) sampling rate, sampling frequency, frequenza di campionamento (Italian f.), Abtastrate (German f.), fréquence d'échantillonnage (French f.) |
| Frecuencia fundamental | (Spanish f.) fundamental frequency (of the harmonic series) |
| Frecuencia relativa | (Spanish f.) relative frequency (that is, one frequency relative to another) |
| Fredaine | (French) an escapade, indiscreet behaviour |
| freddamente | (Italian) coldly, frigidly |
| Freddezza | (Italian f.) coolness, indifference, heaviness, frigidity |
| freddo | (Italian m.) cold, frigid, devoid of sentiment |
| Freddy, The | a short-lived 1960s dance craze |
|
| Fredon | (French) a rapid run, usually diatonic and on a single syllable |
| (French) a quavering voice in singing |
| (French) a roulade with a shake on every note, trilling |
| Fredonnement | (French) humming, canturreo (Spanish) |
| fredonner | (French) to hum, to sing in an undertone, canturrear (Spanish) |
| (French) to trill, to quaver, to shake |
| Free | in jazz, see 'play free' |
| Free, Freely | sciolto (Italian), frei (German), librement (French) |
| Free aerophone | an instrument that produces sound by using air directly as the primary vibrating means rather than through the use of a performer's breath or by constricting the air in a tube, so for example, the bull-roarer sets the air into vibration by simply spinning the instrument through the air |
| Free bass left hand system | an alternative to the Stradella left hand system, the free bass system has a series of single buttons in an arrangement similar to the chromatic button accordion. The free bass system facilitates the playing of bass melodies and counterpoint. It also allows for chord inversion and invention of chords not present in the Stradella system |
| see Stradella system |
| see 'converter bass system' |
| Freebop | one of the earliest forms of 'avant-garde' jazz in which the general approach is similar to bebop, but the chord progression is not used as an organizing principle. Thus, there is freedom in harmony, which in turn loosens restrictions on other elements of the performance |
- Freebop from which this extract has been taken
|
| Free bowing | a performance technique used by a string section in a symphony orchestra to create a fuller sound than can be achieved by synchronized bowing. Free bowing was popularized by Leopold Stokowski, who as conductor of the Philadelphia Orchestra experimented with many musical conventions |
|
| Free canon | unlike a 'strict canon' where the consequents follow exactly the intervals and rhythmic values of the antecedent, a 'free canon' allows intervals to be modified, for example, to avoid unwanted changes in key when the voices are not at the octave or unison |
| Free chordal style | see 'strict chordal style' |
| Free content | or free information, is any kind of functional work, artwork, or other creative content having no significant legal restriction relative to people's freedom to use, redistribute, and produce modified versions of and works derived from the content |
|
| Free dance | a twentieth-century dance form that preceded Modern dance. Rebelling against the rigid constraints of 'classical ballet', Loie Fuller, Isadora Duncan and Ruth St. Denis developed their own styles of free dance and laid the foundations of American modern dance with their choreography and teaching. In Europe Rudolf Laban, Emile Jaques-Dalcroze and Francois Delsarte developed their own theories of human movement and methods of instruction that led to the development of European modern and Expressionist dance |
|
| Free embellishment | ornamentation that is not indicated by symbols and has no set form, passeggi (Italian pl.), Passagen (German pl.), roulades (French pl.) |
| Freeform hardcore | derived from its sister genre happy hardcore (4-beat & bouncy techno), freeform hardcore was introduced in 1999 |
|
| Free fugue | one that is written without following any of the particular rules of the form |
| Free imitation | where the antecedent and consequent are not identical |
| Free improvisation | or 'free music', improvised music without any rules beyond the taste of the musicians involved, and not in any particular style. The music generally thought of as "Free Improvisation" developed mainly in Europe in the mid and late 1960s, largely as an outgrowth of free jazz and modern classical musics. Free improvisation is both a musical genre and a technique |
|
| Free jazz | a jazz style from the early and middle 1960s originally associated with black cultural nationalism. It featured improvisation without regard to chord changes, even without chord changes, and sometimes two drummers and/or two bass players. This controversial style has become an ingredient in later jazz styles |
|
| Free-lance | (French m./f.) freelance, self-employed person who does work for several employers |
| Freelancer | someone who works in a freelance capacity |
| Freemen's songs | in use c. 1600, short compositions for three or four voices, similar to roundelays, or country ballads |
| FREE!MUSIC | a free music non-profit organization based in Russia since 2004 which's aim is "popularization and a direct embodiment of idea of free distribution of music in commercial and non-commercial purposes" |
|
| Free music | see 'free improvisation' |
| music that, like free software, can freely be copied, distributed and modified for any purpose. Thus free music is either in the public domain or licensed under a free license. It does not mean that there should be no fee involved. The word free refers to freedom (as in free software), not to price |
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| Free note | a nonharmonic note that is approached by a leap and left from also by a leap |
| Free organum | see organum |
| Free part | a part that is added to a canon or fugue to complete the harmony, without necessarily following the usual rules of the form |
| Free party | a party "free" from the restrictions of the legal club scene. They can be though of as autonomous zones where all the people present create and enforce the rules. They are typically a sound system playing electronic dance music from late at night till midday the next day (or longer) and drugs are readily available |
|
| Free reed | a reed whose edges do not overlap the wind passage, for example as found in the harmonium and concertina. It contrasts with the beating or striking reed of the organ and clarinet, in that it is smooth and free from rattling but with a less strong tone |
| Free-reed instrument | an instrument which produces sound by allowing air to pass across and cause to vibrate a reed which is mounted in such a fashion that it may vibrate in a narrow gap without striking anything. The designation free-reed is by contrast with reed instruments such as the clarinet, in which the reed beats against the mouthpiece, and the oboe, in which twin reeds beat against one another other |
| Free-reed mouth organs (Asian) |
| free-reed mouth-organs originated in East Asia and have been known in China since at least 1766-1122 BC. They can be broadly classified into four types: |
| the grouped type | in which bamboo tubes bearing reeds are set in a circle and fitted into a cup bearing a mouthpiece |
| the raft type | in which the bamboo tubes are arranged not in a circle but in two parallel rows with the reeds contained in a small air chest with mouthpiece part way down their length |
| the dissociated mouth organ | in which a single bamboo tube bearing one reed sounds a number of different pitches controlled by
finger holes as in the transverse flute |
| a miscellaneous group of simple instruments | which includes those in which free reeds are fitted into animal horns and used to produce drones |
|
- Concertina from which this information has been taken
|
| Free rhythm | a fluid line of music with an adjustable rhythm shaped by text, for example, plainchant |
| Free spin | |
| Free style | in composition, that where the standard rules of counterpoint are relaxed |
| Freestyle dancing | a reference to the use, in dance, of ab lib movements with no fixed structure |
| Freestyle house | also called Freestyle, Latin Freestyle and, formerly, Latin Hip Hop, a form of electronic music that is heavily influenced by Hispanic (Cuban, Dominican, Puerto Rican,) and African-American culture. Freestyle emerged around 1982 and hit its peak in 1987. It continues to be produced today and enjoys some degree of popularity, especially in urban Latino population centers. Another popular modern genre Florida breaks evolved from this sound |
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| Freetekno | also called 'hardtek', a style of music which takes elements from both techno and hardcore |
- Freetekno from which this extract has been taken
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| Free time |
| a type of time signature. It is used when a piece of music has no discernible beat. Instead, the rhythm is intuitive and free-flowing. There are four ways in which a piece is indicated to be in free time: |
| no time signature displayed | common in old vocal music such as Gaelic psalms |
| no time signature but the direction 'Free time' is written above the stave |
| time signature (usually 4/4) and the direction 'Free time' written above the stave |
| the word 'Free' is written downwards across the stave | this is used most often when the piece changes to free time after having had a time signature |
|
- Free music from which this information has been taken
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| Free tone | see 'free note' |
| Free verse | also at times referred to as vers libre or prose rythmée, a term describing various styles of poetry that are not written using strict meter or rhyme, but that still are recognizable as 'poetry' by virtue of complex patterns of one sort or another that readers will perceive to be part of a coherent whole |
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| Free voice-leading | see Freistimmig |
| fregiare | (Italian) to adorn, to embellish, to ornament |
| fregiato | (Italian) adorned, embellished, ornamented |
| Fregiatura | (Italian f.) an ornament, an embellishment |
| frei (m.), freie (f.) | (German) free, freely, unrestrained as to style |
| freiberuflich | (German) freelance |
| Freibezug | (German m.) complimentary subscription |
| Freiburger Barockorchester | (German, 'Freiburg Baroque Orchestra') an orchestra originally founded "to enliven the world of Baroque music with new sounds." The orchestra, based in Freiburg, Germany now also performs works by later composers such as Beethoven, Schubert and Weber as well as contemporary music. They play small group chamber music as well as symphonies for large orchestras |
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| freier Satz | (German m.) free style |
| Freier Tanz | (German m.) see Ausdruckstanz |
| freier Vorhalt | (German) an appoggiatura |
| freie Schreibart | (German) a free style of composition |
| Freigjisch | see Freygish |
| Freiherr | (German m.) a title, translated as 'Baron', the female forms, of which, are Freifrau and Freiin |
| frei in Vortrag | (German) free in style or delivery |
| Freilekhs | an Ashkenazic folk dance, one of the typical dances of a traditional Ashkenazic wedding celebration |
| Freilichtbühne | (German f.) open-air theatre |
| freischwingende Stimmzunge | (German f.) free reed |
| freistimmig | (German) or 'free voice-leading', a pseudo-contrapuntal texture in which there is no strict adherence to a given number of parts, and voices (parts) are free to enter and drop out at will |
| freitonal | (German) atonal |
| Fremdsprache | (German f.) foreign language |
| Fremdwort (s.), Fremdwörter (pl.) | (German n.) a foreign word, a word that has been borrowed from another language |
| fremente | (Italian) furiously |
| Fremissement | (French) humming, singing in a low voice |
| frenando | (Italian) braking, bremsend |
| French beaming | when notes are beamed according to French custom, stems are not drawn all the way to the 8th beam, but extend only as far as the beam closest to the notehead. Sometimes staff lines are even removed from the spaces between the beams to increase legibility |
|
| French bow/grip | the French grip is an overhand grip, much like a violin or a cello bow, adopted by double-bass players who use a French bow, also called the Bottesini bow, after the player who made it famous. The French style bow resembles a violin or cello bow, with a small frog (the large piece of wood, usually ebony, that you hold and that holds the mechanism for adjusting hair tension) and a narrow space between the stick and hair. You put your thumb into the opening at the frog and your fingers are placed at the top of the stick |
|
the alternative is the 'German grip' employed with a 'German bow' - see 'German bow/grip' |
| French Cancan | a highly choreographed routine lasting ten minutes or more, with the opportunity for individuals to display their "specialities". The main moves are the high kick or battement, the rond de jambe (quick rotary movement of lower leg with knee raised and skirt held up), the port d'armes (turning on one leg, while grasping the other leg by the ankle and holding it almost vertical), the cartwheel and the grand écart (the flying or jump splits). Additionally, performance practice of the can-can almost always includes the dancers screaming, yelling, cat-calling and trilling while dancing |
- Can-can from which this information has been taken
|
| French chanson | chanson is a French word for song. In English language contexts, the word is often applied to any song with French words, but it can also be applied more specifically - to refer to classic, lyric-driven French songs, to refer to European songs in the 'cabaret style', or to refer to a diverse range of songs interpreted in this style. A singer specialising in chansons is known as a chansonnier |
| French clef | französische Violinschlüssel (German) |
 |
| or 'violin clef', one of the 'so-called' G-clefs |
|
|
| French flageolet | see flageolet |
| French grip | a technique used to hold drum sticks and mallets to play percussion instruments. In this form of matched grip, the palms of the hands face directly toward each other and the stick is moved primarily with the fingers rather the wrist as in German grip. This allows a greater degree of finesse, which is why many timpanists prefer French grip. For louder strokes, the wrist rotates much in the same way as when hammering a nail |
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| French harp | see 'harmonica' |
| French hip hop | |
| French Hood | (in use 1530-1630) a small bonnet made on a stiff frame and worn far back on the head. Folds of material fell below the shoulders from a short flat panel at the back. They were usually dark in colour but decorated with biliments (borders of silk, satin, or velvet, and trimmed with gold or jewels) and worn over a crespin |
| French horn | corno (Italian), corno francese (Italian), Horn (German), cor (French), cor d'harmonie (French), cor français trompa (de pistones) (Spanish), corno francés (Spanish) |
| the French horn is a valved brass wind instrument with a circular shape, tapering from a narrow mouthpiece to a flaring bell at the other end, as opposed to the cylindrical bore and cup-shaped mouthpiece of the trumpet family, and producing a mellow tone. Often played with the right hand inside the bell, it is said to be the most difficult instrument to play. It is referred to in most countries without any nationalistic reference and is known as the "French" horn only in English-speaking countries |
|
the horn was actually developed in the Alps of the Germanic countries, commonly used to warn animal intruders that threatened a shepherd's flock. Since the French dominated most of the alpine region at that time, the term "French Horn" became popular. The instrument was originally constructed entirely of wood and straw, and the conical mouthpiece was also wooden. In the late 16th and 17th centuries the horn, from this time usually made of brass, was lengthened and coiled - first in a small, spiral coil, later in a wider, open loop. By the late seventeenth century, the cor de chasse ("hunting horn") emerged in France with a wide, flaring bell and a tube length of up to 4.37 m (14 ft.), the obvious prototype of the modern instrument. Responsive to a greatly increased number of its natural overtones, the cor de chasse possessed a wide enough range of pitches for use in the orchestra of the early eighteenth century. French horns are now made of brass |
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the horn gained greater flexibility about 1750 with an invention, attributed to the Dresden virtuoso Anton Joseph Hampel, of the technique called hand stopping. Hand stopping involves placing a hand in the bell of the horn to alter the pitch of the natural notes by as much as a whole tone. Despite this advance, cumbersome lengths of tubing, called crooks, were necessary for playing in many keys. Also at this time (the late eighteenth century) the cup-shaped, trumpet-like mouthpiece was abandoned for the funnel-shaped mouthpiece of the modern horn, resulting in a smoother, less raucous sound |
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the invention of valves (patented in 1818 by Heinrich Stolzel and Friedrich Bluhmel in Berlin) in the early nineteenth century revolutionized the horn, allowing the player to alter the length of the tubing by the motion of a finger and yielding an instrument virtually chromatic (proceeding by semitones) throughout its range. Although it was slow to be accepted, the valve horn prevailed by the end of the nineteenth century. Modern players still use hand stopping to affect intonation and tone color. Composers from Bach, Beethoven, Strauss and Tchaikovsky to Bernstein and Gershwin have all written for the French horn. Aubrey Brain was the first horn player ever to record an entire horn concerto, Mozart's Concerto No. 2, in 1927. Most orchestras today include four horns. The modern French horn is usually pitched in F, and has three valves and a tube length of about 3.75 m (12 ft.). The great demands on the resources of the horn have led to the widespread adoption of the "double horn," in which a separate set of coils for a horn in B-flat is added to a horn in F, a fourth valve acting as a switch between the two sets of coils. They are also used in concert and marching bands and brass ensembles. However, single horns in F or B-flat still see use, notably in operatic settings. Their lighter weight renders them much more suitable for the extended and strenuous playing required of Wagnerian operas |
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| French horn | a colour reed stop found in 'romantic' organs |
| French House | a late 1990s form of house music, greatly influenced by 1970s and 1980s disco and funk , as well as the productions of Thomas Bangalter. The music can be noted by the infamous "filter effect" (e.g. Daft Punk). French house may have vocal samples. French House is also known as "filter house" or "tekfunk" |
|
| French jive | see 'modern jive' |
| French mandoline | see 'mandolin, mandoline' |
| French overture | a work for orchestra, originating in the 1650s, that is usually used as an introduction to a ballet, opera, or suite which is in four linked sections arranged slow (often strongly dotted) - quick (lively, often fugal) - slow (in imitation of the first section) - quick (lively) |
| French pitch | in the eighteenth century, there were three pitch standards used for concerted music in France. The modern version of the middle one is a'=415 Hz. The others were about a tone higher and a semitone lower than the middle one. The lower pitch, a'=392 Hz, approximately a tone lower than standard modern pitch (a'=440 Hz), was called 'very low French chamber pitch' by Quantz in 1752 |
| in the nineteenth century, the French adopted by legal decree a new French pitch, called Diapason Normal (a'=435 Hz), which they set for a temperature of 15 degrees Celsius (59 degrees Fahrenheit). In America, Theodore Thomas as far back as 1883, ordered his concert halls to be kept at a temperature of 72 degrees Fahrenheit, or as near to that as possible which meant that French-made wind instruments tuned to A=435 Hz at 59 degrees Fahrenheit would actually play at a'=440 Hz when played at 72 degrees Fahrenheit (22 degrees Celsius) |
| French poetic meter | in French poetry, meter is determined solely by the number of syllables in a line. A silent 'e' counts as a syllable before a consonant, but is elided before a vowel (where h aspiré counts as a consonant). At the end of a line, the "e" remains unelided but is hypermetrical (outside the count of syllables, like a feminine ending in English verse). The most frequently encountered meter in French is the alexandrine, composed of two hemistichs of six syllables each. Classical French poetry also had a complex set of rules for rhymes that goes beyond how words merely sound. These are usually taken into account when describing the meter of a poem |
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| French reel | (Montserrat) a skin drum that produces an ominous sound, said to attract the jumbie spirits |
| French School (ballet) | the French School of ballet began in the court ceremonies of the French monarchs. Louis XIV studied with the famous ballet master Pierre Beauchamp and established the first academy of dancing, known as the Académie Royale de Musique et de Danse, in Paris in 1661. The École de Danse de l'Opéra was founded in 1713 and is now known as the École de Danse du Théâtre National de l'Opéra. Among its most famous ballet masters were Beauchamp, Pécour, Lany, Noverre, G. and A. Vestris, M. and P. Gardel, F. Taglioni, Mazilier, Saint-Léon, Mérante, Staats, Aveline and Lifar. The French School was known for its elegance and soft, graceful movements rather than technical virtuosity. Its influence spread throughout Europe and is the basis of all ballet training |
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| French sixth chord | an augmented sixth chord consisting of a major third, augmented fourth, and augmented sixth above the bass. The French sixth chord is sometimes called an 'augmented six four three chord' |
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| French tablature | a system of musical notation most commonly used in England and France and with some differences also in Italy and Spain. A different system came into use in Germany - see 'German tablature' |
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| French time names | see 'Galin-Paris-Chevé system' |
| French violin clef | see 'French clef' |
| frenetico (m.), frenetica (f.) | (Italian) frenzied |
| Fréquence | (French f.) frequency |
| Fréquence d'échantillonnage | (French f.) sampling rate, sampling frequency, frequenza di campionamento (Italian f.), Abtastrate (German f.), frecuencia de muestreo (Spanish f.) |
| Freqüência | (Portuguese) frequency |
| Frequency | the number of vibrations per second of a musical pitch, usually measured in hertz (Hz), where one hertz is one vibration per second. The human frequency range is divided into three rough areas or bands. High frequencies (between about 5 kHz and 20 kHz), mid frequencies (between about 200 Hz and 5 kHz) and low frequencies (between about 20 Hz and 200 Hz) |
| Frequency analysis | in mathematics, physics and signal processing, frequency analysis is a method to decompose a function, wave, or signal into its frequency components so that it is possible to have the frequency spectrum |
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| Frequency band | a range of frequencies, for example that might be allocated to carry certain kinds of electromagnetic signal such as television or radio |
| Frequency generator | see 'signal generator' |
| Frequency modulated screening | see 'stochastic screening' |
| Frequency modulation | the encoding of a carrier wave by variation of its frequency in accordance with an input signal |
| Frequency range | in singing, the distance between one's highest and lowest frequency |
| pitch range |
| Frequency response | a graph which shows how a system or piece of equipment or even an environment such as a room responds to different frequencies. Ideally, for audio work the graph should plot a flat line from below 20 Hz to above 20 kHz. In practise this is often not achieved, and the line will fluctuate up and down between these points, indicating that the equipment or environment makes some frequencies louder or quieter than others. Humans have a well documented "non-flat" response and this is the response used to specify the dB(A) scale for determining loudness. The term should not be confused with bandwidth which concerns itself only with the attenuation above an upper limit frequency and below a lower limit frequency and does not concern itself with the range between them |
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| Frequency spectrum | the vast majority of sounds we hear in real life are mixtures of simpler tones called sine waves, each with a characteristic frequency and amplitude, the combination of which give a note its distinct timbre or tone colour. A frequency spectrum, or 'spectrogram', is a graphic display or other representation of the frequency content of a signal. Two-dimensional graphic spectra usually plot amplitude (vertical axis) versus frequency (horizontal axis). There are two general types of spectra. A 'partial' spectrum portrays discrete frequencies and is suitable for graphic descriptions of harmonics. A 'continuous' spectrum portrays bands of contiguous frequencies and is suitable for graphic displays of noise bands. The frequency spectrum of a pure sine wave displays only a single component |
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| Frequentie | (Dutch) frequency |
| Frequenz | (German f.) frequency |
| Frequenza | (Italian f.) frequency |
| Frequenzband | (German n.) frequency band |
| Frequenza di campionamento | (Italian f.) sampling rate, sampling frequency, fréquence d'échantillonnage (French f.), Abtastrate (German f.)frecuencia de muestreo (Spanish f.) |
| Frequenzmodulation | (German f.) frequency modulation, FM (abbreviation) |
| see 'FM' |
| frescamente | (Italian) coolly, freshly, vigorously, lively |
| Fresco | (Italian m.) a method of painting on plaster, while it is still wet (also the painting itself) |
| fresco | (Italian) fresh, cool, vigorous |
| Fresco secco | (Italian m.) a method of painting on plaster that has been allowed to dry (strictly, this method of painting is not fresco at all) |
| Fret | horizontal strip fixed in or tied around the fingerboard of some stringed instruments to act as a guide to where the fingers should be placed (normally close to and above the fret) to stop for a particular note |
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| Fretboard | see 'fingerboard' |
| Frethand muting | |
| Fretless | a string instrument that usually bears frets but where the frets are absent; usually found with bass guitars, the effect being to give a smoother sound |
| Fretless bass | electric bass guitar made without frets or from which the frets have been removed, known for the smoothness of glissando and similarity in tone to the double bass, that require very precise fingering. They are used mainly in jazz, jazz-fusion, and funk music, although they are used by some players in other genres as well |
| Fretless zither |
| Andreas Michel in his work Zithern: Musikinstrumente zwischen und Burgerlichkeit (1995) lists three categories of fretless zither: |
| fretless zithers with chromatic or diatonic strings from low to high (one or two courses) |
| fretless zithers with strings set in chords without melody strings (which allow only chords to be played) |
| a combination of these two, so having single melody strings, accompanied by five to seven chords of strings together (usually four chords on American models). This allowed the melody to be played with some limited accompaniment |
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| Frets | see 'fret' |
| Fretta | (Italian f.) haste, celerity, speed |
| frettando | (Italian) hurrying, accelerating the movement |
| Frette | (French) fret |
| Fretted | tastato (Italian), mit Bünden versehen (German), avec sillets (French), a string instrument bearing frets. An instrument that would usually have frets but where the frets are absent is termed 'fretless' or 'unfretted' |
| Fretted clavichord | a fretted clavichord shares two or more notes per string (usually pair of strings) |
| the 12 notes in an octave might be shared across only seven pairs of strings thus: |
| string pair 1 | C + C# |
| string pair 2 | D |
| string pair 3 | E-flat + E |
| string pair 4 | F + F# |
| string pair 5 | G + G# |
| string pair 6 | A |
| string pair 7 | B-flat + B |
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|
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| Fretted zither | synonymous with 'concert zither' |
| frettevole | (Italian) hasty, hurried |
| Fretting | the fitting of frets on a stringed instrument to mark the semitones (half steps) or tones (whole steps) of a scale |
| there are two types of fretting: chromatic fretting, where every semitone (half step) of a scale is marked with a fret, and diatonic fretting, where only the frets relevant to a diatonic scale are fitting on the fingerboard. The latter arrangement is characteristic of the old-time Appalachian dulcimer |
| frettolosamente | (Italian) hasty, hurriedly |
| frettoloso | (Italian) in a hurry, hasty, hurried |
| frettoso | (Italian) hasty, hurried |
| Freude | (German f.) joy, joyfulness, joyousness |
| Freudengesang | (German) hymn of rejoicing |
| freudig | (German) jocose, merry, joyfully, joyously, merrily |
| Freudigkeit | (German) joyousness, joyfulness |
| Freund | (German m.) friend, boyfriend, lover |
| Freundin | (German f.) friend, girlfriend, lover |
| freundlich | (German) friendly, kind, kindly, pleasant |
| freundlicherweise | (German) kindly |
| Freundlichkeit | (German f.) friendliness, kindness, pleasantness |
| Freundschaft | (German f.) friendship |
| freundschaftlich | (German) friendly |
| Freundschaft schließen | (German) become friends |
| Frevel | (German m.) outrage |
| frevelhaft | (German) wicked |
| Frêvo | a wide range of musical styles originating from Recife, Brazil, all of which are traditionally associated with carnival |
- Frêvo from which this extract has been taken
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| Frêvo-de-Rua | originating from Recife, Brazil, an instrumental style, played in a fiery fast tempo with brass instruments, namely trumpets, trombones, saxophones and tuba |
| Frey | (German, archaic) frei |
| Freygish | the most important of the Klezmer gust or modes, also called the 'Eight Note Spanish Scale' because of its use in Spanish music |
| fri | (Danish, Norwegian) free (also used as a suffix), complimentary |
| Fricandeau | (French) stewed veal served with a savoury sauce |
| Fricassée | in cooking, a dish consisting of small pieces of flesh cut up, fried or stewed, and served in a sauce |
| (French f.) in the sixteenth century, a quodlibet that includes chanson, folk tunes, popular song and street cries |
| Friction board | a percussion instrument in which sound can be produced by friction between a board-shaped instrument and, for example, the player's hand |
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| Friction drum | a percussion instrument consisting of a single membrane stretched over a sound box, whose sound is produced by the player causing the membrane to vibrate by friction. The sound box may be a pot or jug or some open-ended hollow object. To produce the friction, the membrane may be directly rubbed with the fingers or through the use of a cloth, or a stick or cord which is attached to the centre of the membrane and then rubbed or moved with a hand, sponge or cloth, generally wet. The membrane may be depressed with the thumb while playing to vary the pitch. When a cord is used the instrument may be referred to as a "string drum" or "lion's roar" |
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| Frigidarium | (Latin) the cold room in a Roman bath |
| frigio | (Italian) Phrygian |
| frigio (m.), frigia (f.) | (Spanish) Phrygian |
| frígio | (Portuguese) Phrygian |
| Frippertronics | a term coined by Joanna Walton, guitarist Robert Fripp's poet girlfriend in the late 1970s, an analog delay system consisting of two reel-to-reel tape recorders situated side-by-side. The two machines are configured so that the tape travels from the supply reel of the first machine to the take-up reel of the second, thereby allowing sound recorded by the first machine to be played back some time later on the second. The audio of the second machine is routed back to the first, causing the delayed signal to repeat while new audio is mixed in with it. The amount of delay (usually 8 to 10 seconds) is controlled by increasing or decreasing the distance between the machines |
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| Fris | see Csárdás |
| Friscalettu | a Sicilian traditional cane flute |
| frisch | (German) brisk, lively, vigorous, brioso, fresh |
| Frisch gestrichen! | (German) Wet paint! |
| Frischka | a Slavonic form of the Magyar Fris or Friss, the quicker part of a Csárdás |
| Friss | see Csárdás |
| Frisson | (French) a shiver, a shudder, a thrill |
| Fritto misto | (Italian m.) a mixed dish of fried sea-food |
| frivolo | (Italian) frivolous, trifling, trashy |
| Frog | also called the 'nut', part of the violin bow to which the hair is attached and which slides along the bow stick as the screw at the end of the bow is turned, either to slacken or tighten the bow hair, tallone (Italian m.), talone (French m.), Frosch (German m.), talón (Spanish m.) |
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| fröhlich | (German) joyous, gladsome, happy, cheerful, cheerfully, brisk, briskly, lively, allegramente (Italian), flott (German), allégrement (French), allègrement (French) |
| fröhliche Lied | (German n.) carol |
| Fröhlichkeit | (German) joyfulness, gaiety, joyousness |
| Froid | (French m.) cold |
| froid | (French) cold |
| froidement | (French) coldly |
| froissé (m.), froissée (f.) | (French) vexed, offended, ruffled, hurt (emotionally) |
| frôlant | (French) striped |
| frôlé | (French) striped |
| from | da (Italian), von (German), depuis (French) |
| from here | da qui (Italian), vin hier ab (German), depuis ici (French) |
| from the beginning | desde el principio (Spanish), da capo (Italian), vom Anfang (an) (German), du début (French) |
| from the beginning to the end | da capo al fine (Italian), wieder vom Anfang an bis zum Schluss (German), du début à la fine (French) |
| from the beginning to the sign | da capo al segno (Italian), wieder vom Anfang an bis zum Zeichen (German), du début au signe (French) |
| from the sign | dal segno (Italian), vom Zeichen (German), du signe (French) |
| from the sign to the end | dal segno al fine (Italian), vom Zeichen bis zum Schluss (German), du signe à la fine (French) |
| from the top | in jazz, play the tune from the beginning |
| Fronde | (French) a party of malcontents, a violent political opposition |
| Frondeur | (French m.) a malcontent, an irreconcilable political opponent |
| Front | in jazz, 'in front' means an introductory passage (or 'intro.'), played before the 'top' |
| Front drape | see ''main drape' |
| Front ensemble |
| originally, the 'front ensemble', also called 'pit', consisted of keyboard percussion and timpani, the marching versions of which are heavy and awkward Today: |
| in a marching band or drum corps | the 'front ensemble' or 'pit' is the stationary percussion ensemble typically placed in front of the football field |
| in drum corps style groups | the 'front ensemble' or 'pit' is made up of the mallet instruments, marimba, vibraphone, and xylophone |
| in a stage musical | the accompanying orchestra sits in the orchestra pit from which the term 'pit' came to be applied to the 'fronmt ensemble' |
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| Front line | in jazz, those players who do not form the rhythm section in a combo |
| Front-plucked | on a harpsichord, a string plucked close to the nut thus producing a nasal tone |
| Frosch | (German m.) the nut (heel or frog) of a bow, tallone (Italian m.), talone (French m.), talón (Spanish m.), hausse (French f.) |
| Frottage | (French) a method of producing patterns by rubbing graphite over paper laid on some rough texture |
| frotter | (French) to rub |
| Frottoir | a rubboard used as a musical instrument in zydeco music, that is fashioned in the form of a vest and worn over the shoulders, in front of the body. Sound is produced by rubbing metal utensils against the ridges of the metal board |
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| Frottola (s.), Frottole (pl.) | (Italian f., from frocta, literally 'unrelated thoughts and facts') the various poetic forms used in frottole act as a bridge between Italian medieval idioms (for example the reciting of poetry to an musical accompaniment) and those of the full-fledged Renaissance madrigal. Frottole date from the late 15th- and early 16th-centuries, are generally strophic and are written for voices, from one solo voice with an instrumental accompaniment, through to a number of unaccompanied voices. Most surviving frottole appear in Petrucci's publications |
| there are many subtypes of frottola: |
| barzalletta |
| canzona |
| capitolo |
| oda |
| sonnet |
| villanella |
| villotta |
| terza rima |
| strambotto |
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| frottolare | (Italian) to compose ballads or frottole |
| Frou-frou | (French) the rustle of a woman's (silk) dress, ostentatious ornamentation (figurative), 'frills' (figurative) |
| FRS | abbreviation of 'Fellow of the Royal Society, London' |
| Fruchtbringende Gesellschaft | (German f., literally 'fruit-bringing society') founded in 1617, the linguistic and literary Fruchtbringende Gesellschaft was modelled on the Florentine Accademia della Crusca. It was the brainchild of Prince Ludwig of Anhalt-Köthen. This Sprachgesellschaft (language society), comprised mainly of aristocratic members, had two specific aims: to foster an elegant rhetorical German as a corrective to the unpolished language of the previous century; and to purify its language and literature of non-German terms as well as to streamline versification. Ironically, this goal would be reached by way of translations and adaptations from French, Italian, and Spanish literatures, demonstrating that the German language was the equal of its European counterparts. Although practice often fell short of its goal, the enterprise paved the way for the reforms inspired by Martin Opitz (1597-1639) and his Buch von der deutschen Poeterey (Book of German Poetics, 1624). In addition this Sprachgesellschaft helped to integrate diverse social classes (courtly and landed nobility, learned poets striving for ennoblement) and religious confessions (Lutheran, Calvinist, Reformed); and furthered the egalitarian movement for mutual advancement. Sprachgesellschaften spread rapidly in urban centers, from Hamburg to Leipzig, Nuremberg to Königsberg. Opitz himself furnished reform models for poems with his Teutsche Poemata [German Poems, 1624]; for novels (translations of John Barclay's political novel Argenis, 1626, and Sidney's pastoral Arcadia, 1638, in addition to his own prose-eclogue Schäfferey von der Nimfen Hercinie, [Pastoral of the Nymph Hercinie, 1630]); for opera libretti (translation of Rinuccini's Daphne for the composer Heinrich Schütz, 1627); and for play-writing (translations of Seneca's Troacles, 1625, and Sophocles' Antigone, 1636) |
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| Frug, The | a dance craze from the 1960s that evolved from another dance of the era, 'The Chicken' |
- The Frug from which this information has been taken
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| Frühbarock | (German n.) early baroque |
| früher | (German) earlier, previously |
| Frühlingslied | (German n.) spring song |
| Frühlingsnacht | (German f.) spring night |
| Frührenaissance | (German f.) early renaissance |
| Frühromantik | (German f.) early romantic era |
| Frühwerk | (German n.) early work |
| Fruit | (French m.) fruit |
| Fruit Basket | one of the big circle figures danced by all couples in one large circle facing the centre which are traditionally associated with square dancing |
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| Fruit Basket (Helvatia) | one of the big circle figures danced by all couples in one large circle facing the centre which are traditionally associated with square dancing |
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| Fruit confit (s), Fruits confits (pl.) | (French m.) crystallized fruit |
| Fruit de mer (s.), Fruits de mer (pl.) | (French m.) sea-food, edible crustacean |
| fruité | (French) fruity |
| Fruitier (m.), Fruitière (f.) | (French) fruiterer |
| fruitier (m.), fruitière (f.) | (French) fruit |
| Frula | a large wooden recorder-like pipe from Serbia, also known as duduk in other countries |
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| Frullato | (Italian) flutter-tonguing |
| Frumpet | an Eb/F instrument, a not-entirely successful hybrid of the tenor horn (Eb alto horn in the US) and the French horn |
| Frusta | (Italian f.) whip, slap stick |
| fruste | (French) coarse |
| frustrer | (French) to frustrate |
| frustrant (m.), frustrante (f.) | (French) frustrating |
| Frustrum (s.), Frusta (pl.) | (Latin) the portion of a solid figure (for example, a cone) which remains when the apex has been sliced off |
| frygisch | (Dutch) Phrygian |
| Frying Pan | the nickname given to the commercial cast-aluminium successor to a prototype Rickenbacker Electro Hawaiian manufactured in 1931 by the Electro String Instrument Corporation of Los Angeles, California. The 'Frying Pan' was the first commercially successful electric guitar, its electromagnetic pickup is essentially the technology used on all electric guitars today |
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| FS | after Dan Fog and Torben Schousboe, the cataloguers of music by Carl August Nielsen (1865-1931) |
| fs | abbreviation of 'full score' |
| F-Schlüssel |  | (German m., literally 'F clef') a clef sign that shows the position of F on the staff, for example, the bass clef |
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| F sharp |  |
| fa diesis (Italian), Fis (German), fa dièse (French), the sharpened fourth degree of the scale of C major, which in 'fixed do' solfeggio is called fi |
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| F sharp major |  | the key of 'F sharp major' |
|
 | | the scale of 'F sharp major' |
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| F sharp minor |  | the key of 'F sharp minor' |
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| F-sleutel | | (Dutch) a clef sign that shows the position of F on the staff, for example, the bass clef |
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| FSt | abbreviation of Frauenstimme(n) (German: women's voice(s) - voix de femme(s) (French)) |
| F style mandoline | see 'mandolin, mandoline' |
| FTCL, F.T.C.L. | abbreviation of 'Fellow of Trinity College of Music, London' |
| f.ten. | abbreviation of forte tenuto |
| Fturkes | Klezmer second violins |
| Fuchi | (Japanese) the rim of the drum, where the ka note is played |
| Fuchigashira | (Japanese) the pommel of a (Japanese) sword |
| Fuchs-schwanz | (German, literally 'fox-tail'S) in old organs this is a Nebenzug to which is attached a real fox's tail, as a sort of joke. If any over-curious or ignorant person draws out the register, the fox-tail is droawn out with it, into the hand, and it is a lot of trouble to put it in again |
| Fue | (Japan) transverse bamboo flute |
| Fuelle | (Spanish m.) bellows, bag (of a bagpipe) |
| Argentine synonym for bandoneón |
| Fuente | (Spanish f.) spring, fountain (articial), dish, serving dish, source (figurative) |
| Fuentes fidedignas | (Spanish f.) or bien informadas, reliable sources |
| fuera | (Spanish) outside, out, except for, apart from |
| fuera de duda | (Spanish) without a doubt |
| fuera de esto | (Spanish) apart from this |
| fuera de lo normal | (Spanish) extraordinary, very unusual |
| fuera de lugar | (Spanish) out of place |
| fuera de serie | (Spanish) extraordinary |
| Fuero | (Spanish m.) code of laws, privilege, exemption, jurisdiction |
| fuerte | (Spanish) f, forte |
| Fuerza de gravedad | (Spanish f.) force of gravity |
| Fuga | (Latin) a fifteenth- or sixteenth-century canon |
| (Italian f., Spanish f., Dutch, Danish, Swedish, Portuguese) a fugue |
| Fuga ad octavam | (Latin) a fugue at the octave |
| Fuga ad quintam | (Latin) a fugue at the fifth |
| Fuga aequalis motus | (Latin) a fugue in which the answer ascends and descends in a similar way to the subject, synonymous with fuga recta |
| Fuga al contrario | (Italian f.) fuga contraria |
| Fuga al riverso | (Italian f.) fuga al contrario |
| Fuga al rovescio | (Italian f.) fuga al contrario |
| Fuga authentica | (Latin) a fugue with an ascending subject |
| Fuga canonica | (Latin) a canon |
| Fuga composita | (Latin) a fugue in which the subject proceeds by degrees, not by leaps |
| Fuga contraria | (Latin) a fugue in which the answer imitates the subject at once by contrary motion, or some degree of inversion |
| Fuga del tuono | (Italian f.) a tonal fugue |
| Fuga doppia | (Latin) a double fugue, i.e. a fugue with two subjects |
| Fuga homophona | (Latin) a fugue with the answer at the unision |
| Fuga impropria | (Latin) synonymous with fuga irregularis, an irregular fugue |
| Fuga inaequalis | (Latin) synonymous with fuga contraria |
| Fuga incomposita | (Latin) a fugue in which the subject proceeds by leaps, not by degrees |
| Fuga in consequenza | (Italian f.) a canon |
| Fuga in contrario tempore | (Latin) a fugue in broken rhythmical division, in which the accentuation of the answer differs from that of the subject, the accented notes of one being the unaccented in the other, and vice versa |
| Fuga inversa | (Latin) a fugue throughout in double counterpoint and contrary motion |
| Fuga irregularis | (Latin) irregular fugue, i.e. a fugue that lacks one or more of the features that characterise the form |
| Fuga libera | (Latin) a fugue with free episodes |
| Fuga ligata | (Latin, Italian f.) a fugue without free episodes, entirely developed out of the subject and the countersubject |
| Fuga mixta | (Latin) a fugue in which several kinds of answer occur, for example, by augmentation, by diminution, by contrary motion, etc. |
| Fuga obbligata | (Italian f.) synonymous with fuga ligata, a strict regular fugue |
| Fuga obligata | (Latin, Italian) synonymous with fuga ligata, a strict regular fugue |
| Fuga obstinata | (Latin, Italian) or fuga perfida, a fugue in which one figure is steadily adhered to |
| Fuga partialis | (Latin) or fuga perodica, a fugue with partial or periodic imitation, in contradistinction to a fugue with canonic or uninterrupted (perpetual) imitation, i.e. what we call a fugue rather than a canon |
| Fuga per arsin et thesin | (Latin) synonymous with fuga in contrario tempo |
| Fuga per augmentationem | (Latin) a fugue in which the answer is by augmentation |
| Fuga per diminutionem | (Latin) a fugue in which the answer is by diminution |
| Fuga perfida | (Latin, Italian) or fuga obstinata, a fugue in which one figure is steadily adhered to |
| Fuga per motum contrarium | (Latin) a fugue in which the answer is by contrary motion |
| Fuga perodica | see fuga partialis |
| Fuga plagalis | (Latin) a fugue with a descending subject |
| Fuga propria | (Latin) synonymous with fuga regularis, a regular fugue |
| Fugara | (Latin) a bright-toned slow-speaking organ stop of the gamba species |
| Fuga reale | (Italian f.) a real fugue |
| Fuga recta | (Latin) synonymous with fuga aequalis motus |
| Fuga reditta | (Italian f.) a fugue in the middle or at the end of which tw or more parts are treated canonically |
| Fuga regularis | (Latin) a regular fugue, a fugue which has all the features that characterise the form |
| Fuga retrograda | (Latin) a fugue in which the answer is by retrograde motion |
| Fuga retrograda per motum contrarium | (Latin) a fugue in which the answer is both by retrograde and contrary motion |
| Fuga ricercata | (Italian f.) an elaborate fugue, which may include canonic imitation, imitation by augmentation, diminution and by contrary and retrograde motion |
| Fuga sciolta | (Italian f.) a free fugue, synonymous with fuga libera |
| Fuga soluta | (Latin) synonymous with fuga libera |
| Fugato | a passage in a fugal style but not a strict fugue |
| Fuga tonale | (Italian f.) tonal fugue |
| Fuga totalis | (Latin) a canon |
| fuga-vorm | (Dutch) fugal form |
| Fuge | (German f.) fugue |
| (German f.) a term applied to the ranks of a mixture stop, in an organ |
| Fuge galante | (German f.) a free fugue, in a chamber music style |
| Fugenart | (German f.) fugal style |
| fugenmässig | (German) fugal |
| Fughetta | (Italian f.) a short fugue, not developed at any great length |
| Fughette | (German) a short fugue |
| Fugiertes | (German) in the syle of a fugue |
| Fuging tune | or 'fuguing tune', a tune upon which a fugue can be constructed, a musical form that was very popular in late eighteenth-century New England |
| strictly speaking 'fuging' (or 'fuguing') more often than not involves imitative counterpoint rather than true fugal writing |
| Fugist | (German) a term applied to the ranks of a mixture stop, in an organ |
| Fugue | (English, French), fuga (Spanish, Italian), Fuge (German) |
| (French f., English) a contrapuntal form that is built from a single subject and has an exposition where all voices state the subject in turn, alternating tonic and dominant entrances. The fugue continues with various contrapuntal artifices which may include restatement of the subject, stretto, subject manipulations (fragmentation, inversion, retrograde, augmentation, etc). The fugue usually has several sections that are a combination of subject-sections, episodes, counterexpositions, stretti, etc. |
| in the early seventeenth century, there was no clear definition for the word 'fugue'. The word fuga first appeared as another word for a 'canon' with works by Oswald von Wolkenstein (1377-1445). It then changed its meaning to 'freely imitative paraphrases of another vocal work' in pieces by Leonhard Kleber (1490-1556) and Bernhard Schmid the Younger (1555-1625) defined the 'fugue' as canzona alla francese. Gabrieli and Maschera (late sixteenth century) both called their instrumental canzonas 'fugues'. It was the 'fugues' in the Woltz tablature in 1617 by Simon Lohet (1550-1611) that follow the meaning that we use today |
| fugues may be distinguished according to the type of imitation: |
| by the interval of the answer |
| by melodic motion of the answer |
| by change of note values of the answer |
| fugues by augmentation |
| fugues by diminution |
| fugues by imitation in contrary rhythm |
| fugues with interrupted imitation |
| fugues combining all the mentioned devices, termed fuga mixta |
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| there are essential and non-essential elements found in every fugue: |
| subject (Eng.), sujet (Fr.), soggetto (It.), Thema (Ge.), sujeto (Sp.) | essential |
answer (Eng.), réponse (Fr.), risposta (It.)
Beantwortung (Ge.), respuesta (Sp.) |
real fugue | where the answer is an exact transposition of the subject | essential |
| tonal fugue | where the answer is an imitation of the subject but slightly modified (termed a 'mutation') to keep it within the original key |
| countersubject (Eng.), contre-sujet (Fr.), controsoggetto (It.), Kontrasubjekt (Ge.), contra-sujeto (Sp.) | essential |
| counter-answer (Eng.), contre-réponse (Fr.), contrarisposta (It.), Kontrabeantwortung (Ge.), contra-respuesta (Sp.) | non-essential |
| strette (Fr.), stretto (It.), Engführung (Ge.) estrochos (Sp.) | essential |
| episodes (Eng.), épisodes (Fr.), divertissements (Fr.), sviluppo (It.), elaborazione (It.), episodios (Sp.) | non-essential |
| organ point (Eng.), point d'orgue (French), pedale (Italian), Orgelpunkt (German), nota pedal (Spanish) | non-essential |
| coda (It.) | non-essential |
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| Fugue renversée | (French) a fugue, in which the answer is made in contrary motion to that of the subject |
| Fuguing | see 'fuging' |
| führend | (German) leading |
| Führer | (German m.) the subject of a fugue, conductor, director, leader |
| Führerprinzip | (German n.) the doctrine that dictatorship is efficient and desirable |
| Führung der Stimme | (German f.) placing of the voice |
| Führungsblatt | (German n.) lead sheet |
| Fujara | Slovakian handmade shepherd's flute approx. 1.80 metres long (6 feet) |
| Fuji | (Nigeria) dance music, with apala and sakara influences, that emerged from the Lagosian Heartland of Mushin and is steeped in the Islamic roots of Ajisari. V. It is a percussion and vocal dominated genre of music (vocals are backed by a lineup of dundun and iyalu percussion, led by a bell-shaped drum) which rose to popularity in the 1970s to become the most popular of Yoruba musical genres |
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| Fula | Malian one-stringed fiddle |
| Fulcrum (s.), Fulcra (pl.) | (Latin) the point on which a lever is supported |
| Fulía | a call and response music style from eastern Venezuela with Spanish musical roots |
| Full | pieno (Italian), voll (German), plein (French) |
| for all voices and/or instruments |
| in cathedral music, it means that the passage is to be sung by both sides of the choir |
| Full anthem | unaccompanied anthem with four or more parts, without verses or solo passages, to be sung throughout by an entire choir |
| Full band | a military band, or an orchestra, having all the customary instruments |
| Full cadence | perfect cadence |
| Full choir | (on Great and Swell) draw all the stops of the Choir organ |
| Full chord | a chord that has one of the expected three or four notes doubled at the octave |
| Full close | perfect cadence |
| Full diminished seventh chord | the full-diminished seventh chord has successive intervals minor third, minor third and minor third, that is a diminished triad with an added diminished seventh |
| see 'diminished seventh chord' |
| Füll-flöte | (German, literally 'filling-flute') a stopped organ register, of 4 ft. tone |
| Full German system | see 'Oehler system' |
| Full harpsichord | the fullest combination of stops found on a given harpsichord. Normally it would consist of two eight foot stops and a four foot stop. If the instrument has a sixteen foot stop, full harpsichord would be 1 x 16', 2 x 8', 1 x 4'. Full harpsichord never includes both ranks of jacks plucking the same string nor would it include the buff stop |
| Full house | also 'packed house' or 'sell-out', a theatre or opera house filled to capacity |
| Full orchestra | an orchestra with all of its four sections, strings, woodwind, brass and percussion |
| Full organ | an organ with all its stops and couplers drawn |
| Full power | tutta forza (Italian), volle Kraft (German), plein jeu (French) |
| Full score | partitura (Italian), Partitur (German), partition (French) |
| full-sized conductor's score, usable for performance that shows every part |
| Full service | a service for the whole choir in chorus, without any verse, or solo parts |
| Füllstimme (s.), Fullstimmen (pl.) | (German f.) the middle voice(s) in a polyphonic composition generally of little musical importance |
| part(s) in an ensemble or orchestra not played by the section princpals |
| in an organ, a mixture stop |
| Full to fifteenth | an instruction on the organ to draw all stops except mixtures and reeds |
| Full up | see plein jeu |
| Full voice | singing that is highly resonant, at maximum volume and capacity |
| the part of the vocal range that lies beneath the passaggio, or break, where even an untrained singer can produce a powerful sound |
| Fully diminished seventh chord | the fully diminished seventh chord has successive intervals minor third, minor third and minor third, that is a diminished triad with an added diminished seventh |
| see 'diminished seventh chord' |
| Fumage | (French) a collage made with smoked paper |
| Fumaruola (s.), Fumaruole (pl.) | (Italian f.) in a volcano, the hole(s) from which smoke issues |
| Fumetto | (Italian m.) comic strip |
| Fumetti | (Italian m. pl.) comics |
| Fumiste | (French m./f.) a hoaxer, a practical joker, an artist who practises fumage |
| Funacola | (Cape Verde) a hybrid of funana and coladeira |
| Funambolo | (Italian m./f.) tightrope walker |
| Funana | a mixed Portuguese and African dance from Cape Verde |
| an accordion-based genre from the island of Santiago, Cape Verde, accompanied by ferrinho |
- Funana from which these definitions have been taken
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| Funcionamiento | (Spanish m.) functioning, working |
| funcionar | (Spanish) to function, to work |
| Function | the way in which chords, and individual tones within the chord, tend to imply movement toward another chord |
| Function analysis | see 'wordless functional analysis' |
| Functional chord | or 'structural chord', a chord which has a structural significance in the phrase and which is not created by melodic elaboration (such as 'auxiliary notes', 'passing notes' or 'appoggiaturas'). A functional chord can exist on any degree of the musical scale. A non-functional (or non-structural) chord is one that does not have a structural significance in the phrase and which is created by melodic elaboration (such as 'auxiliary notes', 'passing notes' or 'appoggiaturas') |
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| Functional harmony | armonía funcional (Spanish), armonia funzionale (Italian), étude des functions (French), Funktionslehre (German) |
| the use of chords and root progressions that establish a sense of key |
| a theory of tonal harmony developed by Hugo Riemann (1849-1919), the basic concept being that all harmonic sounds used in music may be classed either distinctly or ambiguously as a member of three chord/sound groups: |
| the tonic class | the tonic chord (the fundamental sound), the submediant chord (the inferior [lower] related sound) and the mediant chord (the superior [upper] related sound). The mediant chord 'sounds' in the tonic category because it functions as a 'reflection' of the tonic (fundamental) sound |
| the subdominant class | subdominant chord (the fundamental sound), the supertonic chord (the inferior [lower] related sound), and the submediant chord which functions in this classification when it sounds as a reflection of the subdominant sound |
| the dominant class | the dominant chord (the fundamental sound), the mediant chord (the inferior [lower] related sound), and the leading note (tone) chord (the superior [upper] related sound). The leading note (tone) may be said to be an incomplete sound |
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| Functional music | a generic name given to commercial closed-circuit or restricted-broadcast music whose purpose is to achieve specific goals, such as enhancing worker productivity in office and industrial establishments. The best-know functional music is Muzak - a Seattle-based company founded in 1936. Other providers of commercial functional music include Rowe International, Ditchburn, Tape-Athon, Magnetronics, Audio Environments, Yesco and the 3M Corporation |
| Functional solmization | solmization that represents the functions of pitches (such as tonic sol-fa) is called "functional" solmization. All musicians that use functional solmization use "do" to represent the tonic (also known as the "keynote") in the major mode. However, approaches to the minor mode fall into two camps. Some musicians use "do" to represent the tonic in minor (a parallel approach), whereas others prefer to label the tonic in minor as "la" (a relative approach) Both systems have their advantages: The former system more directly represents the scale-degree functions of the pitches in a key; the latter more directly represents the intervals between pitches in any given key signature |
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| functionele Harmonie | (Dutch) functional harmony |
| functus officio | (Latin) having ceased to hold some public appointment |
| Funda | (Spanish) cover (flexible), case (rigid), sheath |
| Fundación | (Spanish f.) foundation |
| Funda de almohada | (Spanish f.) pillow-case |
| fundado (m.), fundada (f.) | (Spanish) firm, well-founded, justified |
| Fundador (m.), Fundadora (f.) | (Spanish) founder |
| Fundamental | fondamentale (Italian, French), Grund (German) |
| fundamental principle, fundamental note (for example, of the harmonic series, the lowest note of a chord, etc.) |
| fundamental | (English, Spanish) of or being a base of foundation, essential, primary |
| Fundamental bass | (English, Fundamentalbass (German m.) fondamento (Italian), Grundbass (German), basse fondamentale (French) |
| an imaginary bass line formed by the root notes of successive chords whether the lowest note is the root of the chord or not |
| the bass is not intended to be played but merely serves as a test of the correctness of the harmony |
| the generator, the root, the note from which harmonies are derived |
| Fundamental chord | a chord, the lowest note of which is its root |
| Fundamental frequency | the principal frequency component of a complex harmonic or pseudo-harmonic tone; the basic cycle of repetition for a periodic waveform. The fundamental frequency is commonly, although not always (see comment below), associated with the perceived pitch of a tone |
one can explore the relationship between the frequency content of a musical note and the pitch perceived by listeners. Musical notes are complex tones consisting of a fundamental frequency and higher harmonics (known as partials) that are integer multiples of the fundamental frequency. The particular mix of partials is part (but only part!) of what gives different musical instruments their individual character. The pitch of the note is related to the fundamental frequency of the complex tone. However, the pitch of the note remains unchanged if this fundamental frequency is removed. It is possible to construct a complex tone made up of a fundamental and nine higher harmonics. The first tone has all the frequencies, the second tone has the fundamental removed but maintains all of the higher harmonics. Each successive tone sequentially removes the lowest harmonic. Although the character of each note changes, the pitch remains the same
[the comment above has been taken from Acoustics Demonstrations - The Missing Fundamental] |
| the fundamental frequency (in Hz) of a vibrating string is given by 1/(2*L)*√(F/r) where L is the string length (m), F is the tensile force (N) and r is the linear density (kg/m) |
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| Fundamental frequency of speech | the fundamental frequency of speech can vary from 40 Hz for low-pitched male voices to 600 Hz for children or high-pitched female voices
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| Fundamental note | the lowest note of a chord that is reduced to a series of thirds placed one above the other |
| the term can also be applied to the tonic, dominant and sub-dominant of any key or scale |
| Fundamental position | when the root of a chord is in the bass, root position |
| Fundamental tone | (US) fundamental note |
| Fundamento | in Cuba, Yoruba speakers became known by the collective term Lucumí, after a Yoruba phrase, oloku mi, meaning my friend. The most sacred instruments among the Lucumí are the trio of batá drums, which when consecrated according to the rite of the santeria religion, are called fundamento and are said to hold an indwelling deity called Añá |
| Fundición | (Spanish f.) to melt, to found (metal), to cast (bell, etc.), foundry, smelting works |
| Fundición de acero | (Spanish f.) steelworks |
| Fundido | (Spanish m.) TV fade-in, TV fade-out |
| Fundidor | (Spanish m.) caster, smelter |
| fundort Verzeichnis | (German) found or discovered index |
| Fune | (Italian f.) rope, cable |
| funèbre | (French) funereal, gloomy, mournful |
| funebre | (Italian) funereal, gloomy, mournful |
| funebreo | (Italian) funereal, mournful |
| Funerale | (Italian m.) funeral |
| Funeral march | a march in slow 4/4 time usually in a minor key, for example, the slow movement from Chopin's piano sonata in B flat minor |
| funereo | (Italian) funereal, mournful |
| funesto | (Italian) sad |
| fünf | (German) five |
| Fünffach | (German n.) five-fold, an adjective applied by organ builders and organists to a mixture stop that has five ranks of pipes |
| Fünfliniensystem | (German n.) staff, stave, pentagramma (Italian), portée (French), pentagrama (Spanish) |
| fünfstimmig | (German) for five voices or parts |
| fünfte | (German) fifth |
| Fünftelton (s.), Fünfteltöne (pl.) | (German m. ) fifth tone |
| Fünfvierteltakt | (German m.) 5/4 time |
| fünfzehn | (German) fifteen |
| fünfzig | (German) fifty |
| Fungi bands | see 'scratch bands' |
| Funk | (English, German m.) see 'funk dance', 'funk music' |
| Funkcore | a musical genre, or perhaps movement, derived from a fusion of American-styled hardcore punk and funk. Most often, hard, loud, fast guitars are featured, but unlike in rock music, it does not overpower the bass, which is heavy and driving |
- Funkcore from which this extract has been taken
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| Funk dance | or funk styles, a term that refers to dance styles that were originally danced to funk music. More specifically they can be used for a group of street dance styles that originated in California in the 1970s, mainly popping and locking |
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| Funkeiros | (Portuguese) a term used in Brazil for a 'rap' enthusiast |
| Funk finger style | a playing style pioneered by Tony Levin, using two wooden dowels (called 'funk fingers'), which are affixed with velcro to the index and middle finger of the right hand and used to strike the strings of the bass, producing a percussive attack and timbre similar to the 'slap and pop' |
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| Funk metal | a type of music that incorporates hard-driving heavy metal guitar riffs, the pounding bass rhythms characteristic of funk, and sometimes, hip hop-style rhymes |
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| Funk music | a type of popular music combining elements of jazz, blues, and soul and characterized by syncopated rhythm and a heavy, repetitive bass line |
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| Funk-rock | a music genre that fuses funk and rock elements. It can incorporate a wide range of instruments, but tends to have a definite bass or drum beat and electric guitars |
- Funk-Rock from which this extract has been taken
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| Funksender | (German m.) transmitter |
| Funk styles | see 'funk dance' |
| funktionale Musik | (German f.) functional music |
| Funktionslehre | (German f.) functional harmony |
| Funktionsanalyse | (Danish) functional harmony |
| Funktionsharmonik | (Danish) functional harmony |
| Funktionslära | (Swedish) functional harmony |
| Funktionstheorie | (German f.) function theory |
| Funky | a term in jazz signifying down-to-earth, a blues feeling, soulful, groovy |
| Funky beats | see 'Florida breaks' |
| Funky drummer | the "funky drummer" break is one of the most used sampled drum loops in hip hop and drum and bass music, together with the Amen break, which is more related to drum-and-bass |
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| Funzione (s.), Funzioni (pl.) | (Italian f.) function, office, service in the Roman Catholic church, sacred musical performances including oratorio and masses |
| Fuoci d'artificio | (Italian m. pl.) fireworks |
| Fuoco | (Italian m.) fire, force, speed, ardour, passion, dash, energy
[corrected by Tim Lemon] |
| fuocoso | (Italian) fiery, ardently, impetuously |
| für | (German) for |
| für bare Münze nehmen | (German) take as gospel (figurative) |
| für das ganze Werk | (German) for the full organ |
| für das volle Werk | (German) for the full organ |
| Fureur | (French) fury, rage, madness |
| für vier Stimmen | (German) for four voices |
| Furia | (Italian f.) fury, passion, rage, impetuosity |
| furibondo | (Italian) furiously, wildly, as in G. F. Handel's Furibondo spira il vento, 'Furiously breathes the wind' |
| Furie | (French) fury, passion, impetuosity |
| furieusement | (French) furiously, madly |
| furieux (m), furieuse (f.) | (French) with fury, wildly, vehemently, fiercely |
| furiosamente | (Italian) furiously, madly |
| Furióso | (Italian, mentioned in John Florio's Queen Anna's New World of Words (1611)) furious, outragious, franticke, mad, enraged, bedlam, raging |
| furioso | (Italian) furious, fierce, vehement, furiously, wildly, vehemently |
| Furiant | a rapid, polyrhythmic dance type in triple time from Bohemia |
| Furie | a rapid, polyrhythmic dance type in triple time from Bohemia |
| furieux (m.), furieusement (f.) | (French) furious, furiously |
| Furlana | (Italian f.) synonymous with forlana |
| Furlando | see Furlano |
| Furlano | (Italian m.) or Furlando, synonymous with forlana |
| für meine Begriff | (German) to my mind |
| Furnier | (German n.) inlay, veneer, veneering |
| Furniture | or 'furniture stop', a mixture stop of the organ, i.e. a stop consisting of several ranks of pipes, of very acute pitch |
| Furniture music | a derogatory description (originally coined in French as musique d'amueblement by Erik Satie (1866-1925) for background music that sticks in the memory |
| Furore | (Italian m.) fury, rage, passion, madness, enthusiasm, wild excitement, enthusiastic popular acclamation |
| Furrucos | (Venzuela) friction drums |
| Furry dance | an ancient processional dance from Cornwall, also called the 'Floral Dance' or 'Flora' |
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| Furugla | or furulya, a Hungarian shepherd's pipe or recorder |
| there are three forms: |
| long woodwind-flute (hosszú furugla) | made of elderberry, nearly one metre long with five holes at the end. The lower octave sound of the instrument is nearly always accompanied by the player's murmuring and growling voice. It can be played only with a lifted head and stretched arms |
| small recorder or six hole pipe | which fit the player's fingers perfectly - are from between 30-60 cm in length. The smaller ones are called piccolo. The recorders are made of elderberry and maple wood. It is the favorite instrument of herdsmen |
| double recorder | used in Transdanubia, Transylvania and by the Csángós, one pipe, with 4 holes, plays the melody, while the other with only 2 or 3 holes plays the accompanying tune. It is an ancient Asian peculiarity, that - especially in Transylvania and Somogy - the musician produces a murmuring sound of the throat while playing. This guttural ostinato serves to colour and strengthen the sound of the pipe. The combination produces three clearly audible parts |
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| Furulya | see furugla |
| für zwei Manuale | (German) in organ playing, for two manuals |
| Fusa |  | (Latin) in mensural notation, eighth note or quaver |
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