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H
after Eugene Helm who catalogued the music by C.P.E. Bach (1714-1788)
after Willy Hess who catalogued the unpublished works of Ludwig van Beethoven (1770-1827), used only for works not catalogued by Kinsky & Halm
after H. Wiley Hitchcock (1923-2007) who catalogued the music of Marc-Antoine Charpentier (1645-1704)
or Hop, after Cecil Hopkinson, the cataloguer of music by John Field (1782-1837)
catalogue of the music of George Frideric Handel (1685-1759) by Bernd Bäselt (1934-93)
catalogue of music by Gustav Holst (1874-1934) prepared by his daughter Imogen Holst (1907-1984)
after Ronald M. Huntington, the cataloguer of music by Leo Sowerby (1895-1968)
after Harry Halbreich, the cataloguer of the music of Bohuslav Martinu (1890-1959) and Arthur Honegger (1892-1955)
after Friedrich Helm (1809-1888), cataloguer of the music of Carl Maria von Weber (1786-1826)
after D. Kern Holoman, the cataloguer of the music Hector Berloz (1803-1869)
after Paul Hindmarsh, the cataloguer of music by Frank Bridge (1879-1941)
H.
an abbreviation of 'horn'
in organ music, an abbreviation of 'heel'
in keyboard music, an abbreviation of 'hand'
abbreviated form of Hauptstimme, the main polyphonic voice in a composition, a term coined by Arnold Schönberg (1874-1951)
H, h
(German n.) German for the note 'B natural' (in German, 'B' is reserved for 'B flat')
Haardingfele
(Italian m.) Hardanger fiddle, Hardanger Fiedel (German), violon de Hardanger (French)
Haarstrich
(German m.) hairline
Haas effect
a psychoacoustic effect, also known as the Precedence Effect or law of the first wave front. A listener hears two identical sounds (i.e. identical soundwaves of the same intensity) from two sources: A and B. The sound created at source A, which is closer to the listener than source B, arrives first. To the listener, this creates the impression that A is the only source of the sound. This effect occurs for only 40 milliseconds
Haas effect from which this extract has been taken
haasten
(Dutch) rush, hurry
Habanera
(Italian f., Spanish f., German f., havanaise (French f.)) owing its name to the Cuban capital Havana (in Spanish, La Habana), where, at the beginning of the nineteenth century, the dance developed from the contradanza and danza, it was the final precursor to the danzón style. With its duple meter, slow tempo and distinctive dotted or syncopated rhythm, the Habanera was brought back to Spain by returning Spanish soldiers where the songs, with their compelling mix of Antillean musical elements and sad folksong, became an important part of Spain's own musical culture
(Latin, literally 'we have a Pope') the declaration made upon the announcement of a new Pope
Haberl, Franz Xaver (1840-1910)
working for church music reform, in 1874 Haberl founded a famous school for church musicians at Regensburg (Ratisbon). This school began with three professors - Dr. Haberl, Dr. Jacob, and Canon Haller - and only three pupils, and attracted reform-minded church music programs. Haberl not only secured permanency for the school in the shape of endowment, but he built next to it a church, dedicated to St. Cecilia, where pupils are given opportunities for practising the knowledge they have acquired in theory. As president of the St. Cecilia Society, which position he held from 1899 until his death, as editor of Musica Sacra and Fliegende Blätter für Kirchenmusik, the official organ of the society, as the author of Magister Choralis, now in the twelfth edition, and of innumerable articles on historical, theoretical, and scientific subjects, but especially as director of the school which he founded, Haberl championed the spirit and authority of the Church in musical matters against modernizing influences
(Latin, literally 'you have the body') a term used to describe an application to court (a writ) requiring that an improsonment be justified by showing grounds acceptable to a court
habile
(French) skilful, clever
Habileté
(French f.) skill
Habilidade artística
(Portuguese) artistry
habilité à faire
(French) entitled to do
habiller
(French) to dress, clothe, cover
habiller de
(French) to dress in, cover with
habillé
(French) (costume) dressy
Habillement
(French m.) clothing
Habit (s.), Habits (pl.)
(French m.) dress, outfit, tails (i.e. tailcoat), clothes (plural form)
the distinctive clothing worn by members of monastic orders
an established custom
Habitant (m.), Habitante (f.)
(French) occupant (of a house), inhabitant (of a country)
Habitat
(French m.) housing conditions
(Latin, literally 'it lives) the native region of a plant or animal
Habitation
(French f.) a living, a house
habité
(French) inhabited
habiter
(French) to live, to live in, to inhabit
Habituation
see 'adaptation'
Habitude
(French f.) habit
Habitué (m.), Habituée (f.)
(French) a regular visitor, a regular (client)
Habitué de la maison
(French m.) a regular visitor to a house, a regular customer (at a café)
habituel (m.), habituelle (f.)
(French) usual
habituellement
(French) usually
habituer à
(French) accustom to
hablar a borbollones
(Spanish) gabble
hablar a borbotones
(Spanish) gabble
hablar a destajo
(Spanish) talk nineteen to the dozen
hablar entre dientes
(Spanish) mumble
Habon
Cuban classical music, lighter and more rhythmic than the Cuban contradanza
hacer añicos
(Spanish) to smash to bits, to smash to pieces, to wear out
hacer ascos de algo
(Spanish) to turn up one's nose at
hacer aspavientos
(Spanish) to make a big fuss
hacer arpegios
(Spanish) to arpeggiate, arpéger (French)
hacer bancarotta
(Spanish) to go bankrupt
hacer deporte
(Spanish) to take part in sports
hacer destrozos
(Spanish) to ruin
hacer resaltar
(Spanish) to emphasize, to stress, to underline
hacerse el desentendido
(Spanish) to pretend not to hear
haché
(French) in cooking, finely chopped or minced
Hachi
Japanese cymbals used in Buddhist rites
hacia atrás
(Spanish) backward (for example, step), backwards
Hacienda
(Spanish f.) a country estate, a plantation
Hackbräde
(Swedish) the hammered dulcimer
Hackbrett
(German n.) hammered dulcimer, salterio tedesco (German m.), tympanon (French m.)
(German n. pl.) the name given to crank-operated pianos built by Andreas Ruth
the firm of A Ruth u. Sohn built organs in Waldkirch im Breisgau from 1841 to 1938. The firm's founder Andreas Ruth (1817-1888) learned the organ building trade from Ignaz Bruder, whose wife was a relation of Ruth. He settled in Waldkirch in 1841 where he built clocks with playing mechanisms, crank-operated pianos, which were known to insiders as Hackbretter and later barrel organs
Organ Builders from which this information has been taken
Hackbrett geschlagen
(German n.) dulcimer played by beating the strings with wooden mallets
Hackbrett gezupft
(German n.) dulcimer played by plucking the strings with a plectrum
Hadith (s.), Hadithat (pl.)
(Arabic) traditions relating to the words and deeds of Muhammad. Hadith collections are regarded as important tools for determining the Sunnah, or Muslim way of life, by all traditional schools of jurisprudence
(Korean) or haegum, two-string spike fiddle, of Chinese origin, which is played with the bow inserted in between the two strings called choonghyon and yuhyon
(German n.) a sticky note (for example, a Post-It note or Post-It Notiz (German f.))
Hagiography
the study of saints. A hagiography refers literally to writings on the subject of such holy persons, and specifically the biographies of ecclesiastical and secular leaders. Though many hagiographies focus on the lives of men and women canonized by the Christian Church, other religions such as Buddhism and Islam also create and maintain hagiographical texts concerning saints and other individuals believed to be imbued with the sacred. The related term hagiology refers to the study of saints collectively, without focusing on the life of an individual saint. The term "hagiography" has also come to be used as a pejorative reference to the works of contemporary biographers and historians whom critics perceive to be uncritical and even "reverential" in their writing
Hagiography from which this information has been taken
hahnebüchen
(German) coarse, heavy
Haidi
(Chinese, literally 'sea flute') double-reed shawm, a smaller suona pitched a fourth higher
Hail Columbia is the prescribed honours music for the Vice President of the United States of America. The Department of Defense arrangement of Hail Columbia is performed following the completion of Ruffles and Flourishes
Hail to the Chief
Hail to the Chief is the prescribed honours music for the President of the United States of America. The Department of Defense arrangement of Hail to the Chief is performed following the completion of Ruffles and Flourishes
Hair
the material, usually long, white hair from the tail of horses raised in cold climates (since their hair is stronger), used to 'string' the bow of certain stringed musical instruments, although occasionally synthetic (i.e. fiberglass) hair is supplied but it fails to hold resin satisfactorily and feels 'wrong'
Hair metal
a derogatory term for a popular music genre, 'glam metal'
Hairpins
first used in the violin sonatas of Giovanni Antonio Piani (1678-1760) published in 1712, the colloquial term for signs indicating graded dynamic change, i.e. crescendo (marked '‹') and decrescendo or diminuendo (marked '›')
Haitian dance
an expression of traditional African way of life since African peoples were taken from various nations, enslaved and brought to the Caribbean Island Ayiti, during the colonial period. To this day, Haitian people remain true to their roots in the Dahomey region and Congo where many of their ancestors originated practicing rituals and cultural traditions through dance, music, religion and everyday life
Haitian merengue
simple and smooth in its slow version, colourful and exciting in its faster forms
Hajhouj
an alternative Gwana name for the guembri
Hajji
(Arabic) a Moslem who has made the pilgrimage to Mecca
Hajnal
see Nachtwächter, Der
Haka
the gestures, or dance movements, that form part of the traditional dances from many Polynesian Islands
(literally 'outstretched arm gestures') arm movements that, in Polynesian tradition dances, are supposed to be performed away from the body
Haka nounou
(literally 'close armed gestures') arm movements that, in Polynesian tradition dances, are supposed to be performed close the body
Haken
(German m.) hook, tick, snag (familiar)
(German m. pl.) simple devices, called 'blades', found on some harps to raise, by one semitone, the pitch of individual strings [entry prompted by Michael Zapf]
haken
(German) to hook
Hakenkreutz
(German n.) swastika
Hakennase
(German f.) hooked nose
Hakenstil
(German m.) 'run-on-lines', enjambement or enjambment, a poetic style in which the sense is run on from line to line (as opposed to Zeilenstil)
Hakim
(Arabic) a Moslem physician, practitioner of an indigenous form of medicine
(Arabic) a Moslem judge or ruler
in Arabic the spelling of hakim is different in each case although in English the spellings are usually the same
Hakkebord
(Dutch) dulcimer
Halam
Senegalese plucked lute, also known as kontingo, xalam, ngoni and koni
Halau
the schools in which Hawaiian hula is taught
Halay
a square dance, originally from the west and south of Turkey, in which the participants join hands, making a circle, and the music and the dance start slowly but gets faster and faster. It is danced with the accompaniment of a drum and shrill pipe, especially on holidays and weddings
halb
(German) half
Halbbd.
(German) part, half-volume (book)
Halbband
(German m.) part, half-volume (book)
Halbcadenz
(German f.) half close, semi-cadence
halbe
(German) half
Halbe
(German f.) a minim (half note), a note half the value of a semibreve (whole note)
halbe Note
(German f.) a minim (half note), a note half the value of a semibreve (whole note)
halbe Pause
(German f.) a minim rest (half note rest), a rest half the value of a semibreve rest (whole note rest)
Halber Ton
(German m.) a semitone, a half-step
halbes Werk
(German n.) reduced organ
halbe taktieren
(German) beat half-notes, beat minims
Halbgelehrte (m.), Halbgelehrter (f.)
(German) a half-educated person, one with a mere smattering of a subject
halblaut
(German) moderately loud (volume of sound), in an undertone (or half voice)
in terms of volume the equivalent terms are mezzo forte or mezzoforte (Italian), mittelstark (German), mi-fort (French)
halbleise
(German) moderately soft (volume of sound), in an undertone (or half voice)
in terms of volume the equivalent terms are mezzo piano or mezzopiano (Italian), mittelleise (German), mi-doux (French)
Halbmond
(German, literally, 'half-moon') the Hanoverian Halbmond, made of copper, had a U-shaped wide bore and leather cross straps. It was pitched in D. The Halbmond developed from the older flugelhorn, a German hunting bugle, an example of which may be seen in the Brussels Collection. A military version of the Halbmond was in use in the Hanoverian forces in 1758
Halbprincipal
(German m.) an organ stop of 4ft. pitch
Halbschluss (s.), Halbschlüsse (pl.)
(German m.) half or imperfect cadence
Halbschuh
(German m.) flat shoe
Halbsoprano
(German m.) mezzo-soprano
halb Stark
(German) moderately loud
Halbstarke (s.), Halbstarken (pl.)
(German m.) a young hooligan, a juvenile delinquent
Halbtenor
(German m.) baritone
Halbton (s.), Halbschlüsse (pl.)
(German m.) half tone, half step, semitone, in the equal temperament scale one twelfth of an octave, hemitonium
chromatischer Halbton (German: chromatic semitone), also called übermäßige Prime (German: augmented unison)
diatonischer Halbton (German: diatonic semitone), also called kleine Sekunde (German: minor second)
halbverminderte Septakkord
(German m.) half-diminished seventh chord
Halb-Violin
(German m.) the smallest double basses, the so-called Halb-Violons or German basses, are tuned like and one octave below the violin, and were mainly used in small towns for dance music
the terms 'half close' and 'half cadence' are sometimes applied to 'plagal' cadences which are authentic but in which the chord is not in root position, or the melody does not end on the tonic
Half close
half or imperfect cadence
Half-coloration
see 'coloration'
Half-diminished
in jazz, the name given to:
a minor 7th chord with a flat 5th
the chord built off of the sixth mode of the melodic minor scale
the chord built off of the seventh mode of the major scale
Half-diminished seventh chord
halbverminderte Septakkord (German), which, when written slightly differently, as the notes F, B, D# and G#, consisting successively of the intervals, an augmented fourth, a major third, and a perfect fourth, is called the Tristan chord), the half-diminished seventh chord is made up of a diminished triad with an added minor seventh; for example, F, Ab, Cd, Ed, the intervals being successively minor third, minor third, major third. 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
in functional analysis, naming a chord and deciding which enharmonic choices to make when writing it should be determined by how the chord is perceived to function. In non-functional (or structural analysis) the notes alone tell us what it is. The half-diminished seventh chord, which we have already noted can be rewritten as the Tristan chord, may also be further rewritten, using the notes B, D#, F, A, in which case it could be interpreted as a suspended altered subdominant II chord
the time, traditionally half an hour before 'curtain up', by which all the actors must be present in the theatre
halfjaarlijk
(Dutch) half-yearly
Half loud
mezzo forte (Italian), Halbstark (German)
Half mordent
the 'turn-with-a-line-through-it' is a mystery ornament that occurs in Haydn's piano music, which he called a "half mordent" but for which he offered no explanation as to how it should be played. The confusion is made greater by the fact that his use of the symbol was inconsistent. In similar places he sometimes substitutes the normal turn as a symbol or even writes the turn out. Today, pianists play a normal turn or a mordent since, in his use of the ornament, it is generally indistinguishable from a mordent. This strange ornament is discussed in the preface to the Weiner Urtext Edition of Haydn's Piano Sonatas. Sonja Gerlach, in the Preface to the Henle edition of the Violoncello Concerto in D major (Hob. V11b:2), writes "Haydn's "half mordent" Q should usually be regarded as a quick turn performed on the beat, though it may also be intended as an inverted mordent
part of the variable pedal marking that is used to more accurately indicates the precise use of the sustain pedal. An extended lower line tells the pianist to keep the sustain pedal depressed for all notes below which it appears. The inverted "V" shape indicates the pedal is to be momentarily released, then depressed again
Half position
demi-position (French f.), a hand position between open position and first position on stopped stringed instruments
Half rest
silencio de blanca (Spanish), pausa de blanca (Spanish), pausa di minima (Italian), demi-pause (French), minim rest (English), halbe Pause (German)
a minim rest, a rest half the value of a semibreve rest (whole rest)
a semitone, the smallest interval in the tempered scale, equivalent to a minor second
Half step trill
a trill between two notes a semitone (half step) apart. Depending on the period of composition and the instructions given by the composer, the trill may begin on the upper or lower note
Half stop
see 'organ stop'
Half stopped horn
sometimes called 'echo horn', these notes are performed by closing the bell nearly totally and fingering the notes a half step above the note you want to sound. This effect is specifically requested by some composers to obtain a very distant sound, like an echo. Paul Dukas calls for this effect (for example, by writing sons d'écho (prenez le doigté un 1/2 ton au dessus)) in the well-known horn solo Villanelle and in Sorcerer's Apprentice where the composer asks that the opening solo on the first horn to be played half-stopped. It makes it very, very difficult to play and most players will either play it fully stopped or will possibly even use a mute
Hälfte
(German f.) or, alternatively, die Hälfte - half the section (referring to an orchestra)
Half-thrash
see 'groove metal'
Half time
a tempo half as fast
Half time feel
a time that feel half as fast, although the chords are played at the same speed as in the original time
Half title
see 'bastard title'
Half tone
a minor or chromatic second
Half-valve
the opening of stops or valves on instruments like the trumpet, French horn, cornet and tuba, used by jazz musicians when they are approaching a glissando, attempting to change the pitch of a tone without hitting the note or its closest interval, and in the process of highlighting blue notes, for vibrato effects and tremolos
Halitus
(Latin) vapour, exhalation
Halk
general term for Turkish folk music
Hall
(German m.) reverb, sound, clangour
Hall church
a church in which nave and aisles are of approximately equal height
Hall-drommete
(German) a powerful trumpet (mentioned in Martin Luther's German translation of the Bible)
Halle
(German f.) hall
Halleffekt
(German m.) echo effect
Hallelujah
(Hebrew, literally 'Praise ye the Lord') a song in praise of God, its Latinized form being Alleluia
hallen
(German) to clang, to resound, to echo
Halling
a lively Norwegian folk dance generally in 2/4 time and danced by a solo man
Halloween
see 'All Hallows Eve'
Hall-trompete
(German) a powerful trumpet
Hals
(German m., Dutch, Danish) manico (Italian m.), manche (French m.), neck (for example, of a violin, viola, etc.)
(German m., Dutch, Danish) stem (of a note sign)
(German m.) throat
Halsluitinstrumenten
(Dutch) necked lutes
Halsschmerzen
(German m. pl.) sore throat
Hals- und Beinbruch!
(German) the German equivalent of the stage phrase, 'Break a leg!', said just before a performer goes on stage, the phrase implying 'Good luck!' [entry suggested by Michael Zapf]
Halswinkel (die Griffbrettlage)
(German m.) angle of fingerboard or 'neck projection', renversement (French m.), inclinazione del manico (angolazione della tastiera) (Italian)
Halt
(German) fermata or pause, a musical symbol placed over a note or rest to be extended beyond its normal duration
Haltebogen (s.), Haltebögen (pl.)
(German m.) tie
halten
(German) to hold, to sustain
Haltepedal
(German n.) hold pedal
a MIDI effect, which when on, holds (i.e. sustains) notes that are playing, even if the musician releases the notes. (i.e. the 'Note Off' effect is postponed until the musician switches the 'Hold Pedal' off). On a multitimbral device, each Part usually has its own 'Hold Pedal' setting
Halter neck
dress or top shape with a high panel on the front, which is then tied around the neck, exposing the back and shoulders
Haltung
(German f.) posture, manner, attitude, composure
Halv
(Swedish, Danish) a minim (half note), a note half the value of a semibreve (whole note)
halvarlig
(Danish, Norwegian) half-yearly
halvars-
(Swedish) half-yearly (suffix)
Halvbind
(Danish, Norwegian) part (of), half-volume
halvfems (indstyve)
(Danish) ninety
halvfjerds (indstyve)
(Danish) seventy
halvmanedlig
(Danish) fortnightly
Halve noot
(Dutch) minim, half-note
Halve rust
(Dutch) minim rest, half rest
Halvnode
(Danish) minim, half note
Halvnodespause
(Danish) minim rest, half rest
Halvnot
(Swedish) minim, half note
Halvpaus
(Swedish) minim rest, half rest
Halv toon
(Dutch) a semitone, a half note, the interval of a minor second
Halve toonsafstand
(Dutch) semitone, half tone, helf step
Halvton
(Swedish) a semitone, a half note, the interval of a minor second
Halvtone
(Danish) a semitone, a half note, the interval of a minor second
halvtreds (indstyve)
(Danish) fifty
Ham
a bad actor, usually one who, in some way, draws the audience's attention away from his fellow actors
also used as a term of endearment for a good but over-exuberant actor
the bride's pre-wedding visit to the hamam was a distinctive custom in ancient Turkey. One of the prerequisite gifts of the family of the groom was a vest, and a pair of loose trousers, the shalvar made of fine felt cloth. This outfit was worn on the special day for going to and coming back from the bath during the winter months. Another item of clothing worn specifically on the day of the bride's visit to the hamam, was a silk robe open at the front similar to the Japanese kimono. The collar, the sleeves, and the front borders were all embroidered. In this ornate robe, the bride would sit on an elevated seat, much like a throne in the tepidarium, or the warm room of the hamam. Maidens and young attendants carried candles as they walked in circle around the would-be bride. Then, with the bride leading the way, the procession would move slowly behind a woman beating the tambourine, around the hamam's main pool. Singing and chanting joyously, the candle-bearing procession would go around the pool several times. Following this ritual, the bridal veil is produced and used to cover the bride's head. After the procession comes the ceremony of wishing. Unmarried girls, wishing to find an ideal husband, tossed coins into the pool
(English, German m.) part of the action of a piano that strikes the strings to produce a note, a wooden shaft with a compressed-felt tip
(English, German m.) a beater used to strike a percussion instrument such as a bell or chimes, for example, a tubular bell
(English, German m.) marteau (French), martello (Italian), martillo (Spanish), which may signify a hammer blow (for example in Mahler's Sixth Symphony) where the percussionist must strike some part of the stage or building's structure to produce the required effect with the necessary resonance
Hammerbeam
a horizontal bracket supported by braces, designed to carry arched braces and struts which support a roof
Hammerclavier
the name of Beethoven's pianoforte sonatas Op. 90, 101, 106, 109, 110, the name used to distinguish the hammered strings of the pianoforte from the plucked strings of the harpsichord
Hammer dulcimer
see 'dulcimer'
Hammered
struck with a hammer, struck strongly as though with a hammer, martellato (Italian), gehämmert (German), martelé (French)
Hammered dulcimer
the hammered dulcimer is a stringed musical instrument with the strings stretched over a trapezoidal sounding board. The instrument is typically set at an angle on a stand in front of the musician, who holds a hammer in either hand with which to strike the strings (for the plucked Appalachian dulcimer, see Appalachian dulcimer). The hammered dulcimer comes in various sizes, identified by the number of strings that cross each of the bridges. A 15/14, for example, has two bridges and spans three octaves
established in about 1900, a loose circle of Arts & Crafts practitioners living in West London that included Arthur Penny, Romney Green, Emery Walker, Cobden-Sanderson & May Morris - also from 1905, E. Johnston and Eric Gill
Hammond organ
(English) Hammondorgel (German), an electronic organ developed by Laurens Hammond in the early 1930s for Hammond Clock, which later became Hammond Organ. The 'Hammond B3 organ', a tone wheel organ made by the Hammond factory, is considered to be the most popular Hammond organ and has been used in many popular rock bands and jazz-ensembles. It is also popular as a theatre organ
founded in the 1930s, a loose group of artists & sculptors that included Barbara Hepworth, Henry Moore, Paul Nash and Ben Nicholson. In the mid 1930s, following the closure of the Bauhaus in Germany, the enclave was joined by László Moholy-Nagy, Walter Gropius and Piet Mondrian
Hanacca
(German) or hanakisch, Moravian dance in simple triple time, like the polonaise, only quicker
Hanaise
(French) hanacca, hanakisch
Hanakisch
see hanacca
Hanamokugyo
from Japan, a portable woodblock used by Buddhist priests to accompany the chanting of sutras. A piece of wood is attached by a wire to the middle of the handle. It is either shaken or struck with something so that the piece of wood produces a sound
Hanamokugyo from which this extract has been taken
Hanche
(French) anche
Hand
(English, German f.) mano (Italian, Spanish), main (French)
scrittura (Italian), Handschrift (German), écriture (French), escritura (Spanish), the distinctive features of the handwriting of an individual
operaio (Italian), Arbeiter (German m.), Arbeiterin (German f.), ouvrier (French m.), ouvrière (French f.), obrero (Spanish), worker (as in farm-hand, etc.)
lancetta (Italian), Zeiger (German), aiguille (French), manecilla (Spanish), hand of a clock
Hand-Aeoline
see Konzertina
Handarbeit
(German f.) hand-made article
Hand bell
hand bells, classified as percussion instruments, come in various sizes, each size sounding a separate pitch, and are usually played by a group of musicians, either each holding a bell in each hand, or lifting them from a table, in sets ranging in number from six to sixty
Handbelle
see belle
Handbewegung
(German f.) gesture
(German f.) hand movement (as, for example, in piano playing or conducting) [additional entry provided by Brian A. Jefferies]
Handbuch
(German n.) handbook, manual
Hand horn
a natural horn in which the player places a hand into the bell to produce certain notes
in dance, one of the element of 'connection', the way the partners hold each other by hands
Hand-horn
the natural French horn (without valves or pistons)
Handkerchief
fazzoletto (Italian), Taschentuch (German), mouchoir (French), pañuelo (Spanish), a square of cloth, often cotton or silk, kept usually in a pocket, and use for wiping one's nose, etc.
Hand-klapper
(German) castanet
Handklaver
(Sweden, literally 'hand-piano') accordion
Handleiter
(German m.) see chiroplast
Handle piano
a mechanical piano operated by a barrel organ mechanism
a stopped note on the horn, produced by the hand being inserted in the bell of the instrument
Hand organ
a portable barrel organ
Handorgel
(German f.) accordion
Handqa
(Arabic) small North African cymbals
Handschrift
(German f., Dutch) handwriting, hand (style of handwriting), autograph (although Originalhandschrift is more specific), manuscript
Handschriftenabteilung
(German f.) handwriting department
handschriftliche
(German) hand-written (manuscript)
Handschutz
(German m.) hand guard
Handskrift
(Swedish, Norwegian, Swedish) autograph, a work written in the composer's own hand
Håndskrift
(Danish) autograph, a work written in the composer's own hand
Hands, The
Michel Waisvisz conceived of The Hands in the early 1980s. The Hands are aluminum plates containing touch sensitive keys, thumb pressure sensors, and tilt and proximity sensors, held under a performer's hands with velcro fasteners. Waisvisz' idea was to perform with large overt body motions as well as small fingertip control
(Mongolian) also called haolibao, a singing and storytelling form of quyi popular with the Mongolian people which dates back to the twelfth century. The singers accompany themselves on the sihu (a four-stringed musical instrument)
(Greek) a word or expression of which there is only one example in the surviving records of a language
Happening
composer John Cage (1912-1992) was at Black Mountain College, near Asheville, North Carolina, USA, for the summer sessions of 1948, 1952, and 1953. During the 1952 session he worked with Merce Cunningham, M.C. Richards, Robert Rauschenberg, and David Tudor to produce a mixed media theatrical event, which has become known as The Happening. This term is now applied generally to multimedia events, for example, those organised by members of Fluxus
a form of dance music typified by a very fast BPM (usually around 165-180), female vocals, and saccharine lyrics. Its characteristically 4/4 beat "happy" sound distinguishes it from most other forms of breakbeat hardcore, which tend to be darker
in Japanese, hara-kiri is a colloquialism, seppuku being the more formal term. Samurai (and modern adherents of bushido) would use seppuku, whereas ordinary Japanese (who in feudal times as well as today looked askance at the practice) would use hara-kiri. Hara-kiri is the more common term in English, where it is often mistakenly rendered hari-kari
jigai was a traditional method of ritual suicide for women in Japan (for example, that of Cio-Cio-San (Madame Butterfly)). Although the term literally means 'self damage' and in principle can refer to suicide in general, in practice it normally refers to the ritual suicide of women by the cutting of the jugular vein with a tanto (6-12 inch knife) or kaiken (6 inch knife). Often, they would be hidden prior within the sash of their kimono. Cio-Cio-San uses her father's dagger - the weapon with which he committed suicide - and reads its inscription: "To die with honour, when one can no longer live with honour." She takes the sword and a white scarf behind a screen, and emerges a moment later with the scarf wrapped round her throat
Jigai from which the relevant comment has been taken
Seppuku from which the relevant comment has been taken
Haraldstrompete
(German f.) herald's trumpet
Hardanger fiddle
Haardingfele (Italian), Hardanger Fiedel (German), violon de Hardanger (French), a Norwegian folk fiddle with 4 strings above the fingerboard and 4 or 5 sympathetic strings below, the fingerboard being narrower and shorter than the standard violin
(German f.) Hardanger fiddle, Haardingfele (Italian), violon de Hardanger (French)
Hardart
a musical instruent invented by Peter Schickele which consists of a variety of tone-generating devices mounted on the frame of an Automat (a coin-operated food dispenser). It is used in the Concerto for Horn and Hardart, a play on the name of proprietors Horn & Hardart, who pioneered the North American use of the Automat
Hardbass
see 'Hardstyle'
Hard bop
the style of the late 50s, engineered by Horace Silver, Art Blakey, etc. Still essentially 'bebop', the style used hard-driving rhythmic feel and vehement, biting lines and harmony drenched with urban blues, rhythm 'n blues and gospel. Original compositions were stressed over the old standards used in 'bebop', ranging from simple riff-based blues to elaborate compositions, sometimes using whole-tone scales. Hard bop had a black, street flavor - a reaction, in part, to the intellectuality of the Cool School
hardcore (sometimes 'ardcore) is a term that has been used to describe a variety of related electronic dance music styles over almost two decades. While the term "hardcore" was first used in a musical genre title with the emergence of hardcore punk in the late 1970s, it was also used in the early 1990s in reference to both hardcore techno, an intensified and harsh form of techno that emerged from the United States and the Netherlands, and breakbeat hardcore, which emerged in the UK from acid house and breakbeat
a form of 'mosh' (or 'slamdancing'), an activity performed in a 'mosh' pit at hardcore music shows. Generally the dancing is done to certain visceral parts of hardcore songs specially written to make the audience move around. Common names for these parts are "breakdowns", "beatdowns", and "two-steps"
a style of music that existed primarily in the early-mid 90s, also known as "chaotic emo"
Hardcore Emo from which this extract has been taken
Hardcore punk
or hardcore, a faster and heavier version of 'punk rock' usually characterized by short, loud, and often passionate songs with exceptionally fast tempos and chord changes
Hardcore punk from which this extract has been taken
Hardcore techno
a kind of techno music typified by fast repetitive beats, often with a compressed kick-drum
a hybrid of 'trance' music and 'happy hardcore' with 'house' elements. The style focuses largly on fast 4/4 beats with uplifting leads, looped vocals (often sampled from cult films) and extended builds leading to frantic crescendos, before 'dropping the beat'
a new style of singing 'Negro spirituals' that largely eclipsed jubilee singing by the 1950s, a more improvisational and fervent style of a cappella quartet singing
a style of electronic music that evolved from mixing techno and house music in the 1990s. Hard house is typified by a set formula of up-tempo compressed kick drums, signature acid house style basslines and the use of 'hoover' type sounds. Generally hard house is part of a wider group of styles called hard dance and has little in common with the modern techno or house scenes
"Brave, valiant, courageous .... Also means impudent, saucy. ... Is sometimes simply the opposite of modest. ... Also sometimes means assured, firm, and is especially said about the hand: "That writer has a hand that is hardi, that lutenist's hand is hardi, his playing is fort and brilliant." - Furetière (1690)
(or 'hard swing') in jazz, the augmentation of the first and diminution of the second of a pair of even notes such that the ratio of their lengths is 2:1 is called 'shuffle' or 'swing'. If the effect is exaggerated, so that the ratio become 3:1, the result is called 'hard shuffle'
Hardstep
a drum and bass subgenre which emerged in 1996 and is characterized by fast speed beats, steelhard breaks, and thumping bass lines
a term used to describe an electric guitar without a vibrato bridge
Hardtop
indoor movie theatre (colloquial)
Hard trance
or Hardcore Trance, an aggressive sounding subgenre of trance music. Originating in Frankfurt, hard trance incorporates influences from hardcore techno and euro house
Hard trance from which this extract has been taken
Hardware
on the guitar, the term is applied to the different parts including jacks, bridge, tuners, and so on
Harem
(Arabic) the part of the household forbidden to male strangers. The world knows the harem by way of the Ottoman Empire. The word itself means privacy that is very respected and honoured. In Western languages such as English, this term refers collectively to the women in any polygynous household as well as to the "no men allowed" area, or in more modern usage to a number of women followers or admirers of a man. In other Western languages, the term seraglio - from an Italian variant of Persian saraay, meaning 'palace, enclosed courts' - has much the same connotation
(Fanti) a dry land wind that blows on the coast of West Africa between December and February, filling the air with reddish dust
harm.gliss.
abbreviated form of 'harmonic glissando'
Harmolodics
a term coined by saxophonist Ornette Coleman (born 1930) for the theory that melody, harmony and rhythm should have equal importance in collective improvisation, so that any group member, at any stage in the improvisation, might play a harmonic, rhythmic or melodic role
Harmonia
(Greek, Latin, Italian, Finnish) harmony
harmoniajärjestelmä
(Finnish) functional harmony
Harmonic
armonica (Italian), harmonisch (German), harmonique (French), relating to harmony, for example, harmonic minor scale, and to the theory and practice of harmony
or harmonics, suoni armonici (Italian pl.), Übertöne (German pl.), sons harmoniques (French pl.), a series of notes, called partials that accompany the fundamental (prime tone, generator) when it is produced with a string, a pipe, the human voice, etc. The fundamental frequency is called 'first harmonic', the 'first partial' or the 'first mode'. If all the partials are harmonic then the numbering of the harmonics matches that of the partials. On a string, harmonics can be produced by lightly stopping it at various points along its length
there is a lack of consistency in the use of the terms 'natural harmonics' and 'artifical harmonics'. Many writers distinguish between the harmonics present in any note, the contribution of which gives a note its particular character (which they call 'natural' because to some degree they are a feature of any note and are therefore part of the 'nature of the note'), and those which have to be produced by the intervention of the performer (for example, by the careful placing of a finger on a vibrating string, in order to stiffle particular harmonics while allowing the presence of others, thereby causing a change in the pitch of the resultant note), which they term 'artificial' because the string is no longer vibrating in its natural modes. Other writers make no distinction and use both terms synonymously.
Harmonica
or glass harmonica, a set of glass bowls set horizontally to rotate in a water filled chamber where the sound is generated by touching lightly the edge of one of the bowls with a wettened finger (musical glasses)
or glass dulcimer, a glockenspiel with strips or plates of glass rather than strings
(English, French m.) also known, among other things, as a 'mouth organ', 'French harp', 'tin sandwich', 'blues harp', simply 'harp', 'Mississippi saxophone', Mundharmonika (German f). The prototype of the harmonica was undoubtedly the work of Christian Friedrich Ludwig Buschmann (1805-1864) son of the maker of the Terpodion, another 'free-reed' instrument. In 1821 he constructed a small mouth-blown instrument of 15 reeds as an aid to tuning. He discovered that the free-reeds could be played both soft and loud without affecting the pitch of the sound, and he proceeded to make an improved model, called the Aura, which he described in a letter in 1828 as being suitable for melodic playing accompanied by the Terpodion
curva della meccanica (Italian f.), Mechanikbogen (German m.), console (French f. - neck, of a harp), the particular shape of the neck of the harp, or of the bridge on a piano or harpsichord, which is determined by the length and gauge of the strings required for each note as well as the string material being used, and the disposition of tension on the bridge, and through it, on the soundboard, that the designer believes will give the instrument the tonal characteristics desired
Harmonic division
Zarlino's theory of harmony, Istituzioni harmoniche (1558), is based partly on comparing two sequences, one harmonic or geometric (indicated by the fractions 1/6, 1/5, 1/4, 1/3, 1/2, 1) and the other arithmetic (indicated by the fractions 1/6, 2/6, 3/6, 4/6, 5/6, 6/6=1). The harmonic sequence (divisio harmonica) produces the natural harmonics and particularly the major triad, while the former (divisio arithmetica) gives the notes of a minor triad
Harmonicello
a baritone string instrument with five playing strings made of gut and ten sympathetic strings made of metal
Harmonic figuration
broken chords
Harmonic flute
see 'harmonic stop'
Harmonic form
a reference to one of the forms of the minor scale, namely 'the harmonic minor scale'
Harmonic function
traditional harmonic theory holds that chords have 'functions'. These functions are believed to spring from the idea of a harmonic axis consisting of I and V. The other sonorities, or chords are considered to be substitutes for I or V, or for the IV, called the dominant preparation. The function of I is that of resolution and stability, whereas V represents instability, tension and drive
Harmonic glissando
produced by sliding the finger lightly over the string rather then pressing the string against the fingerboard (as for a normal glissando). The effect is notated by placing a small o over the notehead and also with the instruction harm. gliss.
Harmonic hand
see 'Guidonian hand'
Harmonichord
also known as the piano-violin, violin-piano and the tetrachordon, a keyed-instrument invented by father and son Johann Gottfried and Johann Friedrich Kaufmann in 1810. It resembles a piano in appearance and is played like a piano, but produces a sound like a violin. The sound is produced by the pressure of the keys which sets a revolving wooden cylinder covered with leather, and charged with rosin, in action on the strings
a performing device on the piano which Chopin liked to use but which today is largely forgotten
Harmonic mark
in violin music, a sign (o) placed over a note signifying that a harmonic note is required
Harmonic major scale
the harmonic major scale is the same as the major scale, except that the sixth degree, VI, is lowered by a semitone (half step) both when the scale is ascending and when it is descending. It can also be thought of as the harmonic minor scale with the third degree sharpened or as a mode of the inversion of the harmonic minor scale [corrected by Mat]
the interval between two notes whose frequencies are in the ratio (5:4)
Harmonic minor scale
the harmonic minor scale is the same as the natural minor scale, except that the leading note, the seventh degree, VII, is raised by a semitone (half step) both when the scale is ascending and when it is descending
a mode consisting of the rising interval sequence T-S-T-T-S-T+S-S (T=tone or whole-step, S=semitone or half-step, T+S=three semitones or half-steps)
the interval between two notes whose frequencies are in the ratio (6:5)
Harmonic note
see 'flageolet-tone'
also called 'harmonic tone', a note that is part of the chord that is sounding
Harmônico
(Portuguese m.) harmonic, overtone
Harmonicon
an orchestrion, a musical instrument consisting of a large barrel-organ, containing, in addition to the ordinary pipes, others to imitate the different wind-instruments, and an apparatus to produce the effects of drums, triangles, cymbals, etc. so that the combined sounds produced the effect of a military band
a harmonica
a keyed harmonica combined with flue stops
Harmonic ostinato
see ostinato
Harmonic overtone
use of the term overtone is generally confined to acoustic waves, especially in applications related to music. Despite confused usage, an overtone is either a harmonic or a partial. A harmonic (or harmonic overtone) is an integer multiple of the fundamental frequency. A partial or inharmonic overtone is a non-integer multiple of a fundamental frequency
Harmonic piano pedal
the harmonic pedal give three effects :
"sounding-on" for all the strings, while at the same time the player may use an articulated playing style
a resonance (or sustain) effect usually produced with the classical damper pedal
a sostenuto for notes already played, without compromising the use of the damper pedal when playing other notes
the harmonic pedal allows the "storage" of any notes chosen that are to be kept in resonance. The hand is free to release these notes, and can now play other notes
Claudius Ptolemaeus (c.100-c.178), who we call Ptolemy, wrote an influential work, Harmonics on music theory. After criticizing the approaches of his predecessors, Ptolemy argued for basing musical intervals on mathematical ratios (in contrast to the followers of Aristoxenus) backed up by empirical observation (in contrast to the overly-theoretical approach of the Pythagoreans). He presented his own divisions of the tetrachord and the octave, which he derived with the help of a monochord. Ptolemy's astronomical interests also appeared in a discussion of the music of the spheres
suoni armonici (Italian pl.), Übertöne (German pl.), sons harmoniques (French pl.), the elements of the aural spectrum
there is a lack of consistency in the use of the terms 'natural harmonics' and 'artifical harmonics'. Many writers distinguish between the harmonics present in any note, the contribution of which gives a note its particular character (which they call 'natural' because to some degree they are a feature of any note and are therefore part of the 'nature of the note'), and those which have to be produced by the intervention of the performer (for example, by the careful placing of a finger on a vibrating string, in order to stiffle particular harmonics while allowing the presence of others, thereby causing a change in the pitch of the resultant note), which they term 'artificial' because the string is no longer vibrating in its natural modes. Other writers make no distinction and use both terms synonymously.
the harmonics of a freely vibrating string fixed at both ends - where all the partials and overtones are harmonic
the successive repetition of a particular harmonic pattern at a high or lower pitch
Harmonic singing
see 'throat-singing'
Harmonics, natural
see 'natural harmonics'
Harmonic stop
a full-sounding stop invented by the French organ builder Cavaillé Coll, in which organ pipes both flue and reed, twice the ordinary length but pierced mid-way, produce the second harmonic, i.e. one octave higher than the expected fundamental. Two stops of this type are the harmonic flute (8 ft. in length, but sounding as a 4 ft. stop) and the harmonic piccolo (4 ft. in length but sounding as a 2 ft. stop)
Harmonic tone
see 'flageolet-note'
see 'harmonic note'
Harmonic triad
the chord of a note with its third and fifth
Harmonie
(French f., German f.) a band of wind, usually woodwind, brass and percussion
(French f., German f.) the wind section of an orchestra
(German f.) in the late eighteenth century, a group of wind players employed on festive occasions or the music played by such a group (also called Harmoniemusik) usually comprising pairs of oboes, clarinets, horns and bassoons
(French f., German f., Dutch) harmony, concord
(German f.) a chime
(German f.) sympathy, reconciliation
Harmonie, cor d'
(French f.) French horn without valves
Harmonie de quartes
(French f.) quartal harmony
Harmonie de quintes
(French f.) quintal harmony
Harmonie de secondes
(French f.) secondal harmony
Harmonie de tierces
(French f.) tertial harmony
Harmonie en quartes
(French f.) quartal harmony
Harmonie en quintes
(French f.) quintal harmony
Harmonie en secondes
(French f.) secondal harmony
Harmonie en tierces
(French f.) tertial harmony
harmoniefremder Ton
(German m.) non-harmonic note
Harmonie imitative
(French f.) onomatopoeia
Harmonieleer
(Dutch) the study of harmony, a treatise on harmony
Harmonielehre
(German f.) the study of harmony, a treatise on harmony
Harmoniemusik
(German f.) a band of woodwind, brass and percussion (usually comprising pairs of oboes, clarinets, horns and bassoons)
(German f.) the music written for a wind band
Harmonien
(German n. pl.) plural of Harmonium
Harmonie-regeln
(German) the rules, or laws, of harmony
harmonieren
(German) to harmonize, to chime, to tone in
harmonieren mit
(German) to tone in with
Harmonies
(French f. pl.) plural of harmonie
Harmonie, Trompette d'
(French) the modern-day trumpet
Harmonie Universelle, l' (1636-37)
an important wide-ranging treatise on music, published in Paris and written by the French monk Marin Mersenne (1588-1648)
harmonieusement
(French) harmoniously
harmonieux (m.), harmonieuse (f.)
(French) harmonious, well matched (colours, etc.)
Harmonie-verständiger
(German) harmonist, one versed in harmony
Harmonik
(German f.) harmony
Harmonika
(German f.) harmonica, accordion, concertina
instruments with multiple tuned plates, reeds or pipes like the xylophone, marimba, etc.
invented in 1837, a wind musical instrument with a keyboard, in which the sound, which resembles that of an oboe, is produced by the vibration of thin metallic plates, acted upon by blowing through a tube
Harmonique
(French m.) harmonic, Teilton (German m.)
harmonique
(French) harmonic
applied to organ pipes of double length, see, for example, 'harmonic flute'
Harmonique inférieure
(French) undertone
harmoniquement
(French) harmonically
harmoniren
(German) harmonize, be in unison
(German) archaic spelling of harmonieren
Harmonisation
(French f.) harmonization
on a piano, harmonisation is the process carried out on a new piano that entails adjusting the touch, tone, etc. so that they are even throughout the instruments range. The process may be repeated when an instrument it overhauled
or 'harmonizer', the automatic provision of harmony available on certain electronic keyboards
harmonisieren
(German) to harmonize
harmonisk Kadence
(Danish) harmonic cadence
harmonisk Kadens
(Swedish) harmonic cadence
Harmonist
one acquainted with the laws and science of harmony
Harmoniste
(French m./f.) one acquainted with the laws and science of harmony
Harmonium
(English, German n., French m.) an organ-like keyboard instrument, invented in 1843 by A. Debain of Paris, in which air is pumped, using foot operated pedals, outward through a set of metallic reeds
in India, the 'harmonium' also known as peti or baja. This instrument is not a native Indian instrument. It is a European instrument which was imported in the nineteenth century. It is a reed organ with hand pumped bellows. Although it is a relatively recent introduction, it has spread throughout the subcontinent. Today, it is used in virtually every musical genre except the south Indian classical genre
the relationship between notes when heard together, often described as the vertical dimension in music, where melody (or counterpoint) is the horizontal
a term aplied to flute sizes other than the concert flute and piccolo
Harmony Hall [1839-1845]
founded by Robert Owen, the official Owenite community sponsored by the Universal Community Society of Rational Religionists. Conceived on a grand scale it consisted of a series of farms around an impressive 3 storey communal house. The scheme was beset with problems almost from the start, the only sucesses being on the farming side. Much of the failure of the community must be blamed on Owen's mismanagement, despite attempts by others to save the project. The failure of Harmony Hall marked the end of Owenite socialism as a movement
1/1728 part of an octave. A twelve-based measure suggested by Paul Beaver: 1728 is 123. In the 1960s he asked John Chalmers to compute a table of Harmos, which he did later in decimal and duodecimal notation
an instrument of ancient lineage in which strings are plucked individually or in groups with the fingers and thumbs of one or two hands
single-strung harp
the orchestral, pedal harp is single strung as is the standard lever harp where seven strings are set for each octave and levers or pedals provide inflections (i.e. flats and/or sharps) and to help the player locate the position of each octave certain strings are coloured, for example, every C is red, and every F is black or blue
double-strung harp
a harp which has strings that run in two parallel rows
triple-strung harp
a harp, mainly used in Wales, that has two parallel rows plus a third row of strings up the centre that are the sharp/flats. The third row is slightly offset so that the player hooks their finger between the outer rows and reaches in between the outer strings to reach the accidentals
see 'triple harp'
cross-strung harp
a harp that has two rows of strings, but the strings are not in parallel rows. Instead, the strings cross in the centre of the harp, just like a big X. The harp is tuned so that the right hand reaches "up" for the naturals and "down" for the flats, and the left hand does the opposite. The advantage of a cross-strung harp is that all of the notes are available to the fingers at all times. The disadvantage is that the space required for an octave is much wider because you have to allow room for an additional 5 strings to vibrate within that octave. This means that you have to stretch your hand much wider to reach an octave. It also means that a cross-strung harp either has a small note range or is very large
in African culture, an instrument distinguished from a lyre by its triangular shape and the unequal length of its strings. Called dilla (Chad), ouombi (Gabon), ngombi (Central Africa), loma (Liberia), kinde (Islamicized regions), and ougdye (Cameroon), it has spread throughout Africa with a wide diversity of shapes (angled, arched), it is used commonly for praises, healing ceremonies, and bardic songs
alternative name for the 'harmonica' or 'mouth organ'
in nyabinghi, a religious movement that influenced many Jamaican Rastafari, 'harp' is the generic term for drums, in particular, a bass drum and two middle-pitched drums called akete (also called the 'repeater') and funde that accompany nyabinghi chants (also binghi)
Nyabinghi from whihc this information has been taken
(French f.) double action harp, arpa a doppio movimento (Italian), Doppelpedalharfe (German)
Harpe à double mouvement
(French f.) double action harp, arpa a doppio movimento (Italian), Doppelpedalharfe (German)
Harpe aeolienne
(French f.) an Aeolian harp
(French) a harmonium stop
Harpe à pédale
(French f.) pedal harp
Harpe celtique
(French f.) Celtic harp
Harpe d'Eole
(French f.) an Aeolian harp
Harpe dital
(French f.) dital harp
Harpe éolienne
(French f.) Aeolian harp
Harpejador
(Portuguese) arpeggiator
Harpejo
(Portuguese) arpeggio
Harpeleik
Norwegian fretless zither
Harp guitar
a multi-string instrument, shaped much like a guitar, but with an extended second neck, stretching above the main neck of the instrument. This second neck holds up to seven unfretted bass strings, which are plucked like those of a harp. The six central strings are fretted on the standard guitar neck, and are frequently strummed like on a standard guitar. There are also eight unfretted treble strings below these 'guitar' strings, which are also plucked. The same modification has been applied to the Hawaiian guitar and the ukulele
Harp Guitar from which this extract has been taken
Harpicordo
(Italian) harpsichord
Harpist
one who plays the harp
Harpiste
(French m./f.) harpist
Harp lute
a modern stringed instrument, a cross between the harp and the guitar, with frets, twelve strings with a pleasant but not very powerful sound
see 'lute harp'
Harp mandolin
harp mandolins were made at the turn of the twentieth century. While the harp guitar combines a number (usually 4) tunable bass strings that can be plucked like a harp, with a standard guitar, the harp mandolin has no bass strings although the body extends on the bass side all the way upwards to the headstock
patented by Jean Francois Salomon in 1829 (and built by Andre Augustin Chevrier), this is a very interesting instrument, and a difficult one to classify. Since it is fully fretted, it cannot technically qualify as a "true" harp guitar by any definition. Yet it was clearly designed to be played very much like an intricate harp guitar. Ergo, I created the new classification of "fretted harp guitars"
clavicembalo (Italian), Cembalo (German), clavecin (French), a large family of keyboard instruments, in which the strings are plucked by plectra, including also spinets and virginals
a soft thick tweed woven from hand dyed woolen yarns, popular for coats and suits for both men and women
Harry Partch's 43-tone scale
the 43-tone scale is a just intonation scale with 43 pitches in each octave invented and used by Harry Partch. It is somewhat ironic that Partch became so associated with this 43-tone scale, because the number 43 is more or less arbitrary. In fact, the first of Partch's "four concepts" is The scale of musical intervals begins with absolute consonance (1 to 1) and gradually progresses into an infinitude of dissonance, the consonance of the intervals decreasing as the odd numbers of their ratios increase. Nevertheless, almost all of Partch's music is written in the 43-tone scale, and although most of his instruments can play only subsets of the full scale, it's useful as an all-encompassing framework. If an interval isn't found in Partch's 43-tone scale, it probably isn't of great importance to Partch's music
(German) strike hard [corrected by Brian A. Jefferies]
hartstochtelijk
(Dutch) passionate
Harz
(German n.) rosin, resin
rosin is also known as colophony or colophonia resina from its origin in Colophon, an ancient Ionic city
Hasapi
(Indonesia) two-stringed mandolin from Sumatra
Hasapico
see hasapiko
Hasapika
see hasapiko
Hasapiko
(Greek) also transliterated 'hassapiko', 'hasapika' and 'hasapico', a Greek traditional dance that originated among members of the Butcher's Guild in Constantinople in Byzantine times, and was originally called makellarikos horos, although some only use this term for the fast version of this dance, usually in 2/4 meter, which is also called grigoro hasapiko, grigoros hasapikos, sousta or hasaposerviko. The slower version, usually in 4/4 meter, is called hasapiko vari or hasapikos varis
Hasápikos
see hasapiko
Hasapikos horos
see hasapiko
Hasapiko vari
see hasapiko
Hasaposerviko
see hasapiko
Hasard
(French m.) chance, coincidence
hasarder
(French) to risk, to venture (remark)
hasardeux (m.), hasardeuse (f.)
(French) risky
Hashish
(Arabic) a preparation of Indian hemp, that may be smoked or drunk
Haslemere Peasant Industries
set up in 1896 by Godfrey Blount and his wife Ethel, an artistic community with the aim of integrating work, leisure and the country life and the philanthropic principles of the home industries movement. The Peasant Industries was an umbrella organisation of small workshops that employed local craftworkers. It also ran a shop in London. Along with C.R.Ashbee's wife Janet, the Blounts were prominent members of the Healthy and Artistic Dress Union (1890) which promoted the wearing of "unusually comfortable, loose-fitting clothes made of hand-woven cloth."
Haß
(German m.) hatred
Hassapia
an ancient Thracian dance that simulates a stealth approach on an enemy camp, leading to victory
Hassapiko
see hasapiko
hassen
(German) to hate
haßlich
(German) ugly, nasty, nastily
Haßlichkeit
(German f.) ugliness, nastiness
Hast
(German f.) haste
hasta la nada
(Spanish) al niente
hasta la vista
(Spanish) farewell!, a rivederci (Italian), auf Wiedersehen (German), au revoir (French)
hasta luego
(Spanish) goodbye! (implying a further meeting is expected or planned for later the same day)
a style of hardcore punk with white supremacy-themed lyrics
hâter
(French) to hasten
hâtif (m.), hâtive (f.)
(French) hasty, early (precocious)
Hat noi
see ca tru
Haubois
(French) corruption of hautbois
Hauch
(German m.) breath
hauchen
(German) breathe
Haunghaung
(China) a Jew's harp made of bamboo with a metal tongue to which a cord is attached
Haunghaung from which this information has been taken
Haupango
the Mexican Haupango is a descendant of the Spanish son, but its rhythm is definitely of the new world, combining 2/4 time with 3/4 time and 6/8 time, creating cross rhythms of great complexity
Haupt
(German n.) head, principal, chief
Hauptanliegen
(German n.) the chief concern
Hauptbahnhof
(German m.) the central station
Hauptbestandteil
(German m.) the basis, the body
Hauptdarsteller (m.), Hauptdarstellerin (f.)
(German) male/female lead (actor/actress in a leading role)
Hauptdreiklang (s.), Hauptdreiklänge (pl.)
(German m.) primary triad
Haupteingang
(German m.) main entrance
Hauptereignis
(German n.) the outstanding event, the main event
Hauptfeind (m.), Hauptfeindin (f.)
(German) the principal enemy, the main enemy
Hauptfigur
(German f.) the central character, the chief character (in a story)
Hauptfrage
(German f.) principal question, main question, pivotal question
Hauptgedanke
(German m.) the principal thought, the main thought
